#bucolic anon

[mydaroga]

hi!! it's the bucolic anon

okay since there are so many songs to choose from, I guess i’ll list my personal top track (or tracks) from each of his albums that i've heard till now:

mccartney 1 - hot as sun/glasses + man we was lonely

ram - the entirety of it (but especially long haired lady and backseat of my car)

wild life - wild life

red rose speedway - c moon

band on the run - helen wheels + 1985

venus and mars - listen to what the man said + venus and mars/rock show medley

watsos - silly love songs + let 'em in

back to the egg - old siam sir + arrow through me + (i know this was a single but) goodnight tonight

mccartney 2 - frozen Jap + summer's day song + coming up + temporary secretary

tug of war - tug of war + take it away + here today + be what you see

gmrtbs - no more lonely nights

flaming pie - calico skies + young boy

looking at my list, ig my track preferences don't really match up with the fundamental reason why i like his work but anyways...

Hi bucolic anon! I love that identity for you. And your reply, thank you for indulging me.

I was thinking, "oh they'll choose a bunch of songs that are the more cozy or familiar or peaceful ones" but you really didn't. That said, while some of these are faves of mine, a lot aren't!

Not sure I have a point here beyond, taste is funny, and so personal, and it doesn't have to make sense or be logical! I think it's really neat you have this overall feeling about Paul's work. It's made me wonder if I have an overriding sense of him for myself, and as yet I don't think I do! I think if I had to put my finger on why I love him, it's that he's stealth weird. A lot even if what got popular is, underneath, kind of odd. But it somehow slid into middle of the road for people?

Which is way off topic, but if I have a point it's that we're both right and that's marvelous even if it doesn't really mesh. Or maybe it does! Anyway I hope you don't mind me waxing on, thanks for the asks!

[gingermintpepper]

As usual I read your tags always and so you said Apollo did not ask for resurrection of Asclepius and Hyacinthus so i just wanted to share this. About Asclepius death I read it on theoi.com, that earlier authors don't make him resurrect as a god but that's a later development mentioned only by Roman authors like Cicero, Hyginus and Ovid. But still Apollo has a role in Ovid's version

Ovid, Fasti 6. 735 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : Clymenus [Haides] and Clotho resent the threads of life respun and death's royal rights diminished. Jove [Zeus] feared the precedent and aimed his thunderbolt at the man who employed excessive art. Phoebus [Apollon], you whined. He is a god; smile at your father, who, for your sake, undoes his prohibitions [i.e. when he obtains immortality for Asklepios].

So here it is actually because of Apollo the decision was taken to resurrect him as god. And with Hyacinthus, I don't think I've read about Artemis playing the primary role. I know in Sparta there was a picture of Artemis, Athena and Aphrodite carrying Hyacinthus and his sister to heaven.

This is not on theoi.com but I saw on Tumblr it's from Dionysiaca by Nonnus

Second, my lord Oiagros wove a winding lay, as the father of Orpheus who has the Muse his boon companion. Only a couple of verses he sang, a ditty of Phoibos, clearspoken in few words after some Amyclaian style: Apollo brought to life again his longhaired Hyacinthos: Staphylos will be made to live for aye by Dionysos.

So since he is singing inspired by amyclean stories it probably means in that place it was believed Apollo was the one to bring back his lover to life.

Apollo as god of order was very important so i think it shows how special these people (and admetus too) were to him that he decided to go against the order for them 🥺

ANON!! Shakes you like a bottle of ramune!! BELOVED ANON!!!!! I'm littering your face with kisses, I'm anointing you with olive oil and honey - you absolutely made my night with this because, not only did I get the pure serotonin shot of having someone interact with my tags (yippee, wahoo!!) I also got to have that wonderful feeling of "oh wow, have I misunderstood something that was integral to my understanding of this myth/figure this whole time or is this a case of interpretational differences?" which is imo vital for my aims and interests as someone who enjoys mythological content and literature.

I'll preface my response with this: Hyacinthus is by far the hardest of these to get accounts for because his revival itself, as you very astutely point out, is generally accounted for in painting/ritual format which muddies the waters on who interceded for what. I wasn't actually familiar with that passage from the Argonautica - and certainly didn't remember it so thank you very much for bringing it to my attention!

That said, what I've come to understand, both about Hyacinthus and about Asclepius is that in the accounts of their deaths, Apollo's position is startlingly clear.

For Hyacinthus, it is established time and again that Apollo would have sacrificed everything for him - his status, his power, his very own immortality and divinity. Ovid writes that Apollo would have installed him as a god if only he had the time:

(Ovid. Metamorphoses. Book X. trans. Johnston)

Many other writers too speak of how Apollo abandoned his lyre and his seat at Delphi to spend his days with Hyacinthus, but they also all agree that when it came to his death - he was powerless. Ovid gives that graphic account of Apollo's desperation as he tries all his healing arts to save him to no avail:

(Ovid, Metamorphoses Book X. Apollo me boy, methinks him dead. trans Johnston)

Bion, in one of his fragments, writes that Apollo was "dumb" upon seeing Hyacinthus' agony:

(Bion, The Bucolic Poets. Fragment XI. trans Edmonds)

Even Nonnus in the Dionysiaca speaks constantly of Apollo's helplessness in the face of Hyacinthus' fate where he writes that the god still shivers if a westward wind blows upon an iris:

and when Zephyros breathed through the flowery garden, Apollo turned a quick eye upon his young darling, his yearning never satisfied; if he saw the plant beaten by the breezes, he remembered the quoit, and trembled for fear the wind, so jealous once about the boy, might hate him even in a leaf...

(Nonnus, Dionysiaca, Book 3. trans Rouse)

And the point here is just that - Apollo, at least as far as I've read, cannot avert someone's death. He simply can't. Once they're already dead - once Fate has cut their string - all Apollo's power is gone and he can do nothing no matter how much he wants to. And this is, as far as I know, supported with the accounts of Asclepius as well!

Since you specifically brought up Ovid's account, I'll also stick only to Ovid's account but in Metamorphoses when we get Ovid's version of Coronis' demise, he writes that Apollo intensely and immediately regrets slaughtering Coronis. He regrets it so intensely that he, like he does with Hyacinthus, does his best to resuscitate her:

(Ovid, Metamorphoses Book Two. Apollo's regret)

And like Hyacinthus, when it becomes clear that what has happened cannot be undone, Apollo wails:

(Ovid, Metamorphoses Book Two. Apollo wept.)

Unlike his mother, Asclepius in her womb had not yet died and so, with the last of Apollo's strength, he does manage, at least, to save him.

(Ovid, Metamorphoses Book Two. Apollo puts the 'tearing out' in Asclepius.)

But it goes further than even that because Ocyrhoe, Chiron's daughter, a prophetess who unduly gained the ability to directly proclaim the secrets of the Fates, upon seeing the baby Asclepius, immediately prophesies his glory, his inevitable death and then his fated ascension:

(Ovid. Metamorphoses, Book Two. Ocyrhoe's prophecy. trans Johnston)

Before she too succumbs to her hubris and is transformed by the Fates into a horse so she can no longer speak secrets that aren't hers to share.

These things ultimately are important because it establishes two very important things: 1) Apollo can't do anything in the face of the ultimate Fate of mortals, which is, of course, death and 2) even when Apollo is Actively Devastated, regretful, yearning, mournful, guilty or some unholy combination of all of the above, when someone is dead, he accepts that they are gone. Even if he is devastated by it, even if he'll cry all the rest of his days about it - if they're dead? Apollo lets them go. In Fasti, when Zeus brings Asclepius back, he does not say Apollo asked him to - Zeus, or well, in this case Jove, brings Asclepius back because he wants Apollo to stop being mad at him.

(Ovid, Fasti VI. Apollo please come home your father misses you. trans. A.S Kline)

Even Boyle's translation which you used above in your findings hints that Zeus made Asclepius a god because he wanted Apollo to stop grieving. (i.e 'smile at your father', 'for your sake [he] undoes his prohibitions')

And like, Apollo was deeply upset by Asclepius' death - apart from killing the Cyclops in anger, in book 4 of the Argonautica, Apollonius writes that the Celts believe the stream of Eridanus to be the tears Apollo shed over the death of Asclepius when he left for Hyperborea after being chastised by Zeus for killing his Cyclops:

But the Celts have attached this story to them, that these are the tears of Leto's son, Apollo, that are borne along by the eddies, the countless tears that he shed aforetime when he came to the sacred race of the Hyperboreans and left shining heaven at the chiding of his father, being in wrath concerning his son whom divine Coronis bare in bright Lacereia at the mouth of Amyrus.

It all paints a very clear picture to me. Apollo did not ask for either of them to be brought back. Though bringing them back certainly pleased and delighted him, they are actions of other gods who are moved by Apollo's grief and mourning and seek to mollify him. Him not asking doesn't mean he didn't want them back which I think is a very important distinction by the by, but it simply means that Apollo knows the natural order of things and, even if it hurts, he isn't going to press his luck about it.

Which, of course, brings us to Admetus. And I'm really not going to overcomplicate this, Admetus is different because, very vitally, Admetus is not dead. Apollo can't do a thing once Fate has been carried out and Death has claimed a mortal but you know what he absolutely can do? Bargain like hell with the Fates before that point of inevitability. And that's what he does, ultimately for Admetus and Alcestis. He sought to prolong Admetus' life, not revive him from death or absolve him from death altogether and even after getting the Fates drunk, he's still only able to organise a sacrifice - a life for a life - something completely contingent on whether some other mortal would be willing to die in Admetus' place and not at all controllable by Apollo's own power.

All of these things, I think come back to that point you made - that Apollo's place as a god of order is very important and therefore these people are very special to him if it means he's willing to go against that order but, I also wish to challenge that opinion if you'd let me. Apollo's place as a god of order is very important and therefore, I would argue, that it is even more important that it is shown that he does not break the divine order, especially for the people that mean the most to him. The original context of my comments which started this conversation were on this lovely, lovely post by @hyacinthusmemorial which contemplated upon Asclepius from the perspective of an Emergency Medical personnel and included, in their tags, the very poignant lines "there's something about Apollo letting go when Asclepius couldn't that eats my heart away" and "you do what you can, you do your best, but you don't ever reach too far" and I think that's perfectly embodied with the Apollo-Asclepius dichotomy. Apollo grieves. He wails, he cries, he does his best each and every time to save that which is precious to him but he does not curse their nature, he does not resent that they are human and ultimately, he accepts that that which is mortal must inevitably die. There is nothing that so saliently proves that those who uphold rules are also their most staunch followers - if Apollo wants to delight in his place as Fate's mouthpiece, he cannot undo Fate. And, if even the god of healing and order himself cannot undo death, what right does Asclepius, mortal as he is, talented as he is, have to disrespect it?

The beauty of these stories isn't that Apollo loved them enough to bring them back. The beauty is that Apollo loved them enough to let them go.

[hazeism]

hi!! wanted to ask if you have any favorite books, either that you've read recently or of all time. Your prose is insane and I need to broaden my own vocabulary so if you have any book recs, fiction or nonfiction, I'd love to know :')

Hii :D ! ahaha, what a well-timed question; lately I've become the kind of guy who just really wants to talk about what people are reading, or are planning to read, and responding in kind, so thanks for giving me an opportunity to indulge that, haha. What a wicked invention the printing press was!!! (Also--thank you!! I'm glad my prose is to your taste. I'm happy !��)

If you don't mind, I'll put a cut on this right away, because I know I'm very talkative, but let me put a TLDR above for all the novels/authors I mention here. Disclaimer also that I am kind of a dunce (I think you know this) so I like silly shit a lot of times . please be nice to me adfhbjkdg. :D

(No nonfiction also because I'm a frivolous and unworldly little sprite or something but if you want straight philosophy [which counts] come back and I'll do my Top Ten Epic Platonic Dialogues Compilation for you .)

TLDR: Read any UKLG you get your hands on, Cain by Jose Saramago, or any Saramago (though maybe not Skylight, which is not a good introduction to Saramago), very much enjoyed Sartre's The Age of Reason recently, Shadow & Claw or The Fifth Head of Cerberus by Gene Wolfe. If you feel like it, come off anon and tell me what you like, so I can give more tailored recommendations!!

Now if you're asking for favorites, like just the particular and arbitrary objects of my partiality, that stir my stupid little heart, the true answer is probably UKLG's The Farthest Shore, just because it is very special to me. I can't, of course, in good conscience, recommend the third novel of a six-novel fantasy series to someone (but of course read Le Guin, everyone should be reading Le Guin, it's dire for universal soteriology that we all read Le Guin; You'll probably get told to start with Left Hand of Darkness, and that's pretty solid. I liked The Lathe of Heaven as well. And if you read any Le Guin it doesn't hurt to pick up a copy of the Tao. I love the Tao man.)

Some friendlier recommendations, though:

José Saramago is someone I really consider peerless; There's no way to pick up a Saramago and not know who's written it. Cain is a bit drier, a bit more abrasive (almost accusatory, in that particular way you'll find in a Buddhist parable) and bleak than some other Saramagos, but it's one I like (perhaps for the trite reason that I like bucolic atmospheres and Classical antiquity as a setting) so it's the one I'll put forward.

Uhh, I've also been enjoying Sartre's Roads to Freedom lately, starting with The Age Of Reason. I'm partway through the second novel and umm... despite all the other things you could say about Sartre, lmfao, let it not be said that he is not a serious literary force. Serious is maybe the only word for it. Dire, too. I keep a commonplace book, so usually I take excerpts, but this was the first time in memory that I felt compelled to commit entire pages, ahah (I just took pictures though, fuck copying all that).

If you're itching for esoteric language, Shadow of the Torturer (as usually collected with Claw of the Conciliator in a single omnibus edition titled Shadow & Claw; the first of the give-or-take five volume Urth series) by Gene Wolfe will scratch you BLOODY. If you're particularly fussy, you might be irritated by your compulsion to Google, but I find it really makes the experience when you type in a word and the only results are "what the fuck did Gene Wolfe mean by this?" hahaha; Honestly, though, those kinds of complaints are borne from a lack of immersion, but you'll notice pretty quickly that the verbiage is a pretty crucial vehicle OF the immersion.

It may or may not become a commitment, though, if you like Urth enough to want to read through, so if you want Wolfe without the strings--though less of the exciting vocabulary, which is pretty necessarily constrained to Urth--I'd really highly recommend The Fifth Head of Cerberus (the novella OR the novel, I mean the former is volumized in the latter so just start it and if you feel like stopping then stop, haha). Mr. Terminal E is incredible but I scrape enough time out of my daily life to gush about his crazy literary density so I won't do it again here (you should ask my coworker, lmfao, who one time went "stop, hold on, hold on." because my face started getting really red while I was explaining to him some Wolfean gesture). If you read any Wolfe, and I mean ANY Wolfe, because his permatypes and his manipulations of them are endlessly interesting, feel free to come back and chat with me over it!!!

I guess I have to disclaim that my habit is mostly to pick through an author's corpus over a course of, usually, a couple years, and then sometimes I'll read things that will inform my understanding of the genre conventions or currents that the author is writing in (been enjoying Golden Age sci-fi recently)--it's not really as deliberate of a process as it sounds, but I think if you were to map my habits, that's the landscape of it. This means, though, that my reading is actually pretty narrow in scope, and I am not very well read or very knowledgeable in general (who is, in this economy) but it does mean that of the authors I do like, I can probably find the novel that'll work best for your taste.

If you want to come off anon, or I guess just leave another message, haha, (or if someone else wants to, idgaf, we're all friends here at tumblr user hazeism) describing the things you like or look for in a novel I can probably give you a more relevant recommendation. I've been dosing people up a lot lately tbh, it's like a parlor trick I've been doing; I have a conversation with someone and afterwards they'll have a PDF with a relevant Asimov story in their messages, hahaha. I can't help myself sometimes.

Come back anyway, though, if you read anything I talked about, okay? I want to hear about it 🥺

And alsooo (turning to face the audience) if anyone ever wants to put recs in my inbox (or my dms : ) slow replies though sorry I'm a hermit) I'd be happy to take 'em down. Can't guarantee I'll read them in a timely manner, or that you'll ever find out if/when I do, but it's good for me to leave my comfort zone.

[le-velo-pour-dru]

Anon 🌙 here! I assume that your favorite aesthetics is a mix of cottagecore flowery stuff and also cute stuff, kinda like sanrio and pastels! Kinda just based off of a lot of your favorite characters and blog theme.

Also sorry for not sending cryptic anon goodnight messages in a while, I’ve been quite busy! -🌙

Hello 🌙 anon!! 😊🩷 Y'know, I've never considered myself cottagecore, but I do love flowers, nature, and bucolic vibes, so I absolutely understand the appeal of it :) You're spot-on with that second one though!! That's probably my favorite aesthetic tbh, I LOVE cute things and pastel colors, they make me sooooooo happy hehe 😊🫶

[littlemissidontcare]

Anon I’m not sure this is true. I can’t find info anywhere to corroborate it. / anons on here aren’t big on corroboration. After all, Seb’s playing with AW’s nephew among the bucolic English country side as sheep meander in the grass. Oh look, a wedding! Who needs proof, right? 🤡

[insufficient-earth-skills]

I've already made a reply in the notes but I want to put this on my blog specifically because I want to point out the specific reason that the anon gives for not liking poc in their fantasy.

Black people, to them, are urban. Now I can go all kinds of ways in my argumentation, ranging from pointing out that RoP and LotR are not medieval settings and therefore don't need to heed 'HiStorICaL ACcuRacy', to the argument that we need representation of all kinds even if they don't make sense to you.

But I want to hone in on the reasoning why urban and fantasy would be antithetical. 'Urban' for anon is not only incompatible with fantasy, is is also plain bad. Why? Because in anon's mind, the fantastical medieval setting is white. And they cannot fathom a world in which people of colour are not just a token 'other' role fulfillment, but a normal part of that world. Now I don't want to go the path of the bad faith interpretation, anon might just be uneducated and be used to a certain kind of story and not have the knowledge and/or tools to understand that the basis of their reasoning is fraught. (I can do this because I'm a white woman who happens to be a historian, I respect anyone else who does not have that patience or take.)

The idea that people of colour and fantasy are incompatible is based on a bucolic idea of the past-but-add-dragons, a cottage-core version of history. 'Oh would that we could go back to the past, when this woke-bullshit did not exist yet'. Only it DID exist, people of colour have ALWAYS been fighting for their representation! And depending on factors, white people tolerated them or even aligned themselves with their causes! Just because YOU'RE not used to seeing people of colour on screen frolicking in fields and shooting bows and does not mean that it is a new thing or does not fit with the genre!

Contrary to popular belief, there were ABSOLUTELY people of colour in medieval European cities. Like, that was very much a thing. I live in Antwerp, which has always been a port city, and the painter Rubens had his atelier here. He painted black people. And he's just the easiest, most obvious example I can think of. For other references I recommend browsing the (now sadly abandoned) blog medievalpoc, who compiled an archive of visual representations of poc in the medieval European arts. Also there is a new movie coming out in april I believe on Joseph Bologne Chevalier de Saint-George, check out his wikipedia page.

The thing is, anon, what you have been taught to think of as 'fringe', on the borders of society, actually was part of that society. In hindsight things can be singled out and pointed at, but these people very much lived full lives and were part of society. Not always in a way that made them feel safe, but they form threads in the web of history, they did not live outside of it.

If your argument is 'there were no poc in medieval Europe so there should not be poc in fantasy settings based on medieval Europe', you are wrong and you should think about why it grates you so much to see them anyway.

And that's not to speak of the rich and thriving cultures in other places in the world. The Empire of Mali, anyone? Even if there were no poc in medieval Europe, in a fantasy setting it would be super normal to imagine them interacting with other parts of the world.

(On the other hand, even if there were NO poc in medieval Europe, or on the whole fucking planet, you would still be wrong and should still think about why this grates you so much.)

I just think fantasy is better without diversity. When you add black people to a medieval fantasy world that urbanizes it.

Black people and people of colour deserves to see themselves in fantasy media, everyone deserves to see themselves in any type of media. And if you can’t watch something just because the character has a darker skin colour that’s on you.

All are welcome here 🌸

[vendetta-if]

Can we/you do prompts? If so

Mc slowly dragging Ash's hands down to their hip with a lust filled look and then mc leans in like they are going to kiss ash before they are interrupted and then mc backs away with a pout as they grumble and walk away to take care of the problem - ash reaction:D

If not then

What are the characters signs?

-Sagittarius ♐ anon

To the first anon, your prompt sounds interesting but sadly I don’t have the time right now to write it. 😔 So, I’m so sorry about that. But what I can say is that Ash would also be soo grumpy the whole day. They might have to… take matters into their own hands… if you catch my drift 😏 And once MC finally gets home, get ready to continue where you left off 😉

I’ll also answer the character zodiac signs! Please note that I know close to nothing about zodiac signs and I only know that I’m a Capricorn and that’s about it 😂 I had to do a pretty quick research to answer the characters’ zodiac signs to see which will hopefully fit the characters’ personalities that I have in mind the closest 😅

Ash: Cancer. According to the webpage I read, Cancers are very loyal and that in romantic relationships, will give you the world. "Intuitive and tenacious, this sign sticks to their roots and excels at getting what it wants to protect their family and loved ones.”

Rin: Virgo. Virgos are said to be logical, practical, and systematic in their approach to life. "Precise, perceptive, practical and perfectionist."

Santana: Libra. The scales reflect Libra's fixation on establishing equilibrium; balance, harmony, and justice define Libra energy. At times, however, they can be indecisive or fickle.

Skylar: Taurus. Often considered to be the pleasure seeker type, they are also naturally grounded, dependable, and hard-working. “Taureans enjoy relaxing in serene, bucolic environments surrounded by soft sounds, soothing aromas, and succulent flavors.”

Sources: 1, 2

[mskatesharma]

I’m watching a period drama and it’s set at one of the rumored Aubrey Halls (West Wycombe Park). It is so perfect, I really hope it’s the one. It’s imposing but also very bucolic. And I love that it’s yellow 🐝

So this is West Wycombe Park (there are better pictures but just for the sense of size/scale):

And yes! I agree anon, because Aubrey Hall is supposed to be somewhat imposing, but still very homely, right? And Kate notes that while it’s large, it’s not as massive as it might have been. Also it’s yellow as in the book lol

[admiringlove]

— request.

hi, i love ur blog... would you be able to do an enemies to lovers thing with kakashi please?

[submitted by anonymous]

[18:43] . . .

hatake kakashi was the bane of your existence. ever since you met him, he's been plainly annoying.

as the two of you grew into the now mature jonin shinobi of the leaf village, you could start to feel a tinge of guilt every time you talked to the man in a dismissive or sarcastic tone. it was as if you wanted more of it; more of the silly arguments, more of the fights to see who was stronger, more of the debates to see who was more intellectual, you get the deal.

your playful banters. you never expected yourself to feel something towards kakashi, of all people. why him? you'd question yourself. why kakashi?

it was obvious, to say the least. even with his dumb sharingan, he still couldn't tell you unmistakably longed for him. why couldn't he tell? you'd ask yourself. did you have to convey your feelings clearly? wouldn't he reject your advances, since he hates you just as much as you hate him?

maybe you were wrong. maybe this was just a side-effect of growing up. maybe it was just that he was so attractive(you couldn't deny it even in front of him).

"tsk," you groaned, slowly walking up the stairs to your building. you'd often see naruto running around your apartment building, so you'd greet him. but today, everything was eerily empty. you sighed, stopping when you reached the top of the stairs. your hands on the railing, and your [e/c] eyes glistening due to the sun setting in the horizon, you looked out into the view in front of you.

children running around playing ninja, restaurants and food stalls serving heartwarming meals to those waiting, shops closing up because of sundown, and just the livelihood of the leaf village in general.

you sighed, looking at your calloused hands as you felt a familiar presence behind you closing in. shutting your eyes to get just a moment alone, you took in a deep breath.

"i knew i'd find you here," you heard a voice behind you, "all by yourself. come on, [l/n], do you really not want to get dinner with the rest of us jonin?"

"i just got back from a mission today," you mumbled, still not opening your orbs as the silver-haired man joined you by the railing. he sighed, "are you tired?"

he was surprisingly genuine when he asked you that. you hadn’t expected it.

"yes," you replied. opening your orbs to face him. you noticed he was looking at you. with a bucolic content expression spread across his features, he turned away abruptly(all the while clearing his throat).

"i'll bring you some sake and takoyaki later," he mumbled, stuffing his warm hands into his pockets. you shook your head, "you don't have to do that."

"what? and let you rot in your house all alone? no way," he chuckles, his voice as sweet as caramel but as deep as the yearning depths of the ocean. he begins to walk down the stairs when you ask him a question.

"why do you care?" your voice soft—barely audible, really���as you faced him. he turned his head back, the merigold and fuschia beams falling on his hair and eyes.

he opened his mouth to speak, but nothing came out. he sighed loudly, looking down at his shoes. he turned once again, advancing towards you with every step.

"because," he says, pulling his headband and mask down. you gasp, your back hitting the railing when you say, "hatake kakashi, i swear to the fourth hokage if you try anything dumb i will kick your chidori into your fucking ass—"

"you really think i don't care about you?" he croons, his hand reaching your cheekbone in visible hesitation. you squirm under his touch, but you found yourself slowly leaning into it. you looked into his eyes, your hands resting on the railing behind you, when you say, "why would you? you've hated me ever since we were kids."

he chuckles, closing in on you as your foreheads touch. you swore you could feel a spark there, like the electricity from his chakra threatening to flow into you. his hands find the railing as well, when he says, "you're the only person that's stuck around and hasn't stabbed my back even if i was being annoying. of course i don't hate you."

"th-that's nice," you mumble, closing your eyes so you don't have to look into his intense stare. a low gust of the breeze made you gasp as you felt his lips on yours; his hands still on the railing behind you as you found yourself kissing him back.

he pulls away within a few seconds, pushing himself off of you and walking towards the stairs.

"wait for me tonight, will you?"

anon, i’m so sorry it took me this long to put this out there. i was really stressed because of my upcoming exams, i’m so sorry for the delay. 

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THIS GUESTLIST IS AN OFFICIAL LIST OF EVERYONE WHO HAS SENT PROOF OF AGE. I WILL TRY TO KEEP IT UPDATED.

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LAST UPDATED: [April 26, 2021]

[mydaroga]

Every single one of paul's solo work has a bucolic vibe to it and I love him for that

Hi there anon! This is so interesting. Because you're correct, of course, but I'm not sure it's why I, personally, respond to Paul's music. And that's kind of beautiful, isn't it?

If you're of a mind to, I'd love to know if you have a top solo Paul list because I'm curious how much overlap there is--he wrote SO MUCH I think you can get many things from him!

[fatehbaz]

Imperial debris; resisting colonial nostalgia; enchantment of decay; “ruined ecologies”; unfinished histories; there is nothing “over” about this ruination; alternative worlds; better possible futures.

---

There is the “find” of worthy voyagers, the “ruins of Popokvil atop Bokor Mountain in Cambodia. … There, you'll find the remains of French colonial‐era town -- a crumbling post office [...].” [T]his was precisely the bucolic vision that imperial architects harbored to domesticate their recalcitrant, racially ambiguous and destitute populations throughout the colonial world. Guests can learn the history of philanthropic imperial projects and can take solace in the multiple times that the buildings were abandoned and restored with the intervention of European good works [...]. [I]mperialist nostalgia is not a postcolonial pleasure but a concerted colonial one, a mourning contingent on what colonialism has destroyed. 

Such ruins might be read as vestige and remnant but they are neither history's refuse nor unclaimed debris. [...]

In its common usage, “ruins” are often enchanted, desolate spaces, large‐scale monumental structures abandoned and grown over. [...] In thinking about “ruins of empire” we explicitly work against that melancholic gaze to reposition the present [...]. [C]anonical text[s] for thinking about ruins [suggest seeing them] as “petrified life” [...].

But ruins are also sites that condense alternative senses of history. Ruination is a corrosive process that weighs on the future and shapes the present. [...] The question is pointed: How do imperial formations persist in their material debris, in ruined landscapes and through the social ruination of people's lives? [...]

---

What material form do ruins of empire take when we turn to shattered peoples and scarred places rather than to their evocations and enchantments? 

Situations of disparate time and place come into renewed view. Can we think of imperial ruins as the Agent Orange -- infested landscapes of Vietnam, as the hazardous wastes in former nuclear test sites of the Bikini Atolls, as the defunct sugar mills of central Java, and as the decrepit barracks of India's railway communities which many [...] still uneasily occupy while others refuse to recognize that these are feasible places to live?

Under what conditions are those sites left to decompose, remanded, reconsigned, or disregarded? Some remains are ignored as innocuous leftovers, others petrify, some become toxic debris. Others are [...] inhabited [...], or requisitioned for a newly refurbished commodity life for tourist consumption. [...]

---

As Frantz Fanon wrote in his study of the extensive [mental and emotional trauma] that followed French rule in Algeria, it is the “tinge of decay” -- the indelible smack of degraded personhoods, occupied spaces, and limited possibilities -- that were (and remain) hardest to erase. [...] 

But the ruinous “tinge of decay” for Fanon was never figurative alone. At the other pole lay the material, tangible, and physical destruction of Algerian landscapes, drained swamps, burnt‐out homes, and corroded infrastructures of over a century of French rule and nearly a decade of colonial war. [...]

---

[T]he project is not to fashion a genealogy of catastrophe or redemption. Making connections where they are hard to trace is [...] designed [...] to recognize that these are unfinished histories, not of victimized pasts but consequential histories that open to differential futures. [...]

---

[T]he production of waste and “wasted lives” [is] the required, intended, and inevitable debris of the modern [...]. The witnesses were also bodies themselves. Ten diseases are presently linked to exposure at the lethal levels used in Vietnam: these include cancers; respiratory disorders [...]. There is nothing “over” about this form of ruination: it remains in bodies, in the poisoned soil, in water on a massive and enduring scale [...].

---

Ruins draw on residual pasts to make claims on futures. But they can also create a sense of irretrievability or of futures lost. The Ochagavia hospital in Santiago's suburbs, built as a “spectacular showcase” to Pinochet's vision of Chile's modernity and progressivism, showcases something else: [...] “the beached whale of a monument whose presence has been repressed and ignored,” the half‐built hospital recollects what could have been rather than what was [...]. [T]his sense of arrested rather than possible futures and the ruins they produce [...]

---

Text by: Ann Laura Stoler. “Imperial Debris: Reflections on Ruins and Ruinations”. Cultural Anthropology Vol. 23, No. 2, pp. 191-219. May 2008. [Bold emphasis and some paragraph breaks/contractions added by me. Italicized first line/heading in this post added by me.]

[whetstonefires]

thirding anon here :) the world building is fantastically detailed and evocative and subtle and lovely! I loved the detail about the calibrating telescope because it really rooted the fantasy of the magic in everyday reality and then it came up and again and showed the necessity and alarm which was really cool! Your phrasing throughout is just amazing, I particularly enjoyed ‘more artistry than prudence’ ‘enthusiastic about innovation in the abstract, hate change.’ + ‘metal in everyone’s mouths'

threading anon cont. the description of the different marbles is lovely (I used to spend ages staring at the veins in a green marble column - the colours are so interesting). plus the uneerieness of stone that doesn't wear. also the Dr. Seuss humour and the building details implying everything's not really okay with the Ten Years Winter and the abandoned village (and not long abandoned) then the sudden stark reality. the kings wanting favour meaning they're powerful but the threat is worse. 

the grim atmosphere you build of everyone wanting weapons and the cultural details interspersed throughout are really interesting but also imply that the range of refugees is so large and the whole thing is just awesome!! thanks. sorry this got long but it was very very cool

^^ Thank you!!!! I really like worldbuilding but I am bedeviled by the ingrained belief it’s something readers object to that you have to sneak in and earn and generally restrain yourself with regard to. 

This is like. Manifestly counter to the content I actually enjoy, and not really true even when it comes to people who aren’t actively into worldbuilding, you just need to move at a faster pace to hold their attention. And yet logic holds no sway.

That telescope that looks through the hill is the most overt and specific use of magic in the whole piece and wound up being important for exactly the reasons you say! ^^ Thank you! It brings together the kind of Very Specific magic item you tend to get in fairy tales with the usage challenges attendant on precision technology without, I hope, entirely reducing the magic to a reskinning of technology as it functions in our own society.

💖 Thank you! That’s a lovely cross-section of phrases to have liked, from my end, because it’s one that I rephrased several times until I was satisfied with it, one that came to me as I reached it and made me chuckle with how effective it was, and one that was just produced by the automatic flow of ‘how do I describe the Thing.’

Thank youuuu! I’m so happy enthusiasm about colored marble has been confirmed as #relatable lol. The fact that the design for the Tower is something humans would absolutely make and (I think) really cool, and fits into the architectural tradition of bragging-through-exotic-building-materials, but is reflective of a very different aesthetic sensibility than our present cultural norms was super fun to figure out. 

The European Middle Ages are notorious for not getting credit for how riotously fond everyone was of color, and there’s this story in the Mabinogion called The Dream of the Rood which is just a surrealist Christian short story basically but it involves listing in great detail the brilliant and contrasting colors every knight and his horse were done up in, and when I studied it there was considerable discussion about this profusion of detail and whether it was a direct reflection of oral storytelling behavior at the time or the person doing the writing-down flexing on how this technological step meant they could include all of this without having to worry about remembering it for next time. Um. I had a point.

I did worry a little that summarizing the total effect as Seussical would be too alienating but no one’s complained so far....

I’m glad the foreshadowing-of-crisis in the detailed bucolic description worked out! ^^ I needed it to come in over the course of the piece so there was a clear transition point but it wasn’t too sharp. You know?

The original concept called for a lot more variety of refugees, with the idea that I could sketch a lot of other parts of the world by pointing to people from those places, but once I poked the plot and scenario a bit I worked it out that it’s better for this to be early in the incursion, so it’s just one wave of displacement from a relatively limited geographic range.

Which still includes a lots of communities and a few distinct cultures! The coastline east of Tolphis sees a fairly large amount of sea traffic, and it’s the largest harbor in the immediate area, so there’s a heightened amount of people-recently-from-elsewhere as well as at least one wave of less-recent diaspora.

Thanks very much! I assure you that is not something you ever need to apologize for. o(^▽^)o💗

[tanadrin]

@bpd-anon:

I think I agree on some points and disagree on others but mostly I would love an expansion of this part: "I don’t think he actually understands fantasy as a set of generic conventions as well as he thinks he does." Can you explain the parts that he is misunderstanding and what true understanding looks like?  

For some context, I have never seen GOT. I read the first book and it's tied for my favorite book ever but then college and its stress hit and I mostly stopped reading (same reason Blindsight is another favorite book ever but I haven't read Echopraxia). I mostly read science fiction books and I haven't even read the all-important LOTR (mainly because I hear there isn't any moral greyness, sounds boring). 

Martin has said things like this:

“I admire Tolkien greatly. His books had enormous influence on me. And the trope that he sort of established—the idea of the Dark Lord and his Evil Minions—in the hands of lesser writers over the years and decades has not served the genre well. It has been beaten to death. The battle of good and evil is a great subject for any book and certainly for a fantasy book, but I think ultimately the battle between good and evil is weighed within the individual human heart and not necessarily between an army of people dressed in white and an army of people dressed in black. When I look at the world, I see that most real living breathing human beings are grey.”     

“Ruling is hard. This was maybe my answer to Tolkien, whom, as much as I admire him, I do quibble with. Lord of the Rings had a very medieval philosophy: that if the king was a good man, the land would prosper. We look at real history and it’s not that simple. Tolkien can say that Aragorn became king and reigned for a hundred years, and he was wise and good. But Tolkien doesn’t ask the question: What was Aragorn’s tax policy? Did he maintain a standing army? What did he do in times of flood and famine? And what about all these orcs? By the end of the war, Sauron is gone but all of the orcs aren’t gone – they’re in the mountains. Did Aragorn pursue a policy of systematic genocide and kill them? Even the little baby orcs, in their little orc cradles?” 

“By the time I got to Mines of Moria I decided this was the greatest book I’d ever read… And then Gandalf dies! I can’t explain the impact that had on me at 13. You can’t kill Gandalf… Tolkien just broke that rule, and I’ll love him forever for it. The minute you kill Gandalf, the suspense of everything that follows is 1,000 times greater. Because now anybody could die. Of course, it’s had a profound effect on my own willingness to kill characters at the drop of a hat.” 

Taken together, Martin is one of the people I’m thinking most of when I say things like “nobody reads Tolkien, only their caricatures of Tolkien.” About the only thing I can say for him is that he’s right on Tolkien being about an external battle of Good versus Evil a lot of the time; though for my part, Martin’s world doesn’t come off so much as Gray versus Gray as Evil versus Evil, and a lot of what he seems to take for “moral ambiguity” to me is perfectly unambiguous: they’re all (or mostly) villains, doing villainy things to each other. Sometimes for quite human reasons; but the best villains have comprehensible motivations beyond pure evil. Doesn’t make them not villains.

First of all, he’s simply nakedly incorrect that Tolkien never considered the difficulties of rule, or never looked at the practical aspects of his worldbuilding. They don’t come in much for emphasis, but they’re absolutely there (most notably in the scenes set in Minas Tirith, in the run-up to the Battle of the Pelennor Fields), and indeed the moral nature of the Orcs, and therefore the correct stance to take toward them, was of deep concern to him, and subject to a lot of later revision as he struggled with the idea of what we would now refer to as an Always Chaotic Evil fantasy race.

Tolkien certainly critically interrogates the morality and moral authority of rulership. In the Silmarillion, he has plenty of figures who cut heroic profiles but make bad (or at least ambiguous) kings, with much resulting conflict; and indeed, that ambivalence is something he’s in part borrowing from his medieval sources! To say that the medievals had a totally black-and-white view of kingship is to betray a lack of familiarity with actual medieval writers, who even (especially?) in the Early Middle Ages are adept at portraying leaders with powerful qualities that turn against them in the wrong situation. Beorhtnoth, the heroes of Njal’s Saga, and Beowulf would have all been extremely familiar to Tolkien, and are good examples I think. Tolkien absolutely understood that people come in shades of gray, and there are various admixtures of light and dark in almost all his characters. Even Frodo for Chrissakes puts on the Ring at the end--and Gollum redeems him. Like, come on! That’s one of the most memorable parts of the main trilogy! But from Galadriel right down to the Sackville-Bagginses, Tolkien is intensely conscious of the moral complexity of everybody in his stories, he just doesn’t need them to say “fuck” in order to express that.

What Martin seems to have confused for Tolkien is, like, the semi-mythic style of Arthurian romance (which... is still not always super black and white?), which is only a small part of the generic conventions Tolkien is drawing on. Tolkien is much more steeped in the conventions of the realist novel, with its penchant for psychological complexity, even as he’s borrowing the setpieces of older literature. I think that’s important because it’s what marks Tolkien out as a fundamentally modern writer, despite his sources; yet people skate over this and like to pretend he was some kind of reverse Connecticut Yankee who stumbled out of the 13th century with medieval sensibilities intact. Which is... weird.

The quote about Gandalf is especially telling. Gandalf’s death happens for extremely clear structural reasons: it provides a climax to Book II (if you’ve never read LOTR: each volume is divided into two “books”; the three-volume split was a post-writing publication decision, LOTR was originally written as a single continuous unit, and the “books” are like mega-chapters), much like, but stronger than, the Flight to the Ford at the end of Book I; it sets up the sojurn in Lorien (recovering from the trauma of the loss of their nominal leader); it helps the narrative transition from the low-stakes, bucolic setting of everything west of the Misty Mountains to the high-stakes dangers of the rest of the story; and it serves the conclusion of the story because without Gandalf’s sacrifice (plus many other events), the Ring never would have made it to Mount Doom. Also, not to put too fine a point on it, but Gandalf comes back, in a way that feels sensible within the world Tolkien has built, and which sets up further development of both the main plot and the the themes Tolkien is concerned with.

If Martin had written Lord of the Rings, Gandalf would have died to a random Orc arrow, would never have come back, and the Ring wouldn’t have made it to Mount Doom at all. And you’d be left feeling like Gandalf dies for basically no reason--and you’d be right. The suspense in Lord of the Rings doesn’t come from wondering who will die (the only major named characters who die permanently are Boromir and Gollum; both similarly serve important thematic and plot functions when they do, but by Martin’s standard, Tolkien isn’t even trying), or wondering how things will turn out--does anyone ever doubt that the good guys will win?--it comes from seeing how they get there, from wanting to experience the emotional and narrative beats of the story, wanting to see the narrative logic being brought to its conclusion. It’s why it’s a good story even if you know the ending! And all of Tolkien’s work is like that: a well-constructed narrative that is perennially satisfying is far better than a one-off surprise that can never be repeated. That’s a mistake a lot of modern media is making right now, which the rise of undue emphasis on spoilers isn’t doing anything to reduce.

More generally: there’s nothing wrong with high fantasy externalizing the conflict between good and evil. That is in fact one of its functions, as a kind of moral metaphor or moral proving ground in the same way that, say, science fiction often serves as moral and philosophical proving ground for ideas around technology or exploration or the alien. It’s not obligatory, but to cite that as an insufficiency of any work in the genre is to fail to understand the genre. Tolkien specifically provides some arch moral figures (Morgoth, Sauron, Manwe, Aragorn), but he also provides some much more mixed ones: Denethor, Saruman, Grima Wormtongue, Boromir, Gollum, etc. (also Thorin, Feanor and his sons, and in fact just like a huge chunk of the cast of the Silmarillion in general), and gives his characters plenty of opportunity to reflect that, even in a conflict with a literal evil spirit, there is room for ambiguity (cf. Sam’s meditation on the Haradrim in Ithilien). And the sum total of the effect in Tolkien’s work is that it actually feels like something is at stake. I don’t feel like that in Martin’s world. I feel like if the Night King were just to destroy all of Westeros that would make as much sense and be about as satisfying as any other outcome, because there’s nothing that feels especially worth preserving there.

In discarding everything about both the moral and narrative structure of high fantasy, Martin’s world leaves nothing for one to hang one’s hat on, nothing to use as a fixed point of reference when it comes to orienting yourself in it; he is writing a critique against many things, perhaps, but not an argument for anything. The result leaves me quite cold.

[qqueenofhades]

might i request a super fluffy ineffable husbands fic where aziraphale is just carrying crowley around in his arms bridal style? bonus points for him sweeping him off his feet haha thank you!

Will I do you one better, anon? Yes. Yes I will.

The cottage in the South Downs is at least ten minutes from the road, will assuredly cause the postman the literal devil of a time in finding it, and is set bucolically among the green rolling hills and chalk cliffs of the Seven Sisters, a breeze whipping off the Channel and gulls circling and screeching above. It is all so quintessentially British that you can doubtless step out your front door and meet a chap named Nigel in tweed and deerstalker within moments. It is, to say the least, quite a change for two ineffable beings who have lived in London since the whole place was regularly dying of the plague, and both of them sometimes miss the city noise. But this, as with it all, they have gotten used to.

The Bentley sits in the narrow lane, bedecked with paint and cans and streamers. Just Married, reads the back window, where it was painted on by the Them (even Pepper, overcoming her deep-seated objections to the patriarchical, sexist, and heteronormatively hegemonic institution of marriage in this one instance). Crowley can, of course, miracle it all off with a snap of his fingers, but that didn’t stop him fussing about it as if they’d taken a cricket bat to the thing. They have gotten out of the Bentley five minutes ago, and indeed should be well inside by now, except they’re having (it is only fitting) a small argument first.

“It’s tradition,” Aziraphale says stubbornly. “It’s rather nice.”

“Angel.” Crowley resists the urge to roll his eyes. “We’ve been living here for three years already. Just because we went and signed some human bits of paper and had a nice do and were forced to behold the awful spectacle of Newton Pulsifer on the dance floor does not mean that one of us has to carry the other across the threshold.”

Aziraphale looks wounded. He is still wearing his top hat and tails, spent so much time planning the menu that it’s amazing he let anyone else eat a bite, and doubtless told the Them exactly where Crowley had hidden the Bentley in a futile attempt to forestall its current decoration. “Yes, well,” he says. “We haven’t yet lived here while we’re married, have we?”

“Oh? Going to complain about our immoral cohabitation now?” Crowley leans on the garden wall and flashes a trolling grin. He wore a tux for the ceremony, but he changed into a stunning crimson-and-black dress for the reception, because really, why not have both? (Warlock Dowling, who spent the whole wedding in a state of mixed confusion and vindication, hugged his old nanny afterward and told her that he was very happy for her and Brother Francis, leaving them with many questions.) “Bit late for that, don’t you think?”

Aziraphale takes that in, then sets his jaw, having reached an executive decision. “I’m going to carry you.”

“You are not going to carry me.”

“Yes, I am.”

“It’s demeaning.”

“There’s nobody here to see.”

“No, I – ”

“Right this minute.”  Aziraphale holds out his arms and looks expectant. “Go on, Crowl – you know, I’m not entirely sure what I’m supposed to call you now. Mr. Crowley? Mrs. Crowley? Mr. Fell?”

He is skewered with a look that is nonetheless not at all convincing in pretending that it hasn’t used at least several notebooks’ worth of paper to doodle Anthony J. Crowley-Fell in moments of passing boredom. Aziraphale himself, for that matter, might not mind being Mrs. Crowley, but he decides that they can sort out the nomenclatorial difficulties later. He in turn gives the look that has always gotten him exactly what he wants before, and it works no less splendidly this time. Crowley sighs deeply and permits himself to swoon into Aziraphale’s waiting arms, Aziraphale smiles broadly, hefts him up, nearly drops him (“don’t you dare, angel”) and decides that, his arms being full, it’s safest to miracle the door open rather than risk calamity. He does so, strides triumphantly across the threshold, and stands inside the dark cottage like a victorious conqueror, his blushing demon bride clasped more or less safely in his arms. “There,” he announces. “That wasn’t that hard, now was it?”

Crowley sighs again, then turns his head, and the two of them kiss for a long moment. Then Crowley springs free, takes Aziraphale’s hand to lead him toward the bedroom, and murmurs, in a dark and very promising voice indeed, “You know, it is really more than past time for the good bit.”

[wanderingcas]

a list of prompts under the cut i have gotten so far for mowripro, since people are worried about their asks being eaten (for good reason, since tumblr is broken)

1. @autumnfall23: Slow dancing for the writing prompt thing

1.5. @woefulcas: chippendale au

3. @notfunnydean: Prompt: "Babies" :D 4. Anon: A Prompt: Dean is oblivious to the fact that his next door neighbor is a witch, and his witch’s cat familiar has taken a strange liking to dean. But dean is allergic, shenanigans ensue. (Oblivious!Dean, Familiar!Cas)

5. Anon: Hey a prompt for MoWriPro: "atramentous". It means dark or inky, and originates from the word "atrament". To atrament something was to write it in ink. Idk it's my favorite word so there ya go

6. @foreveranonymousuniverse: “Come to bed” or equally “Come back to bed” (fluff type stuff, pulling, lingering temple/top of head kisses, maybe a little worry for the other person who is working too hard and should, needs, to take a breather)

7. @helianthus21: first of all: congrats on the graduation!!<3 now my prompt is Destiel having to take care of deaged!Sammy and half-forgetting they're not an actual couple with their son in the process

8. Anon: Pirate!au for the prompt game? You're an amazing writer❤️

9. Anon: Hiya! I have a prompt: college au, blowing bubbles & falling in love :) thank u!

10. Anon: morning prompt: subway graffiti

11. @valisandre: Ripple - for MoWriPro

12. @mut305: “Somebody help me damnit. I can’t find the mop bucket!”

13. @randomdestielfangirl: My fic prompt <3 May 15 is my little brother's birthday, so can I get Established Relationship Dean and Cas planning a surprise birthday party for Sam and maybe they have VERY DIFFERENT ideas and can't agree and there's some conflict but it all ends great with rainbows and cake and kisses and Sammy-love!

14. @castiel-loves-dean: Prompt: pretend boyfriends

15. @inacatastrophicmind: For the writing prompt: Dean and Cas having breakfast

16. Anon: hi for your prompt thing! I would love some sort of short au where Dean or Cas is a fan of the other, and the celeb is really smitten with the fan! I think that's a cute premise, no need to do it though, is sorta silly, but was thinking abt it!

17. @thegreyruin: 1) I'm not much, but I'm all I have 2) Being with you never felt wrong. It's the one thing I did right. You're the one thing I did right. ---- just a couple of my fave lines. Not sure how prompty they are!

18. Anon: hiya :) for your morning prompts: I've always wanted to see a scene where Dean has a complete emotional breakdown (basically the walls he built up during all these years of suffering and pain and denial and hopelessness finally collapse, and Dean can't hold all his feelings in any longer) and Cas catches him - literally and figuratively - and that results in their first kiss. don't know if that's stupid idea though... that's why I'm not a good writer I guess. hope you're having a great day 💚

19. @cookie1218: Hi! Congratulations! Im so happy for you to have your degree almost done! I was wondering if you could write for the prompts a scene about dean convincing Cas to go to some sort of con dressed as Kirk and Spock, it would be wonderful. Thank you so much anyway, hope you'll have a wonderful weekend

20. @trenchcoatsandfreckles: Sending you "bucolic" and "bungalow" from the word list you shared - hope that's okay! Maybe dean and cas are new neighbors and get to know each other? (... totally cliché strangers to friends to lovers?) I love that your taking prompts because I love your writing and I hope this prompt is not too boring :)

21. @bend-me-shape-me: hi there you lovely human being, please for the prompts the word ethereal sounds really nice, thank you, ily! ♥️

22. @60r3d0m: dialogue prompt: “you sold your own husband for jellybeans? i wed a fool.”

23. anon: For the prompt thingy: "Please don't leave me."

24. @natmoose: Maybe the trope: de-aged and the word Emollient (A softener). I love your writing :)

25. @marauders-mess: For the Morning Writing Prompts: Destiel with body swap + "I didn't know people could get freckles there", pretty please? Btw, your writing is amazing ♥

26. @jensenckles: for the mowripro; maybe just some fluff college au? my classes are killing me

if your prompt isn’t on here, that means i didn’t get it! feel free to send it again, although i might not be able to get it for a little while:)