I know this is the Take Personal Responsibility for Systemic Issues website, but I keep seeing weirdly guilt trippy posts about libraries and ebook licenses, which are a labyrinth from hell and not actually something you personally need to feel guilty about. here are a few facts about ebook licenses you may not know:
in Libby/Overdrive, which currently operates in most US public libraries, ebook licenses vary widely in how much they cost and what their terms are. some ebooks get charged per use, some have a set number of uses before the license runs out, and others have a period of time they're good for (usually 1-2 years) with unlimited checkouts during that period before they expire. these terms are set by the publisher and can also vary from book to book (for instance, a publisher might offer two types of licenses for a book, and we might buy one copy of a book with a set number of uses we want to have but know won't move as much, and another copy with a one year unlimited license for a new bestseller we know will be really moving this year.)
you as a patron have NO way of knowing which is which.
ebook licenses are very expensive compared to physical books! on average they run about 60 bucks a pop, where the same physical book would cost us $10-15 and last us five to ten years (or much longer, if it's a hardcover that doesn't get read a lot.)
if your library uses Hoopla instead, those are all pay per use, which is why many libraries cap checkouts at anywhere between 2-10 per month.
however.
this doesn't mean you shouldn't use ebooks. this doesn't mean you should feel guilty about checking things out! we buy ebook licenses for people to use them, because we know that ebook formats are easier for a lot of people (more accessible, more convenient, easier for people with schedules that don't let them get into the library.) these are resources the library buys for you. this is why we exist. you don't need to feel guilty about using them!
things that are responsible for libraries being underfunded and having to stretch their resources:
government priorities and systemic underfunding of social services that don't turn a profit and aren't easily quantified
our society's failure to value learning and pleasure reading for their own sake
predatory ebook licensing models
things that are not responsible for libraries being underfunded:
individual patron behavior
I promise promise promise that your personal library use is not making or breaking your library's budget. your local politicians are doing that. capitalism is doing that. you are fine.
(if you want to help your local library, the number one thing you can do is to advocate for us! talk to your city or county government about how much you like the library. or call or write emails or letters. advocate for us locally. make sure your state reps know how important the library is to you. there are local advocacy groups in pretty much every state pushing for library priorities. or just ask your local librarian. we like to answer questions!
also, if you're in Massachusetts, bill h3239 would make a huge difference in letting us negotiate ebook prices more fairly. tell your rep to vote for it!)
4K notes
·
View notes
Sweet
Word Count: 744
(Slight NSFW implications/references)
————————————————————————
Ava lies with her head on Lilly's stomach, looking up at her with a dopey smile on her face.
They're both high for the first time in years.
Neither of them know what sparked the idea of getting high this afternoon, but they're too far gone to try and remember it.
The last time they'd gotten high was during their senior year of high school.
Now, they're both in their own house together, working through the end of college.
College kids do stupid things, like drink and do any number of rebellious shenanigans.
Ava and Lilly are no different.
Though, getting high in their own little house is more their speed than a raging party with drinking games and rowdy sorority girls and fraternity boys.
They've never been the rebellious types, this is the most rebellious thing either of them will probably ever do.
Lilly rests her hand on Ava's shoulder, giving it a gentle squeeze.
"What're you smiling about?" She asks, smiling herself.
"I'm smiling, 'cause I feel great! This was a great idea." Ava replies, "We should do this every Friday!"
Lilly laughs faintly,
"I feel great, too."
She glances down at Ava and she feels really, really great, with being close to her like this and all.
She's great and happy with her girlfriend, her heart feels light and giddy.
Ava, with the sudden spark of an idea, looks back at Lilly, sitting up and scooting towards her.
"Hi." She says, in her slightly new position.
Lilly, delirious, can't help but laugh in response,
"Hi."
Ava's eyes go all over her, taking in the simplistically beautiful sight of Lilly in one of her t-shirts.
The shirt is one of Ava's favorites, one of her favorites to let Lilly borrow.
A navy blue, "College Of Winterhold" shirt.
It's a dumb joke that the two of them think is funny, especially now that they're actually in college.
Though, their own college has a distinct lack of magic and field trips to ancient ruins.
It lazily hangs off of Lilly's shoulder, stretched out from years of wear, showing the freckles that have been clustering since their days in the sun over summer break a few months ago.
Ava wants to set a day aside to unveil every freckle and kiss it.
A day when they're older, though.
Even older than they are now.
The idea of intimacy, raw and blunt and vulnerable intimacy, is something they've vaguely talked about, but have never done.
A time will come, but that time isn't anytime right now.
And that's okay.
For now, right now, Ava goes with what is right in front of her, leaning forward to reach Lilly's shoulder.
"What are you doing?" Lilly asks her curiously.
Ava kisses her shoulder.
"This." She answers bluntly into her skin, "Is it okay?"
"Mhm."
Ava kisses her, again and again, and Lilly soaks it in.
She loves this.
God, she loves this so much.
It's the sweetest thing ever, Ava is the sweetest person ever.
The sweetest person ever, who's left hand snakes around Lilly's waist to pull them closer together, holding it on her thigh.
Her right hand goes up, resting over Lilly's heart to feel it thump, thump, thump slowly underneath her palm.
"Hey, I love you. You know that, right?" Lilly sighs, putting her left hand over Ava's right.
Ava leans back a little bit, going a little upwards,
"Yeah, I know. I love you, too."
She kisses her neck, telling her, "I love you a lot."
Lilly knows it, she knows Ava loves her a lot.
It's a known fact.
Ava bites her neck the tiniest bit, enough to make Lilly hastily ask,
"What the hell-"
Ava is grinning at her mischievously,
"Just wanted to see what would happen." She laughs, feigning innocence.
Lilly sighs deeply, laughing herself now.
The sweetest person ever can also be a mischievous little devil.
A curious, mischievous little devil, who only ever shows her curious mischief when her mind is floating in a haze of pot and the fuzzy warmth of the love of her life.
"Don't do it again, alright? I can't show up to class with love-bites all over me."
"Alright, alright..."
She lays her head on the pillow, and hugs Lilly tightly, not planning on letting go any time soon.
Lilly leans into her, she could stay here until the weekend is over and do nothing else.
She wouldn't mind that at all.
0 notes
I've seen a couple of takes about Disco Elysium being copaganda going around recently, and beyond the fact that DE is relentlessly critical of the police force in general and makes explicit reference to the failures of the system that allow the officers in game to abuse their power, I also think it's important to note that there very literally is an in-world version of copaganda that the writers of the game use to parody that romanticised view of the brutality of policing. The RCM at their inception were structurally inspired by in-world copaganda- their culture, their "fashions, even weapon preferences, borrow heavily from classic Vespertine cop shows." Every investigation is it's own little drama, every officer imagining themselves to be the bad-ass hero of their own crime serial. Detectives name their cases like they're naming episodes of a TV series in a "robust but literary system"; a title that "draws inspiration from snoop fiction and Vespertine cop show staples". They give themselves nicknames to sound like cool, suave fictional officers- Ace, Dick Mullen, etc.- from the cool, suave world of copaganda.
The legend of the RCM's inception, the "point of contention" over its uncertain origins, is even an extention of that; the whole organisation is shrouded in this self-fictionalising mythos that allows for distance that in turn obfuscates much of its violence to the officers that participate in it. They get to convince themselves that they're not abusing their power; they're the hero of the story! The dichotomy of "good guy" taking out the "baddies," a manifestation of the libertarian fantasy of the "good guy with a gun" who does what it takes, just like in Annette's detective novels, and at the same time who rails against oversight bodies like Internal Affairs/'the rat squad' because due process slows down the immediate satisfaction of Swift Justice, despite Internal Affairs existing to protect the citizens from overreach on behalf of the police. "Wanton brutality" from police in their real world is a cold bitter reality but Dick Mullen was "made to crack skulls," "bend the rules and solve cases no one else can," and which version of that story is more comforting to the overworked, underfunded officers of the RCM?
The level of fantasy and detachment required for the cops to still see themselves as the good guys after everything that they do in the line of duty mimics The Pigs and her breakdown too; she parallels Harry so clearly. Both "did right by the kids" in the past, hoping for a better future- Marianne (The Pigs) by looking out for Titus and the Hardy boys when they were young, Harry in his role as a gym teacher. Both abandoned and left behind by the system that the RCM uphold- a brutal capitalist landscape with no safety nets. Both turning the source of their trauma into a costume, a performance, a shield, shaped by "radio waves and cop shows." The Pigs uses RCM items scavenged from the Esperance where they'd been thrown away, while Harry uses the Dick Mullen hat that Annette gives him but both are essentially in costume.
Harry identifies himself with the fictional detective as a kind of wish fulfilment; Dick Mullen is "wicked smart." He doesn't fuck up his cases and when he's sad it's not pathetic; it's effortlessly cool brooding and everyone sympathises. Everyone loves him. His violence- "skull crack[ing]"- is justified because he's a "good guy" enacting that violence against the victims of police brutality sorry "bad guys". He doesn't ever face repercussions; "Dick Mullen won't be sent to the clink for the sake of some legal niceties!" So if Harry is Dick Mullen then his failures, his breakdown, they're all just a part of being a "bad-ass, on-the-edge disco cop." He's not wrong, he's a hero! This idealised fictionalised idea of the police force, this "new, sadly better, reality" that both Harry and The Pigs cling to is "escapist stuff," "receed[ing] into a ludicrous fantasy world," so far removed from the brutal material reality that they're in.
My point is, idk. Disco Elysium is so far from being copaganda. It is a multi-million word long dissection of it, of the purpose of policing, of state sanctioned violence and its interaction with capital and the fallout experienced within the wider community as well as the trauma cycle created for individual officers. A dissection of how copaganda interacts with RCM culture and perception, and by extension how we interact with irl perceptions of police through that lens.
2K notes
·
View notes