This post has content warnings for: Queen of the damned spoilers.
Quaint Witch, Sad Enchantress
- she/her
Incredibly based gay trans woman poster 🏳️⚧️🏳️🌈 | Lover of books, music, and video games ✨| Happily married to @milktea ❤️ | Icon by @peachparfait
Praise for @MobileSuitLilah
“Lilah is maybe the internet’s greatest poster…a unique and very funny sense of humor…her jokes are specific and experimental while still being accessible to a mainstream audience”
— The New York Review of Posts
“Men you may not like it but…[Lilah’s posts are] what peak performance looks like”
— Virginia Woolf, author of Orlando
“I’m a huge admirer of Lilah’s posts to the point that I left my wife…only then did I discover Lilah is gay and had also never heard of me”
— Jonathan Safran Foer, an author I guess
"Lilah's posts were a huge source of relief during the development of DonPachi...it's no exaggeration to say Cave wouldn't exist without her posts"
— Tsuneki Ikeda
posts from @MobileSuitLilah tagged #queen of the damned
also:
Not included: the sequence where he gets really into Time Bandits and watches his favorite scene over and over and over
Immediately after this he refers to himself as the “James Bond of Vampire”
The last book I read was Anne Carson’s classic book-length essay Eros the Bittersweet. In it, Carson uses epigraphs sparingly to enhance the themes and arguments of a given chapter and quotes from a wide range of sources, including Blake, Stendahl, and Barthes.
Anne Rice takes the opposite approach. In an admirably maximalist “I love my husband” literary gesture, she begins all five sections of Queen of the Damned, roughly half of its chapters and also the book itself with epigraphs quoting her husband’s poetry.
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