#Mary Buss | Explore Tumblr posts and blogs

cowgirlcherrie · 1 year ago

Text

georgia canned peaches — ⋆｡°✩ 🐎 cowboy! ellie

pairing: cowboy! hitwoman! ellie x black! fem! reader. wc: 5.0K

synopsis: on the run was Tennessee’s peach, who trades a life of discomfort for security with a Texan stranger

warnings: 18+, MDNI! mommy issues, slight religious trauma if you squint, heavy touching, ellie has an accent, mentions of death and loneliness, heavily inspired by Bones and All ( minus the c*nnibalism and gore), dom! ellie, domestic! ellie, heavy use of petnames (peach, sweetness, sugar, doll), stranger danger lowkk…, mostly angst with a dash of fluff, mentions of weapons, killing, black feminine coded reader, running away, taking care of injuries, injured ellie (so mention of blood, bleeding),

━━━ ♪ peach & georgia by kevin abstract

a/n: heyy everyone!! here's a quick lengthy one-shot for cowboy-ish Ellie! if you enjoy it babis my ask button is open and I'm always accepting requests if you want headcanons, etc, but enjoy!! ⊹˚. ♡⊹˚. ♡

✧˖°.

Mama didn’t raise no bitch! Or a conniving little thief either.

You tested that theory. Your hands became sticky with anything remotely flashy. Perhaps that was how you found out how to survive on your own. Times like this you wondered where you would be if your mama had just been a perfect Mary Sue. Made dinner, taught you how to wash your clothes and braid your hair, tucked you in at night, and just maybe taught you how to be better than a man. But now you were alone, in the hot Texan heat, and it felt like a smack to the face. Similar to her handprint the night she let you loose and hissed that you are on your own. You didn’t wanna cover the bills anymore or hear her bullcrap about how it was Adam and Eve — not Eve and Eve. You grew tired, and so did your feet that seemed to get you as far as you were now. Perhaps it wasn’t smart to smash your piggy bank taking the $500 dollars you spent bussing tables to go and a messenger duffle that could fit 3 heads. No plan either, which was significantly negligent, but your sticky fingers got you farther than you ever could, and they made sure you were fed.

That would explain why you were stealing in a gas station grocery. Crouched by the nonperishables stuffing anything and everything into the duffle bag. Georgia peaches, check. Canned pineapple, check. Dried beans and nuts, double-check. You weren’t exactly careful, but the place loomed with unfamiliar faces who certainly were too full of themselves to stop you. So you kept going, a first aid kit for the bruises that were forming on your knees and sewing material to fix the rip in your jacket. Well not your jacket, but your dad's jacket. Brown thick cotton over your shoulders to cover the long dress you were in, it was a smart decision. The jacket kept you warm on the desert nights, and it made home in your hands during the day. The little pockets are perfect for stuffing loads of crap you don’t need. With the crack of another can hitting the floor, it paralleled a shiny brown boot. Drenched in leather and gold detailing as it smacked the tile. Left foot – right foot – left again. Your eyes followed the trail of feet, ignoring the can that rolled away from you as a hand reached down to pick it up. A roughened, bloody, feminine freckled hand. Now the mystery girl was looming over your figure, in an authoritative stance, as if her ego had been bigger than her height itself. But she was also bleeding. Her right arm clenched to her hip as blood seeped between her fingers.

“Yers’ drop somethin’ peach?” The accent sent a shiver up your spine. It was thick and unfamiliar but maybe the word peach, at the end masked her roughness. You now made eye contact with the girl, green eyes looming into yours as you shakily took the can of peaches.

“M’sorry that was my bad,” you mumbled taking the peaches back and tucking them into your chest. You couldn’t slip it back into your bag now, next thing you know she would yell THIEF! and drag you by your collar to the front counter. But the woman was in such poor shape to do so, her freckled face wincing ever so slightly with every movement her body made. She was a cowgirl, you’ve heard all about them in the papers but didn’t take them for the real deal. Her hat told you all you need to know, brown to match her thick belt and blue bell bottoms. Oh, she was the real deal.

“Could ya be a doll n’ grab me a kit” The woman groaned out, pushing her body weight in front of you. Her standing position contrasted yours that was crouched down, at eye level with the material. “You’s a real catch ya know? Put the peaches back in. I know you were stealin’” This made you freeze. Fuck!Fuck!Fuck! Your brain shouted you were screwed.

Your hands now moved slower reaching for the kit in front of you, and you suddenly realized how overly close the woman was to you. Almost blocking your field of vision from anything to your left. You ignored her statement, as you shakily lifted the first aid kit to her hands.

“Peach…you are a delight, but now you listen,” The woman didn’t take the kit, “A camera has been pointed at ya for the past 5, and now you got Tina’ at counter watchin’ ya. You are gonna live up to bein’ delightful and pay for this one thing” The woman was scrounging in her pocket and you took the moment of silence to think to yourself, you had barely any money. $500 was something you needed to make stretch.

“What?”

“I don’ take you for a fool, I’m Ellie, and I mean no harm.” Ellie took off her hat placing it over the left side of her chest at her heart, giving you a simple nod before putting the dusted brown hat back on her head. Ellie this time put a stained $10 bill on top of the first aid kit that had been suspended in the air by your hand. This action made you stand up – eye level with this time. Noticed the girl has a height to her, her figure looming over you as you stood.

“Give me the bag [what?] your bag sweetness! we don’t got all day, dammit I’m hurt” Ellie stated bluntly. There was no more time for jokes or stealing any more Georgia canned peaches. There were better things to worry about. Like the fact that you can go to jail for stealing and Ellie who was bleeding out in front of you. You slid your brown bag off your shoulder handing it to Ellie who swung it over her left shoulder.

“Go see Tina with ‘er blonde hair, act sweet, say your visitin’ family. If they ask, say the Williams Ranch, she’ll give you no hard time” Ellie started as she was giving you instructions, “When ya finish, keep the change, meet me at my car I’ll be outside. You get your bag – I fix my wound, and you get the fuck outta town.” Ellie finished. This time her look was stern, and aggressive as if she was testing you. Testing your loyalty, your honesty, your act. She wanted to see how you worked under pressure, she wanted you to suffocate from fear. All you could do is nod, swallowing harshly, as Ellie turned her body walking down the Isle to your left.

You took the initiative to make your way to ‘Tina’. Ellie was right, the blonde had been suspicious of you. Asked you all the questions that Ellie said she would, but she backed off once you mentioned the Williams Ranch. Handing you the exact change of 0.50 cents and a hospitable smile, saying “Have a great day.” Tina’s defensiveness changed with one simple title. This made you wonder how much authority Ellie had over the place, questions flooding through your brain as you pushed the door and walked out, being met with the setting sun.

The sun was getting low, and there wouldn’t be a motel for another mile out. Sure you could do the walk but you weren’t guaranteed anything. A whistle brought you out of your trance, belonging to Ellie who this time had a toothpick between her cushioned pink lips, as her body leaned against a ran down red car, with muddied wheels. You jogged over this time seeing that your bag was missing from her shoulders rather this time in the passenger seat of her car.

“Here you go, what you asked.” You pushed the first aid kit into her hands like you’d done back in the store. Ellie mumbled a thank you, as she nibbled on the toothpick. This time, taking the kit and putting it on the hood of the car.

“Yous’ as quiet as a mouse, but orders ya take well…Peach could you help me patch up, I ensure you a place to stay and food in return – all comfort no lies…” It took you time to think about it. What did people call this…southern hospitality? She was sweet to you despite not really knowing you but the situation was still tit for tat. You do for me, I do for you. Wax on, Wax off. You weren’t gonna say no to a place to crash, where you didn’t have to worry about the faucet being broken or water barely coming out because the bill wasn’t paid. You were certain her bills were paid.

“Yes, please…uh thank you!” You exclaimed as you began to dig through the box, taking out a bottle of water from your coat pocket, also stolen using it as a hand wash and something to clean the area, temporarily where the wound is. “doncha thank me just yet, you’re just getting started, peach.”

Ellie was surprisingly still gentle with you, taking her time to crouch into the backseat of the car, while you sat next to her with the kit on the center console. Ellie took her time to untuck the white button-down shirt, as her hands shakily fiddled with the buttons. Due time, her snail speed started to irritate you making you smack her hands away doing it yourself. The exchange was silent, but you preferred it to keep the awkwardness at bay. Ellie shook off her white button down, leaving her in a white tank top — Ellie this time took the initiative to roll the tank top up to right below her boobs allowing you to wince at the large gash on her hip.

“Holy Sh—”

“I wouldn’t say that—”

“Not my first Rodeo” Ellie continued as you poured water on the wound making Ellie grit her teeth. Tilting her head back as whimpers left her mouth at the sudden coldness. All of it was hard to do when you’re in the back of a car trying to patch up a borderline dead woman. But before you could ask any questions, Ellie took the initiative to do it herself.

“W-Where you headed, whats yer’ story?” Ellie grimaced through the pain as she held her head against the headrest, pants escaping her lips at an alarming rate. “God…I’m sorry,” You hesitated, you couldn’t even answer one simple question, your hands shaking at the blood that was covering your hands as it just wasn’t slowing down.

“Jeez– I hope a lil’ blood don’t scare you peach, I woulda done it myself baby,” Ellie hissed, trying to stay moderately sweet as she was now gripping onto the door handle, her right hand finding its way to your thigh, squeezing for the endless support. That’s when you noticed her tattoo, a death’s-head hawkmoth, and vines. Beautiful, yet chaotic, she had a story. Ellie squeezed again your thigh again making you look back at her. “Eyes up here baby [sorry] where [shit] ya’ from?” You couldn’t lie, the rifle at the back of her car taunting you. If she wanted to kill you she certainly would have done it by now. She wasn’t a threat, and she proved that in the store.

“I’m from Tennessee, I’ve been traveling on foot. I’m runnin’ away” You confessed as Ellie nodded her head in response, Your accent was slight, barely noticeable making more sense in Ellie’s head at why you struck her as different. Your beautiful brown skin glowing under the setting sun, you were a beauty to her. “Figured, how old?” Ellie questioned as you continued to stay frozen, eyes on her face to continue the conversation. “21” Ellie nodded again.

“Thought so, 22” Ellie responded. There it was again, the tit for tat.

“You seem like a good girl, far away from home aren’t cha. What’s wrong with yer family? Perhaps your mama?” Ellie tilted her head watching as your face transitioned from bliss and tranquility to fear and panic. She knew she struck a nerve, your mama was the problem. She didn’t wanna pressure you, hell it didn’t matter now. You were on your own, like a scared little lamb that has been deterred from its family. Possibly you were the black sheep, different from the rest. Ellie, once again, didn’t wanna pressure you.

“You look like you need someone to take care of ya, don’t worry Peach I’ll take care of you” Ellie whispered, her voice all velvety like icing a chocolate cake. Smooth and sweet with care and caress. Ellie was unlike others you’ve met. Or any ex-lover you had. This time you weren’t afraid to let her in or take care of you. Hell you wanted that, you’ve been craving it for all years of your life while you had to do it for others. Maybe it was time someone exchanged the favor. The good karma bell rang in your ears, as a smile tugged at your lips.

“Make sure you cared for, if you let me” Ellie whispered some more, her hands this time traveling to your waist, giving a gentle squeeze, to which you could only hum in response. She was a charmer and knew all the right words to get you sunken in with her. Mama always said to not trust strangers, but why didn’t she feel like one? Her scent was intoxicating all you wanted to do was lean down and sink your pointed fangs into her shoulder, hearing her cry of satisfaction while she continued to call you Peach. Peach…Peach…Peach. You liked that name, no one called you that but considering that's what she handed you when you first spoke, it didn’t run as a surprise.

Ellie squeezed, “Words, sweetness?”

“Yes” you squeaked, which probably sounded oddly sexual now that you thought about it. Unholy thoughts plague your brain at the sight of the Texas beauty in front of you. Realizing your task still was unfinished you got back to work. Hands working fast as you took your time, threading the suture thread through the needle as it came in contact with the flesh that was Ellie’s loose and separated skin.

Ellie wincing as you dug the needle in, and back out with an exhale. It was a semi-shitty stitching job, but you were able to tightly close the wound and stop the bleeding. Ellie didn’t speak, considering she’d risk completely yelling every curse word and potentially scaring you off, she settled on biting the hem of her tank top instead. Thick black lashes coated with tears at the sudden pain and blood crust. You were gentle though, Ellie caressing your waist as you put down a gauze pad, followed by wrapping it with the gauze roll and securing it with the adhesive tape. Patting to let her know that you were finished.

“Yer’ such a good girl you know?” Ellie cooed as her hands found their way up to your braids, bringing your head down so she can give a chaste kiss to your head. Right…Right… Southern Hospitality. The feeling almost made you cry. Praise, followed up with affection? Like nothing you have felt before – hell you only thought they did that in movies. Ellie, however, was like a movie. Purley a fever dream, you were scared to fall asleep, what if you imagined the whole thing? You were enjoying your runaway escapades too much for it all to be fake.

“Let’s get the show on the road,” Ellie gave a smile, making her way out of the back, suggesting that you do the same. So much for not trusting strangers.

✧˖°.

Father, Forgive me for I have sinned… it was blurry

As we forgive our trespassers…still blurry

Trespassers…clear

You were a trespasser, is what you were getting from Ellie’s narration. Over the 30-minute car ride to her Farmhouse, Ellie explained to you the whole ordeal. Her cowboy hat was on your head as you listened to her tell narration of the cowboys' sealant for the townspeople. Why Tina, at the gas station tried to make you a friend. This Texan desert, farmland was constructed with the passage that cowboys and cowboy decedents protect the townspeople from narcs and trespassers, which in this case you could have been either. Debunked neither. It was one of those towns that people suggest you pass, hell probably inquire why it's still on the fucking map.

Ellie confessed that she was also a trespasser, just like you. Taken in by her late found father Joel who showed her how to run the rodeo. How Millers Ranch, became Williams Ranch. It was impressive, your eyes gleaming with admiration. Then it hit you, why she had the shotgun she did bounties on narcs, drug smugglers, the whole ordeal. People who came in to steal, wreak havoc, and destroy the peace. She was the town's grim reaper. She was the one who knocks. You felt faint, as the realization knocked into you like a brick. Nothing was truly sweet about her, that accent was to mask how with one click she’ll hunt like they were rabbits. You were trapped in her cage.

Upon arriving at her farmhouse which was large enough for more than one, it made you sad to see. She was alone, by herself. No wonder it was easy for her to drag you into her company, human interaction seemed obsolete out here. A dim light shown from what you assumed to be the horse stable, that was rather quiet as the nightfall had put you at ease. You held your jacket to your body tighter at the sudden gust of wind, hearing the weeds brush against each other — almost screaming in the wind. You held tightly onto your bag while Ellie limped past you, with the white button-down rested over one shoulder. Fiddling with the keys in her pocket.

“Shoes off at the door, watch your step,” Ellie spoke up as she opened the door, you were hit with the sudden aroma, it smelled like fresh wood, pine, and just a hint of freshly baked cookies. It was how you pictured going to visit your grandmothers to be. Warm and welcoming. Complying with her wishes, you took your boots off, leaving you in mix-matched socks with funky designs that you have bought out of quirkiness. Ellie found this amusing. White ones to contrast your colors, the two of you had a lot of differences. But for the lack of similarities came an understanding. A mutual grounding between the two of you. A grey area. Ellie was behind you this time, taking her hat off your head, hooking it onto the wall, your thick jacket as well, and placing it on the hook beneath it.

“Welcome, home”

Now that made your stomach curl, you didn’t know what home is, besides yourself and your belongings. Attaching your home to people, not places. It was a wave of worry and fear that hit you. Your feet stuck as it felt like someone took a hammer and nailed your feed to the wooden floors. It was lively and well-decorated for someone that lived alone. Breaking free from your sinking feet you started to observe the living space. There was art, tones of it, stumbling across a photo in the bookcase of a much younger Ellie and an older man with salt and pepper hair who you had presumed to be Joel. The name fit his face well, A small smile creeping up to your face at the closeness of the two. Ellie seemed happy – carefree now that you look at her, that happiness seemed sucked away from her life, she didn’t smile quite like that anymore. Not until you cracked jokes in her car and made her laugh.

“Ya thirsty peach?” Ellie questioned her voice coming out muffled as her figure was far away in the kitchen area, hearing as the refrigerator closed. “I’m good, thank you though.” You put the photo back where you found it, following the trail of her voice. She was very trusting for a stranger, you were already infatuated with the woman, yearning for more. Yearning for her to give you a taste or perhaps a touch. Now you were sitting on her marble countertop, placed there by Ellie as she moved quickly around the kitchen pouring herself a glass of water from the glass pitcher, drowning it all in one go. She wiped the falling water around her mouth with the back of her arm eyeing you in the process, Ellie laughed. You knew her for a short amount of time, but long enough to know that laughter from her was rare – take it as a compliment, you thought.

Ellie made her way over to you, her hands now on your knees, moving them further apart as she pushed her body in between her legs. Her arms resting on the counter space behind you, trapping you in her arms.

“Mama didn’t teach you no good...to trust strangers? Oh…Babygirl you’re dangerous” Ellie scolded, laughing as you give the girl a doe-eyed look – your hands finding a home on her arms. Wrapping your hands around her biceps, as your thumb move up, down, and in a circle.

“I figured if you were gonna kill me, you already would have done so.” You mumbled as Ellie’s face got a lot closer to yours now. You can see the freckles that decorated her cheeks, her hydrated pink lips from the water she just had, the slit in her eyebrow, and her eyes. The piercing green forest that was her eyes, but it was beautiful, reminded you of the trees that you had seen when you walked. The storm that was your life, before Ellie became your superhero, the knight in shining armor. She saved you, and you owed her big time.

“Bingo! I know you smart peach, and that’s why imma tell you once, listen t’me real good.” Ellie specified, bringing one arm up to grip your chin gently, not allowing you to look anywhere else but herself. Ellie seemed possessive, maybe she lost too many people or her lack of social interaction but she didn’t want to let you go, and you could tell. She needed you just as much as you needed her, a packaged deal.

“You don’ trust nobody that ain’t me.” Ellie began, “Someone’s overly nice to ya’ you tell me. Mean? You fuckin’ tell me. Both don’t fly with me baby, if it ain't from me” Ellie finished, letting go of your jaw to which you nodded. Ellie was a fuckin’ force to be reckoned with, It was like digging into a mystery box, you were unsure of the flavors and layers she had to herself. Hell, she could be manipulating you and you wouldn’t even notice. Hospitality for comfort or comfort for hospitality, it all looked the same.

“Ay Ay, captain!” You playfully military saluted the girl, making Ellie roll her eyes at your statement, you were exceptionally fun. Which Ellie didn’t have anymore...fun. If you classify a night at Typsy Bison as fun then so be it. “You hungry? I can run you a shower before you eat – it’s leftovers if that's alright with yourself?” Ellie questioned and that’s when it hit you, you’ve been traveling afoot all day, and the thought of even having a meal slipped your mind, but you were famished, stomach lightly growling at the mention of the word food.

“I could use food, yeah — as long as there’s no cheese.” You challenge making Ellie back away this time as she took out a glass plate, a fork, and a knife. “No cheese sugar, but something to get you settled – I always have dessert peach if you want that instead?” Now you felt like a kid in a candy store. Dessert was a rarity and boy did it sound delightful right now. Ellie smiled as she watched the way your eyes gleamed at the mention of dessert.

“Got a sweet tooth huh?” Ellie smiled, making you laugh in return. You did have a sweet tooth, anything sweet was enough to bring a smile to your face. That’s why you had a love for canned peaches. The taste reminded you of peach pie that you would get at the diner as you worked a closing shift. Sitting at a booth as you devoured a piece of peach pie, it was heated, like a warm hug in the winter. You cried every time you had a piece. It reminded you of all the good things in life – like how good your mother could be.

“I hope you have pie” you pleaded, making Ellie nod her head. “You aren’t pressin’ yer luck! I got an apple pie from a good friend of mine, I think you’ll love it – not too sweet, but fillin’” Ellie smirks in satisfaction as she placed one hand on her hip.

“Let’s run’ya a shower”

✧˖°.

How were you supposed to explain to Ellie why you were crying? Pajamas that you stored in your bag resting on your body as the matching white tank top and light blue shorts attached to your frame — you just had the best shower you’ve ever had in a while. Not only was the water hot, but it didn’t cut out every five minutes, and the faucet wasn’t leaking, everything was comfortable, perfect. Ellie herself took the time you were in the shower to clean up herself, now in different clothing — a white t-shirt and plaid pajama pants that clung to her body nicely. The two of you sitting at the dining table as Ellie watched you eat the warmed pie, a tear fell from your eye with swiftness. Ellie’s gentle gaze transitioned into confusion and eventually fear as she watched you cry.

“Oh god, wait!... I’m sorry” you laughed in between sniffles, taking the back of your hand to rub your face.

“Jeez, I thought I did somethin’ sugar” Ellie exaggerated holding her hand over her heart as if someone pierced an arrow through it. Now it was your turn to reveal your story, like how you cried every time you ate pie, specifically with peaches. It made Ellie give a small grin. Feeling as though she did something right in her life where she wasn’t playing god, It was wholesome that’s for sure. The redhead found it odd, but it was a sweet moment and she understood it. Ellie’s smile fell when she noticed the clock behind your head striking 10:30pm making her frown. The good times she was having at the moment were coming to an end, for both her and yourself.

“You go’n watch the tv til your tired, I have some business to take care of before tomorrow” Ellie didn’t wanna scare you, her business was taking the grey cloth, as she wiped down her guns and reloaded them for tomorrow. She didn’t want to give you the wrong impression.

“Can you watch it with me?” You inquired, ignoring the part where she said she had business.

“I’m cleaning guns.”

“So? You don’t scare me cowgirl” You wiggled your eyebrows as Ellie snatched the empty plate from your hands, placing it in the sink as she let the sponge soap up to wash the plate clean with hot water.

“Fine. I see you jump – I’m goin’ to another room, I don’t mix business with pleasure” Ellie confessed as she was less focused on you this time. You chose this time to leave the dining area, entering the living room as you hit the squared television's 'ON' button. It was small and run down, similar to the one at your moms before you left. You pulled at the antenna to catch a signal. The static glitching before on came Looney Tunes. You enjoyed the show finding amusement in the animals chasing each other and the crescendo of the music at all the right moments, it was comical and amusing. You spread your body out on the couch, laying on your side as you watched the television in silence, laughing every few minutes at something that you found funny. Ellie walked into the room with a black box and 3 guns in her hand. The redhead gently settled down the weaponry, being careful not to startle you, as she slipped into the seat on the far left — your legs now found a home in her lap, Ellie gently sending a rub at your legs. If someone walked right in, they would assume the two of you were probably married for some years now.

“This okay?” Ellie whispered as you mumbled a “yes” while your focus was still not on her. Ellie could see that you were getting tired, the way your eyes were low, and your breathing slowed down. You were at peace with yourself and with Ellie, this was one of the times when the silence was okay, a mutual serenity, and understanding — everyone was mindful of each other and it was pure love and bliss.

Ellie eyed your figure as your eyes fluttered shut, this time you were sleeping, fully this time letting yourself melt into the softness of the couch as Ellie reached over to her left to grab the blanket and drape it over your sleeping figure. This was also the time she finally got started on cleaning her guns, knowing that you were relaxed and cared for. Ellie wasn’t sure what she was doing, She felt vulnerable and that was rare, but she was doing what she said she would. Taking care of you, like you were taking care of her. You saved her life, and she saved yours, tit for tat.

Ellie in this moment craved nothing more than your lips on hers, perhaps your teeth to graze her flesh, biting…hard into her – wanting to connect and morph bodies. She craved for your love and your intimacy, she wanted you to love her bones and all. Ellie wanted you to love her past, her insecurities, her mistakes, and her wrongs. You were too good for her, she knew it, but there was nothing a sweet peach like you couldn’t fix.

634 notes · View notes

ravenssilver · 1 year ago

Note

I would adore if you could make an Aeon angst where he feels abandoned or like he’s not worth being in the ministry, and one of the ghouls (any of your choice) finds him and comforts him? You don’t have to if you don’t want too I’m just in love with your writing!!

ahh anon !! i will happily throw out some aeon/swiss hurt/comfort. you feed into my muse🫶🫶

here is me indulging in my favorite thing—aka 2.2k words of aeon feeling abandoned and swiss loving on him anyway🤍

cw: aeon being anxious, aeon has minor abandonment issues, minor panic attack

under the cut, if you please<3

Aeon was giddy after a particularly good ritual. He and Swiss seemed to have developed a pre-show ritual of practically being attached to each other’s hips and walking on stage together. He had hit every note perfectly and gotten to every cue, bouncing happily to the beat of the songs all the while. The audience had been fantastic and he had gotten at least five bat plushes thrown at him before bows, and he was sure some of the crew had picked up the rest.

Though, as Aeon took a quick shower to get all his sweat off, he thought about the other ghouls during the ritual.

Cirrus and Cumulus didn’t pay him any mind whenever he went over to them, Dewdrop seemed annoyed when Aeon was all over him during Absolution, Rain didn’t seem all that amused by the slides in Watcher, and Papa seemed actually upset when he had cut in front of him for his part in Year Zero.

Aeon frowned when he remembered how he had subconsciously given up on interacting with the band after Mary On a Cross when Papa didn’t even look at him when the song quieted down for a few measures.

And during Square Hammer, his final chance to maybe get an interaction, Aurora was play flirting with Swiss from across the stage when Aeon was meant to be on her platform.

Aeon hissed when he accidentally got soap in his eye, a frown etched on his face as he felt his heart aching with doubt in himself.

Did his packmates think he was annoying? Did Papa think he was annoying?

Maybe they’re just tired… Yeah, that had to be it. He didn’t remember doing anything wrong, much less annoying.

Aeon quickly finished up with his shower and changed into some clothes he had stolen from Swiss, grinning when he saw the slight bagginess of his pack mate’s clothes on him.

With a pep in his step due to his shower and how he now felt clean, Aeon happily left the dressing room and went to the parking lot where the buses were.

Though, as soon as he got outside he froze in his tracks.

The buses were gone.

A distressed sound left Aeon and be spun around in a circle as if the building behind him would’ve somehow turned into the tour buses. Aeon chuffed worriedly when he just saw the door he had come out of and went back inside, some of his glamor starting to slip as his thoughts spiraled.

They left him. They got on the busses and left him alone. He was stuck—trapped.

Abandoned.

A distressed whine left Aeon and he picked up the pace of his footsteps, desperate to find his pack or his Papa. Aeon felt like his throat was closing up, his ears pinned and twitching at every single noise he heard as his hands started to shake.

Much to his dismay, instead of someone he knew, Aeon ran into a member of the venue staff and he had hurt himself by quickly throwing up his glamor.

Aeon’s head pulsed with an intense ache as his eyes darted around, his glamoured nails clicking as he picked at them.

“Hey, are you alright?” The woman asked, her eyebrows furrowed as she placed her hand on Aeon’s shoulder. Aeon wanted to say yes, try to reassure her that he was fine when he so clearly wasn’t. But when his throat closed up even tighter, tears welled in his eyes and his shaking became a lot more obvious.

“Woah, it’s okay, breathe. Why aren’t you with everyone else out back? They’re leaving for the hotel in about five minutes,” The woman said, her eyebrows furrowed as she tried to get Aeon to calm down.

A tear fell from Aeon’s lash line when she told him that. He nodded and turned on his heel, rushing away from her as he went to the back of the venue.

Nobody had told him that there was a rest day after that nights ritual. Nobody had told him that they would be going to a hotel that night instead of getting back on the buses.

Aeon rushed outside, signing in relief when he saw Papa and the rest of his pack standing outside of a van. He wiped his eyes and face of tears, trying to cover up the panic in his scent that he knew was there.

“Ah, there you are,” Copia sighed when Aeon silently walked up next to Rain, huddled in on himself. “We’ve been waiting for you. Where have you been?” Copia asked, his eyes narrowed.

“I didn’t-“ Aeon went to respond, only for Copia to throw his hands up in the air and mumble annoyed Italian to himself as he went to make sure all their bags were ready to go to the hotel.

Another distressed sound left Aeon as he felt a pit form in his stomach. He looked down and pulled the hood of Swiss’ hoodie up over his head, hiding his face from his pack who weren’t paying attention anyway.

Aeon’s shoulders shook as he messed with the end of his sleeves, his body trembling with anxiety as his thoughts continued to spiral.

Look what you did, you made Papa mad. You held everyone up and now they’re all mad at you. You’re cutting off their resting time like a total idiot. How dumb do you have to be to not remember a schedule?

Aeon clambered into the van first as soon as the doors opened, wanting the front row seat closest to the window on the drivers side so nobody would see his tears.

He heard a low growl from Dew, as that was usually the fire ghoul’s spot, the annoyed sound only adding fuel to the dumpster fire that was Aeon’s brain.

He buckled and curled into himself, burying his face in his knees as his thoughts just went further and further down the spiral of self doubt and insecurity.

The next twenty minutes went by in a blur. One moment Aeon was curled up into himself on an uncomfortable seat—the next, Aeon was curled up on an uncomfortable hotel couch as he stared at the wall, tears slowly trailing down his face.

Aeon had fully unglamoured, his tail wrapped tightly around his ankle as his claws dragged along the discolored part of his face around his right eye. Waves and waves of distress rolled off of him as he whimpered every now and then.

They all hate you. You’re just a replacement for someone they all loved. A penny in the crater sized hole in their hearts where the prior quintessence ghoul was.

The better quintessence ghoul.

Aeon sobbed, closing his eyes and burying his face into the hoodie he had stolen from his favorite multi-ghoul.

He wasn’t Swiss’ favorite, though.

Aeon whined and immediately tore off Swiss’ hoodie and sweatpants, chucking the clothes across the hotel room, leaving him in his boxers.

Aeon snuffled and laid back down, curling up into himself even tighter as to fight off the chill of the unreasonably cold hotel room.

He wanted Swiss. Dewdrop, even.

He wanted to be warm. He wanted to be loved. Appreciated by the creatures he had around him everyday. Aeon loved the crowd’s praise, but he wanted his pack now. Even just one of them would suffice.

He wanted to know that they saw how hard he was trying. He wanted to know that they appreciated him for stepping into shoes that were far too big and running the miles anyway.

He just wanted to be seen.

“Stardust..?”

Aeon picked up his head and looked over at the door to his hotel room, his ear twitching as he heard Swiss’ voice.

“Hey… Aeon, you awake? C’mon, your scent changed, I know you hear me..” Swiss said, knocking on the door again.

Aeon looked over at the digital clock that was across the room, taking a moment to remember everything Mountain taught him about reading a clock.

It had been two hours since they got to the hotel.

“Bug? Can you come to the door?” Swiss spoke again, regaining Aeon’s attention.

Aeon scrambled up, not wanting to annoy Swiss even more than he thought he had. Aeon snatched the duvet on his bed and struggled to get it off the mattress due to the unnecessarily tight tucking of the bedding.

As soon as Aeon managed to get the duvet off the bed, he fell to the floor with a yelp due to how suddenly the tension released. The little quint scrambled back up to his feet and wrapped the duvet around his mostly bare body, ignoring the pain in his hip from the fall.

Aeon opened the door and peaked through, his lilac eyes staring up into Swiss’. The multi-ghoul quickly moved closer when he saw Aeon wasn’t glamoured.

And to Aeon’s dismay, that allowed Swiss to see the tear streaks on his face.

“Stardust, what’s wrong?” Swiss frowned, gently cupping Aeon’s cheek with his big hand. Aeon snuffled, choking back a sob as he leaned into Swiss’ hand.

Swiss frowned and crowded Aeon back into his room, closing the hotel door and locking it before he brought Aeon over to his bed and sat him down, pulling the duvet around tighter around the smaller ghoul’s body when he felt how cold it was in the room.

“Talk to me, Tommy, what’s wrong?” Swiss spoke softly, his eyebrows creased with worry as he brushed his thumb over the little quint’s cheekbone. Aeon’s bloodshot eyes hesitantly looked into Swiss’ as he sniffled again, wiping the snot away from his face with his wrist.

It was gross, but Swiss was far too concerned about Aeon’s tears to even notice his actions.

“I… I feel like you don’t like me. Like-“ Aeon sobbed softly and covered his face. “Like you’ve all been lying to me and that you don’t want me here…”

Swiss’ heart shattered.

“Oh, bug…” Swiss whispered as he swept Aeon up into his arms. It was all he could say at the moment, his own devastation rushing through him.

Swiss didn’t know what he or the pack had done to make Aeon feel this way, but he would kick himself for eternity because of it.

“You will always, always be wanted, Stardust. I know that if the others were here, they’d be all over you telling you the exact same thing.” Swiss whispered, holding Aeon close to his chest as the smaller ghoul sobbed out all his sudden and overwhelming emotions.

Swiss let Aeon cry, not once shushing him or trying to get him to stop crying. He didn’t want Aeon to feel like he was being a burden, so Swiss let him cry until he felt better.

“Swiss…?” Aeon whispered after about 10 or so minutes, seemingly shy. Swiss hummed and looked down at Aeon, staring into his lilac eyes with as much love and affection that he could muster. “I… can you get my clothes..? I threw them over there…” Aeon mumbled, pointing across the room.

“Of course, babybat, one second,” Swiss said immediately, gently setting Aeon back on the mattress and pressing a kiss to his forehead before rushing over to where Aeon had pointed.

Swiss picked up the dark gray hoodie and sweatpants, his eyebrows furrowing when he recognized the feel of the fabric.

“Are these mine?” Swiss asked, wondering if they were his favorite set that he had lost. Aeon shrunk into himself and nodded as Swiss walked over. “I took them a few months ago.. I’m sorry..” Aeon apologized, looking sad.

“Don’t be sorry,” Swiss smiled, shaking his head as he gently guided Aeon to unwrap himself of the duvet. Swiss mumbled a quiet: “watch your horns…” as he slipped the hoodie over Aeon’s head, smiling when he saw just how adorable the smaller ghoul looked in his clothes.

“The gray matches your skin better anyway,” Swiss shrugged with a grin, ruffling Aeon’s shaggy black hair and helping him into the sweatpants. Aeon chirruped softly and leaned into Swiss’ touch, a quiet little purr starting up in his chest as Swiss swept him off his feet.

Aeon laughed happily, a grin on his face as Swiss laid him down, his head resting on the pillows. Swiss re-situated the bedding and laid down next to Aeon after flicking off all the lights, nuzzling Aeon’s nose as they settled into the bed together.

“Feeling better…?” Swiss asked softly, brushing his thumb over Aeon’s cheekbone, his eyes taking in Aeon’s appearance in the darkness. Aeon thought for a moment before nodding slightly, only to shake his head.

Swiss frowned, cupping Aeon’s jaw with his big hand.

“Talk to me?”

Aeon sighed a bit before starting to explain.

“You made me feel better than I did.. but I.. I guess I’m still thinking about the others. You can only promise so much, y’know?” Aeon mumbled, sounding sad. Swiss’ frown deepened but Aeon was right.

From the quint’s point of view, Swiss’ words about the others were just as good as the lies his brain was feeding him.

“Do you want me to talk to them? Have them talk to you?” Swiss asked, wanting Aeon to feel at home in the pack. “Can I… um.. can I try to talk to them first?” Aeon asked, sounding nervous.

Swiss’ heart swelled and he nodded immediately.

“Of course you can, Stardust. I’ll let you go about this however you please….” Swiss whispered, kissing Aeon’s forehead between his horns.

Aeon purred and leaned into the kiss, cuddling up closer to Swiss.

“Thank you, Swiss.”

“Anytime, Stardust.”

#aeon ghoul #ghost band #ghost the band #phantom ghoul #the band ghost #swiss ghoul #swiss x aeon #swiss x phantom #I’m sorry i can’t stop writing this kind of aeon angst #i love it so much so i probably won’t stop #also #this isn’t a part of until you find me hiding #just putting it out there #raven’s responses #ravenssilver writes #nameless ghouls #nameless ghouls ficlet

194 notes · View notes

mayasdeluca · 11 months ago

Text

Station 19 Season 7 Episode Info

7x01 ‘This Woman’s Work’ Written by: Henry Robles (5x05*, 5x17*, 6x02, 6x15*) Directed by: Paris Barclay (1x01, 1x02, 1x10, 2x01, 2x08, 2x17, 3x01, 3x02, 3x07*, 3x16, 4x01, 4x03*, 4x13, 4x16*, 5x13, 6x10*, 6x15*) Synopsis: Andy steps into the station's captaincy as Jack's life hangs in the balance. The team is called to a hostage situation. Natasha fights for her career, and Maya and Carina make a choice.

7x02 'Good Grief’ Written by: Meghann Plunkett (3x04, 3x12, 4x06*, 5x06, 5x15, 6x12) Directed by: Tessa Blake (2x03, 2x16, 3x06*, 5x11) Synopsis: Ben and Theo respond to a challenging Crisis One call, and Jack struggles adjusting to his new reality. Maya and Carina treat a nanny with a surprising diagnosis. Travis finds a surprise at Dixon’s wake, and Vic joins Beckett at a family funeral.

7x03 'True Colors' Written by: Staci Okunola (5x10, 5x17*, 6x09, 6x17) Directed by: Peter Paige (4x14*, 5x02, 5x08, 6x02, 6x07*) Synopsis: The Station 19 crew struts their stuff at the FABruary Winter Pride parade, where Maya encounters someone important from her past. Carina looks to Bailey for support, while Travis and Eli arrive at a crossroads.

7x04 'Trouble Man' Written by: Mellow Brown (6x05*) & Sybil Azur (new writer) Directed by: Stefania Spampinato (!!!!!!!!!!) Synopsis: The Station 19 team faces a grueling 24 hour shift that threatens to split them apart. Andy must make an impossible decision; and Maya and Carina navigate new parenthood.

7x05 (100th Episode) 'My Way' Written by: Emily Culver (4x10, 5x04, 5x09, 6x04, 6x16) & Alex Fernandez (6x10*) Directed by: Daryn Okada (2x10, 3x12, 4x12, 5x05, 5x15, 6x06) Synopsis: Andy Herrera earns her captain’s stripes as she fearlessly leads her team during a life-or-death emergency at Seattle’s most beloved landmark. Vic struggles with emotional burnout, and Maya helps Carina navigate some difficult news.

7x06 'With So Little To Be Sure Of' Written By: Rochelle Zimmerman (4x09, 4x15, 5x03*, 5x11, 5x16, 6x06, 6x11) Directed By: Boris Kodjoe Synopsis: With both Vic's job and Crisis One in jeopardy, a flashback shows how the program has changed the lives of the team and the local community. Meanwhile, Ben keeps a secret from Bailey.

7x07 'Give It All' Written By: Heidi-Marie Farren (new writer) & Leah Gonzalez (5x07*, 6x08, co-wrote 5x16, co-wrote 6x17) Directed By: David Greenspan (3x08*, 4x10, 5x07*, 6x13*) Synopsis: The crew responds to a call at a local park, only to have their assumptions challenged by the Tulalip Tribe when they arrive. Meanwhile, Maya confronts her past, and Carina goes on the offense.

7x08 'Ushers Of The New World' Written By: Shernold Edward (new writer) & Beresford Bennet (co-wrote 6x11) Directed By: Letia Solomon (new director) Synopsis: Station 19 uses its clinic to care for asylum seekers who have been bussed in from out of state. Meanwhile, Natasha gets a visit from her sister, and Vic receives surprising news.

7x09 'How Am I Supposed To Live Without You' Written By: Zaiver Sinnett (4x03, 4x15, 5x08, 5x14, 6x07*, 6x15*) Directed By: Tessa Blake (2x03, 2x16, 3x06*, 5x11, 7x02) Synopsis: When a wildfire threatens Seattle, the crew must jump into action to save their city. Meanwhile, as the station undergoes changes, Andy contemplates the future.

7x10 'One Last Time' Written By: Zoanne Clack (6x18*) Directed By: Peter Paige (4x14*, 5x02, 5x08, 6x02, 6x07*, 7x03) Synopsis: As Station 19 continues to battle an existential wildfire, the team grapples with the possibility of a future that will be changed forever.

(* = episode that includes multiple and/or good Marina scenes)

#station 19 #s7info #updated

57 notes · View notes

gogandmagog · 8 months ago

Text

Guys! Yesterday I had a book-shaped piece of mail, and inside of it was my copy of Children and Childhoods in L.M. Montgomery: Continuing Conversations being returned, from another very dear user here! I bring this up only because some-months-ago I promised to copy out a particular article from this book, for yet another user here, who was interested! Interested because it’s on the the subject of a Fan Favourite thing... fan fiction. And better still because��some of our (basically famous) mutuals here are mentioned by name! If you’ve ever wondered if the Montgomery scholarship is reading your fan fiction... the answer is yes, they are! They totally are. More than that, they also have some thoughts to share… as well as recommendations of their faves too! This article even covers the F/F and M/M fan fiction presented by fans in LMM’s universe, and I’m personally super excited to be able to begin reading these works, as soon as I can find them all. I’ve done my best to link what I could immediately find, but some of the mentioned stories were unavailable... potentially due to changes in usernames? (That said... if anyone knows of the works indicated here, that I haven’t provided a link for, please do share!) This article, by the way, was written recently... in 2020! It’s very current, and it covers a few stories that were still being actively updated during the pandemic. The focus of this article is less so on canon (or really just the Anne/Gilbert pairing), though, and seems to prefer demonstrating the versatility of mixing relationships (Anne and Emily, for one!) and the wider more general universe-building aspects (the entanglements of future generations/Anne’s grandchildren) that fans have been expounding on for nothing less than decades.

Okay, here we go! xx

Continuing Stories: L.M. Montgomery and Fanfiction in the Digital Era by Balaka Basu

Fanfiction – the recreational (re)writing of texts – is a literary genre of rapidly growing significance. Abigail Derecho in her brief history of fanfiction identifies it as “a genre that has a long history of appealing to women and minorities, minorities, individuals on the cultural margins who used archontic writing as a means to express not only their narrative creativity, but their criticisms of social and political inequities as well.”

Insightfully defined by Francesca Coppa and Mary Ellen Curtin as “speculative fiction about character,” fanfiction can be even more precisely understood as fantasies about the diegetic positioning of characters in the context of various settings, communities, relationships both textual and paratextual, and eventually all manner of cultural mythologies.

Kristina Busse and Karen Hellekson describe the production of fanfiction as “part collaboration and part response to not only the source text, but also the cultural context within and outside the fannish community in which it is produced.”

They point out that the shift in the method of dissemination of fanfiction from newsletters and zines to internet archives means that “ever-younger fans who previously would not have had access to the fannish culture except through their parents can now enter the fan space effortlessly; financial resources have become less of a concern because access to a computer is the only prerequisite; and national boundaries and time zones have ceased to limit fannish interaction.”

The nature of fanfiction allows participants to cross-generational and socio-economic boundaries in an ongoing exchange of responses to a source text with which they share a fascination, developing new texts that in turn elicit their own responses. While the creation of fanfiction is evidence of an affective, loving, communal relationship with the source text, this genre of writing is still dismissed in many quarters as overly emotional, purely erotic, and even perverse, a type of amateur and immature engagement with popular texts that produces writing necessarily divorced from literary significance. Produced in staggeringly vast quantities by subcultures with complex vocabularies and traditions that can intimidate the casual reader, fanfiction is perceived by many to be more of a cultural practice than a literary genre, variously denigrated for its pornographic potential and its lack of originality. However, close examination reveals that fan writers are able to create a critical dialogue with the originating author in acts of communal storytelling that incorporate allusions and reference points to which other dedicated fan readers and writers may respond.

In this chapter, after examining how L.M. Montgomery and her writer heroine Emily themselves engage in practices now associated with fanfiction, I survey four forms of fanfiction that remove Montgomery’s novels from her seemingly idyllic and timeless island settings, contextualizing her characters and plots within history and other genres: the sequel set during the Second World War, the modern AU (alternate universe), the gap-filler, and the slash fic, all of which allow the young readers who grow up with her novels to engage in dialogue with the stories they love, a type of literary conversation that Montgomery herself models within her texts. Emily’s reading, which is active rather than passive, resembles twenty-first-century fans’ ownership of the texts they love, provoking creative responses. For instance, after reading works by Lord Tennyson, Elizabeth Barrett Browning, and Matthew Arnold, Emily writes, “Teddy lent me 3 books of poetry. One of them was Tennyson and I have learned The Bugle Song off by heart so I will always have it. One was Mrs. Browning. She is lovely. I would like to meet her. I suppose I will when I die but that may be a long time away. The other was just one poem called Sohrab and Rustum. After I went to bed I cried over it. Aunt Elizabeth said ‘what are you sniffling about?’ I wasn’t sniffling – I was weeping sore … I couldn’t go to sleep until I had thought out a different end for it – a happy one.”

The reactions Emily catalogues are those of the fan; they are viscerally felt in the body and attempt to dissolve the boundary between author and reader, producer and consumer. She inscribes Tennyson within her heart in order to possess the poem she loves; she creates a relationship between Barrett Browning and herself; and, most significantly, she interjects her own desired happy ending into Arnold’s tragic narrative, a corrective desire that is at the core of many works of fanfiction. Emily’s diaries and her story reflect Montgomery’s own experiences from childhood to adulthood as reader, writer, and reader-turned-writer discussed in the introduction to this volume. Depicting Emily as a voracious reader and a life-writer like herself, Montgomery places the child Emily’s voice in conversation with that of the narrator through Emily’s letters to her dead father in Emily of New Moon and through her diary entries in Emily Climbs and Emily’s Quest, creating a form of joint authorship that is referenced explicitly in “Salad Days,” the second chapter of Emily Climbs: “book is not going to be wholly, or even mainly, made up of extracts from Emily’s diary; but, by way of linking up matters unimportant enough for a chapter in themselves, and yet necessary for a proper understanding of her personality and environment, I am going to include some more of them. Besides, when one has material ready to hand, why not use it?”

The narrator’s willingness to use the “material” that is “ready to hand” reflects Montgomery’s and Emily’s practices, and also validates other writers’ use of the material Montgomery places at their disposal. As with many fans, Emily’s reading frequently makes itself felt within her writing.

Like Montgomery, Emily learns her trade through mimicry, from her first poem in blank verse inspired by James Thomson’s Seasons to her unwitting imitation of Kipling that is pointed out by her teacher, Mr Carpenter, in his review of her work. Like Sara Stanley of The Story Girl, whose compelling and fascinating stories are rarely if ever original, Emily is a fan of the oral traditions of her community, incorporating and building upon them in her own writing, transforming and recreating, for instance, the story of “The Woman Who Spanked the King” in Emily Climbs.

The retelling and versioning that Emily practises signal her immense admiration for the source texts she adapts, just as the creation of fanfiction does for Montgomery’s readership and fans. The possibilities inherent in versioning and adaptation are illustrated in Emily’s Quest. When Montgomery depicts Emily undertaking the reworking of someone else’s narrative, she is adapting an episode from her own experience while working for The Echo in Halifax, which she records in her journal. Montgomery, like Emily, was asked to create an ending for a serialized story, “A Royal Betrothal,” after compositors had misplaced the original text.

Like Emily, she claims that her “knowledge of royal love affairs [was] limited,” and that she was unaccustomed “to write with flippant levity of kings and queens.” Nevertheless, Montgomery manages to create a conclusion that passes muster, since “as yet nobody has guessed where the ‘seam’ comes in.” She is, however, curious about the original author’s reaction to her unauthorized adaptation, and while she never discovers this in real life, she does imagine it in her fiction when she introduces Mark Greaves, who is horrified by Emily’s new ending for the story but enchanted by its author. Neither Montgomery nor Emily engages in this sort of writing from a place of fandom; they have no previous attachment to “A Royal Betrothal,” and both are writing professionally. Nevertheless, the ability to solve the puzzle of the story and the weaving of their work into an already extant text are the very project of fanfiction: ludic narrative composition that recalls the way children play make-believe with the narratives they love, reworking and extending them. It is telling that Montgomery uses the metaphor of the “seam” to describe this particular craft. Jane Dawkins, writing about her fanfiction, which is inspired by Jane Austen, describes her fan novel Letters from Pemberley as “an old-fashioned patchwork quilt, where in place of the scraps of fabric reminding one of the favorite frocks or shirts whence they came, there is a line or a phrase or a sentence from one of [the original] books or letters stitched alongside the lesser scraps of my own manufacture.”

Montgomery’s final book, framed by the two world wars, is just such a patchwork sequel, albeit providing only brief glimpses of the characters that readers met as children and who have now grown older. When a version of the book was published in 1974 as The Road to Yesterday, these glimpses, lacking the interstitial materials, became even briefer, mirroring the more forced insertion of beloved characters that the two earlier collections, Chronicles of Avonlea and Further Chronicles of Avonlea, display. Only two of Anne’s grandchildren – Gilbert Ford and Walter Blythe – are obliquely referred to, in the story “A Commonplace Woman,” where an unpleasant young doctor reflects on both of them as potential rivals for the affection of a beautiful girl he himself hopes to pursue.

However, the full novel, The Blythes Are Quoted, published in 2009 and comprised of short stories about the people in Glen St Mary and over the harbour, is interspersed with poetry by both a young Walter and an adult Anne. The poems are cut with tiny slices of dialogue that suggest the continuing lives of fans’ favourite characters and how they might have developed. In “‘Dragged at Anne’s Chariot Wheels’: L.M. Montgomery and the Sequels to Anne of Green Gables,” Carole Gerson notes the mixture of feelings from pleasure to frustration that Montgomery records in her journals as she prepares to write her first sequel.

While Montgomery wrote the first installments of her various series out of inspiration, she was certainly aware of what her market desired from subsequent installments. She often regretted the necessity of marrying off her characters, but was aware that her fans demanded this conventional outcome for the characters they had come to love; these traditionally romantic endings, when not offered by Montgomery herself at the instigation of her publishers, are regularly deployed by contemporary fanfiction authors building on the source texts.

Indeed, long before the original structure of The Blythes Are Quoted was revealed to readers in Benjamin Lefebvre’s afterword, fanfiction writers were spinning off lengthy narratives that included a third generation of young Blythes, Fords, and Merediths dealing with the onslaught of the Second World War. While earlier installments in the Anne series – such as Anne of Green Gables and Anne’s House of Dreams – depict the deaths of Matthew, Anne and Gilbert’s first daughter (Joyce), and Captain Jim, Walter’s death in Rilla of Ingleside is somehow more striking. Unlike Matthew and Captain Jim, he has not yet had time to grow old; unlike Joyce, readers have had opportunities to get to know him as a child in Rainbow Valley and as he grows into young adulthood in Rilla of Ingleside. His death is unnatural and, therefore, all the more horrifying. These two aspects of Rilla of Ingleside – the evocation of history by a nostalgic fictional world that is still tied to real time and the use of high drama, tragedy, and romance – provide fanfiction authors with a model they can use to appeal to the emotions of those readers who are immersed in the next generation of Montgomery characters.

The Second World War, then, provides an entry point into the series for fanfiction authors, who can deploy real history coupled with beloved characters to create a tale that feels absolutely authentic. One example of this is a short story, “The Pen and the Sword,” written in 2007 by MarnaNightingale. Here, mimicking the style of Dorothy L. Sayers’s The Wimsey Papers (a series of Spectator articles published between 1939 and 1940, which interestingly also continue the story of First World War–era characters during the Second World War), MarnaNightingale employs epistolary excerpts and newspaper articles to tell the story of a family going through the horrors of war for a second time. Grounding her fragmented story – like The Blythes Are Quoted, a mixture of genres – in the accounts of novelist Mollie Panter-Downes (1939) and war correspondents Ernie Pyle (1940) and Ross Munro of the Canadian Press (1941), whose articles are attributed to Kenneth Ford, she offers a story that, like Rilla of Ingleside, is anchored to the historical moment, while also nostalgically focusing on the character development that comes from Gilbert Ford’s death, Rilla’s and Faith’s reactions to the war, and the lives of their children. Here war also serves as an opportunity for new experiences, particularly for women and children: Rilla takes a factory job as a machinist, liking it better than working in Carter Flagg’s store; one of Anne’s grandchildren, Susan, plans to be a doctor; and Faith, who worked as a Voluntary Aid Detachment nurse in the First World War, mentions how she can sympathize. As well, the daily tidbits that flavour the pages of Rilla of Ingleside are there: one article, attributed to Anne, includes the recipe for Susan Baker’s war bread, reminding readers of the problems of wartime rationing, even in the Americas. Real life events – like the Canadian forces trying (and failing) to make a beachhead at Dieppe – arouse the passions of the reader. Unlike Austen – who also famously wrote of three or four families in a country town, but kept the Napoleonic wars firmly in the shadows – Montgomery brings the passions and high drama of the world stage into the sleepy villages of Prince Edward Island, which inspire fanfiction spinoffs.

The long novel Cecilia of Red Apple Farm, by a fan author who posts under the pseudonym ruby gillis, also directly reworks passages and scenes from the whole range of Anne books, set in the late-nineteenth century, to The Blythes Are Quoted, set in the early years of the Second World War, to highlight the similarity between her new generation of characters and their ancestors. Cecilia is the daughter of Una Meredith and Shirley Blythe (characters often married off in fanfiction). Like MarnaNightingale, ruby gillis provides period flavouring in the styles of dresses and behaviour and in references to 1940s popular films and songs. Simultaneously, this setting offers new opportunities to her female character: Cecilia wants to be a doctor, and rather than staying in Canada, she joins up to be a nurse in England. She has a series of romances – one with Sid Gardiner (before he marries May Binnie), and one with her cousin Blythe Meredith, who is this generation’s poet – before finally ending up with Marshall Douglas (the son of Mary Vance). Just as Anne initially refuses Gilbert Blythe in favour of Roy Gardner’s resemblance to her ideal man in Anne of the Island, ruby gillis’s Cecilia is fooled by the allure of Sid and Blythe as Roy Gardner–like romantic heroes into believing that she does not truly love her fun, practical, “Gilbert-esque” friend. Published in 2004, Cecilia of Red Apple Farm further illustrates the opportunities presented by reusing and reworking a body of texts through its incorporation of Montgomery’s poem “I Wish You” as the work of Blythe Meredith. Montgomery includes this poem and attributes it to Anne in The Blythes Are Quoted, although ruby gillis could not have known this when writing. The repetition of names and circumstances might seem derivative, but for readers who have read and reread the original books so many times, the extension of the story world is prized, even if – perhaps even because of – its callbacks to the original text. Due to the tendency of fans to fixate on “the good bits” in a reread, these parts can be taken for the whole.

Austen fanfiction demonstrates this aptly. Indeed, Helen Fielding’s second Bridget Jones novel, Bridget Jones and the Edge of Reason (1999), illustrates just such a reading of Pride and Prejudice: she shows Bridget, a fan, watching the scene from the 1995 mini-series in which Darcy, dripping in a wet see-through shirt, exits the lake, and then rewinding and rewatching the scene multiple times. How many times might a similar fan reread Walter’s letter from Courcelette? This repeated reviewing of selected portions can replace the amplitude of the original novel. With this delimited focus, narrative is no longer seen as a progression, but as a single moment of pleasure, sustained as long as possible. Reading the Second World War as a repetitive sequel to the First World War further highlights this possibility.

Even Montgomery seems to do so, as demonstrated in The Blythes Are Quoted, with its new generation of characters confusingly named after the old: Walter, Jem, Rilla, Di, Anne, and Gilbert. A variation on Marah Gubar’s kinship model, this kind of continuation highlights the blurred boundaries between child and adult characters who are literally related to one another and whose adventures mimic one another.

In a third example of fanfiction set during the Second World War, Weeping May Tarry, a long novel by ElouiseBates, Meggie, the heroine, is Shirley’s daughter (and also, surprisingly, Paul Irving’s granddaughter). In this story, which like Cecilia of Red Apple Farm is an installment of a longer series, Meggie is sent off to a conservatory of music to study singing, aptly combining the traditions of the nostalgic boarding-school novel with “Girl’s Own” wartime fiction. Following the tradition of Magic for Marigold, which explicitly suggests in its second chapter that the Murrays of Blair Water and the Lesleys of Cloud of Spruce exist in the same universe, @e-louise-bates (like many other fanfiction authors, including ruby gillis) suggests that all of Montgomery’s characters exist in a single universe: Meggie partners briefly with the grandson of Sara Stanley (The Story Girl and The Golden Road) and is close friends with Jane Stuart (Jane of Lantern Hill).

Going even further, @e-louise-bates introduces the grandchildren of the What Katy Did series as friends for Meggie and includes Betsy from Dorothy Canfield Fisher’s Understood Betsy as Bruce Meredith’s wife, creating a world where all the characters of early-twentieth-century girls’ fiction seem to have truly lived, where their descendants must cope with victory gardens and dances with soldiers at the Exhibition Grounds, and where kisses are much more commonplace than they once were.

These particular continuers of Montgomery are also desirous of membership in the community of her fans, seeing their literary endeavours as productive of approval from a fellow readership. Likewise, the novels are notable for their sociality – they seem to offer the reader not only a fantasy friendship with the characters themselves but also the very real society of fellow readers of the works. Thus, these fan authors attempt to diversify their stories so that they represent contemporary beliefs regarding multiculturalism; ruby gillis, for instance, introduces into the family by way of marriage a French girl who has had to flee the Nazis due to being Jewish, a situation Montgomery and her contemporaries might have had some difficulty accepting, considering early-twentieth-century attitudes toward interreligious marriage and Montgomery’s othering of the German-Jewish peddler who sells Anne green hair dye.

The Second World War thus offers writers of Montgomery fanfiction the loom on which to weave new, more diverse stories, even as The Blythes Are Quoted, which also traces the characters’ reactions to this new war, demonstrates how these readers-turned-writers followed Montgomery’s own trajectory, not knowing that they were doing so. On the subject of fanfiction, young-adult author Patricia C. Wrede writes: “The thing that fascinates me about fanfiction, though, is the way that it models the decision tree that writers go through (whether consciously or unconsciously) to get to their final product. For those of us who do this part mostly unconsciously, it can be interesting and instructing to see the multitude of alternate paths that a story could have taken, all laid out more-or-less neatly in different authors’ fanfics [… taking a slightly different fork in the road] resulting in the plot veering in a completely new direction. Friends become enemies; enemies become friends; goals and objectives and results shift and change.” Within these pieces of fanfiction, then, fan writers are able to follow these decision trees with subsequent generations of characters as well.

Another avenue of access occurs when fan authors transpose historical narratives into the contemporary moment. Perhaps the best-known example of this modern alternate universe [AU] conversion is the television program Sherlock, which takes Arthur Conan Doyle’s Victorian detective into the twenty-first century. While new cultural contexts appear, the essence of character is meant to be retained. Just as Sherlock uses text messages and blogs to substitute for telegraphs and handwritten journals, fans of Montgomery reimagine the relationships between her characters as if they were taking place online.

For instance, “Work in Progress” (2012) by verity postulates a friendship between Montgomery’s most famous heroines, Anne and Emily. In this piece of fanfiction, Emily circumvents Aunt Elizabeth’s injunction against fiction during her time at Shrewsbury High by becoming a blogger who is restricted to the “truth.” The story’s online summary, a part of which reads “Anne rolls her eyes. ‘Is your aunt really going to know if you cheat on your nonfiction with some hot prose on the side?’” shows how the story preserves the character qualities that Montgomery laid out, complete with references to the Murray pride and Anne’s orphanhood. Mr Carpenter’s admonitions are spelled out at the beginning of the story:

“Emily Byrd Starr has a sticky note on her desktop. It reads:

ITALICS

CAPITALS

!!!!!

“just”

“really”

CTRL+F!

It is almost like having Mr Carpenter in the room with her.”

Verity creates humour through the juxtaposition of contemporary social media and allusions to Montgomery’s source text. Another story by verity detailing Rilla’s romance with Ken Ford and her friendship with Una Meredith, “Rilla of Toronto,” takes place mainly through instant messages. In this story, Rilla reflects on her life from eighteen to twenty-five, tracing a continuum from her child self to her new adulthood, underscored by verity’s translation of Montgomery’s work into contemporary millennial language.

A third type of fanfiction narrative, the gap-filler, focuses on and expands the implications of the source texts. Moira Walley-Beckett’s Netflix/CBC series Anne with an “E,” as Laura Robinson shows in chapter 12 of this volume, is somewhat fanfictional in and of itself: as Robinson points out, the show fills gaps by bringing to the fore the darker currents that have always been beneath the seemingly untroubled waters of Anne of Green Gables, including Anne’s potential post-traumatic stress disorder from the disturbing life she led before coming to Green Gables. This kind of versioning and adaptation tacitly permits fan authors to feel that their versions are just as valid as those produced by professionals. Gap-fillers frequently expand on romantic pairings and in fandom are often referred to by portmanteaux of characters’ names that perpetuate some inside joke or work as puns. “Shirbert” – a moniker for Anne and Gilbert – is the latter, and demonstrates how fans posting on sites like Archive of Our Own (Ao3), Fanfiction.net, and Wattpad (this last generally populated by younger fans) develop their own language to identify their stories within the community for which they write.

One such story, “You caught me staring, but I caught you staring back,” by Anuka, clearly inspired more by the television series than the novels, begins with an author’s note that reads, “I decided to write some fluff for these two, because I need more Shirbert moments, and season 2 is so far away. I added gifs to make it more vivid.” Here, the romance between Anne and Gilbert as depicted by Montgomery and Walley-Beckett is not sufficient for the reader-turned-writer. Anuka wants the gaps in the narrative to be more fully explored than they are on either page or screen and to be made more “vivid” by the inclusion of images that help make the story come alive.

Similarly, “Rilla Blythe’s Wedding: A Not Entirely Comprehensive Account” by Scylla also fills a gap: Rilla and Ken’s wedding day, a scene that Montgomery leaves to the reader’s imagination at the end of Rilla of Ingleside. Modelled upon other accounts of weddings within Montgomery’s fiction, the story also suggests that accounts of Walter’s death have been gravely exaggerated, as he makes a stunning appearance at his sister’s wedding. In order to align her work with Montgomery’s novel, Scylla ensures that Little Dog Monday’s awareness of Walter’s death remains, but makes it only a technicality, writing, “His heart had stopped for a full ten seconds – long enough for his Captain to feel for his empty pulse and for Dog Monday to be jolted with the fullness of his death. Little dogs, after all, can only have tender dogs’ hearts. Grief to Dog Monday was an all-consuming thing, and when Walter’s heart began to beat once more, he was deaf to its spark of joy.” After meeting with his eldest sister, Joyce, in heaven – which is, as he had always hoped, Rainbow Valley, Walter is returned to life so that he may write of peace as well as war (as he did when he was a boy), marry Una, and repair the broken hearts of readers who did not want to lose him.

While heterosexual pairings are the most prevalent in Montgomery fandom, there is room for queer imaginings as well.

This very popular genre of fanfiction, known as “slash,” is generally defined as stories that centre on samesex romances between characters, particularly between men. Montgomery slash fiction usually stars Walter Blythe.

One slash story, “but i don’t know who you are” by @freyafrida, imagines a bisexual Walter. Told in an enduringly popular sub-genre of fanfiction often referred to as Five Things Plus One (which involves a series of thematically linked but not necessarily chronological scenes), the story is summarized by @freyafrida as “Five people Walter thought he wanted, and one person he didn’t notice until it was too late.”

This last person is original to Montgomery’s text: Una, whose apparently unreturned attraction to Walter is woven through Rilla of Ingleside. The other five potential partners are all alluded to as Walter’s close friends, beginning in childhood with Alice Parker from Anne of Ingleside and Pat Brewster from The Blythes Are Quoted and then carrying on through adolescence and young adulthood with Faith Meredith, Ken Ford, and finally Paul Irving from Anne of Avonlea. While his feelings for Faith and Ken are clearly unrequited, Alice, Pat, and Paul all express their own desire for Walter. The inclusion of the famous poet and Walter’s “model” uncle, Paul Irving, in particular, particular, illustrates how traits of sensitivity and aesthetic appreciation that challenge traditional ideas about masculinity are frequently interpreted as queer by fan readers and writers.

In another slash fiction, cero_ate’s “The Moving Finger Writes, and Having Writ Moves On,” Walter discovers his homosexuality while fighting in Europe:

He wrote half truths and lies once more, when he wrote his Rilla that he could not form poems of the depths of the war. For who could write his sister of the phallic love he had found? He had found his reason in a tow-headed American boy. He meant so much more to Walter than mere friendship could explain. He wanted to write, as sweethearts write, of the tempest of joy in the darkest night. But how would they understand? How would they even try to understand he sought not the Dark Lady of Shakespeare but the youth, fair and Wilde? When he was presented with Una’s faithful heart, he spurned it. When his tow-headed darling presented his own, Walter took it, greedy for him. His grecian style love, the boy who’s [sic] eyes danced, even in the darkest of days. He would do anything to keep him safe. But he could not present him to his family, for their scorn or pity. War had broken him, but made him as well.

While male/male pairings are generally the most popular stories in fandoms, Montgomery’s novels, peopled as they are by communities of girls and women, require that readers who want to queer the text must explore what is called femslash (that is, slash fiction featuring two female characters).

Such relationships have been explored within the academic setting. For instance, Laura Robinson remarks in “Bosom Friends: Lesbian Desire and the Anne Books,” that the relationship between Anne and Diana uses “the language that readers associate with adult romantic love rather than girlhood affections,” even as it is expressed through the heterosexual paradigm of marriage.

One fanfiction author, ArcticLava21, makes it clear that such fan written stories are not speculation but instead address key issues of representation. The author’s note to ArcticLava21’s short Anne/Diana story, “Nature,” reads, “Hello everybody! Hope your [sic] having a wonderful day. Before anyone yells at me for ‘sexualizing platonic friendships’ please note that this is for all those queer kids who grew up pretending. Pretending that he ended up with him instead of her, or desperately wanted representation. Are we good? <3 Enjoy yourselves lovely people.” The intended audience of the story, “queer kids who grew up,” again establishes the transgenerational kinship between Montgomery’s child and adult fans.

All fan fiction, shared on the Internet, exist in dialogue not just with Montgomery’s fiction but with the author herself, and between the fans who read the novels as children and adolescents and the adults that these readers become.

Whether fan writers extend the narrative or fill gaps, transpose chronology or to queer the text, these pieces of fanfiction allow fans not only to insert themselves into the narrative, but also simultaneously to revivify the original novels, published a century ago. In performing interventions to the text, Montgomery’s young fans grow up to reply to the discussions that she began long ago in the pages of her journals and stories, ensuring that all three – author, reader, and text – are continually reborn into a conversation that will never end.

#any typos here are all mine 😑#apologies because i’m sure there’s so many… i’m just bleary-eyed from the screen time it took to type this guy up!#like #why didn’t i just get the kindle version #lucy maud montgomery #fan fiction #anne of green gables #emily of new moon #too many individually referenced characters to tag here really!

51 notes · View notes