#because i really enjoyed writing it lol

[corvidcall]

None Of You Know What Haiku Are

I'm going to preface this by saying that i am not an expert in ANY form of poetry, just an enthusiast. Also, this post is... really long. Too long? Definitely too long. Whoops! I love poetry.

If you ask most English-speaking people (or haiku-bot) what a haiku is, they would probably say that it's a form of poetry that has 3 lines, with 5, and then 7, and then 5 syllables in them. That's certainly what I was taught in school when we did our scant poetry unit, but since... idk elementary school when I learned that, I've learned that that's actually a pretty inaccurate definition of haiku. And I think that inaccurate definition is a big part of why most people (myself included until relatively recently!) think that haiku are kind of... dumb? unimpressive? simple and boring? I mean, if you can just put any words with the right number of syllables into 3 lines, what makes it special?

Well, let me get into why the 5-7-5 understanding of haiku is wrong, and also what makes haiku so special (with examples)!

First of all, Japanese doesn't have syllables! There's a few different names for what phonetic units actually make up the language- In Japanese, they're called "On" (音), which translates to "sound", although English-language linguists often call it a "mora" (μ), which (quoting from Wikipedia here) "is a basic timing unit in the phonology of some spoken languages, equal to or shorter than a syllable." (x) "Oh" is one syllable, and also one mora, whereas "Oi" has one syllable, but two moras. "Ba" has one mora, "Baa" has two moras, etc. In English, we would say that a haiku is made up of three lines, with 5-7-5 syllables in them, 17 syllables total. In Japanese, that would be 17 sounds.

For an example of the difference, the word "haiku", in English, has 2 syllables (hai-ku), but in Japanese, はいく has 3 sounds (ha-i-ku). "Christmas" has 2 syllables, but in Japanese, "クリスマス" (ku-ri-su-ma-su) is 5 sounds! that's a while line on its own! Sometimes the syllables are the same as the sounds ("sushi" is two syllables, and すし is two sounds), but sometimes they're very different.

In addition, words in Japanese are frequently longer than their English equivalents. For example, the word "cuckoo" in Japanese is "ほととぎす" (hototogisu).

Now, I'm sure you're all very impressed at how I can use an English to Japanese dictionary (thank you, my mother is proud), but what does any of this matter? So two languages are different. How does that impact our understanding of haiku?

Well, if you think about the fact that Japanese words are frequently longer than English words, AND that Japanese counts sounds and not syllables, you can see how, "based purely on a 17-syllable counting method, a poet writing in English could easily slip in enough words for two haiku in Japanese” (quote from Grit, Grace, and Gold: Haiku Celebrating the Sports of Summer by Kit Pancoast Nagamura). If you're writing a poem using 17 English syllables, you are writing significantly more content than is in an authentic Japanese haiku.

(Also not all Japanese haiku are 17 sounds at all. It's really more of a guideline.)

Focusing on the 5-7-5 form leads to ignoring other strategies/common conventions of haiku, which personally, I think are more interesting! Two of the big ones are kigo, a season word, and kireji, a cutting word.

Kigo are words/phrases/images associated with a particular season, like snow for winter, or cherry blossoms for spring. In Japan, they actually publish reference books of kigo called saijiki, which is basically like a dictionary or almanac of kigo, describing the meaning, providing a list of related words, and some haiku that use that kigo. Using a a particular kigo both grounds the haiku in a particular time, but also alludes to other haiku that have used the same one.

Kireji is a thing that doesn't easily translate to English, but it's almost like a spoken piece of punctuation, separating the haiku into two parts/images that resonate with and add depth to each other. Some examples of kireji would be "ya", "keri", and "kana." Here's kireji in action in one of the most famous haiku:

古池や　蛙飛び込む　水の音 (Furu ike ya　kawazu tobikomu　mizu no oto) (The old pond — A frog jumps in The sound of the water.)

You can see the kireji at the end of the first line- 古池や literally translates to "old pond ya". The "ya" doesn't have linguistic meaning, but it denotes the separation between the two focuses of the haiku. First, we are picturing a pond. It's old, mature. The water is still. And then there's a frog! It's spring and he's fresh and new to the world! He jumps into the pond and goes "splash"! Wowie! When I say "cutting word", instead of say, a knife cutting, I like to imagine a film cut. The camera shows the pond, and then it cuts to the frog who jumps in.

English doesn't really have a version of this, at least not one that's spoken, but in English language haiku, people will frequently use a dash or an ellipses to fill the same role.

Format aside, there are also some conventions of the actual content, too. They frequently focus on nature, and are generally use direct language without metaphor. They use concrete images without judgement or analysis, inviting the reader to step into their shoes and imagine how they'd feel in the situation. It's not about describing how you feel, so much as it's about describing what made you feel.

Now, let's put it all together, looking at a haiku written Yosa Buson around 1760 (translated by Harold G. Henderson)

The piercing chill I feel: my dead wife's comb, in our bedroom, under my heel

We've got our kigo with "the piercing chill." We read that, and we imagine it's probably winter. It's cold, and the kind of cold wind that cuts through you. There's our kireji- this translation uses a colon to differentiate our two images: the piercing chill, and the poet stepping on his dead wife's comb. There's no descriptions of what the poet is feeling, but you can imagine stepping into his shoes. You can imagine the pain he's experiencing in that moment on your own.

"But tumblr user corvidcall!" I hear you say, "All the examples you've used so far are Japanese haiku that have been translated! Are you implying that it's impossible for a good haiku to be written in English?" NO!!!!! I love English haiku! Here's a good example, which won first place in the 2000 Henderson haiku contest, sponsored by the Haiku Society of America:

meteor shower . . . a gentle wave wets our sandals

When you read this one, can you imagine being in the poet's place? Do you feel the surprise as the tide comes in? Do you feel the summer-ness of the moment? Haiku are about describing things with the senses, and how you take in the world around you. In a way, it's like the poet is only setting a scene, which you inhabit and fill with meaning based on your own experiences. You and I are imagining different beaches, different waves, different people that make up the "our" it mentioned.

"Do I HAVE to include all these things when I write haiku? If I include all these things, does that mean my haiku will be good?" I mean, I don't know. What colors make up a good painting? What scenes make up a good play? It's a creative medium, and nobody can really tell you you can't experiment with form. Certainly not me! But I think it's important to know what the conventions of the form are, so you can appreciate good examples of it, and so you can know what you're actually experimenting with. And I mean... I'm not the poetry cops. But if you're not interested in engaging with the actual conventions and limitations of the form, then why are you even using that form?

I'll leave you with one more English language haiku, which is probably my favorite haiku ever. It was written by Tom Bierovic, and won first place at the 2021 Haiku Society of America Haiku Awards

a year at most . . . we pretend to watch the hummingbirds

Sources: (x) (x) (x) (x) (x) (x)

Further reading:

Forms in English Haiku by Keiko Imaoka Haiku: A Whole Lot More Than 5-7-5 by Jack How to Write a Bad Haiku by KrisL Haiku Are Not a Joke: A Plea from a Poet Who Has Had It Up to Here by Sandra Simpson Haiku Checklist by Katherine Raine

[pastelhooman]

[WVW Exchange Event 2023!]

"The kisses on your lash, your ears, on the nose that keeps scrunching. The kisses on your hand, on your cheeks, and the exchanging soft words waiting for the break of day."

----- ID under break -----

A total of 6 pages of comics, starting with a close up shots of vash kissing sleeping wolfwood's nose, eyes, lashes, and he furrows them a bit. an overhead shot of the two of them in a motel room, on the bed with vash leaning over wolfwood from the left, laying soft kisses on him. their legs tangled. their normal outfits are thrown haphazardly on the floor, instead donning comfortable clothes. on the outside, the very first ray of lights are yet to shine.

"what a face you're making pfft" - vash says as he grabs both of wolfwood's cheeks, squeezing them a bit. wolfwood mumbles, "There's something that keeps landing on my face, it tickles." he grabs the hand that is on his right cheek. "Well you're letting it happens anyways right?" Vash muses, bringing the hand up to kiss on its knuckles. "Good morning Wolfwood. It's almost dawn"

"… Isn't it way too soon?" - wolfwood asks, but keeps to himself the prayers he's sending to god because the the boy on top of him was such a sight to behold. Vash flops down onto him, leaving the hand hanging and lace his own hand into Wolfwood's hair, peppering kisses to the side of his face. "Yep" - he answers - "But you woke up on your own tho" - facetiously. He giggles, saying that it was a joke after a beat of silence. A sigh, "don't make me upside you first thing in the morning." Wolfwood closes his eyes, hand combing through golden strands. "Heh, how merciful~" "We have a meet up with Milly and Meryl today, remember?" Vash reminds him, which does raise some vague memory. wolfwood hums, the other hand reaching around vash's torso, hugging him. " So, the sooner we arrive, the less likely she'll chew through my head." - Vash adds. "riiiight. And you were SO urgent in waking me up." in wolfwood's hold, both of them slowly turn to the right, towards the edge of the bed.

Well, you were just soooo cute, I couldn't help it! didn't thinkk you'll actually wakE UAA-!"

the bed creaks under the sudden shift in weight as wolfwood tosses vash over and under him, arms firmly hugging him, one at his back and one at his head, hungrily dives down to kiss. "!! Wolf-! Wait-!" Vash yelps, leg instinctively curls around the other's man hip to hang on, trying his damnest to grip on his shirt as HE is now half airborne, barely has any contact with the bed on his upper body. However, wolfwood seems to have another idea as he keeps deepening the kiss, pointedly holding Vash close, hands spread guarding the back of his head as both of them are sliding off the soft fabric.

"THUD!" a resounding fall, possibly enough to wake the room downstairs, followed shortly by laboured breaths amist wet smacks of lips. Heaves and huffs of air exchanging between the two bodies when the need to breath made itself necessary. They press close, cradling each other, and are lost to their own world. After a while they had to part. Metal arm shifts through black locks, caressing down to his nape and they hold eye contacts there, with lidded eyes, strands of saliva thins then breaks.

Wolfwood pushes up on his arms, looking smugly down at his now disheveled partner: "Now this is how it's done, Needlenoggin." he remarks. Vash tries to wrangle his thoughts back in order, but strings of Wolfwood's name and a wonderous question keeps filling his mind, of whether he should risk it all and have fun for a bit more. Regardless, snapping out of his trance, Vash sourly asks, with a wry smile and an aching head: "But did you really need to roll off the bed?" "Wrong side, whoops" - Wolfwood anwers unseriously, laughing as he finds the situation quite amusing.

----- End of ID -----

[fatedroses]

And some days, I just wish you wouldn't look at me at all.

[sukuna-dees-nuts]

rizzless sukuna pt 5

lowkey this is almost feels like crack at this point 😭

idk what im doing. im just going with the vibes i started with when writing this series lmaoo

Part 1 | 2 | 3 | 4

---

It's a beautiful Saturday morning; the sun is bright, the birds are chirping, and Yuuji is currently setting up the gaming console as Nobara and Megumi make themselves comfortable on the couch. His parents are out running errands together and Sukuna is… actually, Yuuji doesn't know and currently isn't concerned with his brother's whereabouts because it means that Yuuji and his friends get the house to themselves for the time being.

Nobara kicks off her shoes and plops down in the middle of the couch, resting her feet on the coffee table. Megumi drops next to her, pulling out his phone as he looks around. He glances back to Yuuji as he asks, “Is Sukuna not here?”

“Who cares?” Nobara replies, tucking a strand of hair behind her ear.

“Uhh, I don't know,” Yuuji says over his shoulder with a shrug as he gets to his feet. He makes his way back to the couch, tosses a controller to Megumi's lap, and hands another to Nobara. Taking a seat next to her, he sighs, “Probably vandalizing old buildings or something.

Nobara snorts. “Egging houses,” she adds.

“Surely he's done that before,” Yuuji comments as he picks his character and kart.

It’s no surprise that Yuuji and Nobara battle for first place in every race. Both are extremely competitive and weirdly good at this game. Megumi, however, almost always finishes in dead last. He doesn’t care; he never has and probably never will.

“Hey, Megumi, do you ever not come in last place?” Nobara asks with a shit-eating grin, pulling her eyes away from the screen and over to her friend. His brows are pulled together, and there’s a deep frown on his face as he falls off the edge of the map again.

“Do you ever shut up?” he grunts.

Yuuji cackles. “Don’t you play with Gojo?”

“Not because I want to,” Megumi sighs, dropping the controller when he finally finishes the race.

“Well, I guess someone has to give him enrichment time,” Nobara hums and crosses one leg over the other.

The front door opens, and Sukuna steps inside the house. He wipes his face with the hem of his shirt as he walks into the living room. Of course, the last thing he expects to see is Megumi sitting on his couch.

Their eyes meet, and Sukuna feels his heart skip a beat.

Instantly, Megumi’s eyes flicker from Sukuna’s face to his exposed abdomen and back up again. It’s only a split second later that he looks away, awkwardly scratching his cheek as he looks down at the controller in his hands.

“What are you losers doing?” Sukuna asks as he steps into the living room.

“We were having a good time,” Yuuji states without looking away from the screen. His character throws a red shell, hitting Nobara’s kart and allowing him to take first place. “Yes! Take that, Kugisaki!”

“This is why girls don’t like you!” Nobara shouts, shoving Yuuji hard enough that he falls off the couch.

The boy lands on the ground with an oof! but it doesn’t stop his focus from the race.

Sukuna watches the scene play out with his top lip curling in annoyance. As he rolls his eyes, he takes a seat on the arm of the couch next to Megumi. He can’t help but notice that the boy is in last place and after spinning out, immediately drives into a banana peel that he could have easily avoided. Sukuna snorts in amusement.

“Dude, you’re shit at this game,” he says, nudging Megumi’s shoulder with his elbow.

Megumi huffs, opening his mouth to reply, but his words are cut short temporarily as Nobara tries to kick Yuuji’s controller out of his hands. She cackles when she’s successful, only for Yuuji to grab her ankle and pull her down onto the floor with him.

Turning to look up at Sukuna, Megumi states with a deadpan expression, “This is why I don’t play.”

Raising an eyebrow, Sukuna looks over at Yuuji and Nobara who are simultaneously trying to race and knock away each other’s controllers. A grin spreads across Sukuna’s face and without thinking, he reaches down and grabs the controller from Megumi’s hands, their fingers brushing. Sukuna’s gaze briefly meets the other boy’s before he’s turning back to the TV.

With Yuuji and Nobara distracted trying to sabotage each other, it doesn’t take much for Sukuna to quickly catch up to the front, but not without adding a couple teasing jabs to Megumi’s poor choice of character and kart.

“Why on earth would you pick Baby Rosalina and the Badwagon?” he asks with an amused snort.

The younger boy shrugs. “I just hit the randomize button. I don’t care that much.”

“Obviously,” Sukuna retorts. He shoots Megumi a teasing grin.

Megumi rolls his eyes. “The only other time that I play this game is when Gojo forces me and Tsumiki to play with him."

Sukuna grimaces. “Sounds awful.”

“It’s not that bad. Gojo is just a sore loser so Tsumiki usually lets him win so we’re not stuck there all night.”

With a hum of acknowledgement, Sukuna briefly wonders if Megumi would be down to play with him, just the two of them. It doesn’t sound like a bad idea. The only thing would be convincing Yuuji to let him borrow the switch or getting Yuuji out of the house long enough for Megumi to even come over. Well, he supposes that’s something they can figure out after they’ve had their movie date.

“Yes! First place! As I should be!” Nobara exclaims as she finally finishes the race with Yuuji on her tail with a close second.

Yuuji scoffs. “Only because you knocked the controller out of my hand and made me fall off the side of the map.”

Rolling her eyes, Nobara waves a hand dismissively. She leans back against the couch and stretches her arms above her head. “You’re just a sore loser.” Her eyes flicker back to the screen and she sits up straighter. “Megumi coming in 4th place?! And here I thought you just liked losing."

“Whoa, how’d you get so good so fast?!” Yuuji asks with a laugh. He looks over, his head tilting to the side when he sees that there is no controller in Megumi’s hands. That’s when he notices that his brother never left and is instead sitting on the arm of the couch with the controller in his hands. “Hey! That’s cheating too!”

Nobara looks over with a frown as Sukuna is handing the controller back to Megumi. He pushes himself to his feet, pulling his phone out of his pocket to check his notifications.

“Thanks, Sukuna,” Megumi says, the corner of his mouth quirking up.

Without thinking, Sukuna clicks his tongue and shoots Megumi a wink. “Any time.” He doesn’t bother sparing a glance to Yuuji as he turns around and heads out of the living room and up the stairs to his bedroom.

A long silence draws out in the living room, both Nobara and Yuuji staring at Megumi in a mixture of shock and confusion as Megumi watches Sukuna go. When he turns back to his friends, he shifts in his seat, growing a little uncomfortable. “What?”

“What was that?” Nobara asks, the game now forgotten with her full attention on Megumi.

“What was what?”

“That!” She gestures vaguely in Megumi’s direction. “With you and Sukuna. He was… nice to you.”

“So?” the other boy cocks an eyebrow. He leans forward and places the controller on the coffee table before sitting back. “Is Sukuna not allowed to be nice to people?”

“No,” both Nobara and Yuuji say simultaneously in the same deadpan tone.

Yuuji pushes himself up to his feet, setting his own controller on the coffee table. He turns to Megumi, hands settling on his hips. “He’s not even that nice to me and I’m his brother."

Megumi shrugs. “I don’t know, maybe he felt bad for me because you two were being insufferable.”

“Sukuna doesn’t feel bad for people,” Yuuji says with a shake of his head. “He’s the one who makes people feel bad.”

Again, Megumi shrugs. “He’s always been nice to me.” He gets to his feet and excuses himself to the bathroom.

Nobara and Yuuji watch as he leaves. The moment they hear the bathroom door shut, they’re both sitting on the couch and facing each other with wide eyes, ready to conspire.

“There’s something weird going on here,” Nobara whispers, tapping her chin with her finger.

“You’re telling me. The other day, Sukuna was making plans to invite someone over when I wasn’t here.” He pauses, looking around to make sure that they’re alone. He leans in a little closer, cupping one hand around the side of his mouth. “And even worse, there’s someone with a nickname in his phone.”

Nobara’s eyebrows shoot up, her eyes widening. “A nickname? What kind of nickname?"

“It said ‘Raisin Boy’.”

“What the hell does that mean?” she asks, her eyebrows instantly pulling together in confusion.

Yuuji shrugs and leans back. “I dunno.”

A look of determination settles over Nobara’s face. “Well whatever it is, we're getting to the bottom of it!”

Yuuji grins, matching Nobara’s determination with a high five. "Operation: 'Find out who Raisin Boy is' is now underway."

[tiktowafel]

do you ever think about how all you used to draw when you were 10 was ponies and that you should still know how to do that, then get an idea and proceed to draw something like these in nearly one sitting and it turns out better than any drawing you've done in the entire past month

sooo anyway does anyone have cutie mark or pony name ideas for them?? lol

[solradguy]

I thought the early 2000s "strong yet naked/mostly naked woman kept in her place by stronger, bigger, beast/monster or gang of racist caricatures" trope* was known by basically everyone but I mentioned it as a criticism of this older art book I'd flipped through recently to a friend and it turns out it isn't lol Maybe I've just read too many Heavy Metal issues... It used to be HORRIBLY inescapable in any sort of mature art scene back in the day lmao

*This trope is different from the pre-2000s one because the women usually look like they COULD fight back for at least a little bit whereas the previous trope had them be completely helpless damsels in distress

[13eyond13]

love it when a character that's hard to read intuitively for you has like a dedicated fandom interpreter who can just glance at their blank face in a panel and then give you a 3k word essay on their innermost thoughts & desires & fears and neatly tie it back into the themes & whatnot as if it's the most obvious thing in the world

[aroaessidhe]

2024 reads / storygraph

The Dead Cat Tail Assassins

fast-paced fantasy novella about an undead assassin - with no memory of her life or why she signed up to be resurrected after death

when she’s given a new contract - that she is bound to carry out - she finds an unexpected mark who she doesn’t want to kill

facing connections to a past she’s not supposed to remember, they have to find a way around the contract in one night, facing other assassins, necromancers, gods, and wealthy patriarchs

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[kryptonbabe]

You will get a new Wonder Woman run planned to be a long and structured one - but it's written by Tom King

You will get a new Black Canary run - the thing is, it will be written by Tom King

You will get a series of some silver age partially forgotten characters you like - Adam Strange, Omega Men, Metamorpho - but here's the catch: they'll all be written by Tom King

Why all these times I got something I wanted from DC it was like meeting this wise and cruel Jinn trying to warn me about the potential harm of my heart's desires?

"Be careful what you wish for, little one. Now take this Tom King book" the creature whispers while I sob

[lynzishell]

So here we are

...again

[island-in-the-shadows]

Ngl, I'm gonna take alll my DM shipper feels, put them in a box, bury the box, and leave it there for five years like a time capsule so that I can dig them up a few seasons down at the appropriate time. That way, next season, I won't have to remind myself that I cannot hold a show to what I want (this is why we have fanfiction, lol). But at least with this there's hope for the future.

Anyway---I am SO ready for the absolute chaos! I'm ready for Daniel and Louis teaming up even if Louis could explode at any time, I'm ready for Claudia who did NOT deserve ANY of it (😢), I'm ready for Louis standing up, I'm ready for Lestat because I can't even begin to image the insanity of that trial, I'm ready for Santiago to be the worst but also SERVE, I'm ready for Armand to have done all the things that he will never truly manage to atone for, I'm ready for the S1 revisits, I am SO ready for Louis to go all Firestarter on the TdV, I'm ready for the bodice ripper moment between Loumand, and the MUCH needed hug between Loustat (when is that even happening I have so many QUESTIONS), I'm ready for more of Raglan James and what that could mean for next season given his role in the books, I'm ready to see if that prop is the legit published book that Daniel writes or not, etc...

One of the beauties of Interview with the Vampire is that nothing is ever quite as we expect and it's always FANTASTIC! I know we're 3 weeks out from the end of the season but I'm already going to miss the giddy feeling of waiting for an episode every week and seeing it twice on the same day and seeing all the speculation afterwards. Regardless of the fighting or the shipping discourse (regardless of my rankings I am a toxic polycule believer ^_^), it really has been so fun to see everyone on here get excited and have the show trending every week.

Fingers crossed for the S3 confirmation soon after S2 ends!

[tennessoui]

In the assigned married fic, has Anakin even begun to process Padme saying that both of them will be moving to Naboo together? Like, they spoke earlier in the chapter about Anakin moving in with her on Coruscant, but Obi-Wan apparently spilled the beans about a much more permanent relocation to Naboo, and I am looking forward to Anakin's response to that, once he gets through processing everything else and remembers that part of the "conversation"....

i think padmé views moving to naboo more as a possibility than a future concrete plan -- the offer to be a permanent advisor on naboo is something she'd like to discuss with anakin as her husband before taking it or rejecting it. she says there's a lot of work she still wants to do in the senate, and she's probably thinking that it will be a few years before she would be able to go anyway. definitely after the war, but in her mind, she thinks anakin has every intention to leave the order after the war's over....because he kind of told her that. at least, in her mind he did: (from chapter 1)

“[Obi-Wan] asked me if I planned to leave the Order after the war,” he tells his wife. “And I lied, and then I think he began to support me. That’s what he looked like, anyway.” Padmé blinks at him, eyelashes falling slowly onto the jut of her cheek and then rising. “That’s good then,” she says, sounding hesitant. “That he supports us.” “Yeah,” Anakin replies, raising his hand to tuck a tendril of hair behind her ear. “Though…I’m sorry you had to lie,” she says, pressing forward until their faces are only a hand’s width apart. “Hopefully…” she trails off, biting her lip. Then she shakes her head slightly, and her mouth turns up into a smile as if she cannot help herself. “Hopefully he will not take the truth so hard.”

so anakin never says what lie he told obi-wan, he just says that he lied when asked if he was going to leave the Order, and that lie made obi-wan support him.

from an outsider's perspective, especially a biased outsider who is married to one of the insiders and believes them to have a future together, padmé's immediate understanding of this is that obi-wan asked if he was going to leave the order and anakin lied to him and told him he planned to stay and obi-wan began to support their marriage because he thinks he won't be losing anakin (padmé, who has three braincells, has long since realized obi-wan's obsessed with her husband)

and that's why she's smiling at the end (and also why they have sex at the fade to black) -- she believes anakin has just told her that when the war ends, he'll leave the Order to be with her and build a future together <3 so the offer to go to naboo is an option she can talk to her husband about, but she knows that anakin is going to no longer be a jedi....and if he's not a jedi, and she's not a senator....what's keeping them on coruscant?

BUT it's not just obi-wan that's feeling a bit catty during that dinner party scene, so i intentionally wrote padmé as putting this idea forward as less of a possibility and more of a done deal that she knows anakin will accept -- she talks about it like it's great big BACK OFF signs picketed around anakin because obi-wan is the biggest threat to their marriage in the entire galaxy and she's always known that

(but also no anakin has not begun to process that whole thing - but padmé, who now realizes they're NOT on the same page, is absolutely going to bring it up post-haste in the next chapter)

[maironsbigboobs]

re: elf servants

I think generally there are servants in royal/noble households simply for practical reasons and they generally fall into 2 categories: specialised servants (think, stewards and messengers and scribes, masters of horses or kennels, that kind of thing) and servants who help with the upkeep of the household (cleaning, repairs, cooking and also the apprentices and assistants of specialised servants)

specialised servants are probably quite prestigious roles and fields of industry in their own right, and they are considered full members of a household, and probably are closely linked to the person they serve - it's as much a political and social statement to be Finwe's chief scribe as it is an economic one

but the second category are more associated with the house than the family living in it - for example, Finwe's palace in Tirion would function both as a home and a diplomatic and administrative centre, it would be impossible for him to rule and keep up with chores himself. But Fingolfin's personal home would probably not have any full-time servants - when there more people than usual to feed or house then professionals might be hired, but for the most part I imagine the day to day is done by the family (made possible by the fact elves sleep and eat less than humans)

IRL domestic service (at least in the 18th century) often functioned as a kind of prep stage for adult life (for women in particular, but gender is probably not as big a factor for elves) and I could definitely see this in Valinor - domestic servants being 80% elves between 50-100 who haven't chosen an apprenticeship or similar in another field who are earning extra money to set up their own households, getting experience outside of the family, meeting others in their own ae cohort, learning independence etc. It's a job that comes with the offer of room and board + the wages a king/prince/lord can provide. Not glamorous, but not terrible.

The other 20% is made up of professional servants - experienced elves who are genuinely like the work and are contracted workers as much as a builder or gardener might be. Some of them might be independent and others part of businesses set up by other elves who are really into cooking/cleaning etc.

In Beleriand the situation (for the exiles at least) is probably very different, though I think there would be attempts to adapt the system - but there aren't as many households that need servants and there aren't as many young elves.

[skitskatdacat63]

I don't know how I'd ever convey this in art but. Thinking very deeply about how in boy king au, a very crucial part of characterization is that Seb is a wolf in sheep(or lamb more specifically)'s clothing and Fernando is a sheep in wolf's clothing.

Seb is very unassuming, very delicate, seemingly very vulnerable and malleable. But, deep down, he can be very ruthless. It's in the the way he hesitantly declares war, with a spark in his eye and a suppressed smirk. In the way he challenges someone to a card game or a horse race, proclaiming that he's not great, but winning every round and prancing around the room and mentioning it ad infinitum. The way he's able to instantly turn the tide in a debate in one fell swoop. By showing all his cards constantly and letting himself be vulnerable, he's making himself invulnerable. No one would ever consider him to be able to make big moves, so he wins every single time, because no one even thinks to expect it from him.

Fernando on the other hand, is constantly committed to having a looming presence and harsh reputation, but deep down, he's soft. He knows what happens to people when they're vulnerable, and he's not going to let himself be taken advantage of. The way he keeps a brave face when being informed of the marriage proposal, but goes back to his room and cries. The way he proclaims that he was always going to be the rightful ruler of Spain, but confides to Flavio that he never thought there was any real chance of it ever happening. The way he takes himself so seriously in public, but inside feels so giddy whenever he can make someone laugh. Everything to him always feels unstable and ready to crumble at any moment, and he's not willing to contribute to that by letting himself relax.

I think thats why it's very difficult for them to get along at first, because they have completely different approaches to how they carry themselves and make their way through life. Seb is confused at Fernando because he feels that he's very bland and overly serious at first, but truthfully he's not really seeing the actual Fernando. And Fernando finds Seb to be naive and easily taken advantage of, but that's because he's never seen Seb at his most cruel. Seb really loves when he eventually gets to see Fernando being vulnerable, and Fernando really admires and respects Seb when he sees him being serious. I think it just takes a while for them to show the other their full and complete selves, even the parts they can sometimes be ashamed of. There's this very compelling dichotomy in Seb laying out all his cards, but still being very difficult to read, and Fernando keeping his cards to his chest, but his intentions often being easily seen through.

[swiftfootedachilles]

im just gonna be honest gang obviously its gonna be easy for you to say youre in love with a character and theyre an angel when anytime they do something you don't like you brush it off as out of character