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najia-cooks · 4 months

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[ID: First image is a close-up on a plate of small flatbreads topped with ground ‘meat’; second is a cross-section of one of the breads. End ID]

صفيحة فلسطينية / Safiha falastinia (Palestinian topped flatbread)

Etymology and origins

صَفِيحَة (“ṣafīḥa”), also transliterated “sfiha” and “sfeeha,” is a flatbread eaten in Palestine, Lebanon, and Syria, comprising a yeasted dough topped with a filling made from ground lamb or beef, spices, and chopped aromatics and vegetables. It may also be called “اللَحْم بالعَجِين” (“al-laḥm b al-‘ajīn,” “meat with dough”)—this phrase is the source of the Turkish “lahmacun” and the Armenian “Լահմաջո” (“lahmadjo”), which describe a closely related dish.

The word “صَفِيحَة” literally means “thin plate” or “sheet”; it comes from the root ص ف ح‎ (ṣ f ḥ), which produces words related to flatness. Compare for example “صَفَّحَ” (“ṣaffaḥa”) “to flatten,” “صَفْحَة” (“ṣafḥa”) “page,” and “صَافَحَ” (“ṣāfaḥa”) “to shake hands.”

In English, lahmacun (also transliterated "lahmajoun") is sometimes called "Armenian pizza." Similarly, it may be called "صفيحة الأرمنية" ("safiha al-'armaniyya"), "Armenian safiha," in Palestine, indicating that it is regarded as a borrowing from the local Armenian immigrant community. In Armenia, lahmadjo is a very thin, soft flatbread typically topped with beef or lamb, tomatoes, tomato paste, bell peppers, onion, garlic, parsley, red chili paste, and black pepper. With Palestinian safiha, lamb is the typical choice of meat; the dough may be thicker, and enriched with the addition of milk, milk powder, or yoghurt; bell peppers are ommitted; and fried pine nuts may be added. Palestinian restaurateur Nassar Odeh remembers lahmadjo being served in Jerusalem's Old City decades ago; he says that "Armenian dishes" such as this have become "part of the Palestinian culture."

Though the Arabic-derived "lahmadjo" and related terms may be heard, [1] the most common Armenian-language name for this dish is "լոշմիս" ("loshmis")—presumably from "լոշ" "losh" "lavash, thin bread" + "միս" "mis" "meat." Some Western Armenian variations on the name reverse this order (meat-dough, rather than dough-meat): "մսաշոթ" ("msashot"), from "մսա" "msa" "meat" + "շոթ" "shot" "thin bread"; and "մսալոշ" ("msalosh"), from "մսա" "msa" "meat" + "լոշ" "losh" "thin bread."

The dish

A common part of everyday Palestinian cooking, صَفَائِح‎ ("ṣafā'iḥ"; plural of "ṣafīḥa") are often eaten as a snack or a portable lunch. They may also be served as a مَزَّة ("mazza"; "appetizer") for عِيد ("'īd"; "feast," "holiday"; often transliterated "Eid") or Christmas.

Safa'ih are shaped into pinwheels in the port city of يَافَا ("Yāfā"; often transliterated "Yaffa" or "Jaffa"), stuffed with ground meat or spinach. In the Bethlehem region the topping is often mixed with tahina, as well as vinegar or lemon juice, and perhaps pomegranate molasses. Other versions of the meat topping omit tahina and vinegar, and are more tomato-heavy instead.

This recipe is for Bethlehem mazza-style safa'ih, with thick crust that's crisp on the outside and light and fluffy on the inside. Vinegar and pomegranate molasses provide a bright, slightly fruity lift to the topping, while tahina grounds it with a toasty, nutty aroma. Black pepper, allspice, and a green chili pepper add complexity and heat.

[1] There is a proliferation of possible spellings for "lahmadjo" in Armenian, which would indicate that it is a loanword (probably via Turkish, ultimately from Arabic). These spellings include "լամաջո" ("lamadjo") [common]; "լահմաջո" ("lahmadjo"); "լահմաջու" ("lahmadjou"); "լահմաջոն" ("lahmadjon"); "լահմաջուն" ("lahmadjoun") [literary; uncommon]; "լահմաջին" ("lahmadjīn"); and "լահմաջի" ("lahmadjī") [rare]. The letter "ջ" is pronounced as "dj" (IPA: [d͡ʒ]) in Eastern Armenian and a "tch" (IPA: [t͡ʃʰ]) in Western Armenian (timestamp: 40:33).

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Ingredients:

Makes 24 small safa'ih. Serves 24 as an appetizer, or 6-7 as a main dish.

For the dough:

5 cups (600g) white flour

A cup (230g) non-dairy yoghurt (لبن رائب) (I used soy)

1/2 cup (125 ml) olive oil

1 1/2 Tbsp (15g) dry yeast

1/2 Tbsp (4g) kosher salt

1 tsp (5g) sugar

A scant cup (220g) of water

A more "everyday" preparation of this dish might make larger, flatter safa'ih out of a dough without dairy. This holiday variant includes yoghurt and makes smaller, fluffier safa'ih; but the yoghurt may be omitted (or milk or milk powder may be added) without injury, and the flatbreads can be made any shape you like.

Leila al-Haddad writes that, in Gaza, white flour used to be eaten as a treat and for special occasions before it later came to replace whole wheat white flour in many kitchens.

For the topping:

500g ground beef substitute (as a replacement for minced lamb)

1 medium tomato, minced

1 medium onion, minced

1-2 green chili peppers, minced

2 tsp kosher salt (1 tsp table salt)

3/4 tsp black pepper

3/4 tsp allspice; or Palestinian 7-spice / mixed spices (بهار مشكل)

1/4 cup white tahina

2 Tbsp pomegranate molasses

2 Tbsp white vinegar, or lemon juice

For a tomato filling, omit the tahina and vinegar, and instead use 2 Tbsp tomato paste; or 8 diced or puréed tomatoes, cooked down.

Instructions:

For the dough:

1. Combine all dry ingredients in a large mixing bowl.

2. Make a well in the center and add in the yoghurt, olive oil, and water. Mix them together and then combine them with the rest of the dough. Add water or flour as needed to obtain a soft, slightly tacky dough.

3. Knead the dough on a clean surface for 5-10 minutes, until it bounces back when pressed. Allow to rise, covered, in an oiled bowl for 1-2 hours, until doubled in size.

For the filling:

1. Mince vegetables, or run them through a food processor. Mix all filling ingredients together.

To assemble:

1. Divide dough in half, and then half again; roll out each quarter of the dough into a cylinder and cut it into six equal pieces.

2. Roll each piece of dough into a ball between your hands, and then flatten it into a disc about 1” (2 1/2 cm) high and 3” (8cm) wide. Place on a baking sheet prepared with parchment paper, leaving an inch of space between each circle.

3. Press the center of each dough circle down slightly to create a crust around the edge. Add a few spoonfuls of filling to the center of each safiha and press flat.

4. Bake safa'ih in the middle of an oven at 450 °F (230 °F) for 25-30 minutes, until crust is golden brown.

Serve as an appetizer alongside vegetable salads, pickles, olives, &c.

#Palestinian #Armenian Palestinian

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gothhabiba · 6 months

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As the waves of Jewish immigration intensified and the desire (overt or covert) to become a replacement to the Arab-Palestinian people increased, the Zionist leadership advocated a policy of separation on all social, political and economic fronts. One of the most visible manifestations of this separation was the Zionist campaign for the purchasing of Jewish only goods, known in Hebrew as Totzeret Ha’aretz—literally “the produce of the land.” This resulted in a clear differentiation between the permeation of Arab-Palestinian culture into Jewish life and the barriers placed on social, economic and political integration and interaction. In the words of Zerubavel, “politically, the Zionists ignored the Arabs, but culturally, they romanticized and tried to imitate them.”

For example, Dafna Hirsch, in her biographic study of hummus, describes how it was initially considered part of the local Arab-Palestinian food culture and repertoire in the 1930s, worthy of adoption due to its nutritious value. However, in the 1950s, through the process of industrialisation, mass production and marketing, it was appropriated and nationalised, and its Arab origins were supressed. The Arab-Palestinian origins of the product were omitted and marginalized and its connection to Jewish and Jewish-Israeli traditions, especially to the Mizrahi-Jewish Diaspora, emphasized. For Jewish-Israelis, hummus became a national dish, the eating of which was part-and-parcel of daily life, either purchased from Jewish-Israeli food companies, such as Telma, or consumed at home or at Mizrahi-Jewish restaurants.

The hummus example in this regard is not unique; I will demonstrate these processes by deconstructing one of Israel’s most well known dishes, the Israeli salad. There might not be a more popular dish in Israel than the Israeli salad, sometimes also referred to as Salad Katsuts (chopped salad). The salad is based on chopped vegetables (normally tomatoes, cucumbers and onions) and fresh herbs (mostly parsley but sometimes also mint) and dressed with olive oil and lemon juice. A recent book, Fresh Flavours from Israel, by Jewish-Israelii food writer Janna Gur, states that “Israelis must have their salad at least once a day.” It is an accompaniment to every meal, whether eaten at home or outside. In fact, you would be hard pressed to have a meal anywhere in Israel without it. No Israeli cookbook from the 1960s onwards is truly complete without providing a recipe for it. This is true with regards to those written for Jewish-Israeli and foreign audiences. To the unsuspecting viewer, the Israeli salad is the epitome of Israeli food culture: it is fresh, simple, healthy and [symbolizes] the strong relationship the nation has with its agricultural produce. The salad, therefore, serves as both an internal and an external banal symbol of Jewish-Israeli identity.

What are the origins of the Israeli salad? Reading through literary accounts of growing up in Israel, the salad became a staple food product in the Kibbutzim canteens, from there it moved to the Israeli army’s mess halls and to Israeli homes. The fact that the salad is mentioned mostly as a chopped vegetable salad by Israeli authors describing living in Israel in the 1930s and 1940s demonstrates that it did not arrive with the wave of Jewish immigrants from North Africa and the Arab world after the state was established in 1948. It was also not prevalent in the diet of Central and Eastern European Jewish communities, from where most immigrants came. On the other hand, there are a number of accounts, mostly by travel writers, such as Masterman and Grant in the early-1900s and that of the Mary Eliza Rogers as far back as 1865, that describe the preparation and consumption of a chopped vegetable salad in Palestine. Rogers describes the salad as accompanying most meals served by the upper and governing classes in Palestine, at the time part of the Ottoman Empire. In other words, it is either that early Zionist immigrants to Palestine independently invented the salad, or, as I argue hereafter, they imitated, adopted and later appropriated and nationalised an existing local custom.

– Ronald Ranta, “Re-Arabizing Israeli Food Culture.” Food, Culture & Society 18(4):611-627 (December 2015). DOI: 10.1080/15528014.2015.1088192

#food #Palestine #Israel #quote #long post /

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foolishlovers · 4 months

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hii could i request some of your favoruite human au fics? nothing specific :))

ahhh always!! i have so many!! 💜

Postcards From Paris by ghostrat (12k, G) Crowley has just moved into his Mayfair apartment and finds a postcard addressed to the previous tenant. With no return address, he's left to collect and read the mysterious A.Z.F.'s adventures across Europe, where he hunts for bizarre bibles and rates ridiculously expensive wine in his free time. The question is: How will A.Z.F. react when Crowley finally gets his return address and writes back? --- It was different, he knew, to accidentally read someone else’s postcard versus intentionally perusing one in place of good newspaper over coffee. Crowley decided he was allowed that indecency, to balance out the good deed of safeguarding the mail in the first place. He kicked his feet up onto his desk, scooped up the takeaway coffee that was brought around by their newest intern, and settled in to read some of the most densely crowded handwriting he’d ever laid eyes on.

London, Libraries & Love by wolftea (13k, E, WIP) Smiling warmly at the huddles of students, Aziraphale made his way over to Crowley, who was leaning against his desk. Crowley was dressed in layers of all black (as per usual), his red hair was tied back in a loose ponytail (not as usual, he often wore it down) and he was twirling Aziraphale’s fountain pen between his fingers. “Mister Fell.” Crowley drawled, but the warmth in his amber eyes and the upward curve of his mouth betrayed any attempt at appearing nonchalant. Aziraphale found himself grinning. How on Earth had he ever disliked this man? “Crowley.” He said, eyes crinkling as he plucked the pen out of Crowley’s hands and put it back by his notebook.

New Approaches by FeralTuxedo (19k, M) Aziraphale Fell, Professor of Creative Writing at Tadfield University, welcomes the attendees of the First Conference on New Approaches to Genre Fiction. Among them is keynote speaker and best-selling thriller author Anthony J. Crowley. Aziraphale has not seen him for twenty-five years. Sometimes, he can still feel the ghost of their parting kiss on his lips. Or: Exes reunite at academic conference. A Human University Professor/Author AU.

muddle through somehow by curtaincall (27k, T) Aziraphale Fell runs a successful food blog, Celestial Comestibles, where he shares mouthwatering recipes and heartwarming stories about his happy domestic life in a cottage with his husband and son. As promotion for his upcoming cookbook, his publishers run a contest: one lucky winner will get to spend Christmas with Aziraphale and his family. What the publishers don't know is that the real Aziraphale Fell is a single city-dweller. And if he wants to keep up his happily married persona, he'll have to acquire a cottage, husband, and son before Christmas. As it happens, his friend and neighbor Anthony Crowley has his nephew staying with him for the holidays. One fake marriage proposal later, and everything seems tickety-boo--as long as Aziraphale can keep from developing inconveniently real feelings for his pretend husband…

First Class (Hons) Christmas, University of Tadfield. by heloluv (41k, M) Dr. A.Z. Fell is a renowned literature tutor at the prestigious University of Tadfield. December is upon the University, and Dr. Fell is leading the Christmas Charity Drive. He needs volunteers. Dr. A.J. Crowley is a skilled plant ecologist who recently began his tenure at UoT. He can't stand Christmas, and nothing at all could ever possibly convince him to partake in "festivities". Until a certain literary expert catches his eye. A Christmas and New Years fic, in which Aziraphale teaches Crowley how to enjoy the most wonderful time of the year.

Fledging by FeralTuxedo (53k, M) Cool Dad was at the school gate again. Clambering out of his ridiculous sports car like a great big spider, all black denim and designer sunglasses. What a prat. He made his way towards the entrance, followed by his equally lanky son. All the mums' eyes were on him. Which was fine. At least they weren't staring at Aziraphale for a change. Cool Dad high-fived his son goodbye, because of course he did, then sauntered back to his car. Making it look so bloody easy. Aziraphale Fell is much too young to be looking after eleven-year old Pepper. He barely has his life together as it is, with his minimum-wage job and a half-baked dream of trading rare books for a living. And as if adopting a recently bereaved pre-teen isn’t enough, there are some rather more adult problems to navigate: playground politics, the shadows of his own childhood, and the growing question of how Crowley, the only other dad at the school gate, feels about him. A human AU/kid fic.

Golden Handcuffs by seekwill (70k, E) Far from any city, near the Scottish coast, Tadfield College has a celebrated history, an unrivaled academic reputation, and two departments at war. When the Biology and English departments are forced to share a building, Senior Lecturer and botanist Anthony Crowley finds himself drawn into the orbit of the polite but strange English professor, Dr. Aziraphale Fell. As the new term begins, two academics navigate the politics of both their offices and academia, and try to solve the puzzle of one another.

South Downs by summerofspock (76k, E) Blackballed from the industry ten years ago, Anthony Crowley jumps at the chance to star in a new Regency romance miniseries with well-known gay actor Aziraphale Fell in the hopes that it will help him restart his career. The trouble is, Crowley has played all sorts of characters and for the life of him, he can't figure out why he's struggling to play the romantic lead opposite a man.

Or Be Nice by charlottemadison (151k, E) Crowley and Aziraphale are neighbours. And…it does not go at all well, until it does. A human AU in which Aziraphale is a bookseller, Crowley is a drummer, and they are both petty disasters in the worst/best way. +++ “So what’s your deal?” “My-my-my deal?” Aziraphale stammered. “I’m a bookseller, is my deal.” “Oh,” Crowley replied, sounding as uninterested as it was possible to sound. “It’s just, I couldn’t help overhearing, and --” Aziraphale swallowed hard. “You really are an accomplished musician. But I thought -- for after 11PM -- perhaps we could reach some arrangement?” “Arrangement?” Aziraphale felt his his smile turning forced. “Such as, perhaps, playing the drums before eleven? Instead of after?” Crowley stared blankly at him. In fact he stared for so long that Aziraphale briefly wondered if he'd lapsed into ancient Greek again, which he was known to do in bad dreams or during panic attacks.

#i could probably make another 20 parts but!!#i wanna gush about all these individually ngl sjsjsj #anon #answered #good omens #good omens fic rec #good omens fanfic #good omens human au #aziracrow #aziracrow fic #foolish recs

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blacknedsoul-blog · 4 months

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Annabel Lee Whitlock: The Hypocrite, the Vampire and the Femme Fatale. A review of archetypes

Good news: I'm on vacation. Bad news: I'm on vacation.

And that means rest. A positive externality. But on the other hand, it also means that my brain, which is constantly thirsting for stimulation, has lost eight hours of activity a day that it has to fill with something. You know what happens to orange tabbies who suddenly become quiet and behave as if possessed by all the demons of Ars Goetia? Well, sort of.

So my brain in need of stimulation decided to dust off my college notes and talk about archetypes, because it's a thorough enough job to keep me away from climbing walls or checking random stuff on the Internet for 10 hours a day.

What is an archetype?

Just to make sure we're all on the same page, an archetype (a "type character") is a writing model that describes a role and has certain characteristics.

The term was coined by Honoré de Balzac, a French writer obsessed with what he called "micro-history. His life's work, "La Comédie humaine", is a massive collection of more than 80 novels, which, when read, will give you more information about that historical period than any theoretical book on the subject.

You may not know this sir or the protagonist of "Illusions perdues", but you do know the archetype that Lucien Rumempré represents: a young from the provinces, full of dreams, who moves to the city only to discover that the lights are there to dazzle and distract from the misery.

But at the same time, the characters that come to mind are likely to be very different from the good Lucien. This is because the archetype is a different construct from the cliché.

If I had to explain the difference, I would say that the cliché is a recipe, while the archetype is a mold.

If you follow a recipe, you will always get results that are very similar, even if you make small variations in the recipe. But if you have a star cookie cutter, the contents of the cookies can be quite different: no one would dare say that a chocolate chip cookie tastes the same as an oatmeal cookie or a gingerbread cookie. Even if all three are cut in the shape of a star.

So I'm going to do a little review of the archetypes that Annabel notices. The differences, the similarities, and let's see what comes out.

The Hypocrite

Not "hypocrite" in the sense of a personality, but in the sense of a way of behaving in the world: The Hypocrite is a character whose way of relating to the world is a pantomime, whose role is to build themselves up to fit into a system (which, by the way, they despise). If they don't have what you want, they will at least pretend enough to make you think they do. Usually for personal gain.

The founder of this archetype is Julien Sorel, the protagonist of "Le Rogue et Le Noir", the most famous work of Stendhal, one of the most prominent writers of the literary realism founded by Balzac.

Julien is this poor boy, but smart enough to memorize the Bible, which makes him seem educated enough to get him a job as a tutor in a rich house, and eventually a priest's cassock.

A more modern example is Nick Wilde from Zootopia. This fox has decided that if he alone can be a con man, he will be one, though he desperately wants someone to see him as an individual beyond that. He hates the system that condemns him, but he wants to be a part of it and will play by the rules he is given in order to profit.

Annabel, like Julien and Nick, has built her entire identity around being what is expected of her, in her case a perfect Victorian high society lady. Something that has given her a tremendous amount of knowledge about how people move in such circles. And from her point of view, people are the same everywhere (Miss Marple would be proud of her).

And in this oppressive context that fosters an environment where people kill each other, she knows what currency to give in return for loyalty: people will look for a leader, someone competent, someone who knows what they're doing.

Annabel has no idea what's going on, what awaits them outside the Nevermore gate, or even if there's a way to escape. But she can pretend to know. The quietest person in the room wins, and she's the one who takes the prizes to achieve her goal. The performance is justified as a means to an end.

Another thing that characterizes stories with a Hypocrite as a relevant character is the exploration of the consequences of this lifestyle: identity is consumed by the role, the line between actor and character is lost, and the Hypocrite is often faced with the reality that they have put so much of themselves into the character they are playing that once it is exposed, there is nothing underneath, or at least nothing worth saving.

In Annabel's case, this is expressed in her utter horror at not being trusted by Lenore. She puts her hypocrisy at the disposal of her lover and comforts herself with the reward of her affection, but Lenore's love for her is the only thread that binds her own identity: that Lenore does not trust her means that the role has completely consumed her, the complete confirmation that she, as an individual, is no longer a disturbed poseur.

Related to this point, we have the final transversal line in the conflicts that Hypocrites tend to have: loneliness. When all their relationships are based on a carefully rehearsed performance, the Hypocrite knows that they are alone in the world, that no one really knows them, and they are usually so deep in the role by this point that they don't want to (or can't) leave it. The longing for honest relationships overlaps with their self-destructive tendencies.

As much as Annabel insists that it's her and Lenore against the world, that her life is meaningless without Lenore, and that she is enough, these phrases indicate that Annabel is painfully aware of how she is perceived by others, and though she tells herself that Lenore's love is all she needs, it seems more like a mantra to keep her sane than a reality.

As you may have noticed, the main difference from the usual Hypocrite is that Annabel has Lenore. A bit like Nick has Judy. But Nevermore is a story that takes the psychology of its characters much more seriously, so while Nick just needs someone to reach out to in order to form honest relationships, Annabel passes because she has no fucking idea how to form an honest, healthy bond.

That Annabel is extraordinarily self-destructive, emotionally dependent, and so afraid to step outside the box she knows so well are, in this light, natural consequences of the Hypocrite lifestyle.

The Vampire

Here we must make a leap to another movement: during the Romantic period, the Gothic novel was at its best, and it was Edgar Allan Poe who squeezed out the last drops of what this genre had to offer.

Now, looking at the bibliography, Annabel does not have much in common with the gothic heroine (that is something Lenore takes care of), neither on an aesthetic level nor on a value level. To find her in the works that inspire her, one must look in a slightly different direction: the female vampires of gothic fiction.

Aurelia ("Vampirismus" by E.T.A. Hoffmann), Carmilla ("Carmilla" by Sheridan Le Fanu), Clarimonde ("The death woman in love" by Théophile Gautier), the vampire in the poem "The Metamorphosis of the Vampire" by Baudelaire, the three vampire women, and Lucy ("Dracula" by Bram Stoker).

All these characters have something more in common than their fangs: they are beautiful women capable of making anyone who sees them fall completely into their arms, as opposed to their role of making the one they have chosen as their prey "fall".

The Gothic vampire is practically a succubus, but much less sexualized than one might think. Although many of these works, with the exception of the poem by the good Baudelaire (an author who should be fed separately on these matters), spare no pages in describing how beautiful they are, neither do they overly sexualize them, nor are they particularly flirtatious: even Clarimonde is dedicated to simply being there and letting her presence alone do the work.

This is something Annabel shares with the gothic vampire: though physically gorgeous, the framing in the comic doesn't tend to focus on her as an object of sexual desire, her beauty is highlighted, but in a way that is more akin to an ethereal or unattainable entity.

This is due to a mixture of two things: the Gothic novel is steeped in Catholic puritanism, and even if it is to present a villain who uses her attractiveness as a weapon, the erotic component is subtly exposed, and the vampire's angelic beauty offers a contrast to her status as an antagonist: beautiful on the outside, insidious on the inside.

This is another thing Annabel has in common with the gothic vampire: she is aware that her appearance gives her a haughty, elegant, and dignified air, identifiable enough to earn nicknames like "Queen" or "Queenie," and she knows how to capitalize on it. This contrasts with the darker parts of her personality.

Another thing that terrifies romantics about vampires is that these fangirl succubi possess a quality that makes us 21st-century readers raise an eyebrow because it's supposed to make us uncomfortable: a deep, honest, and sincere willingness to be affectionate.

In context, this makes sense: the vampire is a representation of sin, temptation, and lust. So their affection is something that leads the object of it away from the path of morality (this is the 19th century, this is really important).

I understand that because of the vampire's role in all of this, she is a devoted lover. Incredibly devoted, in fact: Clarimonde is Romuald's sugar mommy (no, I'm not kidding, I'm not exaggerating either), and Carmilla never stops showering Laura with affection and attention, satisfying this girl's craving for companionship after living in isolation.

Annabel does something similar: there is a genuine interest on her part to reach out and connect with Lenore, and in scenes like this, she goes out of her way to show her that she is an amazing person in her own right, rather than being her brother's shadow.

All kidding aside, I think of the archetypes I could find to analyze Annabel, this is the one that fits her best, even though she is not, well, literally a vampire. She seems to have several things in common with Carmilla in particular.

The Femme Fatale

We all have a more or less clear idea of what a femme fatale is: this extremely attractive, sexually active, badass woman who is there to make the male character's life miserable and has a 50% chance of smoking fine cigarettes with a cigarette holder. This is…partially true, but also highly inaccurate.

Although these characters can be traced back much further in mythology, this archetype gets its name and very specific form from Raymond Chandler, the founder of the noir novel. I'm not going to go into too much detail on this topic, as entire books could be written about it, so let's just focus on what's important.

The thing to understand about the context to understand the Femme Fatale is that we are in the 30-40's and although she has many more rights than 19th century women, the decadence shown in these works emphasizes that she is in a macho context where every single rule of the game is stacked against her. This is something that Femme Fatale is acutely aware of: no matter how well she plays the game, she will always lose.

This is something that Annabel shares with this archetype: she is very aware of the rules of the game, she knows backwards and forwards how the world works, so she is also aware that they are too heavily stacked against her to ever win. All she can do is resign herself, play the role as best she can, and find small distractions to cling to like a burning nail so as not to lose her head altogether.

Therefore, the Femme Fatale's approach to life is this: if the rules are stacked against her, that means she has the right to do whatever it takes to survive. These tactics usually include manipulation, deception, exploitation, and, of course, making the most of her sexual attractiveness because, unlike the vampire, she knows how to flirt and use sex as a weapon. What needs to be kept in mind here is that for this character archetype, the use of these wiles comes not because she is factory evil, but as a coping mechanism within a system she cannot win against. If this ultimately makes her a villain, it's more about her role within the story in which it plays out than anything about the archetype itself.

Here's an interesting difference between the Annabel we see in Lenore's memories and the one we see in the present day of the comic: Annabel used to be willing to play by the rules, but the thing she learned from Lenore is that cheating is more than possible. As a result, her attitude has become much closer to that of a Femme Fatale, using her extensive knowledge of the rules to her advantage, going with the flow for personal gain. Her methods are much closer to those of the Hypocrite (especially since we haven't seen Annabel use her body or affection as currency yet), but there are definitely similarities.

Another thing about the Femme Fatale (when she is NOT a villain) is that, like the Vampire, she operates within a duality: an exterior built to be sexy in a somewhat intimidating way (which is why the aesthetics of many of these characters can be interpreted within BDSM culture), but with some goodness in her heart. A really clear example of this is Vivian Sternwood from The Big Sleep (the first novel on the subject published by Raymond Chandler): her own father describes her as "rude, demanding, clever, and quite ruthless," and Marlow, our detective, will have a long series of uncomfortable encounters with her. But by the end of the novel, when he is faced with the same choice Vivian must have made in the past, he cannot help but realize that despite everything, this woman would rather keep painful secrets than harm her family, whom she loves dearly.

So if you're wondering why the framing of scenes like this looks familiar, that's why.

Add to that the three layers of how her aesthetic works: an angelic appearance for when she needs to play dumb, her gaslighting, gatekeeping, girlboss bullshit face for when she needs to demonstrate authority, and framing where it should make you directly uncomfortable.

Looks are one of the strengths of Femmel Fatale's performance. And it's one of the strengths of Annabel's performance.

Conclusions

One interesting thing about looking at Annabel in this light is to realize two things: first, that many of the archetypes her character seems to take notes from are often in the role of antagonists or, for that matter, villains.

The other is that these archetypes are quite well ordered and connected: the gothic vampire is the inspiration for the Femme Fatale of Noir (her beta version, if you can call it that), and the Hypocrite shares a historical writing period with many female vampires. From her conception, Annabel is constructed in a fairly orderly fashion, and believe me, that's a huge contrast to what's going to happen with Lenore (which I'll get to soon, but I need to brush up on my picaresque novel notes).

The last thing I want to point out in this review is this: unless you're a Nick Wilde-style Hypocrite, Hypocrites and Vampires in general tend to have utter destruction in store for them. The Noir, for its part, puts us in a situation where the Femme Fatale, even if she wants to change, is generally too deep in this tangle to get out.

So what I find interesting about Annabel in this regard is:

This is actually THE scene that shows us Annabel timidly stepping out of the scheme of things. She doesn't seem to want to change, in fact I'd bet she's terrified to change, but even though she's repeating her father's toxic pattern here, she's also breaking it without realizing it.

It's too early to tell if we'll see Annabel have some sort of redemption towards less harmful behavior, or if we'll end up seeing her become a villain altogether. But I'm really curious to see where this story goes with all of these elements.

#nevermore webtoon #annabel lee nevermore #annabel lee whitlock #So this is about 3000 words long #I want to die #Spoiler with Lenore we'll talk about rogues knights and womens with tuberculosis #femme fatale #hypocrite #vampire

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