#White gull river

[evergreensounds]

the reeds my beloved (sister carpenter tsv)

[dansnaturepictures]

18/06/2023-Hayling Island and a brilliant boat trip along the Beaulieu River with Wild New Forest 

Photos taken in this set: 1. Cinquefoil at Northney Paddocks, Hayling Island. 2. Beetle at Hayling Island. 3. Nightshade, Hayling Island it was good to see a lot of this beside the path at Northney Paddocks. 4. View at Northney Paddocks. 5. A Marbled White butterfly at Hayling Island oysterbeds, at both Hayling Island spots I was over the moon to spot my first of the year of these frilly summer butterflies. Such a captivating sight as ever seeing one of my favourite butterflies. It’s the first time since 2014 that I didn’t first see Marbled White for the year at Lakeside Country Park as it really became a different surge into summer butterfly species for me during the week off as a whole. 6. A majestic Marsh Harrier which sailed over the marsh land and across the river and was the highlight of the boat trip. A powerful moment with a bird I adore. 7-10. Views on the Beaulieu River boat trip, it was such a lovely and rare treat like feeling to be out of an evening and in such beautiful surroundings. The boat trip booked coincidentally to the week in Anglesey that went before, it was great to throw ourselves into the wonderful New Forest when back and was the perfect end to an engaging and thrilling wild week.

At Hayling Island as well as Meadow Brown and possible Small Skipper I was thrilled to see an Essex Skipper, only my second ever after one at Norfolk’s Hickling Broad last summer and this was a real surprise early in their season. Another amazing butterfly I’ve seen of late. It was also good to see Kestrel, Little Egret, Oystercatcher and Sandwich Tern a star species of the week the latter including fishing especially very well on the boat trip and Shelduck at both with Buzzard, Greenfinch, Whitethroat, Swollen-thighed beetle and Green Woodpecker heard other highlights at Hayling Island. It was also great to see Curlews so intimately, Avocets, Ringed Plover and Redshank on the boat trip with looming Great Black-backed Gulls on shingle, Swallow and House Martin as well as Pied Wagtail with one landing on the boat star species of the boat trip too. St. John’s-wort, agrimony and greater knapweed early in their seasons big summer species for me, mallow, pale yellow-eyed grass and privet were other key plants at Hayling Island with foxgloves seen well on the way to Bucklers Hard where the boat trip was from. Pig Bush a part of the forest I adore and the rest of the forest looked beautiful as the sun emerged in the evening going home.

[cherrywhite]

Putting my biggest clown nose on

Okay some of these I had written down before chapter 43 but I finally found the time to sit down and make a bingo sheet for the last few episodes. Ranging from Legitimate Predictions to Things I Want to Happen to You Know What? Sure 🤠

Template if anyone wants to make one of their own:

[cosmichorrorlesbians]

These were the Silt Verses.

(closeups/design notes/rambling under the cut, because it took me over a month to make this so I'm going to be a little self-indulgent.)

spoilers for the whole podcast ahead!

Our protagonists! Notes:

Some of these came out more accurate to how I see them than others. Hayward in particular looks much less grimy and haggard than I imagine him. Carpenter, on the other hand, is perfect in my eyes. Shrue is (subconsciously) very much inspired by the wonderful @unbloodiedmartyr's rendition of them (thanks Sacha, your art goes insanely hard!)

Hayward and Paige face away, a nod to their final parting. Carpenter and Faulkner face one another, in deference to their final reunion.

Val and Shrue are both shown at the moment of their deaths.

Paige, the only character confirmed to survive the immediate finale, is the only one with closed eyes.

I'm a blond Faulkner truther. Sorry.

Someone left some really really insane tags on a Valpost I made like a month ago about how Val can alter her appearance as she pleases, but the Last Word can never convince her not to see the actual aftermath of her torture when she looks in the mirror, and it sent me a little crazy, so I was trying to capture that failing self-deceit here. She's meant to look absurdly young, but where the flames overlay her face, you can see the prayer marks and lacerations on her skin.

I had this out on my desk for days and every time a family member dropped by I had to frantically hide the fact I was drawing 'politician gets shot in the head' fanart. RIP.

These are the marks of the Many Below! They look Not Great enlarged, but hey ho. I wanted them to look hidden and incidental, separated in each corner as they are:

'Begin with a balbis on its side. Within the two spaces, a circle marked by a single dot.' Drawn in the silt of the White Gull River.

'Beneath this, a pair of concentric circles. Within the annulus, an ovoid with a slit - a staring eye.' Scrawled across the pug postcard Cross uses to write his idea to scapegoat Shrue.

'Under that, a lemniscate over a heptagram[...]' Made up of the ribbon that binds Mercer and Gage's rifles.

'[...]and three parallel lines beneath.' Faulkner's staff, broken into three pieces.

Interstitial illustrations. There are four sets of these, which (roughly) correspond to more stand-alone episodes & fan favourites. This is my favourite, for my beloved Chapter 36: All Lovers Part As Dust. I had a blast distilling recurring motifs of the episode into one little illustration, and I'm really proud of the result; I think it captures the match of sweet and bitter that the episode in question inspires. The clock points to the eleventh hour.

These are pretty self-explanatory: I couldn't pass up a chance to draw the inciting miracle of the series, and it made sense to pair it with the image of Paige and Hayward sailing downriver at the end of Season 2, an image which has always haunted me.

The hare and the owl are from Chapter 26, a symbol of the Wound Tree's emergence. The lobster and fish are intended as a nod to Faulkner and Rane, a character who I love but couldn't include more overtly. Lobsters are seen as a symbol of devotion and fidelity because, apocryphally, they mate for life, and yet the lobster here is without its pair. The fish was intended to be a remora, which swims beside sharks. (Yes, I'm aware remora are tropical sea-dwelling fish, and humbly beg any marine biologists reading this not to kill me on the spot).

The Killing And Violence Siblings!

These object illustrations were deliberately positioned as parallels and specifically reference Season 2, marking the point of the poem that is made up of that series' titles (an attention to the series chronology that roughly coheres throughout the piece. Very roughly.)

Mercer and Gage's rifles are twisted round with a red ribbon, which bleeds into the White Gull, binding them together and reflecting how they're rarely seen apart. The ribbon's also a deliberate parallel to the banner wrapping Carpenter and Faulkner's hands elsewhere in the art.

Carpenter's axe and Faulkner's sororicidal mirror shard are depicted alongside fish hooks, as though they're separated for much of the season, the Parish draws them back together in the end. Also an echo of Paige's line, 'Love is just a meat hook for you to catch me on.'

There's only blood on one of the rifles, in a nod to Mercer and Gage's uneven dynamic.

Bookend landscapes. The pages were intended to reference the Silt Verses as an in-story document, and represent the themes of truth, myth and record throughout.

The illumination!

It was always going to be a radio-- not a nod specifically to Sid Wright, but really to the use of broadcast, music and sound throughout the show. TSV's sound design is truly one of the things I admire most about it.

The radio is meant to be on Carpenter and Faulkner's dashboard, as they drive along the river in the very first episode, hence its positioning at the start of the poem.

I conceived this as the centre of the piece, and drew the rest around it.

aaaand that was a lot. I didn't cover everything, and I recommend clicking on the final piece to get full quality and see how the details interact with one another-- but if you've read through all these meanderings, thank you, sibling. I started this two weeks after the finale, and managed a full relisten while drawing. It's been a labour of love, and I now hate watercolours more than I have words for.

[pretzel-box]

Summary: You're a mortal fisher that catches the attention of an ancient sea god without knowing it.

Tags: Some 'fluff', mortal reader, sea god sebastian

Words: 2,6k

There was a small village that was cradled on the edge of an unknown island like a forgotten secret among humans, made out of solid stone, earth and sand while being shaped by the restless waves of the deep ocean. Narrow cobbled streets would wound between the homes of sun-bleached woods and weathered bricks while fine smoke curled up from the going chimneys, mingling with the salty sea air. Many signs of a life gathered around this place despite its unknown status.

The endless ocean surrounded the village on all sides, an eternal sentinel, its deep blue waves gently lapping at the shoreline as if it were whispering ancient lullabies. The sun hung low in the sky, casting the world in hues of gold and lavender, where the horizon blurred into a seamless meeting of sea and sky. The sound of gulls crying in the distance echoed through the air, carried by the wind that rustled through the tall grasses and wildflowers growing at the island’s edge.

Farther out, where the cliffs rose jagged and defiant against the endless ocean, the waves crashed with a furious roar, sending white spray high into the air. Yet here, within the village, the sea was gentle—a mirror reflecting the sky’s fading light.

Small fishing boats bobbed in the harbor, tethered to wooden posts worn smooth by years of use. Their painted hulls were chipped and faded, yet they held a quiet dignity, as if they had borne witness to centuries of tides, storms, and the steady rhythm of life. Nets hung drying on the docks, draped like lace over the old wood, waiting for the morning light to send the fishermen back to the open sea.

The wind picked up, carrying with it the scent of salt and damp earth. A few villagers, their faces lined with age and the sea’s touch, gathered in quiet conversation near the docks, their voices low, as if unwilling to disturb the peace. Lanterns flickered to life in the twilight, casting a soft, golden glow over the village, like stars scattered across the earth.

As the day gave way to dusk, the village seemed to breathe, a living thing, connected to the ocean and sky in a way that was timeless. The sea, the cliffs, the forest—they were all one with the village, woven into its very being. And as the stars began to emerge, one by one, above the endless horizon, the island seemed to settle into itself, cradled by the ocean’s eternal embrace, waiting for whatever secrets the tides might bring.

"Listen, my child. Our story began long ago, when the gods still walked the earth and the stars were young."

Once upon a time…

The land was molded by the hands of glorious deities, their fingers painting the skies and carving the rivers. They placed the sun on the horizon and the plains upon the earth. The world flourished, but with its growth came envy, as some gods overshadowed others. To gain power, they created life—humans, born from their desire for control.

At first, humans worshiped their creators with devotion, pledging loyalty to one deity, then betraying the next. They defiled the divine in their thirst for more, striking down gods one by one. Until, at last, only humans remained, reigning over the world they had once been given. The gods, once mighty, were destroyed by the very hands that they had shaped.

The lesson was clear for the mortals: gods could not be trusted.

You grew up in the small village, cradled by the sea, raised between the wind and the waves as if you were a child of nature itself. The first thing you learned was your origin, that you were descended from the gods—gods who were flawed and fallible. Your grandparents told you stories of your ancestors, how they fought with their lives for the right to live on this island, battling forces far beyond their comprehension.

Ages ago, a fierce god named Solace ruled over these waters. His rage, directed at both his siblings and their creations, churned the oceans into relentless fury. Your ancestors tried to cross the waters for months, many drowned and many got sacrificed to soothe the will of the deity that ruled in the waters. His anger blinded Solace, his envy and his feelings were like a sharp sword, pointed at himself. Your ancestors tricked him, like they did with so many other deities before. They sealed him into the ocean, robbing him of his necklace that he wore. And after they triumphed over him, the ocean came to rest. All thanks to the necklace that secretly holds Solace his powers.

A necklace that rested around your neck, a family piece that was given down as the generations passed. It was a sea shell pendant, reflecting in beautiful blue-silver hues as if the sea itself was placed upon you. And you wore it with pride.

Your mother gave it to you the day you joined the family tradition, stepping into the life of a fisher. It was a simple gift, passed down through generations, as much a symbol of your heritage as the sea itself. You learned to live in harmony with the waves, to respect the life beneath the surface, and to take only what was needed. Your family had always been blessed by the ocean, and so would you. It was honest work—give and take—where you not only harvested from the sea but also protected it, keeping it clean and honoring its depths.

"Keep calm," you murmured to yourself, the words a quiet mantra as you sat in your small boat. The sun was warm on your back as you focused on tying the loose strings of your net, the gentle rocking of the boat a familiar comfort.

Your mother had taught you to knit the nets in the old traditional way, every knot a connection to your ancestors. Your father, in turn, had shown you the art of fishing—how to hunt with respect, how to make the death of the fish swift and painless, and how to use every part of it in reverence for the life taken. A true fisher never wastes, for the sea gives generously but only to those who understand its balance.

The rhythm of your hands, the whisper of the wind, and the quiet lap of the waves against the boat—they all wove together like a song. You were part of something much larger than yourself, connected to the ancient currents of the sea, just as your family had always been.

You lifted your finished net, admiring the neat knots with a smile of quiet pride. A rush of happiness filled your chest as you hugged the net, feeling accomplished. You had honored the legacy of your ancestors, crafting the tool with care, just as they had done for generations. It was a simple but profound joy, knowing that you were connected to something so old and enduring.

With a steady breath, you prepared to cast the net into the water, hoping for a good catch to feed your family tonight. The gentle hum of the waves blended with your thoughts, and as the net unfurled, you missed the soft snap of a string breaking. But the sudden blue shimmer at the corner of your eye did not go unnoticed.

Your heart dropped as you realized it was your necklace—the one your mother had given you. Somehow, it had tangled itself in the net, and as you began to fish, it slipped from your neck effortlessly, tumbling into the water before you could react. You watched in stunned silence as the delicate jewelry disappeared beneath the surface, swallowed by the depths in an instant.

The sea, ever so calm just moments ago, now seemed impossibly vast and unyielding. That necklace was more than just a piece of jewelry; it was a part of you, a part of your family. And now, it was gone.

It sank slowly, the glimmering stone catching the last rays of sunlight as it shimmered just beneath the surface, suspended in the water like a delicate promise about to be broken. You watched, helpless, as it drifted deeper, the blue hue of the ocean swallowing it whole. Your heart pounded in your chest, a heavy sense of dread filling you as the necklace—your link to your family, your ancestors—vanished silently into the dark water below.

Your hands slackened, the net forgotten, slipping from your grasp into the boat. Without a second thought, instinct took over. Before you even realized what you were doing, you dove headfirst into the water, chasing the fading glint of silver.

The coldness of the ocean hit you like a shock, but you didn’t care. You kicked your legs, your arms pushing against the water, desperately reaching for the necklace as it continued its slow descent. The light above you grew dimmer as you sank deeper, the world around you a muffled echo of the surface. You could barely see now, the shimmering silver reduced to a distant gleam.

The water pressed in on you, chilling your skin and constricting your lungs. Panic began to claw at the edges of your mind, but you couldn’t stop—wouldn’t stop. It was more than just an heirloom; it was the weight of your ancestors’ blessings, the legacy of your family, and it was slipping further and further away.

Your lungs began to burn, the pressure of the deep water pressing against your chest, but still, you reached out, fingers stretching into the darkness. The necklace was now just a faint blur, fading into the abyss. Desperation surged through you as your arms flailed in the icy depths.

The darkness was overwhelming, the cold water pressing in on all sides as you sank deeper, the faint shimmer of your necklace vanishing into the abyss. Your chest burned, lungs screaming for air, but your limbs were too heavy, too numb. The weight of the ocean dragged you down, and for a moment, you felt yourself surrendering to the pull, the necklace gone.

But then, something strange happened. A warmth surrounded you, gentle and reassuring, cutting through the icy water. A firm hand wrapped around your waist, pulling you upwards with a strength that felt both human and not. Yet, the darkness caught you and you passed out.

The first thing you felt was a pair of warm lips on yours, innocent, shy and yet somewhat dedicated. A wet hand was placed close to your throat. Then your head shot up as reality caught up to you, the water in your lungs creeping up your throat as you coughed it all out.

Coughing, disoriented, you blinked away the saltwater from your eyes, the world around you blurred. As your vision cleared, you found yourself being held by a man—no, something far more. His eyes, a deep and endless blue, locked onto yours. His presence was as overwhelming as the ocean itself, powerful and ancient, yet there was a softness in the way he held you.

You opened your mouth to speak, but no words came. The stranger's arm was still wrapped around you, steadying you against the gentle rocking of the waves. His dark hair flowed around him, as though it were a part of the sea, and his skin, shimmering faintly in the light, seemed to glow with a quiet radiance. He wasn’t human, no, but he felt familiar.

“Breathe,” he whispered, his voice like the soft murmur of the tide, calming and steady.

You did, drawing in deep, shaky breaths, your heart still racing from the shock. “Who… who are you?” you stammered, your voice weak, barely above a whisper.

He gazed at you for a long moment, his expression unreadable but his eyes filled with something tender, something that made your chest tighten in a way that had nothing to do with fear. "Sebastian," he finally said, his voice a low, soothing rumble. "I live within these waters."

You nodded slowly, still dazed, as you tried to comprehend what had just happened. The cold of the water, the rush of drowning, and now… this.

Then, the realization hit you like a wave crashing over your head. “My necklace,” you breathed, panic swelling inside you again. You turned to look down into the water, but there was no shimmer, no sign of the silverish blue. “It’s gone… my necklace… I lost it.”

Sebastian’s eyes followed yours, and for a moment, a flicker of something like regret passed over his face. “The sea does not return everything,” he said quietly, his voice filled with a kind of sorrow that seemed to echo from somewhere deep within him. "Not all that it takes can be given back."

Your heart sank, the weight of his words settling heavily inside you. The necklace—your family's necklace—was gone, lost forever to the depths. Tears pricked at your eyes, but you fought them back, not wanting to break down in front of this strange, beautiful man who had saved your life.

Sebastian’s gaze softened as he watched you, and before you could react, his hand reached up, brushing gently against your cheek, his touch feather-light. “I’m sorry,” he murmured, and you could hear the sincerity in his voice, the sadness that lingered in his words. “I wish I could have saved it for you.”

You swallowed hard, nodding, though the ache in your chest was still raw. “It was my family…” you whispered, your voice trembling. “It was important.”

He didn’t say anything for a moment, simply letting his fingers linger against your skin, his presence steady, grounding. “Your family's memory doesn’t live in that necklace,” he said softly, his eyes searching for yours. “It lives in you. In everything you carry with you. That cannot be lost, not to the sea or anything else.”

His words, gentle and warm, wrapped around your heart like a soothing balm. You nodded again, still feeling the loss, but somehow, in his presence, the grief didn’t feel quite so unbearable.

For a moment, you simply floated there together, the waves lapping gently against your bodies, the sun casting a warm, golden light over the surface of the water. Sebastian’s hand stayed close to yours, his touch lingering, as though he couldn’t quite bring himself to let you go.

“Why did you help me?” you asked after a long silence, your voice barely above a whisper, unsure if you wanted the answer.

Sebastian’s gaze flickered, his deep blue eyes searching yours. “Because,” he said softly, a hint of something more in his voice, something unspoken, “I couldn’t let you go.”

There was something in the way he looked at you, an intensity that made your breath catch in your throat. You couldn’t understand it, the pull between you two, but it was undeniable. He had saved you—not just from drowning, but from something deeper, something you couldn’t quite name.

For now, you let the quiet peace of the ocean surround you, content in his presence, even as the necklace drifted farther into the depths, lost but somehow no longer the most important thing in your heart.

You finally took the time to admire his large form, he was as pretty as the mermaids from the childhood stories, as gentle looking as the ocean and his eyes, his eyes were like the ones of a god. You never saw someone like him before, but he mesmerized you.

He had placed you back into your boat, his hand lingered a bit longer on your cheek than anticipated and you could feel a mutual spark between you two.

[ianthewife]

i remember it being mentioned that besides fishhook piercings the Parish also has some recognizable tattoos, so now im imagining them getting the linearized map of the White Gull inked into the inside of a forearm because you know tide and flesh and the flow of both blood and river all that good stuff. and then over the life the tattoo can be personalized with markings of where you or your family were born and where you went on pilgrimages and stuff

[apiswitchcraft]

altars for titans and protogenoi

This post more than any of the others is going to be mostly upg or spg. Hardly anyone in antiquity spent a lot of effort worshipping most of these deities, especially the protogenoi, so resources are limited. If you have suggestions or personal addendums, feel free to leave them in the comments. I made a lot of decisions based on what the herbs/crystals are usually associated with: for example, black tourmaline is associated with Nyx (the night) therefore Chaos (the embodiment of the primordial soup and basically the universe) has black tourmaline too.

Also, all the deities on this list can be honored with libation of wine, milk, honey, and oil; offerings of meat or desserts; and burning frankincense/myrrh.

Disclaimer: this is not all of the protogenoi or titans that exist, these are just the most recognizable ones that have the most lore attached. I used theoi.com to research all of these deities.

CHAOS: the first to emerge at creation, the protogenos of the space between heaven and earth, and the air

Colors: black, grey, purple for the concept of chaos Offerings: feathers, burning incense, cinnamon, anise, cardamom, clove, black pepper, representations of the four elements Crystals: obsidian, tourmaline, labradorite, lava rock, angelite, amethyst Animals: birds

PHANES/EROS (the elder): protogenos of procreation

Colors: red, pink for love/procreation. blue, green for nature and creation Offerings: heart shaped objects, eucalyptus, flowers, egg shells Crystals: rose quartz, rhodonite, rhodochrosite, malachite, azurite, garnet, desert rose selenite Animals: birds

NYX: protogenos of the night

Colors: black, dark blue, purple for association with the night, anything galaxy patterned Offerings: blackberries, blueberries, plum, dew (morning is fine but after sunset is best), dark feathers, dark chocolate, night-blooming flowers (like moonflower or wisteria), black tea/coffee, mugwort Crystals: obsidian, black tourmaline, labradorite, moonstone (especially black moonstone), selenite, lapis lazuli, amethyst, smokey quartz Animals: owl

also, she is associated with symbols of keys and veils/cloaks

EREBOS: protogenos of darkness

Colors: black for darkness Offerings: dark chocolate, black pepper, black salt, charcoal, asphodel Crystals: black tourmaline, obsidian, smokey quartz, lapis lazuli, azurite, red jasper Animals: moths

AETHER: protogenos of light and the heavens

Colors: yellow, orange, white for sunlight. blue for the sky Offerings: sunflowers, bee pollen, morning dew, fruit, feathers Crystals: honey/blue calcite, yellow/bumblebee jasper, angelite, celestite, milky quartz

HEMERA: protogenos of the day

Colors: blue for the sky, white for the heavens Offerings: chamomile, sage, lavender, basil Crystals: angelite, blue calcite, selenite, celestite, milky quartz, sapphire

GAEA: protogenos of the earth

Colors: blue, green, brown for the earth Offerings: flowers, wood, dirt, anything from nature, really. doing good deeds for the environment Crystals: unakite, jaspers (various), agates (various), lava rock, tiger's eye, bumblebee jasper, jade, nephrite, serpentine, amber Animals: serpents, bull, pig, bees

OURANOS: protogenos of the sky

Colors: blue, white, grey for the sky Offerings: rosemary, sage, mint, leaving your windows/curtains open Crystals: angelite, celestite, selenite, blue calcite, moonstone, sunstone, star jasper, blue lace agate Animals: birds

OCEANUS: protogenos of the ocean

Colors: blue and white for the ocean Offerings: shells, gull feathers, fish scales/bones, sea water, pearls, sand from the ocean Crystals: larimar, aquamarine, turquoise, lapis lazuli, azurite Animals: gulls, pelicans, fish

TETHYS: protogenos of fresh water

Colors: blue and green for fresh water Offerings: lake/pond/river water, fish scales/bones, cattails, sand from a fresh water beach Crystals: larimar, aquamarine, fluorite, amazonite, petoskey stone Animals: fresh water fish, dragonflies

THEMIS: protogenos of divine law and order

Colors: white, silver, gold for law Offerings: thyme, rosemary, anything resembling scales Crystals: pyrite, bloodstone, smokey quartz, obsidian, alexandrite, lapis lazuli Animals: owls

TARTARUS: protogenos of the depths

Colors: red and black for the underworld Offerings: sulfur, saltpeter, black salt, charcoal, deadly nightshade Crystals: jaspers (various), obsidian, black tourmaline, bloodstone, garnet/ruby, pyrite (contains a lot of sulfur) Animals: bats, black dogs

KRONOS: titan of time, harvest, and abundance

Colors: yellow, gold for his scythe. white, grey for the concept of time. green, brown for fertility Offerings: grain, bread, clocks/watches, vervain, poppy, nightshade, clove, allspice Crystals: jaspers (various), agates (various), labradorite, quartz (various), amethyst, honey calcite, serpentine, amber Animals: snakes

RHEA: titaness of motherhood, fertility, and generations (like of family)

Colors: red, pink for motherhood. green, brown for fertility Offerings: menstrual blood, milk, red clover, raspberry, allspice, clove, cinnamon Crystals: rose quartz, rhodonite, rhodochrosite, amethyst, pink opal, jade, nephrite, tiger's eye, cat's eye, amber Animals: lion

PHOEBE: titaness of bright intellect and prophecy

Colors: blue, white, and grey for intellect. purple for prophecy Offerings: sage, bay leaves, lavender, tests/quizzes/homework, yarrow Crystals: lapis lazuli, amethyst, labradorite, howlite, celestite, moonstone, selenite, celestite

LETO: titaness of motherhood, modesty, and womanly demure, protector of children

Colors: pink, red for motherhood. white for modesty Offerings: raspberry, allspice, clove, cinnamon, lavender, flowers, Crystals: moonstone, sunstone, selenite, rose quartz, carnelian, lepidolite, howlite Animals: wolf, rooster

also, she is associated with veiling

ASTERIA: titaness of falling stars, night time divination, and astrology

Colors: blue, black for the night. white/galaxy pattern for stars. purple for magic Offerings: star charts, feathers (especially quail), lavender Crystals: celestite, selenite, star jasper, amethyst, azurite, obsidian, black tourmaline, labradorite, jade Animals: quail

HELIOS: titan of the sun

Colors: yellow, orange, white for the sun Offerings: anything that refracts sunlight, sunflower, st john's wort, sage, cow pelt, chicken feathers Crystals: sunstone, yellow jasper, honey calcite, carnelian, citrine, milky quartz, celestite, angelite, amber Animals: cattle, sheep, white horses, rooster

SELENE: titaness of the moon

Colors: white, grey for the moon Offerings: yarrow, moon shaped objects/food, lavender, night-blooming flowers (like morning glories), nighttime dew Crystals: selenite, celestite, angelite, moonstone, labradorite, smokey quartz, howlite Animals: horses, oxen, mules

EOS: titaness of dawn

Colors: blue for the sky. white, yellow, orange, pink for colors of dawn Offerings: morning dew, morning glories, lavender, yarrow, sage Crystals: rose quartz, citrine, honey calcite, yellow jasper, milky quartz, moonstone, sunstone, selenite, celestite Animals: horses, cicadas

MNEMOSYNE: titaness of memory

Colors: red, yellow for memory Offerings: forget-me-nots, myrtle, rosemary, jasmine, Crystals: jade, amber, turquoise, fluorite, red/yellow jasper Animals: animals with good memory, like an elephant or raven

PROMETHEUS: titan of forethought, creator of mankind

Colors: red, orange for the fire of creation Offerings: fennel, burning things, charcoal Crystals: bloodstone, carnelian, citrine, amber, jaspers (various) Animals: eagle

divider by @vibeswithrenai

[thesiltverses]

okay but what about faulkner light up sketchers?

I own two pairs of shoes and have no desire to possess any more or spend more time considering the topic of shoes in general, so I'm afraid this is not a distinction that's likely to sway me, but...

...just thinking about it, maybe the Parish would encourage their followers to wear some kind of parallel-universe crocs, since the holes would allow the sacred river to permeate through to our flesh. Are not impermeable shoes in fact a blasphemy, a kind of hubristic personal dam that seeks to stem the White Gull's flow?

And when our disciples are investigating the sacred river late at night, would it not be wise to wear some kind of discreet illuminating device to ensure that your pilgrimage partner can see you in the dark? And would such a device not be one that leaves the hands free in case of danger?

OK, you did it. You won me around on light-up crocs. They make total sense within the world. Sold.

[serpentface]

Four culturally significant aquatic birds in Imperial Wardin- the skimmer gull, the albatross, the reed duck, and the hespaean.

The skimmer gull is a small seabird, distinguished by bright red beaks and a single, trailing tail plume. These are sacred and beloved animals with a long history of symbiosis with local fishers. They will intentionally attract the attention of fishermen, bringing them to shoals of fish that are too deep below the surface for the birds to reach. They then will snatch fish fleeing or caught in the nets, and will often be directly fed by their human assistants in an act of gratitude. They benefit tremendously from their sacred status and a taboo against killing or harming them, and can become absolute food-stealing menaces in seaside towns and cities.

The albatross is a seasonal visitor to the region, with this population migrating to small rocky islands in the White Sea to breed. The specific species occurring in this region is on the smaller side, and has a pale pink beak and soft orange legs. Albatrosses are common characters in regional animal folktales (usually as foolish, romantic types), and sometimes appear in tales as shapeshifters, usually turning into young women who have tumultuous affairs with lonely sailors.

Skimmer gulls and albatross are the most sacred animals of Pelennaumache, the face of God which looks upon the ocean, the winds, storms, maritime trade, fisheries, and broader concepts of luck and the infliction and deflection of curses. Killing either of these birds is considered to bring about disastrous bad luck (unless in the context of a proper sacrifice, most commonly in rites to bless ships and/or sailors with good winds and against ill fortune). The eggs of skimmer-gulls are free game and considered delicacies, while the preciousness of the albatross' single egg clutch is recognized and their consumption is generally discouraged (this isn't to say it doesn't happen).

Feathers of rightly sacrificed albatross and skimmer gulls are minor holy relics (ESPECIALLY gull tail plumes), and considered to be the ultimate good luck charm. The fortuitous find of a shed feather can also impart good luck and can be very valuable (the birds are sometimes poached for their feathers, though fears of the consequences are enough that this poaching is limited in scope). You will often see wealthier people wearing the feathers in hats and headdress, and any seafaring vessel worth its salt should have at least one aboard.

Both birds are evoked in the apotropaic Skimmer-Woman motif (in practice it generally has albatross characteristics, though is sometimes depicted with the tail plume of the gull).

The hespaean is a very unusual bird with two distinct species native to the region, one found exclusively in the western Black river system and its estuaries, and one found in the eastern Brilla and Kannethod river systems. They have very small pointed teeth in their bills, a trait virtually unknown outside of the flightless, beakless classes of birds (most prominently qilik). Their wings are vestigial and virtually nonexistent (with only two bony spurs remaining). These birds are almost exclusively aquatic and do not normally emerge onto land (they cannot walk upright at all, and must push themselves on their bellies). The legs of the Black river hespean develop blue pigmentation from their diet (the brighter the blue, the better fed and healthier the bird), which are waved above the surface during elaborate courtship displays. Both species are known for their haunting, warbling cries (very much like a loon, but more of a howling noise that develops into a shrill warble).

Hespaean build their nests in dense beds of reeds or small, vegetation-heavy river islands that provide some protection from predators. They raise their young during the height of the dry season (when more nesting surfaces are available and they can feed their young with more concentrated fish populations), which is an image of hope and resiliency during harsh dry times and the promise of the river's eventual bounty.

It is known that hespaean used to be caught as chicks and raised to help people catch fish (with ropes around their necks to prevent them from swallowing their catch). This practice is now very rare in the Imperial Wardi cultural sphere (mostly still practiced by the Wogan people along the Kannethod river, to whom these birds are also venerated animals) and has been largely replaced with the import of domesticated cormorants from the Lowlands to the southeast (which are more easily trained and can Usually be trusted not to attempt to swallow their catch).

These birds require large rivers that flow year round and have healthy, dense fish stocks. The population is in decline and they are now relatively rare, largely due to development and overfishing around rivers (and on a much larger timescale, the region becoming drier and water levels more irregular, and their competition with more versatile freshwater tiviit).

The reed duck is a migratory freshwater duck whose coming heralds the beginning of the wet season. They come to mate along rivers and wetlands during the final stretches of the dry season, timing their eggs to hatch with the rise in water levels and growth of the vegetation and insects they feed on. They have striking red-brown and gray plumage and very little sexual dimorphism (though the male is somewhat brighter in color and the flesh around the bill turns bright red during the breeding season).

Reed ducks are not domesticated, but some populations are semi-tamed and encouraged to return to certain sites to breed (the riverside temple to Anaemache in Ephennos attracts a massive flock of the ducks every wet season, continually blessing it with their presence and coating its grounds in droppings), and these stocks are the primary source of sacrificial ducks and coveted shed feathers.

Hespaean and reed ducks are the most sacred animals of Anaemache, the Face of God which looks upon freshwater (particularly rivers), rains, seasonal flooding, fertile earth/seasonal fertility, and wild plant life.

The hespaean is representative of Anaemache as the River Itself and the river as a provider of fish. This association comes down to their all-seasons presence in the rivers, and their population density being a signal of a healthy, well-flowing river with good fish stocks. Lands adjacent to hespean territory is often the most reliable and bountiful for human subsistence.

The reed duck in particular is the most venerated sacred animal of Anaemache, as representatives of Anaemache as a Face of seasonal fertility. Its coming announces the return of the rains and seasonal flooding that the region's agriculture relies on, and their cycle of fertility closely matches the cycles of the rivers and that of the earth itself (with their new life emerging with rains, flooding, and new vegetation in the wet season). There is no prohibition on hunting reed ducks (though proper rites and respect are expected for a sacred animal), and their meat and eggs is said to support female fertility and a healthy pregnancy.

[inthedayswhenlandswerefew]

When The World Is Crashing Down [Chapter 2: Choose Love Or Sympathy]

Series summary: Your family is House Celtigar, one of Rhaenyra's wealthiest allies. In the aftermath of Rook's Rest, Aemond unknowingly conscripts you to save his brother's life. Now you are in the liar of the enemy, but your loyalties are quickly shifting...

Chapter warnings: Language, warfare, extreme babygirl energy, violence, serious injury, Larys Strong, alcoholism/addiction, references to sexual content (18+), Crab Family lore.

Series title is a lyric from: "7 Minutes in Heaven" by Fall Out Boy.

Chapter title is a lyric from: "XO" by Fall Out Boy.

Word count: 5.5k.

Link to chapter list (and all my writing): HERE.

Let me know if you'd like to be tagged! 🥰💜

A moment of clarity, something he’s having more of lately: eyes glassy but open, voice husky, words slow. His vast bedchamber in the Red Keep always smells like honey and rose oil and the brackish golden air that blows in off the ocean. Sounds float weightlessly through the open windows like feathers on waves, music and shouts and creaking wagon wheels, gull cries and sails cracking in the wind. Late-morning daylight is an aisle across the stone floor, a river, a channel. Aegon’s bed has been moved away from the windows; when his wounds are uncovered, direct sunlight can ravage him in minutes, fresh blisters, thickening scars.

Aegon winces as you sit behind him and knead warm rose oil into his back and shoulders. His flesh is a grisly mosaic: pink and crimson and white, knots of burgeoning scar tissue, spots that are still raw and weeping. “It itches like hell, does that mean it’s infected?”

“That means it’s healing. Do you want more?” You mean the goblet of pearlescent milk of the poppy on his bedside table. It’s always there, and refilled frequently.

Aegon shakes his head, groggy, slumped, white-blond hair loose and disheveled. “I should probably be sentient on occasion. You haven’t been helping me piss into chamber pots or anything, have you?”

You smile. “No. You’ve got servants for that.” Although they report their findings to you; Maester Arthur of Claw Isle once taught you that organ failure is a common cause of death for burn victims, even if they survive the risks of shock and festering. All appears well enough on the outside, and then they start pissing blood or their skin goes yellow as their innards lose their secretive divine cadence, that vital rhythm, and then the poor soul is gone within days.

“Thank the gods,” Aegon says. “A speck of dignity remains. It’s tragic enough that I now closely resemble an overcooked meat pie.”

You chuckle as you massage rose oil into his wounds, keeping the scars moist and supple so they do not split open when he moves, so his joints are not locked in place. He will need them when he is out of bed again. He will need them if he truly is the king. “I don’t think you look that bad.”

“Because you’re used to sifting through guts and corpses all day. I’m an improvement. I’m only half dead.” And just weeks ago, he was pleading to be all the way dead. He glances back at you, brow knitted into thoughtful furrows; you can see it between the messy locks of hair that shag over his face. “What made you want to study something like this? It’s gruesome. It’s miserable, thankless work.”

“I was never good at anything,” you tell him. “My sisters were, but I wasn’t. I couldn’t dance, couldn’t sing, couldn’t embroider patterns unless they were humiliatingly simple, and even then I loathed it. My father grew so desperate he encouraged me to try archery with my brothers. I accidentally put an arrow in the foot of a squire and that was the end of my bowwoman career.”

Aegon laughs, then groans at the pain it causes him. He turns around so he can look at you, clumsily repositioning himself on the feather mattress, propping himself up on his palms. He squints down at his left hand where his ring should be: gold wings, jade eyes. You will have to remind Aemond to give it back to him. “I was never good at anything either.”

You can’t imagine that to be true, and yet it’s what you’ve always been told, that he was gifted at drinking and whoring and nothing else. You cannot reconcile those stories with the man in front of you. You keep trying, keep failing. You slather your palms in rose oil again the then begin massaging it into his chest. Aegon watches you with muzzy, drugged interest, eyes like cold ocean currents. “Then, five years ago, my brother…” You hesitate. A real name, an imagined one? You decide there is no harm in this small truth. Aegon will not remember the name of a younger son of a Crownlands house; he barely recalls the men of his own Kingsguard, who now spend their days trotting around the castle after Aemond. “My brother Everett was burned very badly, just like you were, although his wounds were mostly to his legs. And we all thought he would die. People advised us to show mercy by giving him enough milk of the poppy to kill him. They said it would be a sin to let him suffer so terribly. Yet our maester believed he could save him. My father and eldest brother had other responsibilities to attend to, and my mother and sisters could not bear the sight of Everett’s injuries. But I watched the way the maester worked on him, and I just…I thought it was the most captivating, beautiful thing I’d ever seen. The way a body can be taken apart or put back together like stones in a wall. Place one here, remove one there, and then like magic you’ve changed the course of someone’s life. Our maester taught me how to clean burns and change bandages, and when Everett was well again, he taught me about broken bones, fevers, childbirth, wolf bites, dry drowning. I read every book on the subject of healing in my father’s library. He kept having to order me more from the Citadel. I think I would have liked to be a maester myself, but…”

Aegon grins. “You have to go marry your mystery nobleman.”

“And women can’t be maesters.”

“They made me king of the Seven Kingdoms but you can’t be a maester? Fucking ridiculous.” He studies you as your fingers—tenderly, carefully—press rose oil into the red scar that creeps up over his right cheek. “Why won’t you tell me who he is?”

He means your betrothed. Aegon keeps asking about him in his moments of lucidity. You quip: “I don’t want you to have him murdered.”

“That would solve your problem.”

“I preserve life, I don’t take it.”

“I’ve noticed,” Aegon says with a soft, tired smile. Very slowly, he reaches up with one hand to pat at his silvery hair. “Can you give me my braid back? It seems to have been washed out again.”

“Of course.”

“Why did you start doing that?”

What is the truth? Something you can’t tell Aegon. No matter how often I touch him, I want more. “It’s a war braid. You’re a warrior. You’ve earned it.”

“So I am good at something after all,” he murmurs. You rebandage Aegon’s wounds and help him lie back down again. You give him a sip of milk of the poppy, which by now is badly needed; Aegon’s face is sweated and pale and agonized. Then you clean the rose oil from your hands and begin weaving a small braid into his hair. He gazes vacantly towards the open window, bright warm light he cannot walk into. “I assume Aemond is…handling things.”

“Yes, he’s…” How will Aegon take this? Is it a relief, or a slight? There was a great ceremony. You did not attend; you were here tending to the Greens’ broken king. It’s where you spend most of your time. “He’s been made Prince Regent and Protector of the Realm.”

Aegon nods, his expression unreadable. “How’s Sunfyre?”

“Still at Rook’s Rest and gaining strength. He was climbing the cliffs as of a few days ago. But I’ll ask Aemond when I see him today.”

Now Aegon smiles again. “Sunfyre is fierce. He is extraordinary.”

“You both are,” you say as you fashion his silver braid; and Aegon stares as if he couldn’t have heard you correctly.

Her steps are so light that at first you aren’t aware she’s entered the room. You see her out of the corner of your eye and immediately stand, moving away from the bed, from Aegon. You feel strange touching him this way—unnecessarily, self-indulgently, greedily—in her presence. She is his wife, after all.

“Your Grace,” you greet Helaena, bowing. She does not look at you. She looks vaguely in Aegon’s direction instead. She is wearing a turquoise blue dress and her long hair pulled back from her face. The servants have dressed her, or Alicent; she cannot do it herself anymore. In her hands she holds a large glass jar of sticks and leaves.

“Hello, Helaena,” Aegon says, more like a sigh than a welcome.

She scurries towards him and sets the jar down on his bedside table with a clunk, right next to the goblet of milk of the poppy and a number of other drinks, things you ply Aegon with to keep him hydrated. Then Helaena speaks, her eyes on the contents of the jar. There is something else in there, you see now: a fat wriggling green creature, a caterpillar inching along the length of an upright stick. "For you."

“It’s very nice,” Aegon tells her, in a tone like a parent losing patience with their child.

“It takes nourishment and then rests,” Helaena says. “It is wrapped in a cocoon and stays there for a long while. But when it emerges, it is not just well again. It is greater than it was before. And it can fly.”

“Oh, I understand now.” Aegon makes no attempt to touch her—not even her hand, not even for a moment—but his words are kinder. “I am the worm. Thank you, Helaena. This comforts me.”

She is satisfied. She turns to leave.

“Your Grace,” you begin, and hold out your hands to her. She does not take them. She does not meet your eyes; she stares instead into the golden luminescence of the open window behind you. You can hear crashing waves and the screeches of swooping gulls. “I wanted to express…I cannot even begin to tell you…I am so, so sorry for your suffering—”

She spins away from you and sweeps out of the bedchamber. You are left looking at the empty place where she stood, heartsick and sorry. What did I do wrong? What should I have said?

Aegon offers you an apologetic smirk, but his eyes are sad. “It’s not personal. She doesn’t really like touching anybody.” This is an irony, and one that must read on your face. A king and queen—by definition, by necessity—do an inordinate amount of touching. He invades, she endures, they knit heirs together out of threads of blood and sweat. “What we have between us, it’s not…romantic. It never was.”

This is not something he should be telling you. It is not a jest but a spilling of deep, sacred truths. “I didn’t ask.”

“No. But you were wondering.”

You were. You return to the bed and sit down beside Aegon, finishing his braid. You choose your words precisely before you speak. “I don’t believe I have a right to know certain things, but that doesn’t mean I don’t care about what you’re thinking.”

“Then let me unburden myself so there is no confusion,” Aegon insists, drowsy but fighting sleep. “There was no joy in it for me or Helaena. I tried to make it as quick and painless as I could, but still, her disdain for the task was obvious. It happened just often enough to conceive the children. And we haven’t even tried in months, not since…” He doesn’t need to say it. Everyone knows, Greens and Blacks alike. A son for a son. The murder of Jaehaerys, six years old and utterly powerless, in exchange for Aemond slaying Luke.

Do you think such a thing was just? No, of course not, how could anyone? Very few things that happen in this world are just. They come with passionate defenses but no mercy, no vision for a less violent future. The wheel goes around and around, and everyone takes their turn being crushed. “Aegon, I’m so sorry,” you tell him softly.

He shakes his head. He will not discuss it. Aegon’s remaining children, Jaehaera and Maelor, do not ask about him; on the rare occasion that Alicent brings them to his bedchamber, they do not seem to know who he is. In fairness, Aegon does not seem to know them either; he regards them with a dull sort of bewilderment, like one might peer down at a page written in a foreign language. In the hallways of the Red Keep, the children clutch at Alicent and Otto, and sometimes Aemond will take a few minutes to play with them, stacking wooden blocks or arranging cloth dolls in a miniature castle. But if ‘mother’ and ‘father’ are words the children know, you’ve never heard them spoken aloud. “Can I have some wine, please?”

“Did you finish your goat milk?”

“Resentfully.”

“Then yes. I’ll get it for you.” You pour Aegon a cup of red wine and then tilt it against his lips. He slurps the cup dry before his eyes dip closed. You set the empty cup on the bedside table, feel his forehead for fever—longer than you need to—and then rise to leave him. You are almost to the door when you hear him say: “Thank you for changing my mind.”

You turn back to Aegon, puzzled. “About what?”

“About wanting to be dead.” He grins and waves, a weak miniscule motion of his left hand. “Come back soon, angel.”

“I will,” you promise.

And only then does he surrender to blessedly numb unconsciousness, the only place in the world that doesn’t hurt.

~~~~~~~~~~

You find Aemond in his own rooms. He is sitting in front of the large circular mirror on his vanity. His hair is long and straight and painstakingly neat, his tunic made of black leather. He is wearing the crown of Aegon the Conqueror. Rubies fracture the sunlight and scatter it against the walls; Valyrian steel glints.

Aemond marvels, knowing that you’re here: “It looks better on me than it ever did on him.”

“I need more rose oil.”

In the mirror’s reflection, his lone blue eye darts to you. “You always ask so politely.”

“I didn’t want to waste your valuable time. I can be more loquacious, if you prefer.”

“That won’t be necessary.” He stands, taking off the crown and placing it—gingerly, with both hands—on his vanity. “I’ll see that you have everything you require.”

“I am eternally appreciative.”

Then he does something that he thinks is amusing, a little joke you share. He grabs for your arm and you yank it away just before his fingers can close around your wrist. This makes him smile; it’s one of the only things that does. “Now follow me,” he orders, striding past you and through the doorway.

You hurry after Aemond, dashing through corridors and archways. You know where he is going; this has happened before. As you ascend a staircase, Alicent is leading Jaehaera and Maelor down to the gardens. She has one tiny hand gripped in each of hers; the hem of her emerald green dress drags on the stone steps. She keeps losing weight. You stop to scoop Maelor up and hug him—he giggles, squeezing at your cheeks as you smack kisses onto his face—and then turn your attention to Jaehaera. She has just learned the rules of curtsying and loves to practice. You bow to her, and then she does the same to you, and while her head is bent low you ruffle her silvery hair until it is in hopeless disarray and Jaehaera is laughing hysterically. Then you kneel down so she can sabotage your hair however she sees fit. She pulls strands out of your sensible low bun until you give up and shake it all loose. Alicent—large dark eyes, demurely veiled auburn hair, somber and suffering—gives you a grave, grateful smile. Aemond has waited at the apex of the stairs for you. When you rejoin him he continues onward to the council chamber.

Inside men are taking their seats and already beginning to quarrel: Criston Cole, Otto Hightower, Grand Maester Orwyle, Tyland Lannister, Jasper Wylde, Larys Strong, the knights of the Kingsguard. Sir Rickard Thorne pays no attention to you. Aemond once mentioned off-handedly: ‘Sir Rickard, I believe our healer is a distant relation of yours.’ The knight had glanced at you and produced some noncommittal reply, oh, indeed, sure, is that so. You had met before, you realized when you saw his face, years ago, at some event that brought together the houses of the Crownlands, a wedding or a funeral or a feast. He has a hazy recollection of you, but he cannot pin it down; he spent the evening with boisterous young men like your eldest brother Clement, while you had spent it with other noblewomen. Sir Rickard’s mother or sisters could probably identify you as a Celtigar. To Rickard himself, you can masquerade as some unimportant cousin he is ashamed to have forgotten. You assume your usual place in the council chamber: standing in a corner, trying not to be noticed, only there in case specific questions involving Aegon’s medical treatment arise.

“Is he dying?” Otto asks Aemond. “He must be. He has no interest in whores.”

Aemond raises his eyebrow at you. “Actually, I’ve been informed he is improving.”

Maester Orwyle beams at you. Upon your arrival in King’s Landing, he had confirmed to Aemond and Criston what you already knew: that while the Citadel’s guidance several decades ago was indeed pork lard or cow dung to treat burns, now there is a growing consensus that vinegar, honey, and oil for scar tissue are the best available remedies. You nod back. You are natural allies; the Greens’ king is under your joint care. You both have much to lose if he dies.

Now Otto Hightower addresses you. He is a stern, weathered, shrewd man. He reminds you of your father, though far more humorless. “When will he be able to fight again?”

“Fight?” you echo, stunned. “In battle? Months at least, my lord. Perhaps a year.”

“A year!” Otto bellows, then turns his wrath on Criston and Aemond. “I told you, I told you! I urged him to exercise caution, over and over again I warned him of the danger, and while I was penning letters to every possible ally you were pouring poison into his ears, convincing him that I wasn’t doing enough. Now look at him! Look at this goddamn fucking mess!”

“How fares the dragon?” Tyland Lannister says.

“I received a raven from Rook’s Rest today,” Aemond replies. “Sunfyre is eating well and ambulatory.”

“Useless,” Otto hisses. “Can’t fly. Can’t be moved. A waste of the livestock he’s being fed.”

“We may yet find a purpose for him,” Aemond says.

“Two dragons!” Otto explodes. “Can you count them?! We have two dragons capable of combat, and one of them is ridden by a fifteen-year-old. The Blacks still have Syrax, Caraxes, Vermax, Tyraxes, and Moondancer. And gods help us if they find someone to ride any of the other unclaimed beasts on Dragonstone. Seasmoke, Vermithor, Silverwing, Grey Ghost, the Cannibal…”

“I hope they try to tame the Cannibal,” Criston mutters. “If we’re lucky, he’ll eat them all.”

“My lord,” Larys Strong says to Otto, clutching his cane; he has a habit of lacing his fingers overtop the handle and resting his chin on them. Larys is a watchful, quiet man who speaks rarely yet with great consequence. He is the Master of Whisperers, he is the Lord of Harrenhal, and aside from that he is an enigma to you. “I hate to be the bearer of unfortunate tidings, however I must speak plainly. I have just obtained reports that the Blacks are pursuing precisely the course of action that you fear. Jacaerys Velaryon is offering land and knighthood to any man who can mount a dragon and join their cause. The realm is littered with Targaryen bastards, I’m certain it is only a matter of time until they find at least a few candidates suited to the task.”

Otto slams his fist down on the table. You startle at the noise; Aemond glances over at you. “No king. No Sunfyre. Dreamfyre in the Dragonpit, who Helaena cannot fly into battle. A fucking disaster.”

“We have Vhagar,” Aemond says confidently.

“She is worth two full-grown dragons,” Otto pitches back. “Not four or five.”

“Daemon is the real threat. If I can eliminate him, the war is over.”

“Daeron should be prepared for combat,” Jasper Wylde says. “He is travelling with Lord Ormund Hightower’s army in the Reach, but he can easily be called back to King’s Landing. He could assist Prince Aemond in his pursuit of Daemon and Caraxes.”

“I don’t need his help,” Aemond replies darkly.

“Then perhaps he could safeguard the city once you’ve gone.”

“We cannot sacrifice military strategy on the altar of personal vendettas,” Criston says. “Dragons are best used on the battlefield against soldiers and castles, not on meandering quests to find one lone enemy, that’s a needle in a haystack, it’s a misallocation of precious resources.”

Aemond counters: “But if I can kill Daemon, nothing else matters—”

“It does matter, Aemond!” Criston roars. “I matter, the armies matter, winning the confidence of the houses you hope to rule matters!”

“How is Corlys Velaryon handling all of this?” Otto asks Larys. “The defeat at Rook’s Rest, the death of his wife?”

Larys answers: “He blames Rhaenyra for the losses. He has taken it badly. It is my understanding that he intended to withdraw his support from the Blacks, and was brought back only by Jacaerys giving him the title of Hand of the Queen. I am under the impression that Corlys may be willing to reconsider his allegiance if the circumstances were right—”

There is a knock at the council chamber door, not a knock but a pounding, not a pounding but a frantic drumming like the marching of soldiers’ boots. Sir Criston Cole unlocks and opens the door. Alicent stands there with her face flushed and shiny with tears. Instantly, Criston is at her side asking what is wrong, one hand resting protectively her shoulder, the other on the hilt of the sword he wears everywhere he goes.

“Come quickly,” Alicent begs you, only you. “Please. It’s Aegon.”

You race with her to Aegon’s bedchamber, hearing the screams long before you reach him. This doesn’t make sense; he shouldn’t be in pain this severe, not yet, not for hours. You are aware that there are footsteps thundering behind you, Aemond and Criston rushing to see if the king really is dying this time. In his bed, Aegon thrashes and moans. He needs to stop moving so violently; he will split his scar tissue like burst seams. Already you can see blooms of crimson appearing on his bandages where the wounds beneath have reopened: his neck, his waist, his ribcage. He is out of his mind. He is destroying himself.

He is shouting for Sunfyre, for Aemond, for Criston. He is back at Rook’s Rest being roasted alive in his own armor. Not dying, then; just having a nightmare. You kneel at his bedside and smooth his hair back, his braid threading through your fingers, and whisper to him that it’s alright, that he’s safe, that he needs to wake up now. Alicent is weeping, both hands covering her mouth. Aemond and Criston are watching you, mesmerized, transfixed.

Aegon’s oceanic eyes fly open, wide and panicked. “Where am I?”

And you smile down at him, your palm cradling his unburned left cheek. “The end of the world.”

He blinks. He remembers. His lips stretch into a grin. “There you are,” he tells you, voice gravelly and low. “I dreamed everyone was gone and you were too.”

“I’m here.”

“You aren’t in a hurry to abandon me for your burly betrothed?”

Cregan Stark must think I’m dead. “No, Aegon.”

“You can’t leave without telling me.”

Everett, Clement, my father, my mother, Piper, Petra, Penelope, they must all think I was burned to ash on the battlefield or murdered and tossed into the sea. “I know. I won’t.”

“You can’t leave,” he says again, a half-awake whimper as he sinks back into unconsciousness. You give him more milk of the poppy, enough to make his sleep deep and black and dreamless.

You reclean and rebandage Aegon’s wounds. It takes hours. Aemond fetches Maester Orwyle to assist you. Criston comforts Alicent, wanting to do and say far more than he can. When it is done, only Alicent remains in the bedchamber with you. She visits Aegon frequently, but she does not know how to speak to him; she always stands there clasping her own hands together, praying and stalling, desperate to show him love and yet incapable of it.

“Thank you for what you’ve done for him,” Alicent says, tears glistening in her umber eyes. “Not just the hours, not just the medicine. For everything that you’ve done.” And she embraces you, and when she does you hold her like she wishes her own daughter could.

~~~~~~~~~~

In the night you see it repeating like a chorus of a song in the shadows that crawl across the ceiling: one year ago, stray snowflakes in your hair, stars in a black sky and air like metal.

The Celtigar fortune is older than the Targaryens’ conquering of Westeros, older than the Doom of Valyria. Where did the money come from? Friends of the Celtigars would say distinctively cunning maritime trade; their enemies would say piracy. Perhaps the two are not always so different. Is there any mechanism of accumulating great wealth that does not involve stealing in one form or another, of wringing out some other soul like a wet cloth until every drop of them disappears down your throat? Your ancestors did not tame dragons, but they had a different sort of gift: for every coin, they could find a way to make two or six or ten. Repeat that process for centuries and there are vaults filled to the ceiling with gold coins like pieces of the midday sun.

When Daenys the Dreamer had a vision of the Doom over a decade before it left Valyria a smoldering, fragmented wasteland haunted by demons and plague, only three Valyrian houses heeded the warning. Her own family, the Targaryens, relocated to Dragonstone. The Velaryons, having already long occupied Driftmark, resolved to stay there. And the Celtigars—merchants to some, pirates to others—crossed the Narrow Sea to settled on Claw Isle.

Crispian Celtigar served as Master of Coin to Aegon the Conqueror. Alton Celtigar was his Hand of the King. Edwell Celtigar was chosen to be Hand of the King to Maegor I, and later Master of Coin to Jaehaerys I during his minority. The Celtigars have never been far from the Iron Throne…though perhaps none were ever as close as you are now.

One year ago, your father embarked upon a trade mission to White Harbor. Never a man to squander an opportunity for new business, he added stops in Oldcastle, Cerwyn, and Winterfell, and brought along his four maiden daughters to stoke the desires of Northerner lords. Piper fancied a son of Lord Manderly, Petra caught the attention of a Cerwyn boy. But no offer was advantageous enough for Bartimos Celtigar’s liking; no deal could be struck.

In Winterfell, Lord Cregan Stark was already married. His wife, a childhood friend before she was a bedmate, trudged around the castle heavily pregnant and dragging layer upon layer of furs to guard her against the cold, often biting even in summer. Lord Cregan took little notice of your giggling, gossiping sisters, and even less of you…until he broke his sparring partner's arm in the castle courtyard. As the other women fled with nauseated faces back to their needlework, you asked Winterfell’s maester if you could watch how he set the fracture and managed the man’s pain. The maester was delighted—Northerners, as a rule, lack intellectual curiosity—and even allowed you to help bandage the wound once the split bone had been popped back into place. And it was only then, as you knelt there with your forehead creased with determination and blood coating your hands to the knuckles, that Lord Cregan Stark began to see you.

You have a fear of marriage, not a general aversion but a specific and powerful dread. When you were fourteen, you asked your mother if she enjoyed lying with her husband, and you had known as soon as she spoke with a careful sort of reticence—‘I enjoy feeling close to him, I suppose’—that the answer was no. When you were sixteen and your cousin Theodora married into House Bar Emmon, you went with the other noblewomen to inspect her bedsheets the next morning, and were horrified by how they chuckled at the large rust-like stain and recalled their own initiations into sex, this unavoidable rite of passage, this ultimate surrender. At breakfast, the men toasted wine and hooted and sang, while Theodora stared down with glazed eyes at her untouched bacon and duck eggs and said when Piper asked how the night went: ‘He wanted me three times. Is there anything I can do to make him stop?’ And you had thought: Aren’t unions like this supposed to be holy? What the hell do the gods have to do with it? Are they in the sweat, in the bleak resignation, in the linen of the sheets? Do they fill the man with blind lust like an animal’s, do they help hold the woman down?

Your eyes close as you lie in bed in the Red Keep, your room adjoining Aegon’s, and suddenly you are back in Winterfell again. You are making notes as the maester shows you the herbs growing in the Glass Gardens when Cregan finds you. He is tall and broad, made more so by the furs that engulf him like mist drapes the stony cliffs of Claw Isle. His voice is booming, thunderous, cataclysmically formidable. He is used to being listened to. He has never been expected to sit quietly as other men charted out his life like the route of a trade ship: here you will go, here you will be emptied of every scrap of value. He says he will give you a tour of the Library Tower. It is not an invitation; an invitation can be declined.

You walk together through the Godswood—dark water, blackberry bushes, crows squawking, gods you do not believe in—and Cregan tells you fond memories of his childhood. He likes hunting and archery. He spars in the courtyard for hours each day. He never stays still, he never goes quiet. He wants to know where you learned to marvel at the ghastly art of piecing broken bodies back together again. He wants to know why you are so different from other women. And he inquires with great fascination about the legendary treasures of your house, not just gold but rubies, jeweled cups, Myrish carpets and Volantene glass, a horn said to summon krakens from the sea, an axe made of Valyrian steel.

Winterfell’s library is sparse and dusty, cobwebs in shadowy alcoves. Cregan Stark thinks you will not notice. As he slips books about anatomy and herbology off the shelves to show you, you cannot help studying his hands, large and calloused and always stained with black patches of ink or soil or soot. They make yours look tiny and defenseless, skin of silk and bones like glass. You picture him claiming you, owning you, climbing into the marital bed knowing that you cannot refuse anything he asks for. You envision him forcing your thighs apart with those huge filthy hands, leaving smudges like ash. You imagine him tearing his way into a part of you that feels so small, so vulnerable; you imagine the suffocating burden of his interminable weight.

A moment of clarity, in the library beathing dust and Cregan’s scent, a woodsmoke musk, a wolflike wildness: I don’t know this man. I don’t trust this man. I’m glad he’s not free to marry me.

This was before the war began, before Cregan’s wife Arra Norrey died birthing their son Rickon, before Jace Velaryon arrived in Winterfell to forge the Pact of Ice and Fire. And when Cregan agreed to support Rhaenyra’s claim to the Iron Throne, and Jace pledged to marry his firstborn daughter to Rickon, the Warden of the North decided there was one last thing he wanted inked into the covenant. He wanted an ally in the South, bottomless wealth, his future children to have Valyrian ancestry. He wanted a woman with vigilant, unflinching eyes and blood on her hands.

He wanted you.

[meadowlarkx]

sea stories

Ficlet for @sindarweek day 2: Folklore | AO3

They say that Elwing and her husband never returned to Middle-earth, but some know better. The first sea-bird sailors see once the ship is underway sometimes shimmers a little too brightly to be an ordinary skimmer. A sign of a good catch to come, a joyous return homewards. If they are lucky, she will greet them again when they seek the shore, white-winged harbinger of safe harbor. A Númenorean navigator once said he feared no voyage, however distant and deadly, for the same gull always met him without fail three days before land was sighted. With such a guide as Star-spray he could not waver. And of course the star sailed with him.

The fair folk know voices carry in water. Like a child, she laughs in the hidden valley’s falls, so like those for which she was named at her birth. Like a woman, she moans in the sea-caves of the Havens, sings and sobs in each tumbling wave. They hear her and feel a longing for far-off lands, for grey mists and birds’ shrieking, for love once lost thought never to be regained.

When storms blow in and cover the sky in the fishing villages, women weaving nets have heard her calling for her sons. She never finds them. But they temper their fear for their own babes, because children caught by the tide speak of being led home by such a voice, by a ray of pale light, by a hopping sandpiper.

On some summer nights without wind the sea lulls smooth as glass. Light bridges the dark water from the evening star’s ship to the grasses at the river’s mouth. You can see him alight then, despite the gods’ doom. She embraces him, cloaked in white feathers, a jewel at her throat and on his brow. At times she surges up from the reeds’ hidden nests; others, she floats down beside him like a wisp of cloud. On the banks of the undrowned world, they walk together. They meet there still.

[gamergirldick]

Carpenter has, I think, always been more or less an atheist. She has always loved the river, not the Trawler-man — what she loved was the tradition, the community, that it brought, as well as the actual, physical river. She always prays to the river itself, not to the god, and so much of what she says to the Trawler-man is disparaging or admonishing. The fact that she ends up dying in the White Gull with a half-remembered prayer on her lips is a fitting end for our girl, I think.

[catwyk]

back in s1 if it werent for writing being the waxen scrivener's thing, faulkner would so have had a muddy, ripped, bloodstained diary where he wrote shit like

today sister carpenter and I trecked through the reeds of the white gull river for in silence. i believed we were quietly reflecting treading on the threshold of the trawlerman's sacred land, but 4 hours in, sister carpenter almost lost a boot in the mud and muttered "more like shite gull river." what the fuck?? I drank a green juice and practiced my prayer marks. hopefully tomorrow we find someone i can turn into a saint. goodnight!

[mintytea-exe]

there's something about Hayward dying as he watches Paige continue on and leave him behind, and Carpenter watching Faulkner's body as the White Gull carries it down river. there's something about watching the people we love become lost and forever out of our reach. it just sticks with me. the misery of both those who move on and those who are left behind. the beauty in the amount of love that it takes for the person staying back

[fallentofable]

If anyone is currently looking for a series to fall in love with, I cannot recommend The Silt Verses highly enough! It is a character-driven folk horror podcast about two people, Carpenter and Faulkner, who are disciples of the Parish of Tide and Flesh. They are from an outlawed faith, on run from the law, traveling up and down the white gull River, hoping to find signs of their God among the reeds. The story is constantly jumping at you with the most phenomenal twists and moments, and you will find yourself falling in love with each of the characters. Each and every moment of the story is rewarding, and the episodes often left me shouting out loud for just how awesome or vile or downright disturbing each second was.

If you want a story that'll wrap its way around you and consume your every waking thought (and many of your sleeping ones), listen to The Silt Verses.

[doctorloup]

Audiodrama Sunday!

I was on holiday and at LARP last week and have mostly been binging things or catching up on things lately so: The neurodivergence committee in my brain approved the Mistholme Museum for etc. etc. etc. and hot damn that was a ride of adventure and pathos and feelings. Incredible voice work by Dom the showrunner, story that kept me coming back, like a book I couldn't put down. I require David Ault and H.R. Owen to play Oberon and Titania in something (no don't make me write it I have so much other stuff I'm working on). Caught up on the latest series Old Gods of Appalachia, somehow came out liking JT Fields less, was that the intention? The music gets better with every season of that show. Really enjoying 16th century Amelia Project series, it's a period I love to write in myself. Thickly Glaswegian Mary Queen of Scots was great. I'm biased, but breathing space has some fun little musical interludes in the Chasing a Ghost miniseries. I love their in-world broadcasts, like the cookery show. The Silt Verses finale broke my heart into a thousand pieces and drowned it in the White Gull river. I'm not ready to talk about it yet, the grief is still fresh. What a series.