I've seen critiques of apocalypses through the lens of their conformity to western standards before, and that detail the historical narratives the genre is nestled in, but not only is the way you write about the topic really concise and sharp, your perspective on the wasted potential of apocalypses as emancipation for those on whose genocide, trauma and oppression western civilization is built is HUGELY appreciated, as a conclusion that I've seen echoed in so much art made in the global south without nearly as much weight given to it in, well, in english. and the way you tie that perspective to your lived experiences is really resonant and well utilized! And it makes me extremely happy to see umurangi get a mention in this too.
just a great piece, thank you for writing it and I'm now very happy to have checked this newsletter and very excited to read more from you!! also, the line about semicolons in the beginning made me laugh
fucking hell your writing's beautiful.
I've seen critiques of apocalypses through the lens of their conformity to western standards before, and that detail the historical narratives the genre is nestled in, but not only is the way you write about the topic really concise and sharp, your perspective on the wasted potential of apocalypses as emancipation for those on whose genocide, trauma and oppression western civilization is built is HUGELY appreciated, as a conclusion that I've seen echoed in so much art made in the global south without nearly as much weight given to it in, well, in english. and the way you tie that perspective to your lived experiences is really resonant and well utilized! And it makes me extremely happy to see umurangi get a mention in this too.
just a great piece, thank you for writing it and I'm now very happy to have checked this newsletter and very excited to read more from you!! also, the line about semicolons in the beginning made me laugh
I read this again even though I read it in March. 🤌 Delicious.