#Louis bonnets ghost stories

[ask-louis-bonnet]

oo i get to tell the bedtime stories this time.

i was asleep (honest, i was.) when i got woken up by loud banging and yelling coming from my closet. so i went to check it out.

@ask-alma-bonnet was there. she can vouch for me.

[ask-louis-bonnet]

most of them are kind, just weird.

most of them.

you should tell your guests the inn is slightly haunted to explain any... errant noises...

Louis says it really is haunted... Course I don't believe in ghosts, but what are innkeepers for if not to create a little local legend?

[vermilionsun]

This post translates directly to @musas-sideblog's about how Touchstarved ties with Victorian horror and implicit/metaphorical sex, and I couldn’t stop thinking about it, so here is a lengthy theory. Enjoy :)

Note 1: Victorian era authors used an unholy amount of ways to imply sexual feelings/acts etc, so I here I will include only the ones that are of interest. Note 2: I've highlighted the "most important" parts. Note 3: I'm not an expert at this, so please bear with me and feel free to correct me. Note 4: Do I need to add a TW? I think it's obvious-

Overview: What is Victorian Horror?

Victorian horror refers to the genre of horror literature, art, and culture that flourished during the Victorian era, roughly from the mid-19th century to the early 20th century, coinciding with Queen Victoria's reign from 1837 to 1901. This period was marked by a fascination with the macabre, the supernatural, and the dark aspects of human nature, reflecting the anxieties and societal changes of the time. 

Key Themes and Characteristics

Supernatural Elements:

Ghosts and Spirits: Tales of haunted houses and spectral apparitions were central to Victorian horror. Charles Dickens's "A Christmas Carol" (1843) and Henry James's "The Turn of the Screw" (1898) are notable examples.

Monsters and the Gothic: The era's literature is filled with monstrous creations and gothic settings, such as in Mary Shelley's "Frankenstein" (1818), Bram Stoker's "Dracula" (1897), and Robert Louis Stevenson's "Strange Case of Dr Jekyll and Mr Hyde" (1886).

Science and the Unknown:

The Victorian period was a time of great scientific advancement, but also of fear about the implications of these discoveries. This is evident in works that explore the dangers of unchecked scientific experimentation, like "Frankenstein" and H.G. Wells's "The Island of Doctor Moreau" (1896).

Exploration of the Human Psyche:

Victorian horror often delved into the darker aspects of the human mind, including themes of duality, madness, and the hidden, sinister side of human nature. This is seen in "Dr Jekyll and Mr Hyde" and Edgar Allan Poe’s works, such as "The Tell-Tale Heart" (1843).

Social and Moral Anxieties:

The literature frequently reflected Victorian society's fears and anxieties, including issues related to sexuality, class, and the role of women. Gothic novels often contained subtexts about societal norms and the consequences of transgressing them.

Urban Fear and Isolation:

The rapid urbanisation of the Victorian era contributed to themes of isolation, alienation, and fear of the crowded yet lonely cityscape. This is evident in the settings of many horror stories, such as Arthur Machen's "The Great God Pan" (1894).

Sexual Content: Victorian literature is renowned for its strict moral codes and conservative views on sexuality. Explicit depictions of sexual activity were considered taboo and were subject to censorship. Consequently, authors developed subtle and nuanced methods to imply sexual scenes or themes.

Literary Techniques for Implying Sexual Scenes

✧ Symbolism and Imagery:

Sexuality was often conveyed through symbolic imagery. Objects, actions, or natural phenomena could serve as metaphors for sexual activity or desire. For example, in "Dracula" by Bram Stoker, blood and biting symbolise sexual penetration and the exchange of bodily fluids, infusing the act with a sense of forbidden desire and eroticism.

Clothing and Undress:

Gloves: In Victorian culture, gloves were highly symbolic. The act of a woman removing her gloves in the presence of a man, or a man assisting her in this act, could signify a moment of intimacy or vulnerability. Similarly, a man giving a woman his gloves could be a sign of affection or a deeper connection.

Hats and Bonnets:

Corsets

Objects and Personal Items:

Locks of Hair

Jewellery

Books and Letters

Touch and Physical Contact:

Kissing Hands

Hand-Holding

Food and Drink:

Wine: Sharing wine or a meal in an intimate setting often suggested a prelude to deeper connection. Descriptions of characters drinking wine together in private could imply a romantic or sexual undertone.

Fruit: Certain fruits, like apples, grapes, or peaches, were laden with sexual symbolism. Eating or sharing fruit could represent temptation or indulgence. For instance, in Christina Rossetti’s poem "Goblin Market", the act of eating the goblin fruit is rich with sexual symbolism.

Flora and Fauna

Flowers and Gardens:

Roses: Roses were often used to symbolise love and passion. A red rose might suggest romantic or sexual attraction, while a wilted rose could imply lost innocence or sexual ruin.

Lilies: Lilies, especially white ones, represented purity but could also suggest a contrasting theme when associated with a fallen or tarnished character.

Garden Settings: Scenes set in secluded gardens or amongst lush, overgrown vegetation often hinted at secret or forbidden encounters. Descriptions of characters wandering through or tending to gardens could imply sexual exploration or awakening.

Flowers Blooming or Opening:  The blooming of flowers often represented sexual awakening or the act of losing one's virginity.

Nature Imagery:

Rivers and Water: Flowing water and rivers often symbolised sexual desire and the act of lovemaking. For instance, in "Tess of the d'Urbervilles" by Thomas Hardy, Tess's encounter with Alec d'Urberville is often described with metaphors of nature and fluidity.

Storms and Weather: Storms, with their intense energy and sudden outbursts, were frequently used to symbolise sexual passion or climactic moments.

Birds and Beasts:

Animals, especially those that are wild or predatory, often symbolised primal sexual instincts and desires. The taming or interaction with these animals could imply a character’s grappling with their own sexuality.

Fire and Heat

✧ Phrases and Sayings

Euphemistic Language

Descriptive Phrasing

Dialogue and Confessions

Private Spaces:

Secluded or Dimly Lit Rooms: Scenes set in private, darkened rooms often suggested clandestine sexual encounters. The privacy of the setting allows authors to imply what could not be explicitly stated. In Wilkie Collins’s "The Woman in White", many key interactions happen in secluded spaces, hinting at secrets and hidden desires.

Dreams and Fantasies:

Dream Sequences:

Dreams and fantasies were used to explore a character’s subconscious desires and fears, often revealing their suppressed sexual longings. These sequences provided a socially acceptable way to delve into erotic themes.

Hallucinations and Madness:

Moments of madness or hallucination could serve as a metaphor for overwhelming passion or uncontrollable sexual desire. These states allowed characters to express forbidden feelings in a way that was metaphorically safe.

Physical Interactions and Horror

Touch and Proximity as Menace:

Unwanted or Forced Touch: In horror, touch that is typically a sign of affection or intimacy becomes a source of fear.

Physical Closeness in Horror Settings: Close proximity in dark, secluded places amplifies the sense of claustrophobia and vulnerability, turning what could be an intimate setting into one fraught with terror.

Undress and Exposure in Horror:

Loosening Corsets and Vulnerability: The act of undressing or loosening clothing, which can be a prelude to intimacy, in horror often leaves characters vulnerable to attack or exposure of their deepest fears.

Food and Consumption in Horror

Cannibalism and Vampirism:

Blood as Sexual and Vital Fluid: The act of consuming blood, as in vampirism, blends the themes of sustenance and sexual exchange. The vampire's bite becomes a metaphor for both sexual penetration and the transfer of life force.

Example: "Dracula" is a prime example where blood consumption is deeply eroticized, with Dracula’s victims often portrayed in a state of ecstatic submission as he drains their blood.

Food as a Lure: Food and feasting, typically symbols of pleasure and indulgence, in horror contexts can be used to lure victims into dangerous situations.

Example: In "Goblin Market" by Christina Rossetti, the goblins’ fruit is both irresistibly tempting and dangerous, representing a forbidden and potentially fatal indulgence.

Plot and Character Dynamics in Horror

Power and Domination:

Common Dynamics with a Dark Twist

Predators and Victims: Characters who prey on others are often literal monsters in horror, representing the loss of control or innocence.

Secrecy and Concealment:

Hidden Desires and Monstrous Revelations: Characters who conceal their true identities or desires often find these hidden aspects manifesting as monstrous or terrifying in horror narratives, suggesting that repression can lead to dire consequences.

Clandestine Meetings and Forbidden Encounters: Secret meetings and forbidden relationships, often tinged with sexual implications, add an element of danger and fear, suggesting that transgressing social norms leads to horror.

Common Themes in Victorian Horror

Duality and the Doppelgänger:

Theme: The concept of duality, where a character has a hidden, darker side, or encounters a double (doppelgänger), often symbolises the internal conflict between good and evil within individuals.

Connection: This theme reflects Victorian anxieties about identity, morality, and the consequences of repressing one’s darker impulses.

Gothic and Supernatural Elements:

Theme: Victorian horror is rich with Gothic elements such as haunted houses, dark landscapes, and supernatural beings. These elements create a sense of dread and evoke the mysteries of the unknown.

Connection: The Gothic setting often serves as a backdrop for exploring human fears, isolation, and the impact of the supernatural on everyday life.

Decay and Degeneration:

Theme: The fear of decay and degeneration, both physical and moral, is a recurring motif. This theme often examines the decline of individuals, families, or societies and the consequences of corruption and vice.

Connection: This theme mirrors Victorian concerns about the erosion of social and moral values amidst rapid industrial and social changes.

Madness and Psychological Horror:

Theme: The exploration of madness and psychological horror delves into the fragility of the human mind and the terror of losing one's sanity. This often includes hallucinations, obsessions, and the thin line between reality and delusion.

Connection: This theme resonates with Victorian fears of mental illness, the limitations of medical knowledge, and the impact of societal pressures on mental health.

Forbidden Knowledge and the Faustian Bargain:

Theme: The pursuit of forbidden knowledge and the resulting consequences is a central theme. Characters who seek power, immortality, or forbidden truths often pay a heavy price, reminiscent of the Faustian bargain.

Connection: This theme highlights Victorian anxieties about scientific progress, moral boundaries, and the potential hubris of human ambition.

The Uncanny and the Unknown:

Theme: The uncanny involves the strange and unfamiliar becoming eerily familiar, often unsettling the reader and characters. It blurs the lines between reality and the supernatural, invoking fear and discomfort.

Connection: This theme taps into Victorian fears of the unknown, the foreign, and the otherworldly, reflecting broader anxieties about social and cultural boundaries.

Death and the Afterlife:

Theme: Victorian horror frequently grapples with themes of death and the afterlife, exploring the fear of mortality, the possibility of an afterlife, and encounters with the dead or undead.

Connection: These themes reflect Victorian preoccupations with death, the spiritual realm, and the possibility of life beyond death, often intensified by the era's high mortality rates and interest in spiritualism.

Isolation and Alienation:

Theme: Isolation and alienation are prevalent themes, often highlighting characters who are physically or emotionally detached from society, leading to their vulnerability and descent into despair or madness.

Connection: This theme resonates with the Victorian experience of industrialization and urbanization, which often led to feelings of disconnection and loneliness.

Class and Social Anxiety:

Theme: Victorian horror often explores themes of class and social anxiety, including the fear of losing social status, the consequences of poverty, and the tension between different social classes.

Connection: This theme reflects the rigid class structures of Victorian society and the fears and tensions that arose from social mobility and economic disparity.

Moral Corruption and Hypocrisy:

Theme: Victorian horror frequently critiques the era’s moral standards and exposes the hypocrisy of societal norms. Characters who appear virtuous often harbor dark secrets or engage in morally dubious activities.

Connection: This theme mirrors the Victorian concern with appearances and the underlying tension between public propriety and private desires.

The Five Pillars of Victorian Horror & The Five Love Interests

The Supernatural and the Gothic (Ais)

Essence: Victorian horror often revolves around the supernatural, blending Gothic elements to evoke a sense of dread and otherworldly terror. This includes ghosts, vampires, haunted houses, and curses, which create an atmosphere where the boundaries between the natural and the supernatural blur.

Impact: The use of Gothic settings and supernatural phenomena provides a backdrop for exploring deeper themes of fear, mortality, and the unknown.

Psychological Depth and Madness (Vere)

Essence: Victorian horror delves into the complexities of the human mind, exploring themes of madness, obsession, and the psychological effects of fear and trauma. Characters often grapple with their sanity, facing inner demons as terrifying as any external threat.

Impact: This focus on psychological horror allows for a deeper exploration of character motivations and the impact of societal pressures.

Moral Corruption and the Double Life (Leander)

Essence: Themes of moral corruption and the duality of human nature are central to Victorian horror. Characters often lead double lives, presenting a veneer of respectability while concealing dark, sinful secrets. This tension between outward appearances and hidden truths reflects the era’s social hypocrisy and fear of scandal.

Impact: These themes critique Victorian society’s emphasis on propriety and the dangerous consequences of repressing one’s true nature. The idea of a double life or hidden self adds to the horror by suggesting that evil can reside within anyone, masked by a facade of normalcy.

Decay, Degeneration, and Disease (Kuras)

Essence: The themes of physical and moral decay, societal degeneration, and disease permeate Victorian horror. These motifs symbolise the fragility of human life and the inevitability of decline, reflecting the anxieties of a society grappling with rapid change and uncertain futures.

Impact: By focusing on decay and degeneration, Victorian horror underscores the transient nature of life and the ever-present threat of corruption and decline, whether through ageing, moral compromise, or societal breakdown.

Isolation and Alienation (Mhin)

Essence: Isolation and alienation are pervasive themes in Victorian horror, often depicted through characters who are physically or emotionally cut off from society. This separation heightens their vulnerability to external threats and internal fears.

Impact: Isolation serves to intensify the psychological tension and sense of dread, as characters confront their fears alone. It also reflects the era’s social and existential anxieties, including the fear of being disconnected or outcast from society.

Generally, I believe each LI connects with a pillair (as seen above). Perhaps by looking at the archetypes we could deduce propable endings and route elements.

Forgive me, for the following part is MESSY;

Ais

Vere

Leander

Kuras

Mhin

[thequeenhasnolife]

Title: Keep 'Em Rolling Author: TheQueenHasNoLife Artist: PhantomEllie Beta reader: Anonymous

Characters:

Stede Bonnet

Blackbeard | Edward Teach

Jim Jimenez

Oluwande Boodhari

Alma Bonnet

Louis Bonnet

Mary Allamby Bonnet

Doug (Our Flag Means Death)

Lucius Spriggs

Relationship(s):

Blackbeard | Edward Teach/Stede Bonnet

Oluwande Boodhari/Jim Jimenez

Mary Allamby Bonnet/Doug

Mary Allamby Bonnet & Stede Bonnet

Rating: Explicit

Additional Tags:

Ghostbusting (Ghostbusters)

I Ain't Afraid of No Ghost (Ghostbusters)

Slime

Magical Realism

Horror

Body Horror

Psychological Horror

Angst and Hurt/Comfort

Stede Bonnet's Fucked Up Childhood

Stede Bonnet is Not Okay

Blackbeard | Edward Teach is Not Okay

Jim Jimenez deserves a raise

Cults

Embedded Images

child endangerment

Warnings: Graphic Depictions Of Violence, Major Character Death

Summary:

After saving New York City from a ghost attack, the Ghostbusters -- a team of spirit exterminators -- is disbanded as the mayor blames them for demolishing parts of the city during the battle. When former Ghostbuster Stede Bonnet learns that spirits have taken an interest in his kids, after the death of his ex-wife. The Ghostbusters launch a rogue ghost-chasing mission. The quest quickly goes awry, landing them in court. Not only for the property damage but for the child endangerment. The world had shifted off its axis and the only people to call have retired.

As a warning Stede's children are an active danger during the story. There are malevolent forces at work. And that isn't resolved in this half of the story. Things are going to get worse before they get better.

Wordcount: 19k+

Link to art masterpost

https://phantom-ellie.tumblr.com/private/734733784738643968/tumblr_OyO71YFnjV9ihcE90

Link to story

[the-late-one]

In today’s episode of “Ideas for fanfictions I will never write” :

What if in season 2, Ed start searching for Stede for some reason (I don’t know, maybe he wants to check on death rumors), and end up at Mary’s house...

 

Someone banged at the door. Mary went to open, wondering who was banging so violently.

“ Yes ? She said, rising her eyes to the stranger behind the door.

Edward was standing in front of her with a threatening face.

         - Mary Bonnet ?

Mary hesitated.

-   Y-Yes ?

      - Wife of Stede Bonnet ?

        - Well... yes but-

       -  Is Stede here ?

She raised her eyebrows.

        - I'm afraid you missed him.

   - He escaped ?

Mary looked at him from head to toes as Edward passed a head through the door to look inside from left to right.

      - Not really. He is deceased.

Edward slowly moved back, turning his look at her without words, mouthing “What ?” but no sound escaped between his teeth.

      - He died two months ago, continued Mary. Rolled over by a carriage.

Ed eyes widened. He tried to guess if the woman was lying to him, but couldn’t. His ears started to ring.

       -  And crushed by a piano. He really didn’t get any chances.

The pirate face became as pale as a ghost. He couldn’t believe what he just heard. Stede dead ? Mary kept going.

       - We held funerals for him and everything. Maybe you want to know where we buried him ?

Edward tried to talk, but his throat tightened. He turned over to hide his face, while realising the truth.

        -  I’m sorry. Maybe I can help you ? What do you want ?

Ed grumbled as an answer, before starting to walk away. Stede is dead. Dead. Not that he wasn’t planning on maybe killing him but... No. Of course he wasn’t planning that ! How could he ? He never wanted this. Not for real. He wanted to see him, hold him, tell him-

         - Excuse me ?!

Mary yelled at him from the porch.

         - Who are you ? She asked.

Ed stopped. He thought for a second before turning back at her, hesitating.

         - I’m B-... I’m Edward. Edward Teach.

Mary nodded with a little smile. The captain was about to walk away when suddenly-

         - Ed ?

Edward almost jumped and turned completely to her, crossing his eyebrows.

       - You are Ed ? You’re his Ed ?

Ed stared at her like he just got shot.

        - Oh my god... But he said he was joining you. Is he not with you ?

Edward open his arms in disbelief.

       - I thought you said he was dead ?

Mary’s expression changed completely in a frightened face.

        - ... He might be now.”

 

X

Mary was sitting in the salon while Edward walked around the room, discovering every detail of his friend’s old house. The captain was holding a glass of wine offered by the so-widow as he left his fingers tracing the lines of all the objects hanging on the wall.

Mary finished telling the story of the fuckery and how Stede escaped.

“That’s what happened for what I know. I really thought he was with you, he looked so determined."

Edward wasn’t answering, too focused on his exploration. Mary put her own glass away.

         "You... I’m sorry but, I really wasn’t imagining you... like that ?"

Ed finally looked at her.

         "I mean, when you look at Stede, I was imagining someone more... You know... Less..."

They stared at each other in silence.

       "Anyway, you look perfect as you are (I suppose). He talked about you a night long before he left. You really turned his brain inside out."

Edward was about to say something, when the kids entered the house. Mary stood up. After some brief salutations, she turned back to Ed.

         "Oh, these are our kids. Children, this is Mr. Teach. A friend of your father. Or, sorry, should I say Captain Teach ?"

The pirate tilted his head with a little growl of approval.

         " Are you a real pirate ?" Asked Louis.

Edward hesitated, exchanging a look with Mary.

         "Yeah."

        "Woah !"

The children approached him, exploring his look with their eyes.

         "You look so cool !"

         "You’re a captain ? You have your own ship ?"

Edward was overwhelmed before the two replicas of Stede. He couldn’t help but smile a little as the kids stared at him with stars in their eyes.

         "Y-yeah."

         "Woaaah !"

        "Is that a real gun ? Don’t pirate have a sword ?"

        "Did you kill a lot of people ?"

        "Okay kids, time to leave the adults talk about adults things."

And Mary guided them away. Once they were out, she turned to Edward.

         "I’m sorry. They always loved pirate stories. Stede was good at reading them. I never really approved that."

         "I should go now. Thank you for telling me the truth."

        " Can I ask you something ? Before we never meet again ?"

Edward looked at her right in the eyes.

        "Can you find him for me ? Just make sure he don’t die for real. Not stupidly at least. Can you ?"

The captain headed for the door.

         "I’ll try.”

 

X

 

Izzy got dumped from the Revenge by Edward. He found a ship and got captured, or more left him get caught. What a surprise it was to find that on that same boat, the rest of the Revenge crew got enrolled too, with of course, their captain.

“Stede Focking Bonnet...”

He got taken as part of the crew.

Izzy and Stede found themselves brushing the deck together. Izzy sneaked next to Stede.

“How small is the world uh ? "

         "What are you doing here ?" Asked Stede. "Is Edward waiting somewhere ?"

        "Oh no. It’s more the inverse. See, he was searching for you lately-"

         "Really ?"

         "Yeah. I don’t really know his attentions, but he found you wife. Or should I say your widow..."

Stede face blanked. Mary ? Why would he find her ?

          "Don’t look at me like that Bonnet. You know him. He didn’t touch her. No you know what they did ? They talked. And when he came back, he rejected everything that happened on me. He fired me, and said he was gonna find you."

         "She told him about the fuckery..."

         "I don’t know what she told him exactly, but she turned his brain upside down, like you did before. He is the shadow of himself again."

         "Mary..."

         "Anyway. He shipped in the wrong direction. So no. Edward is not around. I’m alone here, starting to think about retiring. The rest of your stupid crew is alright by the way. Well, minus one."

         "Someone is dead ?"

         "Most likely, he disappeared one night after a walk on the deck."

Stede contained himself to grab Izzy by the collar.

         "Who ?"

         "The whore of Babylon."

        " ... Lucius ?"

         "Yeah."

        "Oh my god..."

Stede took a minute to realise it. Poor Lucius. What happened ? He gave a quick look at Pete at the end of the ship. But the time was not at mourning. He hired back his face.

"Why did you let yourself being captured ?"

        "Why did you ?"

Stede swallowed hard.

         "Tell me Bonnet. Where you planning by any chance to go in mutiny ?"

The captain stood silent. Izzy continued.

         "Funny thing is that I have the same idea. And with you and the bunch of degenerates you got on board, I’m starting to think it could work."

        " Are you trusting us ?"

         "Not a fucking bit. But Edward is" looking for you right now, and he is lost and panicking. I saw what losing you was turning him into. I hated it, but Blackbeard is dead again, I can’t do anything about it anymore. If I can take this ship, and bring you back to him, he would be the happiest in the world.

         "And he would take you back ?"

         "I don’t think so. He made a choice, and I was getting really tired of his shit anyway."

         "But why would you do that ?"

         "I already told you Bonnet. My only goal in life is to make Edward happy. If bringing you to him is my last chance to see him smile, I’m taking it."

Stede looked at Izzy without understanding completely what he was saying. The pirate turned his face away from him, his eyes looking weter than usual.

         "We have a lot more in common than you think Bonnet. I think that’s why you’re so annoying to me."

         "Oi ! Get to work you two !" Yelled a member of the ship crew at them.

The two men started to brush the deck harder.

         "...Can I trust you ?"

      "You better Bonnet. You better...”

X

It worked. Stede and the crew are back on the Revenge blah blah blah... But when Ed see Izzy on the other boat, Stede  convince him to give him another chance. Without Izzy, they wouldn’t be here. So he does.

Then I got carried away and thought “Hey that makes three ships ? Why not create a fleet ?” The Revenge with Stede, The Queen Anne with Ed, and the other one with Izzy.

Please someone stop me...

[our-flag-means-death-ao3feed]

The Haunting of Château Badminton

by ripkarl (tangerinefic)

The Bonnets just need a fresh start. When an opportunity presents itself in the form of an unbelievably-priced bit of real estate in France, Stede Bonnet jumps at the it. But this charming old château may be home to more than just a friendly staff and a few spiders.

A lot more...

Words: 2256, Chapters: 1/6, Language: English

Fandoms: Our Flag Means Death (TV)

Rating: Mature

Warnings: Graphic Depictions Of Violence, Major Character Death

Categories: Gen, M/M

Characters: Stede Bonnet, Mary Allamby Bonnet, Blackbeard | Edward Teach, Israel Hands, Lucius Spriggs, Jim Jimenez, Oluwande Boodhari, Buttons (Our Flag Means Death), Frenchie (Our Flag Means Death), Wee John Feeney, The Swede (Our Flag Means Death), Roach (Our Flag Means Death), Louis Bonnet, Alma Bonnet, Nigel Badminton, Chauncey Badminton, Spanish Jackie (Our Flag Means Death), Geraldo (Our Flag Means Death), "Calico" Jack Rackham, Black Pete (Our Flag Means Death), Fang (Our Flag Means Death), Ivan (Our Flag Means Death)

Relationships: Blackbeard | Edward Teach/Stede Bonnet, Israel Hands/Lucius Spriggs, Oluwande Boodhari/Jim Jimenez, Mary Allamby Bonnet/Doug

Additional Tags: Haunted Houses, Canon-Typical Historical Inaccuracy (Our Flag Means Death), POV Stede Bonnet, POV Mary Allamby Bonnet, POV Blackbeard | Edward Teach, POV Israel Hands, POV Lucius Spriggs, Ghosts, Demons, Demonic Possession, Implied/Referenced Self-Harm, Suicide, Paranormal Investigators, Ghost Sex, Inspired by The Haunting of Bly Manor (TV), Spooky, writing jump scares is hard, baby's first horror story, idk what else to tag this tbh, will update as needed - Freeform

source https://archiveofourown.org/works/42741450

[ask-louis-bonnet]

i’m not afraid of anything, but this ghost really startled me.

i heard stede-dad talking about the “foliage” of this place being “unkempt,” so like any normal person i went to see if there were any creatures living in the bushes.

thats where i met wet ned.

he was covered in seaweed and smelled like fish. he was soaking wet so thats why i called him “wet ned.”

.

… i didn’t like him…

…

so i kicked him in the nuts.

[ask-louis-bonnet]

in the woods and i saw a bald ghost that had a really weird missing/dangly eye.

i know i probably should have been scared but i was more thankful that i have 3 dads and a mom with great hair.

i don’t wanna be bald. it only looks good on certain people and i am definitely not one of them.

neither was the ghost.

[ask-louis-bonnet]

this one i’m actually still unsure about. I don’t think it counts as a ghost. allow me to explain.

I was sitting outside eating one of ed’s fish specials, when suddenly i was attacked.

my fish was stolen from me by a seagull. but before i could chase after it, something strange appeared in the bushes where it flew into…

i think she was an angel.

(with a combover.)

[ask-louis-bonnet]

don’t worry dad.

i’ll take the role of storyteller today and tell you all about the ghost friends i made.

louis said something about ghosts at the inn... is it haunted?

There's no ghosts at the inn. Ghosts aren't real.

[our-flag-means-death-ao3feed]

The Ghost and Mr. Bonnet

by BucketsofOdo_13

Stede Bonnet, newly divorced, is about to embark on a new chapter in his life. What he didn't expect was to fall in love with the ghost currently occupying his house.

Words: 2516, Chapters: 1/?, Language: English

Fandoms: Our Flag Means Death (TV)

Rating: Mature

Warnings: Major Character Death

Categories: M/M

Characters: Stede Bonnet, Blackbeard | Edward Teach, Mary Allamby Bonnet, Alma Bonnet, Louis Bonnet, Oluwande Boodhari

Relationships: Blackbeard | Edward Teach/Stede Bonnet

Additional Tags: Implied/Referenced Suicide, Mentions of Suicide, The Ghost and Mrs. Muir - Freeform, Alternate Universe, Alternate Universe - Modern Setting, Ghosts, Supernatural Elements, Ed as a pirate captain ghost, Implied/Referenced Character Death, Death, ghost story

source https://archiveofourown.org/works/41239644

[ask-louis-bonnet]

(ooc: unused louis panel)

i’m not afraid of anything, but this ghost really startled me.

i heard stede-dad talking about the “foliage” of this place being “unkempt,” so like any normal person i went to see if there were any creatures living in the bushes.

thats where i met wet ned.

he was covered in seaweed and smelled like fish. he was soaking wet so thats why i called him “wet ned.”

.

… i didn’t like him…

…

so i kicked him in the nuts.