Hi! I’m Part Of The Lgbtq+ Community And Severus Is My Favorite HP Character And I Was Wondering (if

Hi! I’m part of the lgbtq+ community and Severus is my favorite HP character and I was wondering (if you have the time and feel obliged) if you could please give me a few examples of how he’s queer? It’s been a few years since I reread the books, and def before I came out, so I’m a little in the dark here lol Thanks!!

First of all, I just wanted to apologize for how long it has taken me to properly respond to your ask. I’ve been dealing with some ongoing health issues that have turned me into something of a moody writer. I’ll get random spurts of energy and inspiration and then hit a wall of absolute writer’s block assisted by a major case of executive dysfunction every single time I try to respond to the multiple asks languishing in my inbox. Fortunately, I found myself involved in a discussion just today that addressed your ask so perfectly that I wanted to share it with you. In the very least, that discussion has also managed to shake off my writer’s block temporarily so that I have found myself in the right head-space to finally be able to give this lovely ask the thought and attention that I feel it deserves.

Although, in regards to the Snape discourse I linked above, I feel that I should warn you in advance that the discussion was prompted by an anti-Snape poster who made a rather ill-thought meme (I know there are many in the Snapedom who would rather just avoid seeing anti-Snape content altogether, so I try to warn when I link people to debates and discussions prompted by anti-posts) but the thoughtful responses that the anti-Snape poster unintentionally generated from members of the Snapedom (particularly by @deathdaydungeon whose critical analyses of Snape and, on occasions, other Harry Potter characters is always so wonderfully nuanced, thought-provoking, and well-considered), are truly excellent and worth reading, in my opinion. Also, as I fall more loosely under the “a” (I’m grey-ace/demisexual) of the lgbtqa+ flag and community I would prefer to start any discussions about Snape as a queer character or as a character with queer coding by highlighting the perspectives of people in the Snapedom who are actually queer before sharing any thoughts of my own.

In addition, I also wanted to share a few other posts where Snape’s queer coding has been discussed by members of the Snapedom in the past (and likely with far more eloquence than I could manage in this response of my own).

Source

Along with an excellent article in Vice by Diana Tourjée, in which a case for Snape being trans is convincingly argued.

Importantly, you’ll notice that while some of these discussions do argue the possibility of Snape being a queer or trans character others may only discuss the way that Snape’s character is queer coded. That is because there is a distinct but subtle difference between: “This character could be queer/lgbtq+” and: “This character has queer/lgbtq+ coding” one which is briefly touched on in the first discussion that I linked you to. However, I would like to elaborate a bit here just what I mean when I refer to Snape as a character with queer coding. As while Rowling has never explicitly stated that she intended to write Snape as lgbtq+ (although there is one interview given by Rowling which could be interpreted as either an unintentional result of trying to symbolically explain Snape’s draw to the dark arts or a vague nod to Snape’s possible bisexuality: “Well, that is Snape’s tragedy. … He wanted Lily and he wanted Mulciber too. He never really understood Lily’s aversion; he was so blinded by his attraction to the dark side he thought she would find him impressive if he became a real Death Eater.”) regardless of her intent when she drew upon the existing body of Western literary traditions and tropes for writing antagonists and villains in order to use them as a red-herring for Snape’s character, she also embued his character with some very specific, coded subtext. This is where Death of the Author can be an invaluable tool for literary critics, particularly in branches of literary criticism like queer theory.

Ultimately, even if Rowling did not intend to write Snape as explicitly queer/lgbtq+ the literary tradition she drew upon in order to present him as a foil for Harry Potter and have her readers question whether he was an ally or a villain has led to Snape being queer coded. Specifically, many of the characteristics of Snape’s character design do fall under the trope known as the “queering of the villain.” Particularly, as @deathdaydungeon, @professormcguire, and other members of the Snapedom have illustrated, Snape’s character not only subverts gender roles (e.g. his Patronus presents as female versus male, Snape symbolically assumes the role of “the mother” in the place of both Lily and later Narcissa when he agrees to protect Harry and Draco, his subject of choice is potions and poisons which are traditionally associated more with women and “witches,” while he seemingly rejects in his first introduction the more phallic practice of “foolish wand-waving,” and indeed Snape is characterized as a defensive-fighter versus offensive, in Arthurian mythology he fulfills the role of Lady of the Lake in the way he chooses to deliver the Sword of Gryffindor to Harry, Hermione refers to his hand-writing as “kind of girly,” his association with spiders and spinners also carries feminine symbology, etc.) but is often criticized or humiliated for his seeming lack of masculinity (e.g. Petunia mocking his shirt as looking like “a woman’s blouse,” which incidentally was also slang in the U.K. similar to “dandy” to accuse men of being effeminate, the Marauders refer to Snape as “Snivellus” which suggests Snape is either less masculine because he cries or the insult is a mockery of what could pass for a stereotypical/coded Jewish feature, his nose, Remus Lupin quite literally instructs Neville on how to “force” a Boggart!Snape, who incidentally is very literally stepping out of a closet-like wardrobe, into the clothing of an older woman and I quoted force because that is the exact phrase he uses, James and Sirius flipping Snape upside down to expose him again presents as humiliation in the form of emasculation made worse by the arrival and defense of Lily Evans, etc.).

Overall, the “queering of the villain” is an old trope in literature (although it became more deliberate and prevalent in media during the 1950s-60s); however, in modernity, we still can find it proliferating in many of the Disney villains (e.g. Jafar, Scar, Ursula, etc.), in popular anime and children’s cartoons (e.g. HiM from Powerpuff Girls, James from Pokemon, Frieza, Zarbon, the Ginyu Force, Perfect Cell, basically a good majority of villains from DBZ, Nagato from Fushigi Yuugi, Pegasus from Yu Gi Oh, etc.), and even in modern television series and book adaptations, such as the popular BBC’s Sherlock in the character of Moriarty. Indeed, this article does an excellent job in detailing some of the problematic history of queer coded villains. Although, the most simple summary is that: “Queer-coding is a term used to say that characters were given traits/behaviors to suggest they are not heterosexual/cisgender, without the character being outright confirmed to have a queer identity” (emphasis mine). Notably, TV Tropes also identifies this trope under the classification of the “Sissy Villain” but in queer theory and among queer writers in fandom and academia “queering of the villain” is the common term. This brings me back to Snape and his own queer coding; mainly, because Rowling drew upon Western traditions for presenting a character as a suspected villain she not only wrote Snape as queer (and racially/ethnically) coded but in revealing to the reader that Snape was not, in fact, the villain Harry and the readers were encouraged to believe he was by the narrator she incorporated a long history of problematic traits/tropes into a single character and then proceeded to subvert them by subverting reader-expectation in a way that makes the character of Severus Snape truly fascinating.

We can certainly debate the authorial intent vs. authorial impact where Snape’s character is concerned. Particularly as we could make a case that the polarizing nature of Snape may well be partly the result of many readers struggling against Rowling subverting literary tropes that are so firmly rooted in our Western storytelling traditions that they cannot entirely abandon the idea that this character who all but had the book thrown at him in terms of all the coding that went into establishing him as a likely villain (e.g. similar to Heathcliff in Wuthering Heights, Snape is also coded to be associated with darkness/black colors and to represent danger and volatile/unstable moods, while his class status further characterizes him as an outsider or “foreign other,” and not unlike all those villains of our childhood Disney films which affirmed a more black-and-white philosophy of moral abolutism, such as Scar or Jafar, the ambiguity of Snape’s sexuality coupled with his repeated emasculation signals to the reader that this man should be “evil” and maybe even “predatory,” ergo all the “incel” and friendzone/MRA discourse despite nothing in canon truly supporting those arguments; it seems it may merely be Snape’s “queerness” that signals to some readers that he was predatory or even that “If Harry had been a girl” there would be some kind of danger) is not actually our villain after all.

Indeed, the very act of having Snape die (ignoring, for the moment, any potential issues of “Bury Your Gays” in a queer analysis of his death) pleading with Harry to “look at him” as he symbolically seems to weep (the man whom Harry’s hyper-masculine father once bullied and mocked as “Snivellus”) memories for Harry to view (this time with his permission) carries some symbolic weight for any queer theory analysis. Snape, formerly portrayed as unfathomable and “secretive,” dies while pleading to be seen by the son of both his first and closest friend and his school-hood bully (a son that Snape also formerly could never see beyond his projection of James) sharing with Harry insight into who he was via his personal memories. For Harry to later go on to declare Snape “the bravest man he ever knew” carries additional weight, as a queer theory analysis makes it possible for us to interpret that as Harry finally recognizing Snape, not as the “queer coded villain” he and the reader expected but rather as the brave queer coded man who was forced to live a double-life in which “no one would ever know the best of him” and who, in his final moments at least, was finally able to be seen as the complex human-being Rowling always intended him to be.

Rowling humanizing Snape for Harry and the reader and encouraging us to view Snape with empathy opened up the queer coding that she wrote into his character (intentionally or otherwise) in such a way that makes him both a potentially subversive and inspiring character for the lgbtq+ community. Essentially, Snape opens the door for the possibility of reclaiming a tradition of queer coding specific to villains and demonstrating the way those assumptions about queer identity can be subverted. Which is why I was not at all surprised that I was so easily able to find a body of existing discourse surrounding Snape as a queer coded or even as a potentially queer character within the Harry Potter fandom. At least within the Snapedom, there are many lgbtq+ fans of his character that already celebrate the idea of a queer, bi, gay, trans, ace/aro, or queer coded Snape (in fact, as a grey-ace I personally enjoy interpreting Snape through that lens from time-to-time).

Thank you for your ask @pinkyhatespink and once again I apologize for the amount of time it’s taken me to reply. However, I hope that you’ll find this response answered your question and, if not, that some of the articles and posts from other pro-Snape bloggers I linked you to will be able to do so more effectively. Also, as a final note, although many of the scholarly references and books on queer coding and queering of the villain I would have liked to have sourced are typically behind paywalls, I thought I would list the names of just a few here that I personally enjoyed reading in the past and that may be of further interest should you be able to find access to them.

Fathallah, Judith. “Moriarty’s Ghost: Or the Queer Disruption of the BBC’s Sherlock.” Television & New Media, vol. 16, no. 5, 2014, p. 490-500.

Huber, Sandra. “Villains, Ghosts, and Roses, or How to Speak With The Dead.” Open Cultural Studies, vol. 3, no. 1, 2019, p. 15-25.

Mailer, Norman. “The Homosexual Villain.” 1955. Mind of an Outlaw: Selected Essays, edited by Sipiora Phillip, Random House, 2013, pp. 14–20.

Solis, Nicole Eschen. "Murder Most Queer: The Homicidal Homosexual in the American Theater.” Queer Studies in Media & Pop Culture, vol. 1, no. 1, 2016, p. 115+.

Tuhkanen, Mikko. “The Essentialist Villain.” Jan. 2019, SBN13: 978-1-4384-6966-9

A Case for Reed Richards’ Asexuality: Aphobia and Amatonormativity in Marvel and its Fandom

I have been thinking quite a lot about how fandom’s rampant aphobia factors into Reed hate, probably because I recently discovered that a Marvel artist had vilified Reed in the past over on Twitter by claiming that he is an asshole who thinks of his wife as “just a friend,” as though it somehow would make his love for her less valuable or important if he did. So I’m going to talk about the ways in which Reed has been coded as ace within Fantastic Four canon, and how he is troublingly framed as strange, abnormal, and Other both by official FF canon and fandom over this ace-coding. To be clear, Reed has never been explicitly called ace in canon, but there are moments where it’s been made abundantly clear that he does not experience sexual attraction and that he is fairly ambivalent about sex.

It does bear pointing out that Reed DOES love his wife romantically—if you’ve ever read FF comics, that much is fairly obvious:

I love you, Susan. You bring light…and life…and joy…and meaning to my days. Now and forever.

Marvel Knights 4 #21

But the fact that he doesn’t behave like a stereotypical heterosexual man—in possession of a high libido, sexually aggressive, obsessed with sex, constantly sexualizing and hitting on and competing over women the way Ben and Johnny do, etc.—means that, in many people’s eyes, Reed’s love for his wife is somehow lacking and not really love. Personally, I think it factors quite a lot into people’s arguments that Reed is “abusive” for “neglecting” his wife, which he simply is and does not do in canon. The implication is that it’s because of his lack of sexual attraction and low sex drive – Reed “owes” Sue sex because he’s her husband, the thinking goes, and his failure to provide it consistently means that he is failing in his husbandly duties. The aphobic notion that aces are abusive to their allo partners because they “withhold” sex is, unfortunately, old and familiar, and it is coercive and, worst of all, encourages rape. Unfortunately, it’s not an interpretation of Reed’s behavior that hasn’t been encouraged in official FF media – take, for instance, this exchange:

Just think of the technological marvels that ancient spaceport might hold, darling!

[sighs] I can see a bikini doesn’t stand a chance with you.

Fantastic Four: The Animated Series: Ep 2x12: The Sentry Sinister

Discussion of aphobia below the cut.

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khayltille

8 years ago

Trying to simplify Yondu for easy drawing for this personal project Imma be working on because I have problems and I need to get help but I’m doing it anyway.

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khayltille

1 year ago

How do you view Albus’ and Severus’ relationship? Do you think Albus’ genuinely cared for Severus’ or was he just - using him?

(Once again, disclaimer that I am working from memory and don’t have the books on hand to double-check the details.)

Anon, thank you so much for asking, because this relationship is an absolute goldmine. My tl;dr is “it’s a mess and I love that”.

To start with though, I need to address the framing of your question. Because “genuinely cared” and “using” are not mutually exclusive categories, especially when it comes to Albus. Albus cares about people, just in general. He can be clumsy about showing it when it’s too much for him, or when he’s conflicted, or when he thinks he needs to hold back, but he undoubtedly cares. I don’t say this often because I’m a big believer in the subjectivity of interpreting literature, but - any interpretation that says he doesn’t is wrong, and probably deliberately misreading out of spite. (Am I being uncharitable here? Maybe. But I’m tired of reading some people’s takes so I’m going to be uncharitable.)

People are Albus’ greatest strength and he wins their loyalty not by manipulating them into following him but by genuinely caring about and understanding them. But he also knows what needs to be done, and is capable of distancing himself, and prefers to keep his cards very close to his chest - because he might care for people but he doesn’t trust them. A lot of what gets deemed manipulative or “using” from him stems from his desire to take sole responsibility for things, and unwillingness to let other people in. He’s warm to people but shuts down emotionally when it’s too much or he’s conflicted. He’s never actually been the cold chessmaster fandom likes to paint him as. (Chessmaster? Yes. Cold? No.)

When Severus first approaches him, he’s quite harsh with him. But at this point, as far as Albus knows, Severus is a Death Eater who’s only interest is protecting Lily. (I firmly disagree with the interpretation that Lily is the only reason Severus ever did anything good, but she was his main concern at that time). His harshness doesn’t show that he sees Severus as a tool to me, but quite the opposite - that he sees him as a person capable of growth, wants to see him grow and holds him to that standard. If he were a discardable tool, Albus would have just told him what he wanted to hear in order to win his loyalty. Instead he gives him what he needs - an anchor he can use to pull himself up. Albus places himself as a figure that can offer Severus forgiveness and absolution, and there’s definitely a power imbalance there, and Severus probably resents it quite a bit, but he still latches on to it. Albus and Lily are probably the only two people in his life at that time who’ve ever seen him as someone worth expecting something from.

I don’t think, at this point, that it’s personal for Albus. I doubt he would turn away any Death Eater who genuinely wanted to change, and he is aware of the massive advantage that having a potential spy on his side would offer. He cares, but he’s also in the middle of a war and has other people to protect who take priority. You could say he’s using Severus to an extent - Severus is emotionally vulnerable and desperate, and Albus sees that and knows how to make use of it. A part of him is aware that he needs to use Severus and tries to keep an emotional distance. But his “making use of it” isn’t so much calculated manipulation as offering Severus a way out, which Severus chooses to take.

Albus and Severus make excellent foils that both mirror and contrast each other. Albus plays the role of the hero (I say plays not because I don’t consider him genuinely heroic but because it’s a role he deliberately assumes for others even when he thinks he doesn’t deserve it) because people need him to look up to, but also because it’s hard to shatter the image others have of him. Severus plays the role of a villain out of practical necessity as a spy, but also because he’s so used to it that it’s easier and more comfortable than trying to change people’s perception of him. Both are uncomfortable with emotional vulnerablity or letting people see behind that mask. Both are lonely and isolated and secretive. Both have a lot of guilt bottled up that they don’t talk about. Both are willing to sacrifice themselves to win the war. And both harbour enough self-hatred that they probably strongly dislike seeing themselves reflected.

I wouldn’t be surprised if Albus harbours a touch of envy towards Severus - if only subconsciously - because Severus got to rely on love to redeem himself, which is so far from Albus’ own experience. And Severus almost certainly resents Albus for having seen him emotionally vulnerable and getting to hold the upper hand and remain a distant, unassailable figure. I think a part of each of them senses an emotional rawness in the other that they shy away from because it hits too close to home, so while they may care for each other they have too many rough edges between them to fully like or feel comfortable with one another. That’s a part of why Albus can seem cold and harsh towards Severus; projection and a discomfort with intense emotion that’s too similar to his own. There’s also the fact that he knows Severus is in a precarious position and might have to be sacrificed. There is a slightly mercenary slant to their relationship - both know exactly what they want from the other, and what the other wants from them. And on Albus’ side, I think he feels a certain fragility in his position over Severus - he’s been playing a role that allows him to pass judgement, but he doesn’t feel that role is fully deserved. But he never demands more of Severus than he’d demand of himself - and maybe seeing himself in Severus is what allows him to demand as much of Severus as he does of himself, which is a fairly high, unyielding bar. And this doesn’t preclude emotional attachment to each other, and on Albus’ side, while their similarities may make him want to keep an emotional distance they also, almost paradoxically, allow him to sympathise with and understand Severus.

And with all that, Albus does trust Severus by the end, which is something much rarer for him than simply caring for someone. Severus is the only one who knows the entirety of his plan. Severus is the only one who knows he’s dying. By this point the dynamic of emotional vulnerablity has come full circle and Albus is desperate and forced to show vulnerablity. He hates showing weakness because he’s always been the one that everyone - Severus included - has looked to for strength and certainty, but now he’s willing to beg Severus to kill him. At the start, Severus needed Albus because he had no-one else to rely on. By the end that dynamic is flipped. If there’s one thing I would define their relationship by, it’s “vulnerablity and mutual reliance forced by circumstance” - but I think that circumstance leads to a situation where they understand and trust each other more than anyone else, however uncomfortable it might be for them.

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khayltille

5 years ago