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infiniteimaginings · 1 year ago

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List of upcoming requests would be lovely 🙏

Upcoming posts!

This is a list of stories requested that I’ll be writing and posting soon. Those that have dates next to them are complete and will be posted that day!

(I hope this helps with the waiting and stuff!! Please let me know if this was good or any info i could add!)

NR = Not Requested (It's something I personally wanted to write)

Will be slow coming back, life is crazy and motivation is low

I've Always Been Here (Penelope Featherington x Fem!Reader) [Bridgerton] - August 2nd

I Adore You (Klaus Baudelaire x GN!Reader) [A Series of Unfortunate Events] - August 7th

How Was Your Date? (Max Thunderman x GN!Reader) [The Thundermans] - August 14th (NR)

Why Didn't You Tell Me? (Henry Hart/Kid Danger x GN!Reader) [Henry Danger] - August 21st (NR)

You're My Hero (Phoebe Thunderman x TransMale!Reader) [Platonic] [The Thundermans] - August 28th

No Need For A Second Date (Benny Weir x Fem!Reader) [My Babysitters a Vampire] - September 4th

Reckless (Book!Percy Jackson x GN!Reader) [Percy Jackson] - September 11th

(Currently Unnamed) (Moose x GN!Reader) [Step Up] - September 18th

I've Never Had a Sister (Skylar Storm x GN!Reader) [Platonic] [Mighty Med] - September 25th

How to Confess to Your Friend in 10 Steps (That aren't needed) (Beck Oliver x Fem!Reader) [Victorious] - October 2nd

Camping Was A Bad Idea (Benny Weir x Fem!Reader) [My Babysitter's a Vampire] - October 9th

I Just Don't Like Her (Cat Valentine x Male!Reader) [Victorious] - October 16th

Farwell. /A Part Two to 'You Caused This?/ (Anthony Bridgerton x GN!Reader) [Bridgerton] - October 23rd

Me And You (Gabe Duncan x GN!Reader) [Good Luck Charlie] - October 30th (NR)

[Surprise halloween post, Person and Title wont be posted until fic is posted] - October 31st (NR)

I Can't Keep Doing This (Austin Moon x GN!Reader) [Austin and Ally] - November 6th

Stage Fright (Benny Weir x Fem!Reader) [My Babysitter's a Vampire] - November 13th

The HoneyMoon 'Phase' (Anthony Bridgerton x GN!Reader) [Bridgerton] - November 20th

Hopeless Crush? (Carlos De Vil x GN!Reader) [Descendants] - November 27th

Dates to be determined (since they're so far out):

I Think You're Great (Adam Davenport x GN!Reader)

Empty Dance Cards (Penelope Featherington x Fem!Reader) [Bridgerton]

Haunted Houses, How Ironic (Benny Weir x GN!Reader) [My Babysitter's a Vampire]

For Some Reason I Love You (Harry Hook x Male!Prince!Reader) [Descendants]

Lost But Now Found (Audrey x Sibling!GN!Reader) [Platonic] [Descendants]

Always In Your Shadow (Kate Bishop x Sibling!GN!Reader) [Platonic] [Marvel]

We Can Just Sit Here (Kate Bishop x GN!Reader) [Marvel]

Ice Dates (Benny Weir x GN!Reader) [My Babysitter's a Vampire]

First Light (Eloise Bridgerton x Fem!Princess!Reader) [Bridgerton]

You Are Home (Chase Davenport x Fem!Reader) [Lab Rats]

We Aren't Friends (Harry Hook x Fem!Reader) [Descendants]

I Feel Like I Know You (Quigley Quagmire x GN!Reader) [A Series Of Unfortunate Events]

Always and Forever (Jay x GN!Reader) [Descendants]

Oblivious (Ethan Morgan x Fem!Reader) [My Babysitters A Vampire]

I Can't Help But Protect You (Hercules x GN!Reader) [Once Upon A Time]

Different (PJ Duncan x GN!Reader) [Good Luck Charlie]

I Though I Could Protect You (Kate Bishop x Brother!Male!Reader) [Platonic] [Marvel]

I Know What You’d Choose (Justin Russo x GN!Reader) [Wizards of Waverly Place] (NR)

Yeah, I Know Who You Are (Jack Brewer x GN!Reader) [Kickin’ It] (NR)

You’re My Brother, Always (Sister!Bree Davenport x Trans!Male!Reader) [Lab Rats]

I Might Lose You (King George III x GN!Reader) [Bridgerton]

A Gentle Kind Of Love /A Part Two to ‘A Courtship?’/ (Violet Bridgerton x GN!Reader) [Bridgerton]

A Bond That Never Truly Breaks /A Part Two to ‘The Wasabi Code’/ (Kim Crawford x Sibling!GN!Reader) [Platonic] [Kickin’ It]

We're Family (Wasabi Warriors x GN!Reader) [Platonic] [Kickin' It]

I Want to be More (Henry Hart x GN!Reader) [Henry Danger]

Closer /A Part Two to 'Lost'/ (Ravi Ross x GN!Reader) [Bunk'd/Jessie]

Not A Spellmaster (Benny Weir x Fem!Reader) [My Babysitter's a Vampire]

Secrets Have a Way of Coming Out (David Nolan/Prince Charming x Fem!Reader) [Once Upon A Time]

Our Future (PJ Duncan x GN!Reader) [Good Luck Charlie]

Know it's for the Better (Max Thunderman x GN!Reader) [The Thundermans]

Not Much Of A Beast (Ben Florian x GN!Reader) [Descendants]

Song Of The Sea (Ben Florian x Fem!Reader) [Descendants]

I'll See You Again (PJ Duncan x GN!Reader) [Good Luck Charlie]

Love Potions (Benny Weir x Fem!Reader) [My Babysitter's a Vampire]

I Came Back For You /A Part Two to 'You Forgot About Me'/ (Evie x GN!Reader) [Descendants]

Some Type of Fairytale (Benny Weir x Fem!Reader) [My Babysitter's a Vampire]

Please, Please, Please (Max Thunderman x GN!Reader) [The Thundermans] (NR)

#fanfic #fanfic lists #fanfic requests

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chesh-cat-rus · 1 year ago

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My thoughts on 'Mansfield Park' with spoilers under the cut.

You hope a man can change? asks Jane Austen and continues, Then think again.

I was thinking throughout the book that this might be Jane Austen's take on the genre 'a good woman changes a bad man' and her trolling it (her works prove she doesn't believe it possible), but here she just puts the last nail in this genre's coffin. She says, if you think a bad man can be changed, you could be the one who gets played in the end. I was hoping that Henry Crawford did in fact change, but no, Fanny was right, and I kinda hated her for it.

And also the thing is, I didn't like Edmund. When he asked Fanny to be 'the perfect model of a woman' by accepting Crawford, I loudly asked him to go defenestrate himself. I was hoping he and Fanny would not end up together (for obvious reasons, and also because the whole book looking lovingly at Mary Crawford was his only character trait) and that some other new man would appear for Fanny, or that they would just forever be in that state of her silently loving him, I didn't care, I just didn't want that to be the ending of this story.

Fanny is fun. Reading the book I was sending audio messages to my friend pouring all my vexations about the book, and retelling some of Fanny's antics is the funniest thing. One of her speeches in particular is overly hilarious, should post about it later. "Her manner was incurably gentle" is a very cute trait. On the whole, the arc of her being forced to be grateful all her life and then refusing to be imposed on by a man and everyone around her, deserves some respect.

Overall, the book proved to be very unpredictable at all times. I was never sure what the next chapter would be about.

And also, Lady Bertram is a stoner.

#my post #books #Jane Austen #spoilers

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daimonclub · 1 year ago

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Aphorisms and quotes about the mother

Quotes and aphorisms on mom Quotes and aphorisms about the mother, ideas and thoughts by different and famous authors on the mom and the great importance of her presence in everyone's life. After the end of time, mother, we will find ourselves in the reality that does not exist, in a fictional and mythical world; we will be happy, serene, at peace, and finally we will be able to enjoy what we are not. Carl William Brown Where there is a mother in the home, matters go well. Amos Bronson Alcott What do girls do who haven't any mothers to help them through their troubles? Louisa May Alcott Children and mothers never truly part; bound in the beating of each other’s heart. Charlotte Gray A mother who is really a mother is never free. Honore De Balzac My wife is the kind of girl who will not go anywhere without her mother, and her mother will go anywhere. John Barrymore The mother's heart is the child's schoolroom. Henry Ward Beecher Be kind to your mother-in-law, but pay for her board at some good hotel. Josh Billings From now on I want to imagine death as a tender and affectionate mother who with extreme love, smiling and holding me at her breast for all eternity, instead of giving me life will take it away forever. Carl William Brown The best thing that could happen to motherhood already has. Fewer women are going into it. Victoria Billings The Holy Virgin is the universal essence of woman, she is the divine symbol of the mother par excellence, she is the spirit of life and love who endures and resists pain, suffering and death, to make the memory of her children immortal. Carl William Brown You do not really understand something unless you can explain it to your grandmother. Albert Einstein There are so many times you will feel you have failed, but in the eyes, heart and mind of your child, you are supermom. Stephanie Precourt A mother is not a person to lean on, but a person to make leaning unnecessary. Dorothy Canfield Fisher When a woman is twenty, a child deforms her; when she is thirty, he preserves her; and when forty, he makes her young again. Leon Blum Let France have good mothers, and she will have good sons. Napoleon Bonaparte

My Mom Innocenza Women know the way to rear up children (to be just). They know a simple, merry, tender knack of tying sashes, fitting baby-shoes, and stringing pretty words that make no sense. And kissing full sense into empty words. Elizabeth Barrett Browning Some are kissing mothers and some are scolding mothers, but it is love just the same - and most mothers kiss and scold together. Pearl S. Buck The kind of power mothers have is enormous. Angela Carter There are lots of things that you can brush under the carpet about yourself until you're faced with somebody whose needs won't be put off. Angela Carter For Eliot, April is the cruelest month, and I agreed, in fact my father died in April, but then my mother passed away in October, so now the cruelest months are certainly two. Carl William Brown The chain of wedlock is so heavy that it takes two to carry it - and sometimes three. Alexandre (the Younger) Dumas For that's what a woman, a mother wants - to teach her children to take an interest in life. She knows it's safer for them to be interested in other people's happiness than to believe in their own. Marguerite Duras As my mom always said, ‘You’d rather have smile lines than frown lines.’ Cindy Crawford Some mothers are kissing mothers and some are scolding mothers, but it is love just the same, and most mothers kiss and scold together. Pearl S. Buck No culture on earth outside of mid-century suburban America has ever deployed one woman per child without simultaneously assigning her such major productive activities as weaving, farming, gathering, temple maintenance, and tent-building. The reason is that full-time, one-on-one child-raising is not good for women or children. Barbara Ehrenreich Take motherhood: nobody ever thought of putting it on a moral pedestal until some brash feminists pointed out, about a century ago, that the pay is lousy and the career ladder nonexistent. Barbara Ehrenreich A mother's yearning feels the presence of the cherished child even in the degraded man. George Eliot But the mother's yearning, that completest type of the life in another life which is the essence of real human love, feels the presence of the cherished child even in the debased, degraded man. George Eliot The lullaby is the spell whereby the mother attempts to transform herself back from an ogre to a saint. James Fenton See also It's not over when you lose, but when you end it. Unknown The mother as a social servant instead of a home servant will not lack in true mother duty. From her work, loved and honored though it is, she will return to her home life, the child life, with an eager, ceaseless pleasure, cleansed of all the fret and fraction and weariness that so mar it now. Charlotte P. Gillman

Quotes on mom Mother is a verb. It’s something you do. Not just who you are. Cheryl Lacey Donovan A mother’s arms are more comforting than anyone else’s. Princess Diana Morality and its victim, the mother - what a terrible picture! Is there indeed anything more terrible, more criminal, than our glorified sacred function of motherhood? Emma Goldman The patience of a mother might be likened to a tube of toothpaste – it’s never quite all gone. Author Unknown Death freed my father and mother from their evils and imprisoned me even more in mine. Carl William Brown When I was a child, my mother said to me, ‘If you become a soldier, you’ll be a general. If you become a monk you’ll end up as the pope.’ Instead I became a painter and wound up as Picasso. Pablo Picasso Only after losing your mother forever can you understand the essence of true love and the excruciating pain of life passing away. Carl William Brown A mother is the one who is still there when everyone else has deserted you. Author Unknown You realize that you habitually thought of Mom when something in your life was not going well, because when you thought of her it was as though something got back on track, and you felt re-energized. Shin Kyung Sook No influence is so powerful as that of the mother. Sarah Josepha Hale A man’s work is from sun to sun, but a mother’s work is never done. Author Unknown Every man must define his identity against his mother. If he does not, he just falls back into her and is swallowed up. Camille Paglia He that would the daughter win must with the mother first begin. English Proverb A mother understands what a child does not say. Jewish Proverb God couldn't be everywhere, so he created mothers Jewish Proverb Men are what their mothers made them. Ralph Waldo Emerson

My mom when she was 20 All that remains to the mother in modern consumer society is the role of scapegoat; psychoanalysis uses huge amounts of money and time to persuade analysis and to foist their problems on to the absent mother, who has no opportunity to utter a word in her own defense. Hostility to the mother in our societies is an index of mental health. Germaine Greer The moments of happiness... We have had the experience of them, but the meaning has escaped us, as Eliot said. Or rather, we didn't realize it, so life passed by and in the end all I was left with was the pain of losing my dearest person, my mother. Carl William Brown Woman is the salvation or the destruction of the family. She carries its destiny in the folds of her mantle. Henri Frederic Amiel A mother’s arms are made of tenderness and children sleep soundly in them. Victor Hugo If at first you don’t succeed, do it the way your mother told you to. Author Unknown One good mother is worth a hundred schoolmasters. George Herbert The tie which links mother and child is of such pure and immaculate strength as to be never violated. Washington Irving A mother’s love is patient and forgiving when all others are forsaking, it never fails or falters, even though the heart is breaking. Helen Rice A man never sees all that his mother has been to him until it's too late to let her know he sees it. William Dean Howells Life began with waking up and loving my mother��s face. George Eliot Being a mom has made me so tired. And so happy. Tina Fey Behind every successful man is a proud wife and a surprised mother-in-law. Hubert H. Humphrey Whatever else is unsure in this stinking dunghill of a world a mother's love is not. James Joyce The watchful mother tarries nigh, though sleep has closed her infants eyes. John Keble Of all the rights of women, the greatest is to be a mother. Yutang, Lin All that I am or hope to be, I owe to my angel mother. Abraham Lincoln

Quotes and aphorisms on mothers My father and my mother are no longer with us, but their spirit lives in me, and therefore is still alive, except that I am already dead. Carl William Brown It seems to me that the nursing mother of most false opinions - both public and private - is the excessively high opinion one places on oneself. Michel Eyquem De Montaigne Anyone who doesn't miss the past never had a mother. Gregory Nunn Maternity is on the face of it an unsociable experience. The selfishness that a woman has learned to stifle or to dissemble where she alone is concerned, blooms freely and unashamed on behalf of her offspring. Emily James Putnam There is no way to be a perfect mother, and a million ways to be a good one. Jill Churchill Whenever I’m with my mother, I feel as though I have to spend the whole time avoiding land mines. Amy Tan, The Kitchen God’s Wife Few misfortunes can befall a boy which bring worse consequences than to have a really affectionate mother. W. Somerset Maugham The Enemy, who wears her mother's usual face and confidential tone, has access; doubtless stares into her writing case and listens on the phone. Phyllis McGinley It seems to me that the nursing mother of most false opinions - both public and private - is the excessively high opinion one places on oneself. Michel Eyquem De Montaigne When I stopped seeing my mother with the eyes of a child, I saw the woman who helped me give birth to myself. Nancy Friday Women’s natural role is to be a pillar of the family. Grace Kelly I know how to do anything – I’m a mom. Rosanne Barr A busy mother makes slothful daughters. Portuguese Proverb An ounce of mother is worth a pound of clergy. Spanish Proverb If Freud had had my mother's dreams at his disposal, he would have become even greater than he was. Carl William Brown Think of your mother and smile for all of the good precious moments.” Ana Monnar

Aphorisms and quotes on the mother A mother understands what a child does not say. Jewish proverb Mother is a verb. It’s something you do. Not just who you are. Cheryl Lacey Donovan A mother loves her children even when they least deserve to be loved. Kate Samperi As her sons have seen her: the mother in patriarchy: controlling, erotic, castrating, heart-suffering, guilt-ridden, and guilt-provoking; a marble brow, a huge breast, an avid cave; between her legs snakes, swamp-grass, or teeth; on her lap a helpless infant or a martyred son. She exists for one purpose: to bear and nourish the son. Adrienne Rich The worker can unionize, go out on strike; mothers are divided from each other in homes, tied to their children by compassionate bonds; our wildcat strikes have most often taken the form of physical or mental breakdown. Adrienne Rich Mother – that was the bank where we deposited all our hurts and worries. T. DeWitt Talmage A little girl, asked where her home was, replied, “where mother is.” Keith L. Brooks I never knew how much love my heart could hold until someone called me “mommy.” Author Unknown Mother’s love is peace. It need not be acquired, it need not be deserved. Erich Fromm Mothers are all slightly insane. J.D. Salinger That best academy, a mother’s knee. James Russell Lowell Setting a good example for your children takes all the fun out of middle age. William Feather Education commences at the mother’s knee, and every word spoken within hearsay of little children tends toward the formation of character. Hosea Ballou In a child’s eyes, a mother is a goddess. She can be glorious or terrible, benevolent or filled with wrath, but she commands love either way. I am convinced that this is the greatest power in the universe. N. K. Jemisin I love my mother as the trees love water and sunshine — she helps me grow, prosper and reach great heights. Terri Guillemets A mother’s love liberates. Maya Angelou Biological possibility and desire are not the same as biological need. Women have childbearing equipment. For them to choose not to use the equipment is no more blocking what is instinctive than it is for a man who, muscles or no, chooses not to be a weightlifter. Betty Rollin Only in America do these peasants, our mothers, get their hair dyed platinum at the age of sixty, and walk up and down Collins Avenue in Florida in pedal pushers and mink stoles - and with opinions on every subject under the sun. It isn't their fault they were given a gift like speech - look, if cows could talk, they would say things just as idiotic. Philip Roth Apart from my mother, women have always encouraged me to deepen my knowledge of the profound illogicality of existence. Carl William Brown A mother holds her children’s hands for a while…their hearts forever. Author Unknown

Quotes and ideas on mothers There was never a great man who had not a great mother. Olive Schreiner Mothers are the most instinctive philosophers. Harriet Beecher Stowe Mother is the name for God on the lips and in the hearts of little children. William M. Thackeray My mother had a great deal of trouble with me, but I think she enjoyed it. Mark Twain A Freudian slip is when you say one thing but mean your mother. Author Unknown There’s no way to be a perfect mother and a million ways to be a good one. Jill Churchill Acceptance, tolerance, bravery, compassion. These are the things my mom taught me. Lady Gaga Most mothers are instinctive philosophers. Harriet Beecher Stowe My mother’s menu consisted of two choices: Take it or leave it. Buddy Hackett My mother always said I was beautiful and I finally believed her at some point. Lupita Nyong’o A mother's heart is always with her children. Author Unknown Mother weaves her loving art and leaves her magic in our hearts. Author Unknown Mother-in-law: A woman who destroys her son-in-law's peace of mind by giving him a piece of hers. Author Unknown Men never think, at least seldom think, what a hard task it is for us women to go through this very often. God's will be done, and if He decrees that we are to have a great number of children why we must try to bring them up as useful and exemplary members of society. Queen Victoria How simple a thing it seems to me that to know ourselves as we are, we must know our mother's names. Alice Walker My mother is my root, my foundation. She planted the seed that I base my life on, and that is the belief that the ability to achieve starts in your mind. Michael Jordan Mothers work, not upon canvas that shall perish, nor marble that crumbles into dust, but upon mind, upon spirit, which is to last forever, and which is to bear, for good or evil, throughout its duration, the impress of a mother's plastic hand. George Washington The best place to cry is on a mother’s arms. Jodi Picoult It is not until you become a mother that your judgment slowly turns to compassion and understanding. Erma Bombeck Mother love is the fuel that enables a normal human being to do the impossible. Marion C. Garretty See also Without Courage, wisdom bears no fruit. Baltasar Gracian My mother was the most beautiful woman I ever saw. All I am I owe to my mother. I attribute all my success in life to the moral, intellectual and physical education I received from her. George Washington Young women especially have something invested in being nice people, and it's only when you have children that you realize you're not a nice person at all, but generally a selfish bully. Fay Weldon To a child’s ear, ‘Mother’ is magic in any language. Arlene Benedict What is a mom? But the sunshine of our days and the North star of our nights. Robert Brault

Mother quotes and aphorisms There is no velvet so soft as a mother’s lap, no rose as lovely as her smile, no path so flowery as that imprinted with her footsteps. Archibald Thompson Mother’s hug… the drug that works every time, costs nothing and has no side effects. Hassaan Ali Motherhood is the strangest thing, it can be like being one's own Trojan horse. Rebecca West No matter how old a mother is, she watches her middle-aged children for signs of improvement. Florida Scott-Maxwell If Mama ain’t happy, ain’t nobody happy. Ferrell Sims When you are a mother, you are never really alone in your thoughts. A mother always has to think twice, once for herself and once for her child. Read the full article

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fictionadventurer · 6 years ago

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I’ve been thinking about Mansfield Park again and wondering if it would be possible to make Henry/Fanny into a satisfying ending. Because if Fanny marries Henry in the story that Austen wrote, even if Henry has truly reformed and remains loyal to Fanny, it would be an intensely unsatisfying resolution that would disrespect both characters.

Look at the story Austen gave us. Henry is rich, good-looking, intelligent, witty and charming and has powerful connections. Henry is Fanny’s superior in social status and wealth and popularity, and his proposal is like Prince Charming coming to rescue Cinderella, an incredibly generous offer that would elevate poor, dependent, shy Fanny beyond anything that could logically have been hoped for her future. No one can see why Fanny would reject an offer from such a wonderful man and such a great match. They’re all blinded by Henry’s superficial qualities, and can’t see that underneath all his status and charm, Henry is a self-centered, amoral jerk.

But Fanny can see the truth. She knows that she’s Henry’s moral superior, and that marriage to him would be far more degrading than anything she suffers in her current position. So, even though it puts literally everyone in her life against her, she rejects him. The people around her make her suffer intensely for sticking to her morals, but she never bends.

Does Fanny’s rejection make Henry suffer in the same way? Not even close. His pride is wounded, and I’d be willing to concede that his heart could be wounded, but he suffers in no other way. He is still as rich and popular and secure in his status as he ever was, and none of his choices in the story jeopardize any of this. He never truly has to change. He never suffers or sacrifices anything. His most profound gesture--getting the commission for Fanny’s brother--was an easy accomplishment for a man whose uncle is an admiral.

If Fanny accepts this man, in this story, it means that everyone was right about him, and she was wrong. Henry is a wonderful man who deserves to have everyone love him, who just needed Fanny's love to turn into a completely perfect man. It disrespects Fanny’s profound moral choices, and completely sidesteps any real character arc for Henry. Because this Henry would get everything anyone could ever want--money, status, and a wonderful wife--with minimal effort. And Fanny’s greatest strength--her clear-eyed ability to see past superficial appearances--would look like a weakness, because to her family, it would look as though they were the clear-eyed ones who always knew what a great match Henry was, and that Fanny just had to see past her prejudices to accept his offer.

At first glance, it seems like Henry just needs to step up to Fanny’s moral level to be a worthy husband. But stepping up to Fanny’s moral level requires more than a few changes of behavior and a couple of gifts. It requires suffering. It requires knowing right from wrong and sacrificing everything else--happiness, respect, security, popularity--to avoid betraying those morals. So for Henry to step up to Fanny’s moral level, he would need to step down to her social level. The Henry that Austen gives us needs everyone to love him--he only chases Fanny in the first place is because she’s the one person who doesn’t love him--and an ending where he gets what he wants and is beloved by all would be unsatisfying. Instead, Henry would need to learn that popularity isn’t the most important thing in life. To win Fanny’s admiration, he’d have to be willing to sacrifice the admiration of the rest of society. He would need to adopt stronger morals and stick to them, even when it’s difficult or boring or makes him unpopular. He would need to make some strong choice that makes everyone else reject him, but makes Fanny realize that he truly has changed into a person who values goodness over everything else.

By the time Fanny accepts Henry, the rest of the people at Mansfield--especially Julia and Maria--should think that Henry’s maybe not such a great guy, and maybe his face is kind of funny-looking, and never mind his wealth, they can’t imagine being stuck to a guy like him for the rest of their lives. Because that would validate Fanny’s original choice, showing that she can see beyond what society values and into the core of what truly matters. This Henry would be someone who had truly reformed, who had learned to see love, not just as an object to be won, but as an action requiring sacrifice. This Henry would stop trying to make everyone love him, and instead learn to love other people. Then, and only then, would Fanny’s marriage to him be a happy ending.

I’m not sure how this would come about. It would require a significant rewrite of the last half of the story. Maybe Fanny would have to be a bit more specific in telling Henry how he needs to change. Maybe Henry would need to go against the wishes of his uncle in some way. But however it happens, the plot would need to undergo major changes. It would be the only way to stay true to the characters that Austen gave us, while making a marriage between Henry and Fanny a happy ending rather than a tragedy.

#mansfield park #jane austen #fanny price #henry crawford #fanny price defense squad #i may have talked myself into liking this au ship #because they would be adorable together #think of reformed henry crawford and fanny at social events #henry as a sociable but moral guy #more like henry tilney #and fanny sticking by his side because he's the one person she feels comfortable talking to #and henry using his social skills to guide her through things and make her feel comfortable and maybe enjoy herself for a while #before they head home to their quiet comfortable life with tea and books and gardens #meanwhile henry just kind of remains in awe of her and feels forever grateful that she condescended to marry him #also this kind of character arc could make an interesting starting point for a cinderella retelling?#where the prince comes after cinderella but she's like 'nah i think i'll stay here'#and he has to transform his life before she'll accept him #anyhow there are lots of interesting aus to be found if you make people stick to their morals #rather than just saying that she should marry him because he's hot and rich

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amarguerite · 3 years ago

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Edmund Bertram is so 😐 I can't in good conscience let him inflict himself on Fanny or Mary. I Stan Henry Crawford/Fanny Price FOREVER. Have you read Everingham by katharhino on AO3?

I have not! I will add it to my list. Thanks for the rec@

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themalhambird · 3 years ago

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as i've been awake all night writing Mansfield Park fanfiction, you might as well get to read some of it...I started writing Something Something Something and then Henry Crawford gets Punched, because I had a brainwave about the something something part.

A woman’s reputation, once tarnished by scandal, must be considered as damaged forever. But a gentleman- young, rich, and charming- might easily restore himself in the eyes of the world after a year or two: might even refashion himself into the hero of the piece. A poor, unfortunate soul carried away by a tragically doomed, Romantic love- bewitched by a woman far more artful and wicked by himself- in short, a mere eighteen months after Mrs Rushworth had quit his roof, Henry Crawford was generally agreed to have been almost blameless in the matter.

Mr Crawford certainly considered himself more victim than villain. His conscience, once everything was finally over between Maria and himself, demanded nothing less than that he wholeheartedly believe she had drawn him in entirely against his will. It was a belief that most (though not quite all) in his circle were eager to help him entertain: it served, if not as a defence, than at least as an equivocation against the propriety that must otherwise have cost them the considerable pleasure of Mr. Crawford’s company- and with such support Crawford almost found it possible to forget the affair entirely- he might go six weeks, even two months- without uttering so much as a single wistful sigh over Miss Price. He could go longer still without once thinking of either of the Rushworths and he had not paid the smallest bit of attention to Miss Julia Bertram since the inception of Lover’s Vows. As such, the news that Mr. and Mrs John Yates- along with Mrs Yates’ brother- had taken a house in Camden Place, made very little impression on Crawford beyond feeling rather a momentary surprise at Mr Yates’ being the marrying kind. He was entirely unprepared to catch sight of Maria’s sister across the floor of the Pump Room. And the girl with her-

It took him a moment. She looked somehow different. And yet once the penny dropped, she was unmistakable. Fanny- his Fanny, in Bath! Crawford’s mind raced. She was as beautiful, as perfect as ever. He thought back to the conversations- arguments, really, though he was loath to class them as such- that he had had with Mary- his sister’s insistence that Fanny would never think twice about him after- but what did Mary know? She had not seen Fanny in Portsmouth- had not seen her eyes begin to soften, the fond, almost loving expressions that had begun to bloom across her face when she looked at him. He had begun to alter her opinion of him once; he had often felt, if only he could speak to her, he might do so again. Now here she was, in Bath, at the exact same time as him- though it was early for Bath, in general- that quaint amber cross of hers glinting in the sunlight-

Surely, surely, it was a sign from God.

#mansfield park #my fic #henry crawford #(is a jerk)

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boatcats · 3 years ago

Text

Little Rooms

In the early days of Saint Mary's after his return from Malta, Francis Crawford joins Margaret Erskine and Henry Lauder in attempting to clear the name of a man charged with murder. On Ao3 for those who prefer here.

Henry Lauder had been warned that there might be some lingering ill will, but Lord Culter was perfectly polite. "Mr. Lauder. Welcome. What a surprise. If you're looking for Francis, he's upstairs in the music room. You're lucky to catch him here and not at Saint Mary's." The word 'rematch' went unspoken. The word 'surprise' was a bald faced lie.

Lauder had ridden from Edinburgh that morning unannounced but rumor, he knew, was a quick and conscientious herald; certainly, given the Crawford's court connections, it had arrived before he did.

"I'll show you up and have refreshments sent," Lord Culter said, turning on his heel and heading towards the stair.

The impeccable courtesy, Lauder thought as he climbed the stair behind Lord Culter, was a little unnerving. He was almost relieved when it did not extend to the music room.

Bathed in sunlight, the trim figure at the virginal did not turn, but he tensed minutely as Lord Culter showed Lauder to the door.

"Mr. Lauder. Have you misplaced your notes? I'm afraid I've misplaced my equanimity. Don't you ever get tired of scared people in little rooms?"

Henry Lauder sat down opposite the virginal. "I might at times," he said slowly. "But you are neither."

"Not at present. The years plod on. But I am sick to death of intrigue. I'm afraid you are looking at a simple mercenary with occasional aspirations towards the virginal."

"Am I? Margaret Erskine suggested that might not be the case after you've heard me out."

"Well. I'll admit that as I sit here the instrument loses its charms by the second."

"You've heard about St. Michel's murder of course. Robertson was close to the Queen Mother. His arrest implicates her though no one will say it yet. The truth must come out or I fear what may happen at court."

"Appealing to my better nature? Fatti non foste a viver come bruti... I thought you had been informed; I haven't one."

"I don't believe that. Perhaps you're too polite to admit to one to someone who has wronged you. Which I have done..."

"You did your duty."

"Scared people? Little rooms?"

"Are sometimes are subjects of duty. I don't begrudge you. I'm simply tired of it, myself."

The name Robin Stewart hung over the conversation like a shroud. If Lauder mentioned it now, he'd lose Lymond forever. He struck closer to home.

"Margaret Erskine isn't tired of it. She's in it up to her eyeballs."

Lymond's face went very blank. "Does your duty extend to blackmail?"

"My duty is to my country. Yours may be to your friend. At least come with me to see her."

Silence fell. For the first time, Lymond seemed imposing, not due to stature but rather extreme stillness. He wasn't wearing a sword. It wouldn't matter.

"Alright," Lymond said at last. "I'll come with you to see the grieving woman whose safety you've flung out before me like bait in a trap. A happy journey we will have of it."

#lymond fic #the murder mystery fic #lymond #chapter 1

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writingwithadinosaur · 5 years ago

Text

“Under the Knife” - Part 7

Main Masterlist - Here

Story Masterlist - Here

My Tag List - Here

Hannibal Lecter x Reader, Will Graham x Sister!Reader

Word Count: 2,100-ish

Key: Chunks of text in italics are (Y/N)’s thoughts. Y/N = Your Name, H/C = Your Hair Color, E/C = Your Eye Color

Warnings: Cursing, Violence

Summary: You are Will Graham’s sister who works with him at the FBI. When you get offered a job promotion, life starts to change. Some changes for the better; Some for the worst.

Author’s Note: This is my first Hannibal piece and I am proud of it. There aren’t too many stories for Hannibal, so I figured I would add to the collection.

This does take place in some happy medium where they are all alive and work together. Sort of a happier season 1 era.

This is beta-read by @theeactress, but please let me know if there is something that we missed or that we should look at again!

If you would like to be tagged in any of my future pieces, check out my tag list above and let me know! And as always, feedback is greatly appreciated!

- DreaSaurusREX

Tag List

@fruitloopzzz

@theeactress

@melconnor2007

@ashenfallsof

@geeksareunique

@all-by-myself98

@sj-thefan

@fuck-your-bad-vibes-dude

@ntlmundy

@a-person-unlabled

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Jack was in the middle of a phone call when you opened his office door unannounced. He gave you an annoyed look until he saw something in your eyes that said that this was important. When he looked to Hannibal, who was behind you, he nodded slightly, letting Jack know that this was for sure something urgent.

“I’m going to have to call you back.” He calmly said before putting the handset back onto the office phone base. “What did yo-”

“I think I finally got into this guy’s brain!” Jack gives you an expectant look.

“Well?! Go on then!” You take a quick breath in as you speak, making your way to one of the chairs in front of Jack’s desk. Hannibal stood off to your right slightly.

“Okay. So, we’ve been looking for a doctor this entire time, right?”

“Yes, we have.” There was obvious hesitation in his voice, worried that you would just widen the suspect list instead of narrowing it down. You continued.

“Right. But what if our killer was actually a patient of these doctors?”

You watched Jack quickly think it over, preparing for exactly what you thought he’d point out. You pulled out a couple of print-outs from within your notebook and waited for Jack to speak. Hannibal peeked over your shoulder at the paper and read a little bit of the top page while Jack spoke.

“It would tie the doctors together, but it wouldn’t explain the method of killing.”

“It does if this patient was a former doctor himself. A plastic surgeon to be more specific.” You hand Jack the papers, letting out a breath that you hadn’t realized you were holding.

The papers were from the initial suspect list you had gotten. You now had one person’s name and photo circled: Henry Urik. The second page was the basic information you had gotten on him early into the investigation.

“Name: Henry Urik Age: 29 Height: 5’11” Weight (Approx.): 205lbs Hair Color: Reddish Brown Ethnicity: White Male Employment: Plastic Surgeon - Inactive”

As Jack read over the papers, you felt yourself slipping into your mental pictures. You found that missing puzzle piece that brought everything together. You could now see it all, feel what he was feeling, and truly attempt to get into his mind. Jack looked up and saw you seemingly phase-out, but he had seen something similar when your brother, Will, would be at crime scenes. He and Hannibal stayed quiet and let you do your thing.

“Dr. Henry Urik started up his own practice relatively recently, but it failed. Probably due to some sexual allegations or misconduct or something. He popped up on the first few rounds of searches that I did, but then I saw that he wasn’t associated with any active practices or facilities, so I took him off the list.

He lost his job, which means he is anxious and stressed, which then potentially and likely leads to a range of psychosomatic ailments; soreness, fatigue, insomnia, and most importantly, headaches. After long enough, frequent or maybe even constant headaches would drive anyone mad. Which is why Henry decides to finally go to his primary care physician: Dr. Everet. I’m sure if we get a warrant and pull a list of all of the patients that have seen our victims over the last 2 - 4 months, we will find Henry’s name on each of them.”

“That’s not a long time to plan out 4, or potentially more, murders.” Jack points out, seeing you come back to reality.

“I don’t think these killings were really thought about or planned to every detail. He didn’t want to just kill them out of anger; that was for whoever else was in the house. He was angry and upset, but we can see that he took his time with the doctors. Maybe focusing on them and using his old medical instruments was a form of relief for him?”

“What kind of relief are we talking about here, Graham?”

“By shifting his focus from himself and his ailments, he’s distracting himself from his anxieties and stressors. Thus seeming to make his headaches dwindle.”

“In other words, pain relief?” You and Hannibal nod in agreement. Jack continues. “Okay, but what makes him so upset that he goes out and murders four doctors and their wives?”

“We’d have to double-check with the notes in his files from each doctor, but I can bet that he wasn’t happy with whatever test results or diagnoses they were giving him.” Before Jack could say anything, Hannibal finally spoke.

“I believe I can confirm that theory.” Both you and Jack turned to Hannibal with confused looks over your faces.

“Is there something you’d like to share with the class, Dr. Lecter?” Crawford had a hint of annoyance in his tone but kept it mostly neutral. You, on the other hand, were trying to look into his mask and see if he was being serious. As far as you could tell, he was.

“Dr. Urik was a patient of mine. I say ‘was’ because I only ever had two sessions with the man. He was referred to me by Dr. Everet. He showed signs of incredible anxiety over the idea of not being able to be in his profession after a patient accused him of sexual harassment during one of their appointments. He also showed signs that could be tied to bipolar disorder or something more severe. Unfortunately, I couldn’t form a full diagnosis after only those two sessions. I haven’t heard from him in roughly 4 months.”

“Which all lines up with (Y/N)’s profile.” Hannibal nodded.

“I tried to explain the possibility of his headaches being a manifestation of his anxiety, but he did not like that answer. Saying that it must be something tangible; something he could fix with medicine or a procedure.”

“Well, that explains why you are potentially his next target.” You spoke your thoughts out loud, which came out slightly snarky.

Hannibal turned his attention to you. You were slightly staring off. To anyone else, it would look like you were zoning out, but Hannibal knew that it was a sign of your mind working hard.

Somehow hearing that Hannibal had a possible solid connection to the killer, a wave of fear hit your heart. You cared about Hannibal, and you knew he cared about you. You weren’t sure he could tell, but one could say you had grown to love this man. And it only took being threatened by a serial killer to let that thought process in your mind.

“So it seems.”

“Aren’t you glad you joined the case now, Dr. Lecter?” You poked fun at Hannibal, the sharpness in your voice only evident to him. You thought you hid your true feelings well enough, but Hannibal could see right through your facade. He knew you were scared. Not only for his well being but your own as well; using humor as a way to make the situation seem a little less harsh.

Before Hannibal could respond, Jack posed a question.

“It doesn’t explain you, (Y/N). Why does this guy want to get to you?” You all pause for a beat. You try to get into Henry’s mindset and see any possible reason as to why you would also be targeted.

“I don’t think there is a reason. Maybe he read the TattleCrime article, saw that I was with Dr. Lecter, and then associated me with him. Or maybe he is following us and knows that I have a role in his case. Whether that means I am actually important to Urik or not, I can’t say for certain. He could just see me similarly to the wives of the other doctors. We won’t know for sure until we can ask him.”

As Crawford makes some decisions in his head, you can’t help but start to twist your ring. The idea of yours and Hannibal’s lives being in danger was a terrifying thought. You didn’t know what you would do if something happened to him and he wasn’t a part of your life anymore. Yes, there was still a ghost of confusion and uncertainty with him at the moment, but that was pushed to the backseat after today’s findings.

You looked away from Jack for a quick second to see if Hannibal showed any signs that he was scared. Much to your surprise, he was not only already looking at you, but through his stoic face, his eyes showed something. You looked away as you heard Jack lean forward in his chair, but you couldn’t figure out what that emotion in Hannibal’s eyes was.

After what seemed like forever, Crawford explained his plan of action.

“Alright, I’m going to get started on getting those files and getting a team out in the field looking for this guy. You two are going to have an armed agent following you until we get Henry in custody. They will be hidden, but know that you two will be protected.” You let out a small sigh of relief. “After you compile all of your notes and initial thoughts on Urik, have them sent to me. Then you two are dismissed for the night. Go get a drink or two. We are going to finally catch this son of a bitch.”

You nod and start to stand up to head to the door. Before you could step away from his desk, Jack got your attention.

“Graham.”

“Yes, sir?”

“Good work.” You couldn’t hide the proud smile that you tried to smother off your face as you said a quick “Thank you, sir” and made your way out of his office, Hannibal behind you.

Hannibal escorts you back to your office. Once you get inside, you and Hannibal spend a solid 20 minutes working out every detail that you could about Henry Urik. You quickly type it all out and send it through to Crawford’s email.

“Alright. Everything is sent and I am ready for a glass of wine and then passing out for the night for some much-needed sleep.” You started to get your bag together as Hannibal sat in one of the office chairs and watched you, trying to get you to be comfortable with him again.

“A well-deserved rest, my dear. You did incredible work today.” You quickly looked up to see him staring at you, a rare smile crossing his face as you two briefly made eye contact. You tried to hide the small blush that you felt creeping its way onto your face.

Hannibal didn’t smile often, and when he did around you, it always made your heart flutter. Getting to see that rare treat and have him compliment you on your work was an unexpected but appreciated way to end the day.

You let out a small “thank you” as you gathered the last of your things. Hannibal stood up and grabbed your coat from the back of your chair. He offered it out for you to slide into, but you didn’t want to wear it, so you took it from him and draped it over your arm. Another small thank you and you two were out the door, headed to your car. After being called out by your killer, Hannibal felt a bigger need to make sure you got to your car safely, even if you were going to have a guard watching you from afar.

He opened the car door, but before you could sit down, he finally asked what had been circling in his mind for the last 30 minutes.

“Would you like to have dinner with me tomorrow? I understand that you have your reservations about talking to me recently, but now that you have done a marvelous job at putting a name to the Virginia Scalpel, I wonder if now would be a good time to try to talk personally. Perhaps even get back to how things were before this case.”

You stood there, the car door being a physical barrier between you and Hannibal. You instinctually fiddled with your ring, mulling over his offer. You can’t help but feel your heart hurt at the lack of time you’ve had with Hannibal. Letting yourself have time to just focus and work on the case over the last week was beneficial. You could now think about more personal things clearly and see that you weren’t as upset with Hannibal as you had been.

You look back up at him and see him observing you, trying to figure out what was going on in that wonderful mind of yours. A small smile grew on your face as you finally spoke.

“What’s for dinner, Hannibal?”

#hannibal #hannibal lecter #Hannibal TV #hannibal fandom #hannibal fanfiction #hannibal lecter x reader #hannibal lecter / reader #will graham x sister!reader #Sibling!Will Graham #Will Graham x Sibling!Reader #Sibling!Will Graham x Reader

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raincitygirl76 · 7 months ago

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Henry’s tragic flaw is that he’s too impatient. He was gradually wearing Fanny down. Also, if his sister Mary Crawford had married Edmund as seemed likely, then a significant obstacle (in the form of Fanny’s crush on Edmund) would’ve been removed, and Fanny probably would’ve married Henry eventually.

But he couldn’t play the long game and wait to wear her down. Instead he assuaged his hurt pride from her rejection by making a pass at Fanny’s married cousin while in London. The pass worked, and he had an affair with Maria. But he didn’t actually give a shit about Maria. The affair was all about soothing his wounded ego because Fanny had turned him down.

And THAT is what lost him Fanny forever. Because he didn’t have the patience to wait for her to change her mind and accept his proposal. Not because of anything particularly terrible he’d done prior to proposing to Fanny.

All Henry had done before that was flirt like hell with a girl who was engaged to another man. He hadn’t seduced Maria sexually at that point, he’d just carried on a flirtation because she was safely engaged already, so he could flirt without being expected to marry her.

It was enough to give Fanny grave doubts about Henry’s character, when he later turned his attention to her (Fanny), and fell in love for real. But in the grand scheme of things it wasn’t so terrible. Henry’s terrible stuff didn’t come until the end of the book.

Are we meant to see Henry Crawford as a Viable Option for Fanny?

Yes.

In fact, unless we consider Henry as viable, I would say the plot isn’t as good.

A friend pointed out to me recently that unlike the other Austen antagonist men (Wickham, Willoughby, and Mr. Elliot), Henry hasn’t done anything too wrong, yet. At the beginning of the book, he’s already participated in vain flirtations, but he hasn’t tried to elope to steal a fortune and squandered his inheritance (Wickham), impregnated and abandoned someone (Willoughby); or been cruel to his first wife and betrayed a former friend and widow (Mr. Elliot). His terrible thing happens in the book, the affair with a married woman, and Fanny’s cousin no less! Which is why he is redeemable and a possible option for Fanny. (I haven’t forgotten Northanger Abbey and Emma, but to be honest they don’t have the sort of marriageable male villains that the others have, John Thorpe is just a first class creep and Frank is careless but not evil).

Keep reading

#Jane Austen #queue #Mansfield park #Henry Crawford #Fanny price #Maria Bertram

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knivesandwives · 4 years ago

Note

Can you give an excerpt (is that the word?) or a pic from the book about Hannibal and Clarice's little date thing? I'm intrigued lol

Oh lol I'm honestly still reading it! Thank you for facilitating my venting though, and I will gladly share my incomplete knowledge. I haven't even finished this scene, which continues into another chapter. I had to take a break and cool my head because it makes me want to gag like I was a 5 year old with an aversion to kissing scenes (which is not usual for me. I just. I don't know about this). I could take the time to finish reading it in the time I'm writing this buuuut I'm too heated to do so atm, even though it would spare me the embarrassment of having very incomplete context. I don't even know whether Thomas Harris intends for the reader to want them together, but his treatment of Hannibal Lecter has generally verged on salivating over him, imo, so. I'm gonna take it as implied that I should like this a bit more than I do. I could be very wrong. Under the cut because it is a Rant

-----

I’ve got the fun wacky stuff first because this book is Wild. Bonkers. Then I have semi serious stuff and Thoughts thoughts in the second half

-------------------

WACKY FUN STUFF PART

it is So over the top corny. Highlights so far:

-Hannibal is playing the harpsichord when Clarice walks out. In other scenes he’s played his theremin. He is insufferable

- the piece he's playing is called ‘If True Love Reigned’ and was composed by Henry VIII, which is a red flag if ever I heard one

-he dresses up in white tie for her and spends FOREVER decorating the house *just so* and inspecting the dinner table from various angles to check whether the Aesthetic is right, because the house he's rented out is only so-so and he's gotta make up for it:

I mean. He decides to add a shit ton of flowers to make it intimate and create a hanging gardens effect, realizes that this looks bad, and decides that the solution is More flowers. Maybe he’s right, but I think with the rest of the decorations this is probably looking like a mess right now.

-Uhhh if I remember correctly from the Freudian Daddy Issues chapter (hhhhh I want to have a word with Thomas Harris), the reason he makes the peonies in the flower arrangement “white as SNO BALLS” is because she has some sort of (dad-related) childhood memories about these fucking Hostess twinkie-level snacks. There are Levels to his floral arrangements

-Similarly, the cocktails he prepares for them have orange slices on the side because it’ll remind her of her father slicing oranges and Hannibal wants to be daddy

-The landlord he’s renting the house from (where he’s keeping Clarice and holding Date Night) has a fixation on Leda and the Swan, to the point that he has four statues of it and eight paintings of it in that one house alone. Hannibal likes the horniest one with the best “anatomical articulation.” Make of that what you will. There was indeed a reason for Bryan Fuller including such a pussy out painting in the set for Hannibal’s dining room. Hannibal covers the other Leda statues and paintings that don’t live up to his standards

- He brings her clothes to wear?? Special Fancy clothes for Date Night. Ugh. And I thought it was pushy and anal in SOTL when he gave her tips on how to improve her fashion

- Hannibal wears an ascot over a white shirt. No jacket. I don't know if I trust the taste level of this man. I like Freddy from scooby doo but his look seems like a stretch in this context

-he uses candelabra like he's the phantom of the opera and has this incredibly fucking extra mirror in his rented house:

-he tells her his goals for the evening in one of the trademark Long Confusing Hannibal Monologues we’re so used to seeing in the show, then asks Clarice if she understands, and her response is: no I don’t so I hope your food is good at least

------------------------------------------------------------------------------------------------

Actual Serious Thoughts about it (content warning: some vaguely psychosexual things involving characters’ family, drugging and non-sexual consent issues)

I think my reaction is definitely influenced by the context that's been presented so far for their relationship in this book, which includes (briefly):

--Hannibal has a fixation on Clarice as a potential replacement for/idealized version of Mischa, his dead sister. The moment he lays eyes upon her again in this book he starts having uncontrollable flashbacks that directly associate Clarice with Mischa and overlays their meanings and iconography. So... that's something. It shows up constantly whenever we get a glimpse into his POV. I have thoughts about what Hannibal finds appealing about Clarice RE as an idealized version/teacup reversal of Mischa; the book tells us he admires her courage and her spirit as a warrior despite having been victimized, and so Clarice is in some ways a version of Mischa that was capable of surviving despite the odds. That was (crudely) my working theory, anyway. Might have to reevaluate that now because I'm less certain now about Hannibal's intentions and how much his appreciation for Clarice is really *respectful* of her potential, versus how much he sees her as some sort of vehicle to replace Mischa and be some sort of walking talking idealized doll that he crafts into his dead sister. I wanted it to not be *as* weird and psychosexual as I thought it would end up being, but this book definitely leans into some weird sexualized Freudian shit, and I'm concerned that Mischa and Clarice are part of that despite my best efforts to rationalize it in a way that I would have preferred. Really, who fantasies about their lover being a reminder of their sister?

--Freudian hell part 2: Hannibal has rescued Clarice from the Verger farm (after she rescued him, which was quite dramatic) and has her drugged at his house and undergoing the type of hypnosis we see suggested with Will and Miriam Lass in NBC!Hannibal. Hannibal suggests things, she follows those suggestions with apparently little agency of her own. He probes into her history and traumas and causes her to see things. Among his goals here is to have her make peace with her dead father in some way (in a scene which strongly resembles Abigail's therapy with GJH's corpse as seen in the s3 flashbacks), and to give her some form of control over her memory of him. This is accompanied by some very squicky speculation from Hannibal about Clarice having taboo sexual associations with her father, which she projects (among other things) onto other father figures in her life like Jack Crawford or her fallen FBI partner. I didn't know before I got into this book whether it was going to legitimize the Electra complex angle on Clarice this much, and maybe I'm wrong to accept Hannibal's viewpoint as sacred, but. So far, that seems to be the take.

----

So that's the context for the leadup to this romantic dinner scene. Hannibal has decorated his house specially for this date night type thing and given her a slinky, fancy dress to wear in his fancy house. Clarice has been heavily under the influence of drugs so far, and this night is no exception. This chapter so far has been a treasure trove of the more romantic dialogue repurposed for NBC!Hannibal, but I kind of can't stand it here in this book as anything remotely romantic. It's almost entirely him talking *at* her and it seems like this is more about him and his idealized fantasy of her than it is actually about her. The text does refer to him as "the monster" more frequently in this chapter, and it calls him out directly for his vanity and self congratulation, so I'm not entirely sure if I'm even supposed to like it, but. Anyway. You asked for excerpts! This particular scene is probably the densest part of a very dense chapter (the highlights are a mess rn):

There's a lot of interesting stuff in here, some of which really raises my hackles in ways I wasn't anticipating. Clarice has just emerged in the outfit he chose for her to join him. Clarice's first question to him is to ask about how much he's invaded her privacy without her knowledge, and he has a very bullshit answer where he pretends that this situation he's manufactured, in which he drugs her and creates a fantasy world for them, is okay because it exists outside of reality. It doesn't. It's an interesting idea but it's bullshit. This is not his memory palace, this is reality and it does exist as a part of time that Clarice has had to experience (or not, as the case may be for her level of consciousness throughout this). And he turns around from this question about him being intrusive to reiterate his attraction to her. Squick at that. Her plain (possibly curt?) answer to his compliment, even though it's a thank you, causes him annoyance. This is where I really, Really start to have, like, flashbacks to Jessica Jones and the playing house plotline. Real strong flashbacks to that. Clarice's (apparently unintentional) failure to meet his standards and reciprocate in the exact way he wants her to makes him Annoyed. Clarice identifies this and holds her ground, interestingly enough, and Hannibal has a moment of awe at her stubborn individuality, but immediately falls back on self congratulatory wanking at his choice of woman. Then, there's more talking at her, to which she eventually says that she basically doesn't know what the fuck he means but she hopes he plans to make dinner worth her while. I appreciate Clarice holding her ground so well here, especially given the circumstances, and I don't know quite where this is headed, but I guess the gist of it is that in this context I just really want to slap Hannibal about and see him burn

#ramblings #knives reads thomas harris #and vents about things i shouldn't #but thank you!! i need to and i appreciate interaction #but keep in mind i am a fool who is willing to vent about this without knowing everything #just think of it as liveblogging? i guess

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timeless-hollywood-classics · 4 years ago

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Margaret Brooke Sullavan (May 16, 1909 – January 1, 1960) was an American actress of stage and film.

Sullavan began her career onstage in 1929. In 1933 she caught the attention of movie director John M. Stahl and had her debut on the screen that same year in Only Yesterday.

Sullavan preferred working on the stage and made only 16 movies, four of which were opposite James Stewart in a popular partnership that included The Mortal Storm and The Shop Around the Corner. She was nominated for an Academy Award for Best Actress for her performance in Three Comrades (1938). She retired from the screen in the early 1940s, but returned in 1950 to make her last film, No Sad Songs for Me, in which she played a woman who was dying of cancer. For the rest of her career she would appear only on the stage.

Sullavan experienced increasing hearing problems, depression, and mental frailty in the 1950s. She died of an overdose of barbiturates, which was ruled accidental, on January 1, 1960, at the age of 50.

Sullavan was born in Norfolk, Virginia, the daughter of a wealthy stockbroker, Cornelius Sullavan, and his wife, Garland Councill Sullavan. She had a younger brother, Cornelius, and a half-sister, Louise Gregory. The first years of her childhood were spent isolated from other children. She suffered from a painful muscular weakness in the legs that prevented her from walking, so that she was unable to socialize with other children until the age of six. After her recovery she emerged as an adventurous and tomboyish child who preferred playing with the children from the poorer neighborhood, much to the disapproval of her class-conscious parents.

She attended boarding school at Chatham Episcopal Institute (now Chatham Hall), where she was president of the student body and delivered the salutatory oration in 1927. She moved to Boston and lived with her half-sister, Weedie, while she studied dance at the Boston Denishawn studio and (against her parents' wishes) drama at the Copley Theatre. When her parents cut her allowance to a minimum, Sullavan defiantly paid her way by working as a clerk in the Harvard Cooperative Bookstore (The Coop), located in Harvard Square, Cambridge.

Sullavan succeeded in getting a chorus part in the Harvard Dramatic Society 1929 spring production Close Up, a musical written by Harvard senior Bernard Hanighen, who was later a composer for Broadway and Hollywood.

The President of the Harvard Dramatic Society, Charles Leatherbee, along with the President of Princeton's Theatre Intime, Bretaigne Windust, who together had established the University Players on Cape Cod the summer before, persuaded Sullavan to join them for their second summer season. Another member of the University Players was Henry Fonda, who had the comic lead in Close Up.

In the summer of 1929 Sullavan appeared opposite Fonda in The Devil in the Cheese, her debut on the professional stage. She returned for most of the University Players' 1930 season. In 1931, she squeezed in one production with the University Players between the closing of the Broadway production of A Modern Virgin in July and its tour in September. She rejoined the University Players for most of their 18-week 1930–31 winter season in Baltimore.

Sullavan's parents did not approve of her choice of career. She played the lead in Strictly Dishonorable (1930) by Preston Sturges, which her parents attended. Confronted with her evident talent, their objections ceased. "To my deep relief", Sullavan later recalled. "I thought I'd have to put up with their yappings on the subject forever."

A Shubert scout saw her in that play as well and eventually she met Lee Shubert himself. At the time, Sullavan was suffering from a bad case of laryngitis and her voice was huskier than usual. Shubert loved it. In subsequent years Sullavan would joke that she cultivated that "laryngitis" into a permanent hoarseness by standing in every available draft.

Sullavan made her debut on Broadway in A Modern Virgin (a comedy by Elmer Harris), on May 20, 1931.

At one point in 1932 she starred in four Broadway flops in a row (If Love Were All, Happy Landing, Chrysalis (with Humphrey Bogart) and Bad Manners), but the critics praised Sullavan for her performances in all of them. In March 1933, Sullavan replaced another actor in Dinner at Eight in New York. Movie director John M. Stahl happened to be watching the play and was intrigued by Sullavan. He decided she would be perfect for a picture he was planning, Only Yesterday.

At that time Sullavan had already turned down offers for five-year contracts from Paramount and Columbia. Sullavan was offered a three-year, two-pictures-a-year contract at $1,200 a week. She accepted it and had a clause put in her contract that allowed her to return to the stage on occasion. Later on in her career, Sullavan would sign only short-term contracts because she did not want to be "owned" by any studio.

Sullavan arrived in Hollywood on May 16, 1933, her 24th birthday. Her film debut came that same year in Only Yesterday. She chose her scripts carefully. She was dissatisfied with her performance in Only Yesterday. When she saw herself in the early rushes, she was so appalled that she tried to buy out her contract for $2,500, but Universal refused.

In his November 10, 1933, review in The New York Herald Tribune, Richard Watts, Jr. wrote that Sullavan "plays the tragic and lovelorn heroine of this shrewdly sentimental orgy with such forthright sympathy, wise reticence and honest feeling that she establishes herself with some definiteness as one of the cinema people to be watched".[11] She followed that role with one in Little Man, What Now? (1934), about a couple struggling to survive in impoverished post–World War I Germany.

Originally, Universal was reluctant to make a movie about unemployment, starvation and homelessness, but Little Man was an important project to Sullavan. After Only Yesterday she wanted to try "the real thing". She later said that it was one of the few things she did in Hollywood that gave her a great measure of satisfaction. The Good Fairy (1935) was a comedy that Sullavan chose to illustrate her versatility. During the production, she married its director, William Wyler.

King Vidor's So Red the Rose (1935) dealt with people in the South in the aftermath of the Civil War. It preceded by one year the publication of Margaret Mitchell's bestselling novel Gone With the Wind, and the novel's film adaptation by four years; the latter became a blockbuster. Sullavan played a childish Southern belle who matures into a responsible woman. The film also dealt with the situation of characters who were freed black slaves.

In Next Time We Love (1936), Sullavan plays opposite the then-unknown James Stewart. She had been campaigning for Stewart to be her leading man and the studio complied for fear that she would stage a threatened strike. The film dealt with a married couple who had grown apart over the years. The plot was unconvincing and simple, but the gentle interplay between Sullavan and Stewart saves the movie from being a soapy and sappy experience. Next Time We Love was the first of four films made by Sullavan and Stewart.

In the comedy The Moon's Our Home (1936), Sullavan played opposite her ex-husband Henry Fonda. The original script was rather pallid, and Dorothy Parker and Alan Campbell were brought in to punch up the dialogue, reportedly at Sullavan's insistence. Sullavan and Fonda play a newly married couple, and the movie is a cavalcade of insults and quips. Her seventh film, Three Comrades (1938), is a drama set in post–World War I Germany. Three returning German soldiers meet Sullavan who joins them and eventually marries one of them. She gained an Oscar nomination for her role and was named the year's best actress by the New York Film Critics Circle.

Sullavan reunited with Stewart in The Shopworn Angel (1938). Stewart played a sweet, naive Texan soldier on his way to Europe (World War I) who marries Sullavan on the way. Her ninth film was the rather soapy The Shining Hour (1938), playing the suicidal sister-in-law to Joan Crawford. In The Shop Around the Corner (1940), Sullavan and Stewart worked together again, playing colleagues who do not get along at work, but have both responded to a lonely-hearts ad and are (without knowing it) exchanging letters with each other.

The Mortal Storm (1940) was the last movie Sullavan and Stewart did together. Sullavan played a young German girl engaged in 1933 to a confirmed Nazi (Robert Young). When she realizes the true nature of his political views, she breaks the engagement and turns her attention to anti-Nazi Stewart. Later, trying to flee the Nazi regime, Sullavan and Stewart attempt to ski across the border to safety in Austria. Sullavan is gunned down by the Nazis (under orders from her ex-fiance). Stewart, at her request, picks up the dying Sullavan and takes her by skis into Austria, so she can die in what was still a free country.

Back Street (1941) was lauded as one of the best performances of Sullavan's Hollywood career. She wanted Charles Boyer to play opposite her so much that she agreed to surrender top billing to him. Boyer plays a selfish and married banker and Sullavan his long-suffering mistress. Although he loves Sullavan, he is unwilling to leave his wife and family in favour of her. So Ends Our Night (1941) was another wartime drama. Sullavan (on loan for a one-picture deal from Universal) plays a Jewish girl perpetually on the move with falsified passport and identification papers and always fearing that the officials will discover her. On her way across Europe, she meets up with a young Jewish man (Glenn Ford) and the two fall in love.

A 1940 court decision obligated Sullavan to fulfill her original 1933 agreement with Universal, requiring her to make two more films for them. Back Street (1941) came first. The light comedy, Appointment for Love (1941), was Sullavan's last picture with that company. In the film, Sullavan appeared with Boyer again. Boyer's character marries Sullavan, who tells him that his past affairs mean nothing to her. She insists that each must have an apartment in the same building and that they meet only once a day, at seven o'clock in the morning.

Cry 'Havoc' (1943) is a World War II drama and a rare all-female film. Sullavan played the strong mother figure who keeps a crew of nurses in line in a dugout in Bataan, while they are awaiting the advance of Japanese soldiers who are about to take over. It was the last film Sullavan made with Metro-Goldwyn-Mayer. After its completion, she was free of all film commitments. She had often referred to MGM and Universal as "jails". When her husband, Leland Hayward, tried to read her the good reviews of Cry 'Havoc', she responded with usual bluntness: "You read them, use them for toilet paper. I had enough hell with that damned picture while making it – I don't want to read about it now!"

Sullavan's co-starring roles with James Stewart are among the highlights of their early careers. In 1935, Sullavan had decided on doing Next Time We Love. She had strong reservations about the story, but had to "work off the damned contract". The script contained a role she thought might be ideal for Stewart, who was best friends with Sullavan's first husband, actor Henry Fonda. Years earlier, during a casual conversation with some fellow actors on Broadway, Sullavan predicted Stewart would become a major Hollywood star.

By 1936, Stewart was a contract player at MGM but getting only small parts in B-movies. At that time Sullavan worked for Universal and when she brought up Stewart's name, they were puzzled. The Universal casting people had never heard of him. At Sullavan's suggestion Universal agreed to test him for her leading man and eventually he was borrowed from a willing MGM to star with Sullavan in Next Time We Love.

Stewart had been nervous and unsure of himself during the early stages of production. At that time he had only had two minor MGM parts which had not given him much camera experience. The director, Edward H. Griffith, began bullying Stewart. "Maggie, he's wet behind the ears," Griffith told Sullavan. "He's going to make a mess of things."

She believed in Stewart and spent evenings coaching him and helping him scale down his awkward mannerisms and hesitant speech that were soon to be famous around the world. "It was Margaret Sullavan who made James Stewart a star," director Griffith later said. "And she did, too," Bill Grady from MGM agreed. "That boy came back from Universal so changed I hardly recognized him." Gossip in Hollywood at that time (1935–36) was that William Wyler, Sullavan's then-husband, was suspicious about his wife's and Stewart's private rehearsing together.

When Sullavan divorced Wyler in 1936 and married Leland Hayward that same year, they moved to a colonial house just a block down from Stewart.[22] Stewart's frequent visits to the Sullavan/Hayward home soon restoked the rumors of his romantic feelings for Sullavan. Sullavan and Stewart's second movie together was The Shopworn Angel (1938). "Why, they're red-hot when they get in front of a camera," Louis B. Mayer said about their onscreen chemistry. "I don't know what the hell it is, but it sure jumps off the screen."

Walter Pidgeon, who was part of the triangle in The Shopworn Angel later recalled: "I really felt like the odd-man-out in that one. It was really all Jimmy and Maggie ... It was so obvious he was in love with her. He came absolutely alive in his scenes with her, playing with a conviction and a sincerity I never knew him to summon away from her." Eventually the duo made four movies together between 1936 and 1940 (Next Time We Love, The Shopworn Angel, The Shop Around the Corner, and The Mortal Storm).

Sullavan took a break from films from 1943-50. Throughout her career, Sullavan seemed to prefer the stage to the movies. She felt that only on the stage could she improve her skills as an actor. "When I really learn to act, I may take what I have learned back to Hollywood and display it on the screen", she said in an interview in October 1936 (when she was doing Stage Door on Broadway between movies). "But as long as the flesh-and-blood theatre will have me, it is to the flesh-and-blood theatre I'll belong. I really am stage-struck. And if that be treason, Hollywood will have to make the most of it".

Another reason for her early retirement from the screen (1943) was that she wanted to spend more time with her children, Brooke, Bridget and Bill (then 6, 4 and 2 years old). She felt that she had been neglecting them and felt guilty about it.[25] Sullavan would still do stage work on occasion. From 1943–44 she played the sexually inexperienced but curious Sally Middleton in The Voice of the Turtle (by John Van Druten) on Broadway and later in London (1947). After her short return to the screen in 1950 with No Sad Songs for Me, she did not return to the stage until 1952.

Her choice then was as the suicidal Hester Collyer, who meets a fellow sufferer, Mr. Miller (played by Herbert Berghof), in Terence Rattigan's The Deep Blue Sea. In 1953 she agreed to appear in Sabrina Fair by Samuel Taylor.

She came back to the screen in 1950 to do one last picture, No Sad Songs for Me. She played a suburban housewife and mother who learns that she will die of cancer within a year and who then determines to find a "second" wife for her soon-to-be-widower husband (Wendell Corey). Natalie Wood, then eleven, plays their daughter.

After No Sad Songs for Me and its favorable reviews, Sullavan had a number of offers for other films, but she decided to concentrate on the stage for the rest of her career.

In 1955–56 Sullavan appeared in Janus, a comedy by playwright Carolyn Green. Sullavan played the part of Jessica who writes under the pen name Janus, and Robert Preston played her husband. The play ran for 251 performances from November 1955 to June 1956.

In the late 1950s Sullavan's hearing and depression were getting worse. However, in 1959 she agreed to do Sweet Love Remembered by playwright Ruth Goetz. It was to be Sullavan's first Broadway appearance in four years. Rehearsals began on December 1, 1959. She had mixed emotions about a return to acting and her depression soon became clear to everyone: "I loathe acting", she said on the very day she started rehearsals. "I loathe what it does to my life. It cancels you out. You cannot live while you are working. You are a person surrounded by an unbreachable wall".

On December 18, 1955, Sullavan appeared as the mystery guest on the TV panel show What's My Line?.

Sullavan had a reputation for being both temperamental and straightforward. On one occasion Henry Fonda had decided to take up a collection for a 4th of July fireworks display. After Sullavan refused to make a contribution, Fonda complained loudly to a fellow actor. Then Sullavan rose from her seat and doused Fonda from head to foot with a pitcher of ice water. Fonda made a stately exit, and Sullavan, composed and unconcerned, returned to her table and ate heartily. Another of her blowups almost killed Sam Wood, one of the founders of the Motion Picture Alliance. Wood was a keen anti-Communist. He dropped dead from a heart attack shortly after a raging argument with Sullavan, who had refused to fire a writer on a proposed film on account of his left-wing views. Louis B. Mayer always seemed wary and nervous in her presence. "She was the only player who outbullied Mayer", Eddie Mannix of MGM later said of Sullavan. "She gave him the willies".

Sullavan was married four times. She married actor Henry Fonda on December 25, 1931, while both were performing with the University Players in its 18-week winter season in Baltimore at the Congress Hotel Ballroom on West Franklin Street near North Howard St. Sullavan and Fonda separated after two months and divorced in 1933.

After separating from Fonda, Sullavan began a relationship with Broadway producer Jed Harris. She later began a relationship with William Wyler, the director of her next movie, The Good Fairy (1935). They were married in November 1934, and divorced in March 1936.

Sullavan's third marriage was to agent and producer Leland Hayward. Hayward had been Sullavan's agent since 1931. They married on November 15, 1936. At the time of the marriage, Sullavan was pregnant with the couple's first child. Their daughter, Brooke, was born in 1937 and later became an actress. The couple had two more children, Bridget (1939 – October 17, 1960) and William III "Bill" (1941–2008), who became a film producer and attorney. In 1947, Sullavan filed for divorce after discovering that Hayward was having an affair with socialite Slim Keith. Their divorce became final on April 20, 1948.

In 1950, Sullavan married for a fourth and final time to English investment banker Kenneth Wagg. They remained married until her death in 1960.

Sullavan’s children, in particular Bridget and Bill, often proved rebellious and contrary. As a result of the divorce from Hayward, the family fell apart. Sullavan felt that Hayward was trying to alienate their children from her. When the children went to California to visit their father they were so spoiled with expensive gifts that, when they returned to their mother in Connecticut, they were deeply discontented with what they saw as a staid lifestyle.

By 1955, when Sullavan's two younger children told their mother that they preferred to stay with their father permanently, she suffered a nervous breakdown. Sullavan's eldest daughter, Brooke, later wrote about the breakdown in her 1977 autobiography Haywire: Sullavan had humiliated herself by begging her son to stay with her. He remained adamant and his mother had started to cry. "This time she couldn't stop. Even from my room the sound was so painful I went into my bathroom and put my hands on my ears". In another scene from the book, a friend of the family (Millicent Osborne) had been alarmed by the sound of whimpering from the bedroom: "She walked in and found mother under the bed, huddled in a foetal position. Kenneth was trying to get her out. The more authoritative his tone of voice, the farther under she crawled. Millicent Osborne took him aside and urged him to speak gently, to let her stay there until she came out of her own accord". Eventually Sullavan agreed to spend some time (two and a half months) in a private mental institution. Her two younger children, Bridget and Bill, also spent time in various institutions. Bridget died of a drug overdose in October 1960, while Bill died of a self-inflicted gunshot wound in March 2008.

Sullavan suffered from the congenital hearing defect otosclerosis that worsened as she aged, making her more and more hearing impaired. Her voice had developed a throatiness because she could hear low tones better than high ones. From early 1957, Sullavan's hearing declined so much that she was becoming depressed and sleepless and often wandered about all night. She would often go to bed and stay there for days, her only words: "Just let me be, please". Sullavan had kept her hearing problem largely hidden. On January 8, 1960 (one week after Sullavan's death), The New York Post reporter Nancy Seely wrote: "The thunderous applause of a delighted audience—was it only a dim murmur over the years to Margaret Sullavan? Did the poised and confident mien of the beautiful actress mask a sick fear, night after night, that she'd miss an important cue?"

On January 1, 1960, at about 5:30 p.m., Sullavan was found in bed, barely alive and unconscious, in a hotel room in New Haven, Connecticut. Her copy of the script to Sweet Love Remembered, in which she was then starring during its tryout in New Haven, was found open beside her. Sullavan was rushed to Grace New Haven Hospital, but shortly after 6:00 p.m. she was pronounced dead on arrival.[38] She was 50 years old. No note was found to indicate suicide, and no conclusion was reached as to whether her death was the result of a deliberate or an accidental overdose of barbiturates. The county coroner officially ruled Sullavan's death an accidental overdose. After a private memorial service was held in Greenwich, Connecticut, Sullavan was interred at Saint Mary's Whitechapel Episcopal Churchyard in Lancaster, Virginia.

For her contribution to the motion picture industry, Margaret Sullavan has a star on the Hollywood Walk of Fame located at 1751 Vine Street. She was inducted, posthumously, into the American Theater Hall of Fame in 1981.

Sullavan's eldest daughter, actress Brooke Hayward, wrote Haywire, a best-selling memoir about her family, that was adapted into the miniseries Haywire that aired on CBS starring Lee Remick as Margaret Sullavan and Jason Robards as Leland Hayward.

#margaret sullavan #classic hollywood #classic movie stars #golden age of hollywood #old hollywood #1930s hollywood #1940s hollywood #1950s hollywood

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