#iwwv critism

[ethernetchord]

lets talk: popular iwwv criticism

(disclaimer: i know criticism is subjective and thats why im doing this, i wanna look at some common points made against iwwv and dissect them just a little bit in the opposite direction. also none of this is directed at any individual- it’s all based on the general talking points i’ve seen surrounding the book.)

SPOILER WARNING !!

lack of exploration into james and oliver (+ gay characters feel performative)

i’ve seen loads of people say that oliver and james’ relationship felt very performative, a way of including the queer romnce which clearly is very important to the plot but not actually giving it any space in the novel, nor developing it to the same extent which meredith/oliver was.

oliver and meredith had a very strictly physical relationship and while he did love her, he wasn’t in love with her the way he was with james. the juxtaposition in the way that oliver/james is delivered and the way meredith/oliver is delivered is, i believe, far too repetitive to not be intentional. i actually realised upon re-reading how much focus there really is on meredith’s sexuality, even in subtleties in the book. meredith and oliver get more blatant sex scenes, get more physical parts because oliver was (to an extent) using his attraction to meredith to distract himself from his infatuation with james.

we also have to remember that oliver and james didn’t get their real moment of honesty about their relationship till extremely late into the book. i’d honestly see it as more ‘performative’ to then after or in the middle of kind lear throwing in some wild sex scene between the two. it wouldn't have fit.

“why didn’t james and oliver get together earlier then >:(((“ because the slow burn between them, the subtext, the subtle-ness, the yearning, they were all crucial to the decision which oliver made at the end. the fact that they burned so bright for each other but (oliver particularly) were so desperately repressed, that was what made this such a tragic romance. yes its tiring to read stories about queer people being repressed, yes its tiring to see the bury your gays trope. but like oliver says, it goes beyond gender.

if oliver’s second love interest was a girl, and treated this way, we’d be a lot more on board with these tropes- but the fact that james is a man, and this therefor becomes a queer relationship, makes it feel performative. i can’t convince you of anything- but i like to believe that their relationship being treated like this not only makes it so much more “heart wrenching because why! why couldn’t it work out, why couldn’t it be better!” - not because its a queer relationship but because they were soulmates.

alexander wasn’t performative. not in the slightest, rio just didn’t make being gay his entire identity. same goes for colin. just because they’re queer doesn’t mean it needs to be the only thing about them. this isn’t a lgbt novel- characters dont have to be gay just for plot. they can just be gay.

i’ve also seen people complain about not just making oliver bisexual. guys. did you read the book? he was bisexual. he was emotionally and physically attracted to both meredith and james. guys that’s literally what bisexual means.

i'm totally on board with the coming out scenes! and realisation of feelings and all that stuff- but again, not an lgbt centric novel and also- these were things oliver probably did and realised far before this book. remember that its set in 4th year, at an art school. he knew he was fruity ok. not every queer character in every queer book have to have these grandious coming out scenes or realisations. the lack there of doesn’t equal performance.

the ending was rushed and bad

believe what you will, but i don’t think james is dead. there’s a little too much ambiguity in that ending, in the extract he leaves oliver, in the “his body was never found.” so if your main quarrel with the ending is that “bury your gays” situation- please know there’s a chance- and that giving it that chance opens up so much more discussion and reader response.

yes, the ending is sad. but it’s not rushed. “but that is how a tragedy like ours or king lears breaks your heart- by making you believe the ending might still be happy until the very last second.” doing king lear, doing macbeth, doing romeo and juliet, the plays are chosen not only for reader convenience (they’re plays readers will most likely be familiar with) but also because they all, so very deeply, foreshadow a “bad” ending. killing james, makes sense. as much as people don’t want to hear it, from an authorial perspective- from the reader’s perspective and as a human being it makes sense. why do keep arguing that he “should’ve stayed alive for oliver” or that “if he really loved oliver he wouldn’t have done it” - why are we limiting a character’s entire existence down to their love interest. yes, they were best friends, yes they were set up as lovers but that doesn’t mean that that would be enough to keep james around. james was a fragile character- he was always checking with oliver if he had upset him, he was always worried, overthinking, james wasn’t strong minded- and he was suffering. the only person he had left to depend on was in prison, he was plagued with the guilt of causing the death of a classmate and letting oliver take the blame, if he did kill himself, it sure as hell doesn’t have any reason to sound forced.

“its not nearly as good as the secret history!!!!”

to be honest here buds, why the fuck do we keep comparing them so insistently. they are not the same book. iwwv wasn’t trying to be tsh 2.0, yes there are similarities because hey! guess what! books in similar genres tend to do that! always comparing it tsh when they have different motives, different plots and vastly different execution makes no sense. the only reason that they are compared is because tumblrtm dark academics like to group the two together. and yea- makes sense, but stop trying to belittle iwwv because it isn't as grandiose as tsh, because it’s a little more literal, because it’s not as intertextual as tsh. half the people saying iwwv isn’t as good as tsh are practically just subtly going “shakespeare isn’t as complicated as ancient greek huehue” stop forcing the two together and let them be separately appreciated.

the characters were flat/archetypes/etc

sigh. okay.

these characters are actors. this book shows us their transition from themselves entirely into a conjunction of the roles they’ve played and the stereotypes they’ve portrayed.

“we were so easily manipulated - confusion made a masterpiece of us.”

“for us, everything was a performance”

“imagine having all your own thoughts and feelings tangled up with all the thoughts and feelings of a whole other person. it can be hard, sometimes, to sort out which is which.”

“far too many times i had asked myself whether art was imitating life or if it was the other way around”

“it’s easier now to be romeo, or macbeth, or brutus, or edmund. someone else.”

are you seeing it now? this focus on their archetypes, this focus on the character they are; the way they see themselves not merely as human but as a walking concoction of every character they have turned into and out of. they depend on their archetypes to give them meaning. rio uses these archetypes to remind us of the submersion of her characters. they weren’t flat, their intentional lack of dimension due to their pasts is what makes them so intricate. furthermore, there's an evident subversion- the tyrant becomes a victim, the hero becomes a villain (they all become villains really), the ingenue becomes corrupted. like mentioned before, i think we forget ourselves easily reading this book but there is a great deal of emphasis on this being their last year- which is so important. the damage has been done and a lot of the issues people have with the content (or lack thereof) in this book has to do with the fact that it’s all things that would have occurred in books focusing on previous years at delletcher.

“it didn't live up to expectation” (also leading on from read tsh to this and being ‘disappointed’)

i cant argue this because its entirely subjective. whatever expectation was created for you, i cannot know that and appropriately respond however- if you liked the secret history and understood the secret history then there's a good chance you also liked and understood this book- even if not to the same extent but you must be able to recognize the authorial approach and its significance. i think a lot of ppl read iwwv (and a lot of “dark academia” texts and films) and hope to be able to romanticize the aesthetic or the concepts and then are disappointed when they are presented with mildly unlikeable and overwhelmingly human characters who aren’t easy to romanticize.

a great majority of these books are criticisms of the very culture you’re trying to romanticize, and the only time you’re willing to admit that is when boasting about the ‘self-awareness’ of the people indulging in them, and then a moment later complain about those same qualities because they don’t serve this idealized expectation.

bad rep for arts/liberal arts/ humanities students as being pretentious/cultish

as a humanities student with a great love for eng lit- all of these things are indeed pretentious and cultish. not all the time and not always and not every person- but it is a common theme. academia is overwhelmingly obsessive and extremely white-washed. people become so fast to believe that they are indulging in finer arts and are therefore a higher standard of person. academia is problematic. and the recent influx of people interested in it is good, very good because hopefully, we’ll be more diverse, more open-minded, more accepting. that's what i hope at least. if you know, as an individual, that you’re not a pretentious academic who places themselves above non-academics then that's wonderful- but there are dangers and negative sides to academia that need to be understood so that we can see to not perpetuating them.

i cant refute all points, mostly because there's a lot of good and well-explained criticism because no book is perfect. and my intentions are not to belittle anyone's opinion. these are merely opposing arguments, food for thought and to be fair- a critical look into why not everything is always going to be what we expect of it and why every ‘problem’ can be assessed.

#iwwv #if we were villains #iwwv critism #book review #tsh #dark academia #fanart

[ethernetchord]

i was posed some interesting prompts/questions by @waywardrebelhairdodeputy-blog about iwwv so here are my responses!

1. Why do you think James punched Oliver? (During the sword play practice and also in the beginning of the book Gwendolyn asked James to think of something that would make him wanna punch Oliver and after a minute his eyes became hard, what do you think he thought of then at the moment?

oh, this is a cool question. there are a couple of angles I'd like to take with this so please, bear with me. Firstly I thought about this from the Rio/Oliver narration perspective. So let me pull out some Oliver quotes (concerning James)

"James and I put each other through the kind of reckless passions Gwendolyn once talked about, joy and anger and desire and despair."

"but in the red glare of the fire, he no longer looked so angelic. Instead, he was handsome the way you think of the devil as handsome—forbiddingly so."

"You’re—I don’t know, this fragile, elusive thing, and I feel like if I could just catch you, I could crush you... I should hate you right now. And I want to—God, I want to —but that’s not enough"

“Oliver, I don’t know what’s wrong with me. I want to hurt the whole world.” (James to Oliver)

Now, with all of this in mind, you'll come to realize that one of the most enticing and riveting things about these two is that their love and passion for each other is far from gentle or soft- contrasting greatly how many queer male relationships are represented. It's harsh, bright, sharp- it's ruthless but not uncaring. Oliver, highly repressed in himself becomes inwardly aggressive and violent- "I could crush you." "I should hate you... I want to" "Forbiddingly" - His affections towards James aren't entirely consensual on his own behalf, this makes him assaultive and frustrated. But only internally- he never acts on these feelings, he can't hurt James. James is the opposite of this- and you'd think with his gentle angelic, princely demeanor that he'd be equally repressive of his feelings and impulses but if the book has proven anything- it's that James is perfectly capable of causing physical harm. Rio presents them equally in their aggression but their approaches are foils of each other.

The next thing I'd propose- ultimately- is Meredith, and additionally, internalized homophobia. Now let's clarify: I don't think James had any doubts about his queer identity I just don't think he was entirely accepting of even himself. Because if we look at the one, explicit, instance in which James is murderously aggressive- Richard's murder- what two things does that event and his aggressions towards Oliver have in common? Meredith and homosexuality. Let me explain. Richard and Meredith, Meredick if you will, "She and Richard had been “together” in every typical sense of the word", it's nearly impossible to think of Richard without Meredith- and this might have been less significant if Meredith and Oliver didn't have the relationship they had and if Meredith had never propositioned James also. Her ties with all three of them is important. Now; homosexuality. Richard was acting explicitly homophobic- now whether this is true or not because I know that's been an argument itself- it has to stem from some reality for James. And with Oliver- well it's obvious there. So my point: James might have thought of Meredith and Oliver, of them together, of if she had propositioned Oliver in the same way. He might have thought of Oliver, of wanting to love him but not allowing himself, of Oliver slipping through his fingers, of Oliver hitting him for these very desires.

2. Also also also the part where James was drunk and blabbering like a fool out of guilt, he asked Wren to sleep with her so was he bisexual too? Or that was just a ruse to get away from Oliver at that moment, but there are parts where he was affectionate towards Wren (could be friendship, but he was twirling strands of hair at the nape of her neck and she was smiling so....)

I think different queer people might interpret this differently but this is my reading of it. I do think they were friendly- I think they were very close really. The situation with the photos in which James is playing with her hair while posing + plus the kiss (part of their performance) and finally him asking her to sleep with him- I don't think that it's impossible for him to be bisexual.

I've seen a lot of people say that he must be gay since he rejected Meredith but that's a very surface-level conclusion in my opinion. I think that his inability to be attracted to Mer had more to do with his genuine disliking towards her and that he just really didn't want to be another one of the boys she could play. I don't think it has to be concrete evidence of his complete homosexuality. I don't by any means think he was in love with Wren, however. The nature of James and Wren's relationship is nothing like Oliver and Meredith's. This is important. I think they were close, James loved her platonically enough and like you said, probably used her as a diversion for himself.

But- kinda in a different direction here, that it's not impossible that James and Wren was some form of straight-baiting for readers (and Oliver.) I don't know about other readers but I know that for most of the book I was convinced that the feelings between James and Oliver were unrequited on Oliver's behalf. I never suspected that James might harbor feelings back which leads me to this: Oliver might have over assumed the nature of their relationship due to his feelings of unrequitedness and incompatibility. As we're having to listen to Oliver's particular retelling of all this- it's easy to get lost in the lens he creates for us. After all, there are multiple versions of the truth.

But like I said- It's likely Wren was a similar distraction for James as Mer was for Oliver and It's also likely they genuinely had some form of relationship. Nothing's impossible.

The only just criticism for Iwwv I accept is that we never received a why for the way Richard was behaving (you could say he was always a dick and losing his main part made him more so) but all those violent tendencies toward everyone? Not justified, I would have liked more depth in his character and then there's the eating disorder of Caroline (Older sister) and how fickle and reckless Oliver was about it, he just didn't care (kinda sad to think about)

I TOTALLY agree with this. Some people might disagree with me when I say iwwv was actually a pretty short book- but between the amount that was Shakespeare extracts and due to the formatting, 400 pages really isn't a lot. I think Richard could have had more development- Hell most of the characters could have had more development but him specifically. His spiral into violence did feel really sudden and a little confusing. I mean as readers we were beginning to look for an antagonist, for someone to dislike because all the characters had pretty enjoyable personalities so when Richard begins to seem antagonistic we kind of follow it comfortably because it seems natural. However, thinking about it afterward you realize how little we truly know about Richard and his borderline insanity ykno? Even re-reading- Richard begins to become an uncomfortable character to readers very very early on. I was trying to find some foreshadowing or possible explanations and all I might be able to grasp at is the line:

"I didn't mean there are exactly fourteen," Richard said thinly. "I mean it would be impossible to isolate one that leads him to skewering himself." (page 57, when discussing Brutus.)

I know Richard doesn't play Brutus but I think this is still notable- It's kind of impossible to find the one thing that drew Richard into this downfall and it would have been a combination of many things, like with any human character. But I do agree Rio could have given us some more space to learn about all those factors for him. Reading from the perspective of Oliver makes this hard because well- He is an unreliable narrator and it's impossible to know how everything played out and why because of this. Especially since Oliver and Richard were never the most friendly. Additionally, I think the closest thing Rio really gives us is Oliver's delivery of the iconic "Actors are by nature volatile" line.

The same goes for the situation with Oliver's sister. I think we didn't hear much about her because Oliver didn't care enough. He was far too overwhelmed with anger and disappointment from being put second to his sister to really muster up the energy to care enough to expose more to readers. Unfortunately, she was simply a side character even in his life, too unnotable to him or his plot (as he's retelling the story). Much of the flaws of this book with the lack of development of other characters- particularly their motives and side plots boil down, essentially to the unreliable narration. This is why so many people do not like this book- and others like it. We are, to some degree, always kept in the dark about something. Because so is Oliver- as much as he (and in turn, we) could spectate about why things happened the way they did, he (we) could never really know. There is beauty and frustration in this simultaneously.

I could say so much more about all my thoughts on Richard but I'll save you that (for now) because I don't think I could explain him but I definitely have my theories.

#if we were villains #iwwv critism #oliver marks #iwwv