#amelia's thoughts

[astralastrid]

It is once again, what the kids call, my birthday

[thoughtkick]

I hope you’ll see me one day and see who I’ve become. I hope regret steals your breath.

Jess Amelia

[surqrised]

I hope you’ll see me one day and see who I’ve become. I hope regret steals your breath.

Jess Amelia

[genderqueerpond]

We don't talk enough about the fact that Amelia Pond, s5 Amelia Pond, before the timeline is reset, isn't just a normal orphan. Her parents didn't die, didn't abandon her, and didn't send her away. They never existed in the first place.

And if her parents never existed, then Amelia cannot exist. She is a causal impossibility.

"People fall out of the world sometimes, but they always leave traces." A photograph. A face carved into an apple. Yes. Sure.

A child.

Now that's too big, surely.

But that's what she is. She is exactly the same as these things. A trace. An echo of something that could never be, never was, never could have been.

And the universe should never allow it. A whole person, that's just too much. She could not have continued to exist indefinitely, in normal circumstances, after her parents never existed.

In normal circumstances.

Because the Doctor didn't just save her from things coming out of the crack in her wall. He saved her from going into it. And he didn't just save her from the threat of going into it simply because of its vicinity.

No, by arriving when he did, he interrupted a process that was probably already in motion. And then by arriving again only moments later on a cosmic relative timestream (too quickly for the process to complete) and yet in the local relative timestream, years later --- years of a potential future caught midway through the process of rewriting -- he solidified that existence. Amy is a creature from another timeline, caught in amber. The Doctor prevented her from never existing, but only after she could already never exist.

And so, no one around Amelia thinks about it. Neither does she. There's some kind of consciousness block, because if you thought about it, really thought about it, for two seconds you'd realize she cannot exist. And the human mind can't deal with that. So, to protect itself, everyone's brain simply slides off it before ever noticing. They just assume that her existence makes sense, and don't question it, and don't notice what they don't question, that is staring them in the face.

But of course, to some extent they do notice. They can't think it, but they notice subconsciously that there's something they can't think. They notice there's something wrong with her, something uncanny. And they don't like it, and they alienate her even more because of it.

"Does it ever bother you Pond that your life existence doesn't make any sense?"

[megasoup]

I’ve been thinking of this so much recently so I had to dump out all my dumb thoughts on the table for everyone to see

[ameliadoesstuff]

these are fun

[doodlefox2]

path back home

[skyxsy]

We will miss you Ame but I'm sure Myth will miss you even more ❤️🧡💛💙💜

[perfectquote]

I hope you’ll see me one day and see who I’ve become. I hope regret steals your breath.

Jess Amelia

[sarcastic-hats]

Act I: Knowing and believing are two different things.

My take on what happens BLR :)

If you like what I do, buy me a coffee!

[foolishfantasia]

I think everybody should read Perry making a fool of himself in front of the kids in Jacob Winkler's storyboard that didn't make it into the actual episode.

Special thanks to the wiki for bringing it to my attention. You can read the rest below. There's actually a lot of cut out parts in Winkler's board!

[astralastrid]

The carrd has been updated!

[thoughtkick]

You know when, sometimes you meet someone so beautiful, and then you actually talk to them and five minutes later, they’re as dull as a brick? Then there’s other people, and you meet them and you think, ‘Not bad; they’re okay.’ And then you get to know them, and their face sort of becomes them, like their personality is written all over it. And they just turn into something so beautiful.

Amelia Pond

[surqrised]

You know when, sometimes you meet someone so beautiful, and then you actually talk to them and five minutes later, they’re as dull as a brick? Then there’s other people, and you meet them and you think, ‘Not bad; they’re okay.’ And then you get to know them, and their face sort of becomes them, like their personality is written all over it. And they just turn into something so beautiful.

Amelia Pond

[genderqueerpond]

You know, I think Clara knew about Amy.

Not at first, of course, but Clara grew up with her --- that is, grew up reading Amelia Williams books. And they were precious to her, books she's read many times over the course of her childhood -- how else does she know exactly which chapter holds what in the book she gave Artie? Perhaps she has always felt connected to her, this moderately obscure children's fantasy author, following in the footsteps of E Nesbit; this contemporary (and sometime friend (oh yes!) ) of Edward Eager's; although not nearly as widely known as either of these. Perhaps because of her choice to publish openly under a "woman's name", thus, in the time in which she lived, relegating her books to the inferior realm of "girls' books", despite the more than equal balance of male viewpoint characters.

But Amelia Williams is different from these authors too -- often fantasy, but sometimes more like early science fiction, a barely- recognized pioneer in both genres. Her views were feminist and daring. In so many ways she was ahead of her time, and the innovations she imagined! almost as if she knew what the future would hold.

And if Clara knows and loves her books so well, she can hardly fail to recognize the most frequently repeated character archetype in them. especially after she rereads a few on a subconscious hunch, during that summer after the Maitlands found a permanent nanny and she insisted that before anything else, she go off and fulfill her original travel plans from 101 Places To See. (The Doctor purported to leave her alone to forge her own way with this, but was in actuality very bad at that, and kept popping up nearly every place she went.) She's Clara, she's clever, how can she fail to look up from her book and notice that the person who's just appeared out of nowhere to stand in front of her with a plate of jammie dodgers and a goofy smile has stepped directly out of the pages?

And then of course, there are the dedications. Sure, there's normal stuff like "to my daughter", "to my loving and patient husband", and "to my parents, who are children now" which is rather weird and whimsical, but fits in with the fantasy author's signature style of dream-like imagination.

But the majority of Amelia Williams' dedication pages say things like "to You", "to My Doctor", "to My Raggedy Doctor" "to my raggedy man" (weird but clearly connected to the other variants), and, cryptically, over and over again: "to you", "to you", "to you", "to you (wherever in time and space you are)".

There's "to my imaginary friend" and "to my imaginary friend, and to all children who have an imaginary friend" and "to my imaginary friend, and every child in the universe who's ever met him, or ever will". Nerds and English teachers have occasionally debated what, if anything, she meant by all this, and now Clara thinks she knows, but she can never say....

And then there are the nights that the Doctor wakes up crying out for "Amy!" and then refuses to talk about it when Clara asks, refuses to acknowledge ever even knowing an Amy, "well everyone shouts random things when they're asleep, it doesn't mean anything" and "I don't remember." if pressed for details about his dreaming. And later he might go off somewhere and cry quietly, reading a book he never lets Clara see.

And then he regenerates, and calls out for "Amelia!", "the first face this face saw."

There's newborn twelve, with his Scottish accent, letting her name slip. It's the first - and only - time he's spoken of her while awake and not actively dying. And Clara is too busy with the immediate threat to their lives to think about it in the moment, but at this point she at the very least has a hunch about the connection between him and the Scottish-American author with the rather opaque background --- that as far as anyone can trace it (although to be fair, no one really cares enough to try very hard) she and her husband just kind of appeared out of nowhere in pre-WWII New York. It seems kind of obvious, now, that the doctor would have had a hand in that.

And now with all the books everywhere, the library gradually migrating into the console room, what else is obvious is that he owns every single one of her books. multiple copies, first editions, last editions, signed copies, mass paperbacks, everything. There's a TARDIS key hidden in a well-worn, well-loved, tear streaked copy of The Cuckoo And The Doll's House, which Clara finds when she's cataloging all the locations of TARDIS keys, just in case she should ever need that information one day.

This all is enough for Clara to know. There doesn't really need to be any more proof, but there is. What totally and fully clinches it are the pictures. Tucked in the pages of another tearstained book (The Beast Below this time), are photographs of Amelia, looking just as she does in her black and white author photos, but younger, and in 21st century clothes. Elsewhere, later, she finds photo booth polaroids of a still younger Amelia, goofing off and smiling. Some of them feature another young man Clara doesn't recognize, and some of them feature the Doctor. He's wearing a tweed jacket instead of his purple wool, and no vest, but otherwise he is exactly the same as the Doctor she first met. The three of them hang off each other like old friends, like family.

idk how to end this.

[vellichorom]

ONE, except...