|| In Which Somebody Might Not Have Thought Things Through Quite As Much As He Could Have. WIP.

I.. wanted to draw Bahorel wearing that vest [x] and I don’t know what happened.

Actual Disney Prince Fingolfin

everybody is talking about that theon and sansa moment during the song and yeah it’s cute but why are we sleeping on the significance of sansa, the lady of winterfell who every northerner appears to respect considerably, eating the same thing in the same place as the smallfolk?

she’s not handing out bread to win them over as margaery did, she’s not eating more than necessary like cersei did, and she clearly understands the importance of food accessibility during the winter unlike daenerys. sansa organised a food train, sansa organised enough rations to at least temporarily feed thousands of people and kept the doors open prepared to take on more. sansa is out there on the ground along with all of jon’s people emphasising the importance of sticking together regardless of titles or loyalties.

“jenny of oldstones” of game of thrones and “edge of night” of lord of the rings are as yet incomparable because we haven’t seen the final episode of GoT yet. we haven’t even seen the big battle at winterfell which is going to be comparable (narrative-wise at least) to the battle of gondor against the nazgul. (i could go into comparisons with the white walkers vs the nazgul, the night king vs sauron, but as i haven’t actually read asoiaf and honestly don’t intend to i don’t think i’m qualified on that account.) but in any case, “edge of night” has lyrics which are juxtaposed between denethor eating and clearly uncaring of his son’s plight and the riders galloping valiantly to their fates, while “jenny of oldstones” is essentially a montage of all the faces of the people who are going to either die or lose their loved ones, peacefully or at least calmly contemplating their coming fates. and this is a contrast that we can look at in and of itself but until we have the entire completed oeuvre that is game of thrones, we can’t say for certain that “and she never wanted to leave” (in the context of jenny dancing with her ghosts) will have the same effect on GoT’s serial narrative as “all shall fade” (in the context of shadow and clouds fading) has on LOTR as a trilogy, and until we see who lives and who dies and what the ultimate outcome of the series is, we cannot properly compare these two sequences. in this essay i will

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"Okay, let's go steal the Magisterium."

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leverage s3 & his dark materials s1 ; alec hardison/parker/eliot spencer ; multichapter ; rated T.

part five: in which the threads intersect.

this morning for the first time I got up from my bed and I shucked off my nightclothes and I looked at my body in the pale morning light, and I saw that the body I was in was good. I saw the softness of the dimples in my elbows and my knees, and I saw the fall of hair neither really brown nor really blonde, and I saw the muscles beneath the padded softness of my waist and hips and I saw that the softness was also good. in the pale morning light my body was not something to be ashamed of. the next time I stumble bleary-eyed from bed I hope I will take that short time to look in the pale morning light, and remember that moment as clear as water when I knew that I loved the house I had made for myself.

to me: letters, ii.

Saying Fantine 'got out of the gutter' is a bit of a stretch, no? She's a factory worker paying a couple to house her child, and is forced by circumstance to become a prostitute the moment she's fired. She dies of a venereal disease at twenty-some and is buried in an unmarked grave. That's hardly out of the gutter. Javert makes what is a deeply unlikely ascent, but an ascent nontheless: he's born in prison and becomes a police officer with a steady income. He definately rises higher than Fantine ever did, even if he started a bit below. Of the three, Valjean rises the highest, out of a combination of sheer luck and trickery.

ok, i haven't posted on this blog in ages, but here we go. i agree that she definitely died in the gutter, and didn't have all that far to fall back in. it was a very tenuous situation! that's part of the whole point of her story, how thin the breaking point is. ditto javert and valjean. if you think javert lived in anything but poverty even while licking the boot, well. to say nothing of valjean and his whole Deal (tm). they're three faces of the same problem! in this valvertine essay i will

but i have difficulty with the idea that she didn't make it out even a little. there's a bit in the brick where her neighbor marguerite has to teach fantine how to live off nothing, like making her petticoat into a coverlet and so forth -- which is to say, as a kid fantine knew how to live on nothing, but at some point in her paris life, she forgot, because she wasn't living on nothing. she had a job as a piecemaker, which didn't make her Not Poor but it did give her enough to like, you know. have a little left over to buy millet to feed birds at her windowsill, and spend the time it takes to care for her appearance (which when you have hair that falls to your knees is nothing to sneeze at). she could afford the kind of personal maintenance that would accent her natural beauty and catch a law student's eye. and even after tholomyes dumps her, even though she has to give cosette up, at the factory she is still making a living! not law-student-allowance living, but still! one of her lines at her arrest, that sticks with me a lot, is 'i used to have linens, so many linens.' you know? a fall hits harder if you make it off the ground first.

missingrache replied to your post “looking into the depths of my WIP folder is always a weird mix of…”

a les mis au of What holli i’m dying to know

it is in my drafts as ‘les mis dads au’ and in it, for reasons that don’t need exploring at this juncture, Javert raises Cosette and Valjean raises the Thenardier kids and Cosette and Eponine meet again in Paris shortly before the failed revolution and that was as far as I got.

We’re Hugo nominated authors y'all. We did it.