#possibly my most problematic post yet

[ropebuny]

the way I could report dad for conspiracy to kill from all the threats they say to me on a daily basis. and how I would have such a good case against them too

[imaginariumwanderer]

Mkay last post before logging off. Featuring silly pixel art I made w/ my mouse.

This chart was actually made out of pure self-indulgent a while back with no intention of being posted, I ended up scribbling(?) all over the thing. Hopefully it's readable when zoomed in.

It's "my ship in 5 minutes" but I can make it 30 if you want. WARNING: Tons of sappy yapping+pixel art download under cut.

About "tropes": The trope is called Angel-Devil shipping, oh but I don't think PV is an angel. He's more like a God for SM (at least that's my preference)… Thinking at all the possible tropes that suits them make me really wonder why some people consider Shadowvanilla a crack/pro ship. Enemies to lovers or villain/hero ships have been pretty archetypal since the day of olds. Compared to all the ships I've encountered in the past… Shadowvanilla is more or less the "slightly out of the norm" on the "problematic ships scale" <- typing this out make me feel like an old fandom veteran haha

About "how it happens": I have no idea where to put PV on that chart. He's the one who approached first, but not out of romantic intents, him falling for SM is as unexpected as can be. SM fell first and slowly, and in 'slow' I meant decades upon decades. It's inevitable, painfully so, spending all those years watching over this cookie who's so perfect in his imperfections, how could one not feel something? Of course it's not so simple, that 'something' is a horrid mixture of disgust, envy, hatred, understanding, both the need to preserve and destroy… And maybeee the tiniest crumb of affection? SM realized something around the first couple hundredth years mark, he then spends the next thousands in denial of it. No matter. Whether it's PV or the Soul jam, his birth-given rights. SM knows what he wants and he WILL get what he wants. (He's wrong on both fronts. And somewhere in the back of his mind, SM knows that. But he'll never admit it. He'll never ever admit anything. Until it's too late. In a way, the same goes for PV)

About a certain someone who's not clingy, but would die for attention: I think PV gets lonely easily. As he's hyper-aware of himself and considerate of others, appearing clingy is the last thing PV wants. So PV would put extra efforts in taking care of those around him, be it cookies, animals or the greenery in his garden. A healer is always busy, always helpful. If he's always needed by others then he would never be afraid of being alone. Ironically enough, this ended up making PV come off as a little overbearing. As of late, the only ones able to see through the facade are Hollyberry cookie and you-know-who.

Other scattered thoughts: These two are completely different yet can't be more similar, on the various sliding scales they're either stuck to one another or are flung to both ends. On another note, honestly I can't see these two doing anything domestic together, the most I can see is cooking, which is basically the same as magic in the cookie world. Anyways, are they in "love"? Are they dating? Not really, no. It's more of a a parasitic-turned-symbiotic-soulbond, a will-they-won't-they-destroy-the-world situationship (iykyk) I do enjoy relationships that's hard to put into words. Their feelings are somehow romantic, somewhat deranged and something much, much deeper.

My desire to ship these two comes from the desire to see them grow beyound their archetypes. Being with PV does give SM the chance to be horrible as can be, yeah, but I'd like to think SM does have a personality outside of being a villainous tormentor. He spends so long observing others, and now for the first time he's being seen. Now SM have met someone who can see right through him, who can glimpse into those dammed vulnerabilities of his. Being with SM does let us see PV in his darkest moments, but it's at the same time the moments where PV can shine the most, to prove SM that his ideals isn't naïveté or simple platitudes. In canon, SM+PV works well as enemies, but it is the many contradictions born when romance is added into the mix that got me shipping. They simultaneously break down and bolster one another's greatest traits. Like binary stars, they orbit around the other, so close yet so far apart, lest they collide. They could've been so perfect for each other. But not in this life, or the next, or the next...

Pixel art time! I have way too much fun w/ Smilk's many faces, his and PV's combined came to around 22 expressions. These are quick to made due to their small size (25x25 px). Zip file includes both the og and 75x75 sizes. I don't mind if any Vanilla milkshakers might use these, just please remember to read the my art terms and conditions first! (which can be found in my About)

Some disclaimer: some images may have different names. This is the first time I'm using Getuploader so sorry if something broke.

Link

[ficsinhistory]

Ok, I'll ask! Since team Sonic all have their traumas, what might be Amy's? Anything to do with some other characters, like Cream or Vanilla, or some new ones per the movies? Thanks, and glad you liked the movie too, IT WAS FREAKING AMAZING!!!! 🖤❤️🖤

Hello @selemercy !! I’m so happy you asked because I’m really excited to dive into what could be the possible horrors and traumas of our little sweet pink hedgehog (and speculate in general about her in the fourth movie) !!!

THIS WILL HAVE SPOILERS TO SONIC 3, PLEASE AVOID IF YOU DON’T SEE IT YET!!! (GO SEE THE MOVIE IS PEAK!)

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LET’S GO!!!!

First, I will delimit some info. For what we’re seeing in the SCU, the games are the base but not followed step by step, so some modifications can be done. Also, it seems that it’s a game per movie, so Cream and Vanilla wouldn’t be in the movie or barely mentioned. Also using what was seen in the post credit scene.

Ok? Ok.

In the movies, Sonic, Knuckles, Tails and Shadow all have their traumas and heavy backstory that molded them as characters that impact them in all the story. Seeing how this universe is building them so well, I can’t see Amy not receiving a similar development. Because, even loving Amy, I have to admit: she doesn’t have a strong or big backstory for herself. Her own origin was err…kinda cliche, borderlining problematic (for today standards ofc). Sure, she evolved a lot but when we talk about movies, backstory is a huge point. So, a change comes. Let’s see some points.

Sonic 4 will follow probrally loosely the events of Sonic CD. That's my most safe bet. With Metal Sonic involved, I only can see this game as the base. But keep in mind the key-word here: base. The movies give me some strong reasons that Amy’s and backstory will be wildly different, while her personality could have some changes yet, keeping the core of Amy Rose. So, some changes:

Amy will be from the Little Planet. Amy Rose doesn’t have a home, so taking into account Sonic CD, this is what could be a good change, Little Planet can and is inhabited in the games, so can be in the movies too! Is a pretty big one too, because my next bet is…

Amy will find Sonic because she’s the guardian AND holder AND user of the Time Stones! See, remember the whole “find you because fate told me”? Can work with some changes that I will explain later!

Amy will PROTECT Sonic! You hear me right, Amy Rose in the movie universe will be a protector of this boy this time! 

With that explained, here my humble takes!

Amy will be a girly girl from the Little Planet, that still with her core traits: optimist, full of unconditional love, kind, hot-tempered, bold, fearless, proactive, energetic and with a huge amount of empathy. She is the girl we already know with an eagerness of adventure and unstoppable drive, great! 

To her life before chaos I have two lines:

She has been alone since…always. Sonic had Longclaw, Knuckles his tribe, Tails his village. Amy…had nobody. No origin or family. She grows up as an orphan and with no parental figure. We would see her living in some orphanage or an institution for kids like her. The point is that Amy would not have nobody and this makes a number on her. She wants help and to be there for people so much… because no one ever has been there for her. Would be a great contrast with everyone and Sonic, in particular. She loves the universe so much, yet… with no family or friends. (bonus point if she sees the Wachowski at some point with a found look wishing that she had a family too *cries*)

A bunch of messed up things happened that left her with anyone. Big tragedy here. Amy would have a good family but a disaster out of her control ripped them of her. In this case, the Metal Sonic army (more elaboration later). In this case, she also would lead with grif, but she would feel more the impotence in front of fate and tragedy, and this would mess her up. 

Or even can be none of this! 

So, Amy Rose is a kind, feisty and lovely girl that lives in her home: Little Planet. She would have some attachment issues, if for the reasons above or other, she would have them (some good material about this here and here). Amy would feel really bad about being alone, left behind and virtually, without anyone in the world, thinking that even longing for bonds, she is always left behind, leading to some issues and a sense of inferiority. Yet, Amy would love everyone and everything, seeing the best in all people and trusting that life can be good. She would be resilient and lovable.

Not only that, maybe because she would be an apprentice of the guardian (like Sonic and Longclaw) or by chance, but Amy also would know where lays the Time Stones. The central piece of her culture and the reason she believes times and fate is the answer to all. You can’t fight destiny, isn’t it?

Well, is all sun and rainbows in her life…

Until the plot happens :D 

The Metals Sonic would appear and dominate Little Planet, wanting the Time Stones to reign supreme, destroying all she ever knew. But Amy then got them first to discover a way to fix things and they show how: Metal Sonic can be defeated. What leads to the bad end is Sonic being defeated, so now she has to make sure he's alive. This blue boy became her hope and the girl now has a mission: find and protect Sonic.

Then Amy runs away to Earth at the current timeline with the help of  the Stones, at the same age and time as Sonic.

Now, she was truly alone, having to hide from the Metal Army that now made her a target, trying to always do good things to people but never staying for so long. Is dangerous. She is running from a powerful enemy and can’t stay with anyone.

She doesn't know how to find the blue hedgehog either.

The Time Stones would give only some flashes of Sonic and Amy has no courage to use them again, afraid of messing up the only change she has. As she grows up, they'd only give some glimpses of how Sonic is in the moment, and how he spent the most part of his life hiding, would make it pretty hard to find him.

Also would make her basically grow up along him and her only constant in life. In the flashes, Amy would always observe as if he was sad or happy, catch his little mannerisms and the people he sees. She finds him funny, a little lonely, and ultimately a good person. She sees his power and why he is the one who stops those machines. Amy really wants to talk to him.

He's on Earth like her. Is everything she knows.

Meanwhile she trained a lot. Being chased for your whole life teaches some tricks and Amy became very good at being under the radar. She learned how to elude the metal sonics even with the power of the Times Stones buzzing beneath her skin. She learned to fight with the hammer, the only thing she brought with her from home. How to use her chaos energy in her favor. 

A warrior made after years.

Is when the things with Shadow and the almost destruction of the Earth gave her the sign she needed and using the Time Stone, finally finds where Sonic would be.

So basically it would be this. Also, imo, Amy's conflict would be that she wants to save everyone from Metal Sonic. But she is also attached to Sonic and after basically growing up with him and seeing him with his family��let's say she doesn't feel exactly comfortable sending him to battle. Maybe also with some visions with him dying in the mix, and a Future that all is okay, but she dies instead and she prefers this than sending her lover one to danger thanks to some sacrificial tendences plus unconditional love PLUS nobody would care because everyone leaves her behind anyway and Sonic had so much to lose.

What would drive him crazy because he may or may not have fallen in love with her (if some media can do Sonamy right is the SCU and they are kinda confirmed to be a point of the movie so…yeah. My take on Sonamy is the old that fate brings us and we're doomed by the narrative. A classic. I could write a post about Sonamy in the SCU context and that could really work!)

Thanks for asking! 

[linka-from-captain-planet]

Florrickology, Part 1: The Thong That Launched 1000 Headcanons

My favorite thing to do as a background character fan is to co-opt things that were definitely not meant to be characterization by making them characterization.

Thus, I have looked way deeper than intended into every possible pixel, moment, and mention of my beloved Counsellor Florrick and developed the exciting new field of Florrickology to report my findings.

Obviously the first place I'm going is this fucking dress and how I use it to infer upon her the two sexiest characteristics a woman can have:

Unflinching vanity and a deep-seated, yet subtle, insanity.

This dress is more than a bit of an enigma because... why?

It really stands out because, while Larian gives players plenty of opportunities to sexualize their avatar and their companions, they don't really sexualize NPCs. Most women, like men, are dressed very modestly. Outfits that female NPCs wear are even often much more unisex than the equivalent outfits available to player characters (e.g. tunics that male PCs can wear may turn into tits-out dirndls on female PCs for no apparent reason, but female NPCs wearing the same outfit get a tunic). The only characters who are sexualized are presented as Sexy Characters, like Abdirak or Sorn Orlith or Orin or even Mystra and Mamzell Amira, who also wear this dress.

Mostly.

Florrick, despite being beautiful, a two-time damsel in distress, and a certified MILF, is not presented as a Sexy Character. She's presented as a no-nonsense, somewhat domineering, loyal-and-virtuous-to-a-fault fed. This is the only description of her in the game files (see img description), highlighting these bare-bones characteristics:

So... why? For this character whose appearance truly doesn't matter beyond being eye-catching enough to communicate her importance to the story, who has no even vaguely flirtatious dialogue and no implied sexuality or romance (even with the man she spends the entire game chasing!), and not even a weird torture porn moment which she has ample opportunities... why dress her like this? Why emphasize her body over any other similarly-prominent NPC like, say, Alfira?

My assumption would be that they did it to soften her to the average Redditmod McGamerbro because the story really is better if incels don't kill her for being "bossy"... if they didn't also code her as a middle-aged black woman and give her a custom face sculpt with a prominent nose, large jaw, and non-Western features, all famously accepted with no problematic reaction from this demographic whom Larian doesn't not cater to. In fact, as the #1 Florrickposter in the universe, I often see people say in tags and comments that they didn't even notice how revealing her dress is while playing the game. While racism is definitely at play (plus misogyny, rendering this middle-aged black-coded woman invisible, whereas a younger and white man in the same role would be ALL OVER THIS DAMN PLACE), it also speaks to just how discordant her outfit and explicit characterization are.

Now, this outfit does make a little sense on a glance and I think that's a big part of why it flies under the radar as well: she's important and presumably wealthy, so of course she wears this very posh and expensive-looking dress. She's a wizard (a fact everyone manages to glean on a glance, despite it never being stated and basically never being relevant), so of course she's wearing something obnoxious and purple. From the waist up, it actually looks like a pretty reasonable outfit for a person of her DnD class, social class, and occupation.

It's from the waist down where it gets out of hand.

But first, this isn't even Florrick's original outfit or face (which I'll talk about in another post), or the first iteration of her current outfit. Originally, she wore the ostentatious yet modest feathered peacock dress that eventually ended up on Lucretious (and took the thicc waist with it RIP). According to my research, there was a reason for this: it was too baller for Waukeen's Rest and kept causing crashes, so they had to put her in a less graphically-demanding outfit.

The original peacock dress sent the necessary "I am an important quest giver, engage with me" message, so why not just remove the cowl that was causing the issues? But instead, they changed her outfit entirely, keeping it eye-catching and posh (suitable for a big-city government official), but randomly making it super revealing (strange, for a big-city government official). Further, Florrick got a major va-va-voom upgrade between Sexy Dress v1 and final release, with a new dress model that makes it clearer that the front and back panels are sheer, subtly showing even more skin, and which unsubtly emphasizes her hips and breasts.

Based on extensive academic research using mods, I determined that the dress is what conveys the extra curviness (see img description in the left-most pic) vs her having a custom body sculpt (weak). Further, when viewed from behind, the dress pads out her ass, also making it look bigger and rounder than the standard body type 1 (see img description in the right-most pic).

What's more, if you look closely at the waist seam of the final version of her sexy dress, it looks like they went so far as to skew it to make her hips stand out even more when she takes the cocked-hip stance (which she seems to only stand in) and perhaps draw even more attention to her thong sticking out. Notice how the waist seam is even and straight across in Sexy Dress V1 above, but Final Florrick has it like 2 inches higher on her right, without fabric bunching to explain the different seam lengths. You can also see how the dress subtly pops out farther than her actual hips (and from the side view, over her lower stomach), giving her the impression of curves the standard body type doesn't have. They were very intentional with it.

Shockingly, I don't actually have much to say about her exposed thong in and of itself (it is what it is) except that I think it actually makes the outfit look substantially skimpier because it draws attention to just how high those hip slits are, compared to leaving the area blank so eyes gloss over it (even if that would imply she runs around commando all game). It's a small detail that drives home the overall design.

All this is to say, since this dress is only worn by 4 people* with Florrick being the first you see and by far has the most screen time, and it isn't lootable, it seems this outfit was developed intentionally and specifically to emphasize her body to make her look sexier.

*Florrick, Mamzell Amira (slightly different lower half), a random patriar at Gortash's inauguration named Lady Alia Durinbold, and Mystra

So, this takes us back to the question of 'why'. Why spend all this time and these resources fine-tuning this dress to make it as sexy and flattering as possible? Why put it on a character who has literally no reason to wear such a thing? Why put this dress which is nothing but nonsense on a character who's pretty much only characterized as being no-nonsense??

And this is also where the real tinfoil hattery comes in, as I doubt Larian really meant anything by it aside from creating a hot NPC for players with good taste to enjoy across all 3 acts.

But that's not what this nuclear caliber simp post is about; it's about overthinking shit because I love her and she is a main character to ME.

So, whatever Larian's intention, there's only 1 in-universe reason why Florrick wears this outfit:

She woke up that day in Waukeen's Rest, in the middle of nowhere a full tenday from the city, on her way back from literal hell to deal with yet another crisis, and decided to put it on. And continued to do so every day thereafter.

It's logical that she can't change right after being rescued since the inn is burning down presumably with her luggage in it, but why did she choose that outfit in the first place, considering she was travelling? She's been travelling for months; it can't have been her only clothing. Did she not have a Fist uniform? A pair of leggings? She runs right off after she's done talking; does she hike all the way in and out of the shadow-cursed lands in a thong and flat macrame boots? It doesn't even have any indication of cinches or buttons despite having all the logical seams and it's clearly tailored to fit her bananas hourglass figure, like there's no way she can just pull it on or step into it, so does she have to expend her valuable magic to wear it? Does she take the time to sew herself into it every day instead of sucking it up and wearing *barf* pants??? There are plenty of people around in Act 2 that could and would give her something more practical to wear, even if she did have a good reason to wear her original dress that day in Waukeen's Rest. Yet, she continues to wake up every day and put that outfit on. Even after returning home.

(In my head, the video game convention of every character only having 1 outfit is shorthand for what their "typical" outfit is, and they "really" have a wardrobe of similar clothing. So when I say she wears that outfit every day, I mean she has a couple of similarly-bonkers dresses in her bag and chooses to wear one every day vs something more practical).

So the simp's question isn't what Larian is saying about her by dressing like this, but what she's saying about herself by choosing to dress like this.

Clothing is self-expression. Look at the many analyses of the main characters' outfits. Larian may or may not have really meant anything by giving Florrick this outfit, but just as Astarion's careful mending of his shirt necessarily says something about him and his personality in the universe he lives in, so does Florrick's decision to wear flashy, revealing clothing.

It almost makes no sense... until you think about one of Florrick's explicitly-demonstrated characteristics:

Confidence. Over confidence. Hubris, even.

I'll have more to say about Desiré "Fuck It, We Ball" Florrick and her personality in another florrickology post, but the long and short of it is that this woman is not afraid of shit and sashays into every situation fully confident in her ability to charm or steamroll it to her liking. "She is used to getting her way", indeed. Her epilogue letter betrays a bit of self-doubt, but it seems to have been brought on by her perceived failures in relation to the player character's successes, so likely not her ordinary attitude. Whereas this seems to be her ordinary clothing, since she took it with her to Elturel and back for no apparent reason and chooses to wear it for no apparent reason.

She has nothing to gain from it, no one important to impress at least until returning to the city in Act 3. Otherwise, she's in bumfuck nowhere with her boss-friend and lackeys, or cursed!bumfuck nowhere with her lackeys and a bunch of vigilantes planning a war. While I wouldn't doubt that she has or might be willing to use her beauty and sex appeal to meet her goals (TadpUlder does, curiously, call her a "black widow"; is his tadpole capitalizing on stereotypes--could it be slut shaming her??, or is it referencing things that the shreds of Ulder's mind know she's done?), ultimately, there can't be a tactical explanation because there's nobody more powerful than her around 90% of the time.

She also doesn't flirt with anyone and nobody flirts with her (philistines). She has no mentioned spouse or lovers, nor any implied sexuality at all. The closest we get is Mizora saying "she misses the Duke" after Florrick's ambush in Act 3, the only time anyone implies she's on a crusade to find him because of romantic feelings and not duty, loyalty, and friendship... which means Mizora is probably just talking out her ass and belittling people, as she does.

So, combine self-confidence with the decision to constantly wear a sexy dress that shows off her body for no practical reason, and what do you get?

Balls-to-the-wall, unapologetic vanity.

(If it wasn't clear, when I call women "vain" I think they are objectively correct and this is a compliment of the highest order.)

Sure, maybe wearing this kind of outfit boosts her confidence and that helps deal with this unprecedented crisis and possibly the first self-doubt she's ever experienced, but this is evidently her usual clothing and she isn't usually dealing with those things.

So, she wears this intricate and revealing dress mostly she likes it and how she looks in it. This means she likes that it's revealing. She likes showing skin to literally no end except her own enjoyment.

Notice she doesn't really do her hair (it's shiny and neat, but not really styled) or bother with makeup (she lost the EA smoky eye in favor of a quick swipe of eyeliner). One may think that perhaps she isn't as confident in her facial beauty since she does have unique features, so she calls attention to her body instead, but she's so devoid of modesty that I can't help but assume she simply looks in the mirror in the morning, thinks "no notes" (correct) and moves on to pouring herself into her favorite skimpy dress. She's proud of her natural beauty, and she's not about to cover it all up with goop or fabric!! She never mentions it and nobody who knows her does; she's not trying to stunt on anyone or even attract other hot people.

She's in it purely for the love of the sport and, sexiest of all, herself. This woman doesn't think she's the sexiest creature in any given room, she knows it.

And she knows that being hot doesn't affect her ability to do her job and protect the city she loves. She doesn't have to cover herself up, doll up her hair and makeup, slap on like 400 pettiskirts, etc, to be taken seriously. It's possibly even giving 'malicious compliance'. She commands so much respect that even horny gamers don't notice her entire ass is one breeze away from being out.

The deep-seated, yet subtle insanity part has pretty much already been covered; maybe in her day-to-day life of attending meetings and walking all over everyone in Wyrm's Rock, it's not so impractical, but it's a completely insane thing to wear in any sort of crisis or outdoor adventure. That this woman is willing to risk chafing or being cold (womankind's public enemy #1 and #2) simply for the drip is delightfully nutty. There is not a single moment she appears in this game where this outfit would be reasonable.

She presents herself as a stalwart, serious, determined woman, but then squeezes into a dress so tight and precarious that it knocks off her Fleet of Foot speed boost, for literally no reason aside from being vain and lowkey kind of crazy.

Good for her!

[ask-pomni-things]

U-uh- hi-!

I'm Pomni, at least... that's my new name.

Caine said this was for an adventure... it's not as bad as going to literal hell, but it's close.

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The other cast is here if you want to see them too-? including Caine...

Ragatha ♡ — @ask-ragatha-tadc

Another Ragatha I interact with sometimes — @sweetragdoll

Jax — @ask-jax-the-rabbit

...More Jax's, I guess. — @ask-jax-things & @ask-bnuuny-tadc

Zooble — @zooble-the-whatever-i-am

Gangle — @ask-gangle-blog

Kinger — @asksuperlightextras (old account: @askkingerthings )

Queenie — @askthequeen

Caine — @ask-teeth-eyes

Gummigoo ☆ — @ask-gummigoo

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I have some other people I interact with that are cool... for the most part?

Friends — @shortmomma1993 & @hophopscotch

... "grandma", I guess. — @pakodelfandom

My (informally) adopted kid, bucket(and others, I think?) — @bubble-trubble-and-co

((ooc intro & rules under cut))

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Hello~!

welcome to the ask blog I made to feed my hyperfixation on these silly little characters!!

☆ You can call me Oreo, my main blog is @or3oartz ! ☆

☆ You can send asks to the mod about this blog at @ask-mod-or3o ! ☆

I post a lot of tadc fanart, so if you're interested in that, go check me out <3 I also sometimes draw things based on the ask blogs just for the fun of it!

there are other ask blogs not listed here, which you can find on THIS POST!

From this point forward, when I'm making ooc posts/ comments on posts I'll speak like ((this))

I use "he/they" pronouns, if you're referring to me, please use them!!

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Few headcanons to be made clear!!

Pomni is biromantic asexual. But currently identifies as queer, she hasn't figured herself out yet :]

She's not a kid person, the only exceptions are Bucket and Ariah (only relevant to the blog)

Pomni's favourite animals are rabbits. (not connected to Jax./srs )

Pomni doesn't hate anyone, she may strongly dislike people, but in the end she'd still help people. They're all stuck in here together.

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Rules! ♡

Some rules(and boundaries) to be aware of!

No nsfw at ALL! we're a family friendly establishment!!

Absolutely NO bigotry is allowed! (so no racism, sexism, LGBTQ-phobia, etc.)

Ships are allowed! You can mention them! (except pomni may not give your preferred response... so be warned.) The main ship here is JesterDoll, but I also ship funnybunny so little implications may be made/joked about by me. :] Does she like Jax? you'll never know...

Only 1 image/gif per ask! if you're sending art that isn't yours, credit the OG artist/state it's not yours! (when the media asks are on)

DON'T SEND LINKS! Even YouTube links!

don't be overly mean/rude. That's JAX'S job 😒 (/j) (seriously though, there's enough hate right now)

Remember NONE OF THIS IS CANON! I'll reference the canon show, but this blog is NOT affiliated with Glitch Productions or Gooseworx in any way!

Don't dm me. Don't dm this blog, don't dm my other blogs. The only exception is if it's IMPORTANT! (ex. warning me about problematic people) It makes me extremely uncomfortable.

Only send asks related to the blog please. And don't send multiple asks for a conversation, just reblog.

If I don't answer your ask/reblog, please do not go out of your way to get me to answer!

NO MORE HAMSTER POMNI. That got old FAST. 😭

Don't try to date Pomni?? Use character AI or something 💀 Also stop "kidnapping" her.

If misuse your anon privileges, I WILL turn it off. I'm serious.

please see this post for other boundaries.

Failure to follow these rules will get your ask deleted, and possibly blocked. You only get ONE warning.

[newx-menfan]

Laura Kinney isn’t the “Goodie Two Shoes” fans make her out to be…and other thoughts… 

Part 1: “The CRINGE”

Let’s be honest- we all KNEW I would eventually get here…after doing write-ups on Surge, Hellion, AND Prodigy…since X-23 is one of my all time favorite characters…

If there is one thing that drives me totally NUTS about X-23 fandom though (and fandoms, in general)… it is this weird fan attitude that Laura Kinney…aka “X-23”…aka “Wolverine”… can essentially “Do No Wrong”….

She’s the “BETTER” Wolverine. The less “TOXIC” version. The PERFECT Wolverine.

You see it in comic clickbait articles ALL the time- Laura is, essentially, the PERFECT answer to all the problems of the original character….

If you happen to mention ANY sort of criticism against X-23, textually or just about the character ingeneral - “She’s a bad friend”… “She can be kind of selfish”… “she is objectively a derivative character that is based off of a more popular X-Men”…people will look at you like you just kicked their puppy or said something really cruel…

And what’s interesting to me about all of this is… X-Men is KIND OF a book essentially about very flawed people, all trying to survive. That was, after all, Marvel’s WHOLE sell for years- they had the “relatable”, “real” characters…. where DC comics had “Gods”.

You would think, with characters EATING another planet, living out problematic “antebellum” Dark Phoenix fantasies, having psychic affairs, saying the “N-word” repeatedly, starting out as villains… it’s kind of accepted that ALL OF THE OTHER X-MEN have made terrible choices at some point or have been written BADLY….

Yet if you go on X-Men twitter… you will regularly see fans yelling that Jean Grey “is the most powerful X-Men” ever, Gambit or Logan are just these perfect “girl-dad’s”, or Storm can essentially NEVER be wrong…

And the PROBLEM with this is…it’s made writing these characters ALMOST LOGISTICALLY IMPOSSIBLE…

When Jean, for example, is at GOD LEVELS and ALWAYS morally right… what can you feasibly DO with her character anymore? If you create a villain to match her insane power levels… fans will be upset and complain that the fight wasn’t “fair” and inevitably pull up some vague comic panel to argue just why Jean really should have won …If a writer decides to de-power her OR makes her go evil, fans often will inevitably view it as sexist… so how can you write Jean Grey as still relatable? 

New relationships or Scott Summers dying?- Fans often get upset when writers break up the iconic Scott/Jean or Logan/Jean ships…or accuse writers of romanticizing toxic relationships…

Put her in a teaching/mentor/Headmaster role?- we saw what happened when writers tried it with Kitty, Storm, and Logan…they just became pretty boring….

Often writers solution seems to be… just killing Jean off…

This isn’t to shoot down criticisms like “Women in the Refrigerator Syndrome”, “plot armor”, ect…but I do think it’s important to talk about how… possibly… fandom has gone too far the other way… that fandom is basically guaranteeing characters will inevitably become obsolete or unusable… or cause writers to inevitably just repeat the same five stories for nostalgia sake, because they can’t do anything “new”…

This isn’t JUST female characters either- I would say characters like Gambit, Wolverine, Cyclops, Batman, and several others have pretty much the same logistical problem…they’ve been hyped up SO MUCH…that you can’t really DO ANYTHING with them anymore, for fear of angering their large fanbases….

Laura has relatively quickly developed this problem, and it seems like the shelf life of comic book characters is burning out quicker and quicker…

What is it about Laura, that makes her immune to any real criticism within her fan base, in a comic book series where it’s kind of accepted that every character is in some way…horribly flawed?

I am going to go through in these posts talking about why Laura really isn’t the perfect character readers constantly make her out to be… that she actually IS pretty similar TO Logan and a lot of the complaints against him CAN be tied to her as well… and that the biggest problem currently facing Laura AND COMICS in general right now, I would argue, is that writers are not able to admit that Laura or any of the other characters ARE sometimes wrong…or to quote Kitty Pryde…sometimes kind of a “jerk”…

———————————————————————

Part of the reason no one criticizes Laura, is because of her tremendously tragic backstory.

Essentially a modern version of “Frankenstein”; Laura is created to be a replication of the “Weapon X” experiment in miniseries “Innocence Lost”. (I know people tend to focus more on the “Pinocchio” allusions from the book, but I find the  “Frankenstein” allusions more relevant…)

Sarah Kinney opts into this program, because, like Victor Frankenstein: she desires scientific exploration without ethical scrutiny. 

Focused more on pushing the realms of scientific discovery instead of considering the consequences, Sarah manages to create a viable clone, with the caveat that it is female, because the “Y” gene from the sample is too damaged. It’s only when Rice, another scientist with a Wolverine-vendetta, forces Sarah to be a surrogate to Laura as punishment for her insubordination, that the ethical considerations truly start to come into play for Sarah…

Laura experiences extreme torture, radiation poisoning to activate her mutant powers, coating her claws without anesthetic, creation of the trigger scent (a pavlovian odor that causes her to black out and go berserk), forcing her to kill her Sensei and other targets (and her puppy, according to Liu…), and many other horrors while there.

Sarah, after seeing Laura’s potential for good after Laura spares Rice’s illegitimate kid from being murdered and Laura helping  track down Sarah’s kidnapped niece; tries to free Laura and destroy the facility…

Which leads to Rice coating Sarah with the trigger scent and having Laura murder her.

While Laura DOES manage to escape…she now has to live with the fact that she killed her own mother for the rest of her life…

This is pretty much the bare bones summary (I ignored Sarah’s own history of childhood trauma and abuse and the Rice subplots)….

Laura then goes to track down Sarah’s relatives in “Target X”, bonding with Megan, the angsty traumatized niece that had been kidnapped previously and develops her first real human connection.

It’s hard NOT to like Kyle’s adorable version of Laura; watching her riding on roller coasters with Megan, peeping in on people in windows, accidentally getting Megan into trouble by mimicking teachers, hanging out at the boardwalks in San Fran…. Laura is socially inept…but in a relatable way…

Things go to hell however, when it’s discovered that Debbie’s boyfriend is actually a facility agent and spying on them…

Laura fights the Sabertooth-like Kimura, saves Debbie and Megan, helps them go into hiding, and then attacks Logan with the plan to kill them both…only to get captured by Shield….and then is freed by Captain America…

Again a bare bones summary and nothing to really criticize, since Laura has little engagement with people in these situations and is the victim, despite doing some really horrible things. It’s a pretty reasonable storyline and it is, again, a modern comic retelling of “Frankenstein”…similar to “the Incredible Hulk”….

Laura is the monster of modern science, desperately seeking the answers of what it means to be human…

Sure…she kind of/sort of tries to kill Logan…but it’s understandable considering the situation…(and it’s not like Logan doesn’t have a history of trying to kill his own family members in comics…)

“NYX”…good and bad…is kind of the story that PUSHES the TRAUMA NARRATIVE to a ridiculous degree…

I get why on multiple levels…people, including Craig Kyle himself (writer of “Innocence Lost” AND ”Target X”) …HATE NYX.

And truthfully… I personally remember rolling my eyes, the first time I heard about it when it came out…

“NYX”, written by Editor Joe Quesada, was the first introduction of Laura, and technically came out BEFORE “Innocence Lost”/“Target X” but after Laura’s appearance on the tv show “X-Men Evolution”. Canonically…it’s a little more challenging but most fans AGREE NYX comes AFTER “Target X”….

Laura is in NYC and being trafficked by Zebra Daddy (yes…that IS HIS NAME IN THE BOOK…); becoming mute and withdrawn. 

When a john kills himself she meets another mutant, Kiden Nixon, and joins a ragtag group of homeless mutants…there’s a whole subplot about Kiden’s dead dad…Zebra Daddy comes after Laura and she kills him to save her friends…

In the end, Laura abandons her friends (because Laura has to be a “lone wolf”); but bumps into them years later after joining the X-Men…

While I will fully admit there are parts of Laura’s story that ARE handled pretty well…there’s also A LOT of voyeuristic panty shots in the art….a ridiculous amount of hand waving…and constant over-theatrics…

———————————————————————

Laura really is that character that teeters on an edge of cringe….

“Female Clone of Wolverine”- admittedly sounds cringeworthy to a non-comic book reader… (and people who remember HOW BAD “the Clone Saga” was…)

“Dating and obsessed with a ‘Draco Malfoy-esque’ sorta toxic copy of Jean Grey”- soundscringeworthy…right?

“Tortured weapon who is forced to become a teenage sex worker out on the streets of NYC and is goth and self harms…”- 100% sounds like an over the top show on CW….

I DO OBJECTIVELY GET why, when Laura first popped up into comics, a lot of male Wolverine fans saw her as just this “edgy CW-like attempt at new readership”… (technically she was CREATED on Warner Brothers “X-Men Evo”…so that’s not totally an inaccurate summary either…)

A teenage Wolverine…with boobs…

Hell…the director of “Logan”, James Mangold, didn’t want to feature her as a teenager…because he thought it sounded like a “CW show”….

“NYX” did feel like something out of a Frank Miller, “Batman: Year One” hallucination. That’s not to say it’s a BAD comic…but it definitely reflects the era of the 2000’s where everything had to be “gritty”….female characters were all heavily sexualized…it was at a time where “Skins”, “Misfits”, and “Gossip Girl” hyped up underage teenagers doing drugs, partying, and having risky sex….

One of the covers of “NYX” literally features Kiden with a pacifier…heavily hinting at “rave culture” and “ecstasy” usage…

I know a lot of modern readers take offense to this book and Quesada…but I do see the other side of it. A big part of Millennial early counter culture WAS indie sleeze….it WAS very hedonistic…it did fit the time period it was created….

“NYX” is a as much of a product of Millennial culture as “Academy X”, “the Ultimate verse”, or Grant Morrison’s “New X-Men” was… it was the same as how “Generation X” or “Jim Lee’s X-Men” was for the 90’s…how all of Claremont’s “Uncanny” and the spinoff books were products of the 80’s culture…and how Kirby’s “X-Men” was for the 60’s…ectera, ecetera…

And the common trend with all of them? They all have some PRETTY CRINGY MOMENTS.

I’m 100% sure, in ten or twenty years, we will look back and criticize how this era of comics incorporated embarrassing parts of youth culture…or writing styles…or counter culture…

But at the same time…her backstory… DOES start to feel a bit ridiculous. It does start to feel like this manufactured, over the top modern “Oliver Twist” or “Great Expectations” to get fans to essentially accept and sympathize with this fairly new character…Like someone just took a bunch of random origin stories and dumped them together in blender, to make the ultimate “SAD” character…

Is Laura really ALL that different from ridiculous characters like Adam the X-treme? Or Birdbrain? the lost Summer brother…Vulcan?

Yet we don’t take any of those characters overly seriously…

It’s moments like watching fans debate whether it’s right or wrong to use the Codename “X-23” for example, screaming at fans who are fine with it because they realize she’s ultimately a fictional character and Marvel on some level needs “brand recognition”…that even if her backstory does deal with real topics and issues…. do you remember that Laura’s backstory is pretty comicbook-y and absurd. 

As “cringy” as Laura SOUNDS on PAPER…she works because the writing ultimately did what it was supposed to do. Laura has objectively some of the BEST MODERN COMICS and even books like NYX, are pretty decently written, even if the subject matter and handling and culture are outdated from it.

Laura IS a great character…but she’s also kind of on edge of “cringy”…

And where we can kind of ACCEPT that cringe with Logan and his weird nose-less era…or Gambit referring to himself in third person… or pretty much EVERYTHING about Kitty (ninja…pirate…teenage prodigy…weird waifu for literally every male writer); Laura is this one character that you can’t criticize…or if you DO, it has to be solely around the sexualization of the character…and not the character itself…

I do understand fans getting attached to certain characters…in seeing their OWN trauma represented IN the character and reflected back…but at some point…I do think you have to see the humor of it all too…

That Laura isn’t ALL that DIFFERENT from other products of their time- like clone Superboy…FantomeX…Quentin Quire….Bloodstorm…Maggott…Adam the X-treme…

She just had better writing.

[catullus0525]

Repentant Sighs And Voluntary Pains: Oscar Wilde and Robbie Ross 1895-1900

Foreword: 

This is the first draft of a chapter in a longer biography of Robert ‘Robbie’ Baldwin Ross (1869-1918) that I am currently working on. I hope to share this with other people who are interested in Victorian queer history and the Wilde circle. 

I started this project at the start of February, originally envisioning a short and sharp biography for LGBTQ+ History Month, because imo Robbie deserves to be remembered as a queer hero in his own right. But as I started writing I realised how much there were to his story, and how much emotions often lurked beneath Robbie’s deceptively dispassionate writing style, so the project very quickly ballooned beyond its intended scope. This essay biography will probably end up with 100-120 pages, and I am currently entertaining the idea of turning it into a book. 

Part of why the project ballooned so drastically was the fact that Robbie was full of paradoxes.

He was at once incredibly talented and incredibly dismissive of his own talents. Oscar Wilde said he was ‘as cleaver as can be’ and everything he wrote was ‘admirable’; booksellers who had worked with him praised him for his impressive knowledge and inordinate memory; and even Alfred Douglas, who hated Robbie in his later years, conceded that he was ‘a man of brains and ability’. Yet he always thought little of his talents and erased himself from the narrative. He refused to write a biography for Wilde on the ground of his own lack of talent. And even at the 1908 dinner honouring his Herculean effort in reviving the Wilde estate, Robbie declared himself ‘inadequate’ and attributed the revival to others.

Similarly, he was at once unbelievably strong-willed and perplexingly vulnerable. He came out to his family at the age of 19 after being bullied out of Cambridge, and, unlike many of his contemporaries, he never denied his sexuality throughout his life. Moreover, he spoke up against sexism, antisemitism, and militarism, and protected a generation of young queer artists from a hostile world. Yet Oscar Wilde was his Achilles heel: between 1897 and 1900 he was hurt time and again, but he went back to Wilde every time; and in protecting Wilde’s posthumous legacy, he exposed his most vulnerable side to the viciousness of the world, which eventually chased him to his early grave. 

I believe the key to unravelling much of the paradoxes is his love for Oscar Wilde. I believe he at once loved Oscar Wilde in the romantic sense and worshipped his art; but his love for the artist compelled him to forsake and denounce his romantic love. This was because, despite so many biographers had claimed that Robbie reconciled his Catholicism and his sexuality without difficulties, I believe he had in fact struggled silently with internalised homophobia against himself throughout his life. He most likely thought of himself as a ‘corrupting influence’ and bore the cross of the guilt for ‘corrupting’ the artist ever since 1895. This chapter tries to unpack the nature of such love, as well as the relationship between Wilde, Ross, and Douglas between 1895 and 1900. 

Now, a couple of disclaimers: 

This is very much unfinished. I tried to be as accurate factually as possible, but omissions/errors are inevitable at this stage, so pls lmk if you spot any. I am also still working my way through archives and biographies to plug gaps. 

I tried my best not to led period-typical homophobia influence my own writing & terminologies, but it has not been easy, so if you find anything problematic in this please help me correct it. 

The original manuscript has a million footnotes, and the finished product will be referenced. I decided not to put them in these posts for the sake of brevity, but I am more than happy to share my sources if you are interested. 

Some part(s) of it can be a bit rambly, particularly since I found it very hard to control my urge to rebut many claims by Alfred Douglas and his biographers (which were often unsubstantiated, untrue, or maliciously misconstrued)… I really tried to give Douglas sympathetic treatment and benefit of the doubt, but the sheer amount of bile in his biographies and autobiographies made it very hard (I read over 500 pages by himself and three biographies about him with the intention of fathoming the depth of his character and finding every redeeming quality in him, but all of them had substantial revolting passages that made me incredibly uneasy. On top of that, although I am fully aware that he was most likely seriously traumatised, mentally-ill and needed help, I still found his vicious antisemitism and homophobia rather inexcusable)…In my revision I may try to soften some of my criticisms and structure them better. In the meantime apologies in advance if my criticisms of Douglas hurt anyone’s feelings. 

Lastly, I sincerely love and admire Oscar Wilde’s writings so much, which makes me a bit apprehensive in writing about him or in analysing his work. De Profundis is my favourite prose work in English and it means a lot to me personally, so I feel personally inadequate in doing literary analysis on it…In other words the bits here about Wilde’s character & writings are very, very imperfect. I will try my best to polish & flesh them out in revisions, but I would sincerely appreciate any advice from fellow Wildeans. 

Nothing can ever blot from my memory what you have suffered in defence of your writings […] I shall never forget what enemies your learning, and what envy your glory, raised against you. I shall never forget your reputation, so justly acquired, torn to pieces, and blasted by the inexorable cruelty of half-learned pretenders to science […] since it is decreed that your virtue shall be persecuted till it takes refuge in the grave, and even beyond that, your ashes perhaps, will not be suffered to rest in peace,—let me always meditate on your calamities, let me publish them thro' all the world, if possible, to shame an age that has not known how to value you. I have hated myself that I might love you; I came hither to ruin myself in a perpetual imprisonment, that I might make you live quiet and easy.

—— Heloise to Abelard, Letter II

Later on I think everyone will recognise his achievements; his plays and essays will endure. Of course you may think, with others, that his personality and conversation were far more wonderful than anything he wrote, so that his written works give only a pale reflection of his power. Perhaps that is so, and of course t will be impossible to reproduce what is gone for ever. 

—— Robert Ross, around 1900

I. 

On 3 June 1918, Alfred Douglas indignantly declared in the Central Criminal Court that Oscar Wilde was ‘the agent of the devil in every possible way’ and ‘the greatest force of evil that has appeared in Europe during the last 350 years’. He was testifying on behalf of Noel Pemberton Billing, a proto-fascist politician sued for libel after spreading a conspiracy which alleged that there had been a circle of 47,000 ‘unpatriotic’ deviant women and clandestine homosexuals in England tied to Robert Ross and the ‘Wilde cult’ undermining the English war effort for the German Kaiser. Douglas’ testimony played right into the homophobia, wartime paranoia, and moralistic fervour of the English public. The jury, in turn, acquitted Billing and condemned Wilde. 

Douglas would forswear his statement years later (as he had forsworn many other things in his life), but the harm done was hardly reparable. For Ross, who had fought endless battles to rehabilitate Wilde’s name and literary legacy for the past eighteen years, to see Wilde’s name dragged through the mud in the press again must have been excruciatingly distressing. Days after the acquittal of Billing, Ross wrote to Sir Charles Mathews (then the Director of Public Prosecutions), sardonically congratulating him on ‘the complete rehabilitation of your protégé, Lord Alfred Douglas’ and called him ‘the bastard of a mummer’. Meanwhile, to his friends Cecil Sprigge and Charles Ricketts, Ross lamented that the war-weary English public revelled in ‘kicking Oscar’s corpse’, and that he himself had been ‘used as a piece of mud’ in smearing Wilde’s name. Four months later, Ross died of heart failure, aged only 49. 

Ross was a private man who left behind few traces of himself. Unlike Douglas, who wrote endless autobiographies regurgitating his narratives, Ross never told his side of the story. Therefore, we would never know whether behind the official cause of death of ‘gastritis caused by chronic bronchitis’ lied a broken heart. Was he tormented by the thought that his effort for the past eighteen years was rendered naught by the fresh wave of anti-Wilde furore? Might he have worried that Wilde’s name would forever be buried in the mud as a result of Douglas’ vendetta against himself? These we could only speculate. However, we do know that Ross had been seriously depressed, struggled to sleep, and prematurely aged for a long time before his death, due in no small part to Alfred Douglas incessant persecution over the past five years. It would also be reasonable to postulate that the uncharacteristic sarcasm of his letter to Sir Charles Mathews was the tip which belied an iceberg of agony.

Ross left almost everything in his possession to others upon his death. The Oscar Wilde estate was transferred to Cyril (then deceased) and Vyvyan Holland in its entirety. Most drawings in his possession were presented to the British Museum. To himself, he had reserved only a quiet little space in Wilde’s majestic tombstone. Unbeknownst to everyone, he had requested for such a secret little space to be built when commissioning Wilde’s famous Père Lachaise tombstone. In his will, written four years ago during his persecution by Alfred Douglas, Ross had directed that:

[…] my remains shall be cremated at Golders Green Crematorium with the ordinary burial offices of the Catholic and Roman Church. And I direct that my ashes shall be placed in a suitable urn and taken to Paris and buried in the tomb of the said Oscar Fingal O' Flahertie Wills Wilde. If however it should prove impossible to obtain the licence of the necessary authorities for this I direct that my ashes shall be scattered in Père Lachaise. 

It was as if Ross was being the Heloise to Wilde’s Abelard. In that famous Medieval love story, much like how the illustrious writer Oscar Wilde was captivated by the 17-year-old Robbie Ross, Abelard, the brightest philosopher of his day, fell for his astute pupil Heloise, 19 years his junior. They were not only intellectual partners but also passionate lovers, yet their love transgressed the strictures of society and religion, thus scandals befell the brilliant Abelard. But Heloise’s love was unwavering even after Abelard’s ruin, not unlike how Ross steadfastly stood by Wilde after his imprisonment till the very end. In the end, much like how Heloise demanded to be buried with Abelard 22 years after his death, 23 years after Wilde’s death, Ross yearned for eternity alongside Wilde, beneath the same hallowed earth that cradled Heloise and Abelard.

Yet, unlike Heloise, whose effigy lay proudly beside Abelard's in Père Lachaise, Ross deliberately left no mark of his own on the final resting place he shares with Wilde. So whilst Heloise receives countless visitors’ songs and tears alongside Abelard, out of the hundreds of kisses imprinted on Wilde’s grave, none was intended for Ross; and most who wander through Père Lachaise remain unaware that Ross's ashes are silently guarding Wilde’s body.

Such self effacement was despite the fact that Ross had given up his eternal life with God for eternal rest with Oscar Wilde. As a devout lifelong Catholic, in directing his body’s cremation, Ross had denied himself resurrection. This is because it was not until 1963 that the Vatican finally conceded that cremation was ‘not opposed to the Christian religion' and ceased to deny Catholics wishing to be cremated their sacraments and funeral rites. Although at the time of Ross’s death, the Catholic Church sometimes acquiesced to cremation in practice as a result of  WW1 (as reflected by the ‘the ordinary burial offices of the Catholic and Roman Church’ at Golders Green Crematorium), it was still quite possible that Ross never received the funeral rites which prepare a Catholic’s soul for afterlife. What had prompted such grave sacrifice? Perhaps he wanted to take up as little space as possible, lest his presence eclipse the master’s lustre. Perhaps it was his ultimate penance for his incurable sin of loving Oscar Wilde. Or perhaps he saw incineration as the only way to purify his body and to make himself worthy of eternal rest by the artist he had corrupted, just as Alexander Pope had written of Heloise: 

Death, only death, can break the lasting chain; And here, ev'n then, shall my cold dust remain, Here all its frailties, all its flames resign, And wait till 'tis no sin to mix with thine.

Yet, were it not for Ross, us contemporaries might not have known Oscar Wilde at all. Despite Nicholas Frankel’s brilliant effort to re-write Wilde’s final years as a saga of joy, love, and self-acceptance, there is no denying that Wilde died as a ruined bankrupt in 1900. Upon his death, he was a persona non grata in England whose name was synonym to scandal. And due to his bankruptcy, everything he had owned was automatically passed into the hands of the Official Receiver in Bankruptcy. This meant that none of the proceedings from Wilde’s works (if there were any at all) would go to his orphaned children. Furthermore, though Salomé was successful on the German stage and The Soul of Man under Socialism welcomed by the bookshelves of Nizhny Novgorod, Wilde’s works were deemed worthless in England: the complete rights to Lady Windermere’s Fan and The Importance of Being Earnest were sold off for the meagre sum of £100 each. Indeed, the Official Receiver had told Ross in 1901 that Wilde’s works ‘would never command any interest whatever’. But Ross’s labour of love worked miracles. In eight years, Ross had accomplished what none had thought possible: he had repaid all of Wilde’s debts, restored Wilde’s children’s rights over their father’s literary estate, and re-established Oscar Wilde in English literary history. Moreover, we owe much of our knowledge of Wilde and his works today to the 14-volume edition of Wilde’s Collected Works, compiled and published by Ross in 1908. That remarkable undertaking remains one of the most exhaustive collections of Wilde’s writings and had informed much of subsequent Wilde scholarships. Few in history had done so much yet said so little. 

II. 

In a cruel twist of fate, Oscar Wilde was sentenced to two years of imprisonment with hard labour on Robbie’s 26th birthday. On that very day, a great many homophobes paraded through the streets of London, celebrating the death of the ‘b-gger’. The fateful day of 25 May 1895 was to go down in history as a turning point in so many’s lives. For artists, it spelled the end of the short 1890s, the glorious age of aestheticism and decadence. For activists, it marked the beginning of a vicious conservative backlash towards everything deemed ‘deviant’, from men’s right to not be masculine to women’s right to vote. 

For Robbie Ross personally, his 26th birthday spelled the death of ‘Robbie’, that witty, impulsive, kitten-like youth. Most accounts before 1895 described Robbie as an attractive boy looking younger than his age, but every account since described Ross as ‘an old man before his time’ worn down by care. And from the few portraits and photographs we have of Ross, we see that the spark of youthful wit so visible in his 1893 photograph was never again to be seen in any of his pictures since 1895. The change in appearance mirrored the shift in Ross’s literary career: after 1895, he rarely wrote without others demanding him to write. In May 1895, Edmund Gosse encouraged Ross to find solace in ‘the infinite resources of literature’ which Gosse believed was open to Ross ‘more than to most men’. But in his letter to Max Beerbohm five months later, Ross declared with a great deal of resignation that ‘I do not write now’. Indeed, nothing beyond criticism and satire came out of his pen in the next five years. As Bogle said, since that fateful year, it seemed as if Ross had made ‘a deliberate decision against writing what would make him successful’. 

Ross was already a worn down man when he received information about Wilde’s sentence. Wilde withdrew his libel action against Queensberry to prevent Alfred Douglas from being called to the witness stand. This, however had led to a witch-hunt for all men with homosexual tendencies in England; as a consequence, Ross was exiled in Europe. The memory of Oscar’s arrest weeks ago was probably still very fresh in his mind. After all, he was with Oscar when he was arrested, and on that apocalyptic day, it was Ross who went to Wilde’s Tite Street home to pack his clothes for him. Ross most likely remembered painfully how he rushed from Tite Street to Bow Street police station carrying Oscar’s Gladstone bag, and fought his way through a homophobic mob ‘shouting indecencies’ at both Wilde and himself. He was hoping to see Oscar for one more time before his inevitable imprisonment, only to be cruelly denied permission to even leave the bag with him. Afterwards, Ross went to his mother’s place and broke down in tears, and according to his former boss W.E. Henley, Ross was heartbroken and fell ill. Despite his illness, however, Ross stayed on for a couple more days after Wilde’s arrest and returned to Wilde’s Tite Street home multiple times to collect incriminating manuscripts. 

We do not know exactly why Ross ceased to pursue his own literary career after 1895. Perhaps, as Bogle postulated, he ‘could not help feeling emotionally responsible’ for Wilde’s downfall, and his ‘lack of ambition for himself’ was a ‘subconscious punishment for the disaster he felt that he had brought to Wilde’. Or perhaps, as Borland suggested, Ross had realised that his real talent was in supporting artists. Regardless, because Ross’s life from 1895 onwards irrevocably revolved around Oscar Wilde, we would never know what Ross could have become on his own terms as a literary figure. He would spent the remaining 23 years of his life as Wilde’s personal secretary, part-time lover, and full-time literary executor; and he would burnt his own life to keep the flame of Oscar Wilde’s literary legend. 

III. 

Love weaves itself into the human experience in myriad forms as a result of our complex nature. Anthropologists have uncovered that at the heart of love lie three primary brain systems shaping our journey toward mating and reproduction. These systems orchestrate the dance of physical attraction, the depths of romantic affection, and the enduring bonds of profound attachment. Yet, these strands of love do not always intertwine seamlessly. It is therefore entirely feasible to find oneself deeply bonded to one, while the flames of romantic desire burn for another, and seek fulfilment of desires elsewhere. Such multiplicity of biological pathways has set the stage for many romantic tragedies through the ages.

The tragedy of Wilde and Ross found its crescendo within the grey walls of Reading Gaol. It was in confinement that Wilde’s affection for Ross reignited with unprecedented depths of passion. Perhaps prison had made Robbie beautiful. Perhaps against the backdrop of 'weeping prison walls' and the dual spectres of ‘lean hunger and green thirst’, memories of Robbie came to be cast in ever more luminous light, as every beautiful moment was relished time and again, and each time made more beautiful by the power of imagination. As evidenced by that famous passage in De Profundis, to the imprisoned, even a trivial gesture could be exquisitely beautiful and inspire extraordinary love:

Where there is Sorrow there is holy ground. Some day you will realise what that means. You will know nothing of life till you do. Robbie, and natures like his, can realise it. When I was brought down from my prison to the Court of Bankruptcy between two policemen, Robbie waited in the long dreary corridor, that before the whole crowd, whom an action so sweet and simple hushed into silence, he might gravely raise his hat to me, as handcuffed and with bowed head I passed him by. Men have gone to heaven for smaller things than that. It was in this spirit, and with this mode of love that the saints knelt down to wash the feet of the poor, or stooped to kiss the leper on the cheek. I have never said one single word to him about what he did. I do not know to the present moment whether he is aware that I was even conscious of his action. It is not a thing for which one can render formal thanks in formal words. I store it in the treasury-house of my heart. I keep it there as a secret debt that I am glad to think I can never possibly repay. It is embalmed and kept sweet by the myrrh and cassia of many tears.

This Robbie, painted by Wilde’s imagination, symbolised everything he had longed for in prison, and everything he had missed from the outside world: Robbie was a safe harbour which promised comfort, security, acceptance, and unconditional love. 

Croft-Cooke contended that Wilde ‘dragged in’ Ross’s name in De Profundis because he was ‘naïf enough to suppose that Bosie might feel some envy for Ross’, so he leveraged Ross’s ‘jealous longing to appropriate him’ to make Bosie jealous. And even biographers sympathetic towards Ross, such as Edra Bogle, believed that Wilde had mentioned Robbie only to ‘make Bosie seem even worse by contrast’. This interpretation, I believe, commits the ‘supreme vice’ of shallowness by entirely misjudging the nature of De Profundis. Though much ink had been spilled in debates over the nature of De Profundis, most serious scholars nowadays agree that it was ‘never just a letter’. For one, in 1897 Wilde instructed Ross to have the manuscript copied without telling Alfred Douglas, alluded to potential publication posthumously, and hesitated to send the letter to Alfred Douglas. Moreover, it was one of Wilde’s best proses which contained exquisite passages on aesthetics, theology, and philosophy. To reduce it to a love letter intended to incite jealousy, therefore, not only overlooks much of the historical contexts, but also does much injustice to the beautiful text itself. The piece, as Lee contended, is best read as Wilde’s mourning of the death of ‘Oscar Wilde’ the literary personality, an exercise to exorcise his own demons in order to reclaim and perhaps recreate his sense of self. Thus both ‘Bosie’ and ‘Robbie’ in De Profundis are essentially symbolic characters onto whom Wilde projected himself: ‘Bosie’ mirrored the ‘Oscar Wilde’ in his ‘Neronian hours’, when he was ‘rich, profligate, cynical, materialistic’; ‘Robbie’, in contrast, embodied the simple, tranquil, pensive, and creative future beyond prison which he had envisioned for himself. 

Wilde was visibly torn between the two versions of himself after his release. On the one hand, he desired to reinvent himself as an artist by living a healthy and wholesome life. As declared at the end of De Profundis: 

I hope to go at once to some little seaside village abroad with Robbie and More Adey […] I hope to be at least a month with my friends, and to gain, in their healthful and affectionate company, peace, and balance, and a less troubles heart, and a sweeter mood. I have a strange longing for the great primeval things, such as the Sea, to me no less of a mother than the Earth […] I feel sure that in elemental forces there is purification, and I want to go back to them and live in their presence. 

The longing for rebirth and restoration was reiterated time and again in many of his post-prison letters. In his letter to Selwyn Image on 3 June, for instance, he wrote that he was ‘thoroughly ashamed of having led a life quite unworthy of an artist’, and that ‘if I have good health, and good friends, and can wake the creative instinct in me again, I may do something more in art yet’. Similarly, he told Mrs Stannard that France, the ‘mother of all artists’, had given hm ‘asile’ and enabled him to recover, and that he wished to live thus in ‘solitude and peace’.

However, on the other hand, almost immediately after release, his old luxuriating taste came back to haunt him. On 27 May 1897, for instance, he told Reginald Turner that:

Robbie detected me at Dieppe in the market place of the sellers of perfumes, spending all my money on orris-root and the tears of the narcissus and the dust of red roses. He was very stern and led me away. I have already spent my entire income for two years.

The story was probably as much truth as it was trope. Orris, or the roots of iris flowers, was harvested by the ancient Greeks and Romans for essential oil. The flower carried strong homoerotic connotations: for one, some had argued that in Greek mythology, Apollo had created iris (instead of what we know as Hyacinth today) in remembrance of Hyacinthus, the beautiful youth who died for him; moreover, the flower itself was turned into a symbol for queerness over the 20th century, not least because it had derived its name from the Greek goddess of the rainbow. The ‘tears of the narcissus’, likewise, was a thinly-veiled homoerotic reference: one may recall that Wilde had compared Alfred Douglas with narcissus after their first night together. Thus the flowers were most likely at once flowers of perfumery and flowers of youthful beauty, and the lavishing of the ‘income for two years’ probably referred to not only money but also his spiritual developments over his two years of imprisonment. 

It was befitting, then, in the story, it was ‘Robbie’ who sternly led him away from the marketplace of perfume-sellers. He had canonised ‘Robbie’ in Reading Gaol, and he pleaded as ‘St Robert of Phillimore’ for salvation from himself. In such pleadings the ‘Robbie’ in his imagination and the actual person Ross became indistinguishable. In his letter dated 28 May 1897, Wilde wrote that: 

For yourself, dear Robbie, I am haunted by the idea that many of those who love you will and do think it selfish of me to allow you and wish you to be with me from time to time. But still they might see the difference between your going about with me in my days of gilded infamy - my Neronian hours, rich, profligate, cynical, materialistic - and your coming to comfort me, a lonely dishonoured man, in disgrace and obscurity and poverty. How lacking in imagination they are! If I were rich again and sought to repeat my former life I don't think you would care very much to be with me--I think you would regret what I was doing: but now, dear Robbie, you come with the heart of Christ; and you help me intellectually as no one else can or ever could do--you are helping me to save my soul alive--not in the theological sense, but in the plain meaning of the words: for my soul was really dead in the slough of coarse pleasures: my life was unworthy of an artist: you can heal me and help me--no other friend have I now in this beautiful world. I want no other. Yet I am distressed to think that I shall be looked on as careless of your own welfare and indifferent to your own good. You are made to help me. I weep with sorrow when I think how much I need help, but I weep with joy when I think I have you to give it to me.  I know you love me, but I want to have your respect, your sincere admiration, or rather, for that is a word of ill omen, your sincere appreciation of my effort to recreate my artistic life. But if I have to think that I am harming you, all pleasure in your society will be tainted for me. With you, at any rate, I want to be free of any sense of guilt--the sense of spoiling another's life. Dear Robbie, I couldn't spoil your life by accepting the sweet companionship you offer me from time to time. It is not for nothing that I named you in prison St. Robert of Phillimore. Love can canonise people. The saints are those who have been most loved.  I made only one mistake in prison in things that I wrote of you or to you ....My poem should have run: “When I came out of prison you met me with garments, with spices, with wise counsel. You met me with Love." Not others did it, but you. I really laugh when I think how true in detail the lines are.

‘Robbie’ was to be his saviour from despair, and he hope to be reborn as an artist through loving ‘Robbie’. But such love had little regard for Ross the actual person: Wilde wanted ‘Robbie’ to save him from himself, fully aware that he could well harm Ross by demanding salvation from ‘Robbie’. Yet, in the end, instead of trying to bridge the yawning gap between his imaginary ‘Robbie’ and the actual Ross, he merely prayed that ‘St Robert of Phillimore’ may absolve him from ‘any sense of guilt’ for ‘spoiling another’s life’. 

Wilde professed much of the similar affections for Ross three days later. However, by then, he had already begun to show signs of yielding to temptations, or rather to his former self. He wrote that: 

I feel that Berneval is to be my home. I really do. […] It is also extraordinary that I knew Berneval existed and was arranged for me. […] Dear Robbie, I wish you would be a little more considerate, and not keep me up so late talking to you. It is very flattering to me, and all that, but you should remember that I need rest. Good night. You will find some cigarettes and some flowers by your bed-side. Coffee is served below at eight o'clock. Do you mind? If it is too early for you, I don't at all mind lying in bed an extra hour. I hope you will sleep well. You should, as Lloyd is not on the verandah. I adore this place. The whole country is lovely, and full of forest and deep meadow. It is simple and healthy. If I live in Paris I may be doomed to things I don't desire. I am afraid of big towns…I am frightened of Paris — I want to live here. […] Please send a Chronicle to my wife, just marking it, and if my second letter appears, mark that. Also one to Mrs. Arthur Stannard……I have no one but you, dear Robbie, to do anything……

Here, on the one hand, he was desperately trying to bring himself to love Berneval; on the other hand, however, his pre-1895 self was already rearing its head and luring himself to Paris where temptations filled the streets. This made his declarations of love of Berneval sound all the more like desperate attempts at autohypnosis. Thus, it should be entirely unsurprising that merely two months later, Wilde described Berneval as unbearably ‘black and dreadful’ which made him ‘quite suicidal’. Alongside his rapidly waning love for Berneval’s natural tranquility was probably his increasingly wavering love for ‘Robbie’, which made it all the more necessary for him to keep himself up late to pen contentless love letters to Ross. 

Such love was expressed in more explicit terms on 6 July 1897: 

I long to see you. When are you coming over? I have a lovely bedroom for More, and a small garret for you, with my heart waiting in it for you.

But at the same time as he told Ross that his heart was waiting in the bedroom for him, Wilde was already making plans of eloping with Alfred Douglas to Naples. By that point, the post-prison persona he had envisioned for himself in Reading Gaol had already been eclipsed by the revival of the Neroian Oscar Wilde. 

I largely concur with Laura Lee on the interpretation that Wilde loved Douglas because Douglas seemed to him sin personified; thus he was drawn to ‘Bosie’ ‘not in spite of his flaws but because of them’. He was ‘rapturously horrified’, and he wanted to experience through ‘Bosie’ the ‘heights and depths of life’, and to burn both pleasure and pain with ‘a gemlike flame’. However, for an author so adept in manufacturing symmetries, Lee missed the crucial symmetry between Wilde’s ‘delight in decadence’ with Douglas and his desire for transcendence in his letters to Ross. The oversight is all the more curious because Lee’s referencing of Wilde’s own reflection on his life as ‘a harmony of two extremes’, which considered ‘artistically […] perfect’. I believe this confession offers a profound insight into Wilde's inner conflict: his heart was torn between 'Bosie' and 'Robbie,' the dual muses in his imagination, which inevitably led him to hurt both Douglas and Ross.

IV. 

We could not ascertain the level of intimacy Wilde and Ross shared during these months; however, it is nevertheless safe to presume that physical intimacy did accompany the fleeting revival of intense romantic affections For one, Robert Sherard alleged that during Ross’s visit to Berneval in August 1897, he accidentally saw Wilde and Ross in a passionate sexual embrace through undrawn curtains one morning, which had let him to contend years later that ‘there is no doubt — and I am speaking from absolute knowledge — that it was [Ross] who… dragged Oscar back into the delights of homosexuality’. Alfred Douglas likewise wrote in 1932 that ‘it is an absolute fact that it was Ross who at Berneval dragged Oscar back to homosexual practices. Oscar told me this himself… Harris told me at Nice that Ross had told him the same story.’ On top of which, when writing to Leonard Smithers in this period, Wilde said that ‘He [Robbie] can ride everything, except Pegasus’. The thinly-veiled innuendo strongly corroborated the existence of sexual intimacy. 

McKenna characterised their relationship as ‘Oscar was in need of comfort, and Robbie obligingly comforted him’. He also claimed that the intimacy between Wilde and Ross was merely ‘sex as consolation’ but was not love and could never ‘scale the same emotional heights as Oscar’s love for Bosie’. But the claim that Ross offered up his own body only to comfort Wilde was not only unsubstantiated but also profoundly degrading: he was not a passive object providing cheap pleasure or consolation but a human subject possessing the agency to love. Moreover, given that Ross very likely harboured a profound sense of guilt for corrupting Wilde and leading him to his downfall by introducing him to homosexual practices, it is highly unlikely that he would casually offer his body as a pastime.

The more plausible conjecture, I believe, was that Ross fell deeply in love with Wilde despite his every effort to prevent a second corrupting of Oscar Wilde by his own love. Ross’s responses at the time to Wilde’s love letters are now largely lost in history, perhaps because Wilde had no habit of keeping letters, or perhaps because Ross (or his family members) had burnt them at some point. However, Ross’s unfinished and unpublished 1918 manuscript, which was supposed to be a preface to a collection of Wilde’s letter to him, gave hints of the depth of his affections. Recalling the day 23 years ago when he welcomed the newly-released Wilde off the shore of Dieppe, Ross wrote: 

We met them [Wilde and Adey] at half past four in the morning, a magnificent spring morning such as Wilde anticipated in the closing words of De Profundis. As the steamer glided into the harbour Wilde’s tall figure, dominating the other passengers, was easily recognised from the great crucifix on the jetty where we stood. That striking beacon was full of significance for us. Then we began running to the landing stage and Wilde recognised us and waved his hand and his lips curled into a smile. His face had lost all its coarseness and he looked as he must have looked at Oxford in the early days before I knew him and as he only looked again after death. A good many people, even friends, thought his appearance almost repulsive, but the upper part of his face was extraordinarily fine and intellectual.  There was the usual irritating delay and then Wilde with that odd elephantine gait which I have never seen in anyone else stalked off the boat. He was holding his hand a large sealed envelop. ‘This, my dear Bobbie, is the great manuscript about which you know. More has behaved very badly about my luggage and was anxious to deprive me of the blessed bag which Reggie gave me.’ Then he broke into great Rabelaisian sort of laughter. The manuscript was of course De Profundis.  […] Wilde talked until nine o’clock when I insisted on going to lie down. We all met at twelve for déjeuner, all of us exhausted except Wilde. In the afternoon we drove to Arques[-la-Bataille] and sat down on the ramparts of the castle. He enjoyed the trees and the grass and country scents and sounds in a way I had never known him do before, just as street-bred child might enjoy them on his first day in the country: but of course there was an adjective for everything — ‘monstrous’, ‘purple’, ‘grotesque’, ‘gorgeous’, ‘curious’, ‘wonderful’. It was natural to Wilde to be artificial as I have often said and that is why he was suspected of insincerity. I mean when he wrote of serious things, of art, ethics or religion, of pain or of pleasure. Wilde in love of the beautiful was perfectly, perhaps too, sincere and not the least of his errors was a suspicion of simple things. Simplicity is one of the objections he urges against prisons. During that day and for many days afterwards he talked of nothing but Reading Prison and it had already become for him a sort of enchanted castle of which Major Nelson was the presiding fairy. The hideous machicolate turrets were already turned into minarets, the very warders into benevolent Mamelukes and we ourselves into Paladins welcoming Coeur de Lion after his captivity.  

In stark contrast to his earlier prefaces, which were concise and impersonal, this unfinished piece unfolded with elaborate detail and a deeply heartfelt touch. The first half of the extract reads more like a smitten seventeen year old savouring his love at first sight than a middle-aged man recalling his reunion with a friend from a respectable remove. The vivid depictions of Wilde's tall figure ‘dominating the other passengers’, his ‘odd elephantine gait’, and his ‘great Rabelaisian laughter’ all had a level of raw, animalistic vitality. Subtly, they reveal a deep-seated, almost primal attraction that defied the passage of time, an allure as impossible for Ross to resist in 1918 as it was back in 1897. In weaving his memories, Ross imbued them with such tender details that one can almost imagine a blushing author as he was committing these words to paper. His recounting of Wilde's ‘extraordinarily fine and intellectual’ visage on that ‘magnificent spring morning’ carries the freshness as if but a moment had slid by. Moreover, even after the elapsing of 23 long years, he still remembered with painfully loving precision how Wilde's lips 'curled into a smile’ under the soft, early light of half-past four in the morning, a detail so heartfelt and personal that it defied the yawning chasm of time. It is as though, despite his utmost efforts to restrain and conceal his profound affection and desire, they inevitably seep through his prose and permeated the pages. 

The heartfelt affection, however, was heavily tinged with guilt and remorse. Noticeably, Ross described Wilde at his most ‘fine and intellectual’ as how ‘he must have looked at Oxford in the early days before I knew him and as he only looked again after death’. It was as if Ross believed his very presence had cast a shadow over Wilde's luminance, as if Ross saw Wilde as Adam and himself Eve, the snake, and the apple all at once. Thus, as the narrative unfolded, Ross erased himself from the second half of the extract. He affectionately described from the perspective of a silent onlooker how Wilde had ‘enjoyed the trees and the grass and the country scents and sounds in a way I had never known him do before’, the string of ‘and’s hinting at his ‘childish’ curiosity and spontaneity. In that moment, in Ross’s eyes, Wilde was free, untethered by his own corrupting influence; and he himself watched over his return to the Garden before the fall from a distance with almost-maternal affection. Ross reemerged in the narrative not as a participant but as a protector, who removed himself from memory and defended Wilde’s sincere love for beauty to the reader. Perhaps this was Ross’s subconscious hope: to cleanse his influences from Wilde’s life and legacy, to piously marvel at Wilde’s artistic brilliance from a distance, and to walk silently in the shadows as a loyal, protective spirit. 

This unfinished manuscript was perhaps Ross’s rawest confession, penned without the chance to polish or pare down his own voice or longing from the narrative. It revealed the tragic conflicts which underpinned Ross’s life: he wanted to erase himself from Wilde’s life at the same time as he wanted Wilde with every fibre of his being; and he believed himself to be the fatal temptation for Wilde but could not help himself from yielding to the temptation of Wilde. In a way, this was the dilemma between his faith and his sexuality he encountered at the dawn of his life reenacted at the dusk: he had internalised the idea that homosexuality was to be a corrupting sin but could not deny his nature, thus he walked with the cross of repentance on his back his entire life. 

The most tragic aspect with the second ‘fall’ after Reading was that the final straw before Ross gave in to his own romantic desires was possibly a promise of a life together. After breaking his promises to Ross and abandoning him for Alfred Douglas, Wilde wrote to Ross on 21 September 1897 saying ‘I could have lived all my life with you’. Moreover, in his 2 January 1899 letter rejecting the idea of a second marriage, Wilde suggested that Ross would want him to marry ‘some sensible, practical, plain, middle-aged boy’ —— a description which eerily mirrored Ross himself. Though it might appear as mere coincidence, but reading these words together with his 1897 letter, they seem to hint at profound commitments in the nascent days of their reunion after prison.

But when did the love begin? As argued, I am not quite convinced by the claim that Ross was hopelessly in love with Wilde ever since 1886; rather, from the few textual evidence we have of him, I believe that Ross’s love was most likely rekindled by sorrow and remorse after witnessing the pain of imprisonment taking its toll the man he had admired and once loved. After the prison sentence, in 1895, Ross made multiple trips back to England at great risks to himself. According to Bogle, on 24 September 1895 Ross visited the building ‘where Wilde waited while the Registrar decided to adjourn bankruptcy proceedings for seven weeks’. He then came back again on 12 November 1895, only to wait patiently in the corridors of the Court of Bankruptcy for a glimpse of Wilde, and to silently but solemnly raise his hat to Wilde amidst a jeering crowd. Before the bankruptcy proceedings, Ross had ‘harried and pleaded’ in his attempt to raise £2000 to pay back Wilde’s debt. He went so far as to write to his former Cambridge tutor Oscar Browning for money, but, partly due to Alfred Douglas’ inability of unwillingness to contribute, Ross’s effort fell £400 short, Wilde went bankrupt. Adding insult to injury, the Marquess of Queensberry (Alfred Douglas’ father, the man who sent Wilde to prison) became one of Wilde’s primary creditors upon his bankruptcy.

On that very day, he had a brief interview with Oscar. From which, Ross recorded that: 

Physically he [Wilde] was much worse than anyone had led me to believe. Indeed I really should not have known him at all . . . His clothes hung about him in loose folds and his hands are like those of a skeleton.

He further remembered that the only subject on which Oscar had spoken calmly without breaking down was death. His shock and despondence at the ruin of the once great artist was palpable. 

He then visited Wilde in prison again in May 1896. His letter to More Adey after the visit repeated many of the same themes. In the letter, Ross wrote that: 

Then Oscar appeared. He is much thinner, is now clean shaven so that his emaciated condition is more apparent. His face is dull brick colour. (I fancy from working in the sun in the garden). His eyes were horribly vacant, and I noticed that he had lost a great deal of hair (this when he turned to go and stood in the light). He always had great quantities of thick hair, but there is now a bald patch on the crown. It is also streaked with white and grey. You must allow perhaps for my exaggeration but I try not to do so and I am writing from pencil notes taken down immediately after leaving the prison. I did not break down at all, although this the worst interview I have had with Oscar[…] I did not know he[Sherard] gave way to exhibitions of feeling, though I know he feels things of course, as much perhaps as I do […] He[Oscar] cried the whole time and when we asked him to talk more he said that he had nothing to say and wanted to hear us talk. That as you know is very unlike Oscar.

His attempt to be calm and judicious barely belied his pain. The letter reads like a string of consciousness spilled onto paper, where attempts at detached brevity inevitably give way to detailed and heart-rendering accounts of Wilde’s physical decay. For one, whilst claiming that he ‘did not break down at all’, Ross confessed that the this harrowing encounter had shaken him to the core, and that Sherard’s breakdown was barely on par with his own pain. Moreover, his description of Wilde as a shadow of the man he had once known danced between maintaining a facade of control and the inevitable surrender to grief. It was as if he was desperately trying to reign in his thoughts and tame his emotions. 

He further wrote that: 

I firmly and honestly believe apart from all prejudice that he is simply wasting and pining away, to use the old cliché he is sinking under a broken heart. […] Each person has his view as to what constitutes a decayed mind, but if I were asked about Oscar before a commission, I should say that 'Confinement apart from all labour or treatment had made him temporarily silly, that is the mildest word that will describe my meaning. If asked whether he was going to die. It seems quite possible within the next few months, even if his constitution remained unimpaired, but for the causes that wives and husbands die shortly after each other, for no particular cause or men who have lost all their money or their '10 o'clock business' and young girls whose engagements have gone wrong. I should be less surprised to hear of dear Oscar's death than of Aubrey Beardsley's and you know what he looks like.

Here, in the shadow of Wilde’s decline, Ross's heartache is again palpable. Wilde’s deterioration was described as a gradual erosion of character evoking his introduction to homosexuality, which Ross most likely believed to be the beginning of his corruption. The phrase "sinking under a broken heart" further deepens the tragedy, evoking the downfall of something majestic now in ruins. 

Yet, amidst this despair, Ross clinged to a sliver of hope: he insisted that Oscar’s mental decay was but temporary silliness induced by gaol fever, suggesting the possibility of recovery and restoration. Here, however, this hope was shadowed by the looming spectre of Wilde’s death, making Ross’s optimism appear fragile. It was telling that the analogies Ross drew were all disasters befalling respectable heterosexual families. This resonated with the profound remorse in the apologies he gave Constance before undergoing the life-threatening surgery in 1896: perhaps deep-down, he was repenting over what he saw as his own destructive effects on Oscar’s marriage to Constance.

Ross kept this vow of devotion for the rest of his life. From then on, though fifteen years younger than Wilde, Ross was to be a safe harbour for him amidst every storm. He was to become Wilde’s anchor and confidante, offering unwavering support with almost-maternal tenderness. The only deviation, as argued, was the love and longing which he could not tame or renounce despite his best efforts.

V. 

Though Alfred Douglas and his biographers have insisted time and again that Ross had schemed and plotted to replace Douglas ever since Wilde’s imprisonment, historical evidence points to the contrary. 

The tussle over Douglas’s dedicating of his first volume of poems to Wilde was a case in point. In May 1896, Douglas decided to dedicate the first volume of his poems to Wilde, either as an inconsiderate display of devotion or a selfish scheme of self-promotion, risking another heavy blow on Wilde’s already-ruined reputation. Upon hearing of this from multiple friends, Wilde went into a fit of rather ugly rage and denounced the dedication as ‘revolting and grotesque’. Moreover, he ordered Ross at once to go to Douglas and retrieve every letter, book, and jewellery piece he had bequeathed Douglas during their affair, for he wished to have ‘nothing to do’ with Douglas. Douglas, however, declined to listen to anything Wilde said in prison and rather melodramatically told Ross that Wilde shall only have the letters back when he was dead. 

The odious task of mediating between Wilde and Douglas must have worn Ross down, because a month later, he fell seriously ill and had to undergo a life-threatening surgery to have one of his kidneys removed. Ross never fully recovered from it. According to his brother Alex, Ross lost most of his hair after the kidney operation, and was consistently unwell in the years to follow.

Yet, even during his painful illness, Ross pleaded sympathy for Douglas in front of Wilde by quietly slipping him a piece of paper (to evade the prison censors), with the consequence of drawing rebuke from Wilde upon himself. Moreover, even as Ross was recovering from the surgery, emaciated and barely able to work, he tried to lift Douglas ‘out of his malaise’ and encouraged Douglas creativity. If Ross had truly seen ‘the opportunity to re-stake his claim to Wilde’ as Douglas Murray argued, he would not have gone to such lengths to protect Douglas from Wilde’s wrath: if his aim was to supplant Douglas in Wilde’s affection, he merely had to step aside and let Douglas’ petulance do the job. 

If anything, Ross did not need an ulterior motive to dislike Douglas during this period: any friend of Oscar Wilde would have been frustrated by Douglas’s utter inability to see beyond himself. In November 1895, for instance, Douglas complained to More Adey that there was nobody to ‘play his[my] card’ in England, and all of his friends ‘seemed to be his[my] enemies’ despite their effort to console his grief. And in a fit of rather tone-deaf self-pity, Douglas wrote that: 

I am not in prison but I think I suffer as much as Oscar, in fact more, just as I am sure he would have suffered more if he had been free and I in prison.

Moreover, when Ross informed Douglas that Wilde did not wish to see him again in 1896, Douglas declared to More Adey that: 

[Oscar] warned me that all sorts of influences would be brought to bear upon me to make me change; but I have not changed. From the first to last I have been absolutely consistent and absolutely the same. I shall not change now. I decline to listen to anything he says while he is in prison. But I do not believe that he means what he says, and I regard what he says as non-existent.

And in June 1896, during Ross’s life threatening illness which led to the kidney removal, Douglas told Ross that he would not obey Wilde’s wishes and give up the letters. He declared that: 

The possession of those letters and the recollection they may give me even if they can give me no hope, will perhaps prevent me from putting an end to a life which now has no raison-d'etre. If Oscar asks me to kill myself I will do so, and he shall have back my letters when I am dead.

Then, in July, only days after Ross recovered from the ‘very critical state’ post-surgery, when he was still emaciated and barely able to walk,, Douglas wrote Ross a bitter letter blaming him for Wilde’s animosity and bemoaning his own tragedy despite Ross’s effort to plead Douglas’ case in front of Wilde:  

It certainly was a surprise to me that you do not think Oscar Wilde and I should ever be together again. If Oscar Wilde only loves me half as much as I love him - if he comes out of prison nothing in the world will keep us apart. All friends and relations, all their plots and all their plans will go to the winds once I am alone with him again and am holding his hand.

Douglas's animosity lasted well into 1897. The fact that he himself had at least some part to play in Wilde’s downfall was entirely lost to Douglas. Indeed, throughout most of his life, the very notions of guilt and responsibility seemed alien to him. Thus he clung onto the fantasy that once Wilde was released all would have been restored to the olden days; and thus he refused to accept Wilde’s evolution in prison. And because he indulged in his own victimhood and refused to bear responsibility for Wilde’s downfall, he could not comprehend the simple fact that the disaster itself sufficed in making Wilde fall out of love with him. So it was psychologically necessary for him to pin the blame on someone, and Ross became his target. 

Such oblivion was painfully obvious when it came to relationships with Constance Wilde. In his autobiography, Alfred Douglas claimed that: 

I was always on the best of terms with Mrs Wilde. I liked her and she liked me. She told me, about a year after I first met her, that she liked me better than any of Oscar's other friends. […] After the débâcle I never saw her again, and I do not doubt that Ross and others succeeded in poisoning her mind against me, but up to the very last day of our acquaintance we were the best of friends.

The patronising tone is especially jarring: it had not even occurred to him that Constance could have independently come to dislike him after his affair with her husband brought unimaginable calamity onto her life; it simply had to be the malicious influence of ‘Ross and others’, as if she could not have any agency of her own. And if Alfred Douglas could at least claim diminished responsibility due to hereditary mental illness, the fact that his biographers had believed him was truly astonishing. Caspar Wintermans, for instance, contended (without evidence) that it was Ross who ‘blacken[ed] Bosie’ in the eyes of Constance and the Leversons. 

Moreover, it was more likely that Wilde himself sowed the first seed of discord between Ross and Douglas by convincing Ross that if he was to recover as an artist, he must first recover from Douglas. In May 1896, Wilde wrote to Ross saying that: 

The idea that he is wearing or in possession of anything I gave him is peculiarly repugnant to me. I cannot of course get rid of the revolting memories of the two years I was unlucky enough to have him with me, or of the mode by which he thrust me into the abyss of ruin and disgrace to gratify his hatred of his father and other ignoble passions. But I will not have him in possession of my letters or gifts. Even if I get out of this loathsome place I know that there is nothing before me but a life of a pariah – of disgrace and penury and contempt - but at least I will have nothing to do with him nor allow him to come near me.

After Ross’s attempt to defend Douglas, in his November letter, Wilde further said that: 

Do not think that I would blame him for my vices. He had as little to do with them as I had with his.[…] I blame him for not appreciating the man he ruined. An illiterate millionaire would really have suited him better. […] My genius, my life as an artist, my work, and the quiet I needed for it, were nothing to him when matched with his unrestrained and coarse appetites for common profligate life: his greed for money: his incessant and violent scenes: his unimaginative selfishness. 

Even if Wilde’s words might have been excessively harsh, Ross was probably convinced of Douglas’s inability to appreciate the genius he had ruined by Douglas’s self-absorption over the past months. 

On top of which, Wilde swore time and again that he must get over Alfred Douglas to restore his life. He wrote in his November letter that: 

In all tragedies there is a grotesque element. He is the grotesque element in mine. Do not think I do not blame myself. I curse myself night and day for my folly in allowing him to dominate my life. If there was an echo in these walls it would cry ‘Fool’ for ever. I am utterly ashamed of my friendship with him. For by their friendships men can be judged. It is a test of every man. And I feel more poignant abasement of shame for my friendship with Alfred Douglas … fifty thousand times more … than I do, say, for my connection with Charley Parker of which you may read a full account in my trial.

Then, he famously wrote in De Profundis that: 

Deliberately and by me uninvited you thrust yourself into my sphere, usurped there a place for which you had neither right nor qualifications, and having by curious persistence, and by the rendering of your very presence a part of each separate day, succeeded in absorbing my entire life, could do no better with that life than break it in pieces. […] Having got hold of my life, you did not know what to do with it. You couldn’t have known. It was too wonderful a thing to be in your grasp. You should have let it slip from your hands and gone back to your own companions at their play. But unfortunately you were wilful, and so you broke it.  You did not understand why I wrote beautiful letters to you, any more than you understood why I gave you beautiful presents. You failed to see that the former were not meant to be published, any more than the latter were meant to be pawned. Besides, they belong to a side of life that is long over, to a friendship that somehow you were unable to appreciate at its proper value. You must look back with wonder now to the days when you had my entire life in your hands. I too look back to them with wonder, and with other, with far different, emotions.

After finishing the manuscript, on 1 April 1897, he wrote to Ross instructing him to copy it twice, and said that:  

[…] there are in the letter certain passages which deal with my mental development in prison, and the inevitable evolution of character and intellectual attitude towards life that has taken place: and I want you, and others who still stand by me and have affection for me, to know exactly in what mood and manner I hope to face the world. […] Of course I need not remind you how fluid a thing thought is with me – with us all – and of what an evanescent substance are our emotions made. Still, I do see a sort of possible goal towards which, through art, I may progress. It is not unlikely that you may help me. […] My friendship with A.D. brought me first to the dock of the Criminal Court, then to the dock of the Bankruptcy Court, and now to the dock of the Divorce Court. As far as I can make out (not having the shilling primer on the subject) there are no more docks into which he can bring me.

Though Wilde might have wished to revoke some of the harsh words in the early parts of De Profundis, they most likely left an indelible mark upon Ross as he was reading the long manuscript to the typewriters. As someone who adored Wilde’s art more than anything, and who blamed himself deeply for his corrosive influence upon the artist, Wilde’s harsh denunciations gave Ross every reason to want to keep them apart for Wilde’s own good —— and indeed, as argued, for a while, Wilde himself pleaded for ‘St Robert of Phillimore’ to save him from his temptation-prone self. 

VI. 

Despite all of these, however, it was only after Wilde betrayed him with Douglas that Ross became hostile towards Douglas. Wilde was incredibly contradictory in his letters to Ross and to Douglas between April and August 1897. Ten days after his release, upon Ross’s departure from Berneval, Wilde was resolute in resisting the temptation of returning to Douglas and his former life. In his 28 May 1897 letter, he wrote that: 

Bosie's revolting letter was in the room, and foolishly I had read it again and left it by my bedside. My dream was that my mother was speaking to me with some sternness, and that she was in trouble. I quite see that whenever I am in danger she will in some way warn me. I have a real terror now of that unfortunate ungrateful young man with his unimaginative selfishness and his entire lack of all sensitiveness to what in others is good or kind or trying to be so. I feel him as an evil influence, poor fellow. To be with him would be to return to the hell from which I do think I have been released. I hope never to see him again. 

On either 29 or 30 May 1897, he reiterated the message to Ross: 

I am terrified about Bosie. More writes to me that he has been practically interviewed about me! It is awful. More, desiring to spare me pain, I suppose, did not send me the paper, so I have had a wretched night. Bosie can almost ruin me. I earnestly beg that some entreaty be made to him not to do so a second time. His letters to me are infamous.

And Douglas was not the only source of temptation: a day later, he swore to Ross that: 

[…] I was not tempted by either sirens, or mermaidens, or any of the green-haired following of Glaucus- I- really think that this is a remarkable thing. In my pagan days the sea was always full of tritons blowing conchs, and other unpleasant things. Now it is quite different.

In conjunction to his sworn resolution to resist temptation, in these letters Wilde was incredibly affectionate to Ross. The 28 May letter quoted above was extravagant in its proclamation of love for Ross: Ross was to be his ‘St. Robert of Phillimore’, healing him from the wounds the world had inflicted upon him and offering him unconditional love in ‘disgrace and obscurity and poverty’. Moreover, in the letter, Wilde declared that:  

I made only one mistake in prison in things that I wrote of you or to you ....My poem should have run: “When I came out of prison you met me with garments, with spices, with wise counsel. You met me with Love." Not others did it, but you. I really laugh when I think how true in detail the lines are.

And on 31 May 1897, he sounded entirely like a pining lover: 

Dear Robbie, I wish you would be a little more considerate, and not keep me up so late talking to you. It is very flattering to me, and all that, but you should remember that I need rest. Good night. You will find some cigarettes and some flowers by your bed-side. Coffee is served below at eight o'clock. Do you mind? If it is too early for you, I don't at all mind lying in bed an extra hour. I hope you will sleep well. You should, as Lloyd is not on the verandah.

Yet unbeknownst to Ross, at the same time as Wilde professed love and loyalty to him, he was planning a reunion with Alfred Douglas. On 2 June 1897, Wilde tersely told Ross that ‘Bosie has written, for him nicely on literature and my place’, yet enticed Douglas with talks of art and a meeting at the metaphorical ‘double peak of Parnassus.’ In his next letter two days later, in stark contrast to his assurances to Ross, he showered Douglas with admiration and affection: 

Don't think I don't love you. Of course I love you more than anyone else. But our lives are irreparably severed, as far as meeting goes. What is left to us is the knowledge that we love each other, and every day I think of you, and I know you are a poet, and that makes you doubly dear and wonderful.

Then, ten days after he had promised Ross ‘dear boy, there is no one who would stay with me but you’, and after Ross had sent him £250 by check upon his request, on 16 June, Wilde beckoned Douglas to come to Dieppe: 

I have asked you to come here on Saturday. I have a bathing costume for you, but you had better get one in Paris. Also bring me a lot of books, and cigarettes. I cannot get good cigarettes here or at Dieppe.

The romantic reconciliation, however, was bound to end in disaster. Lady Queensbury disapproved of any meeting, and Wilde’s weekly allowance from Constance was preconditioned upon him severing all ties with Alfred Douglas according to their divorce settlement. Moreover, any reunion was bound to cause a scandal in the English press, damning what little possibility of a restoration of Wilde’s literary standing. On either 16 or 17 July 1897, Wilde received a resignation letter from his solicitor Arthur Hansell, who informed him that were him and Douglas to meet, Queensbury would descend upon Dieppe and wreck havoc. It is curious that many biographers accused Ross for deliberately tipping off Constance and/or Hansell out of jealousy, for there was really no evidence of either the actus reus or the mens rea. Both could have heard about the plan from many other sources. For one, Wilde himself had written to Lady Queensbury on 7 or 8 June asking for her consent to a meeting with Alfred Douglas, and she duly replied in the negative to More Adey. Moreover, Queensbury had private detectives in France, and Dieppe (next to Berneval) was full of English tourists who could have conversed with Wilde. 

But Ross did suspect of something, perhaps a reunion. Like many other friends who wished to see Wilde rehabilitated and financially secure, he was ardently against the meeting. And given that he was most likely in love with Wilde at the time, one could reasonably postulate that Ross also had personal grounds to oppose the meeting. As if reassuring an insecure partner, Wilde tried to dispel Ross’s suspicion by scorning Douglas. On 3 June, he wrote: 

The entirely business-like tone of your letter just received makes me nervous that you are a prey of terrible emotions, and that it is merely a form of the calm that hides a storm. Your remark also that my letter is "undated," while as a reproach it wounds me, also seems to denote a change in your friendship towards me. I have now put the date and other facts at the head of my letter. I get no cuttings from Paris, which makes me irritable when I hear of things appearing. Bosie has also written to me to say he is on the eve of a duel! I suppose about this. They said his costume was ridicule.

A day after the meeting in Berneval was called off by Wilde’s solicitor, he told Ross on a postcard that ‘A. D. is not here, nor is he to come.’ Then, two days later, he gave Ross a fuller account of the matter:  

I suppose you know that Hansell has resigned his position, and will not act for me any more. He writes a mysterious letter about 'private information'. I suppose he has heard that Bosie wishes to see me. I have now put off Bosie indefinitely. I have been so harassed, and indeed frightened, at the thought of a possible scandal or trouble. The French papers describe me going about at Longchamps with Bosie at horse-races! So that must suffice for evil tongues.

In his version of the story, he was again the hapless prisoner to the whims and wishes of ‘Bosie’, as if he had never written the letters pleading his ‘dear boy’ to visit Berneval. 

Douglas blamed More Adey and Ross for the thwarted reunion. Immediately after Wilde called off the meeting, Douglas wrote Adey an ugly letter reeking with antisemitic resentment: 

I should like to have some explanation from you as to what your views are and what steps you propose to take to free Oscar (and myself) from the ridiculously transparent Jewish trap which has been laid for him by the admirable George Lewis, and into which you have guided him.

Adey was ill with pneumonia at the time, so Ross replied on his behalf and explained to Douglas why the divorce arrangements between Wilde and Constance forbid the reunion. In his reply, Douglas cursed More and took out his anger on Ross in another revolting letter: 

Your letter is rather absurd. The fact of More having a cold does not alter his responsibility for the extreme stupidity of the arrangement that he has made by which Oscar is at the mercy of a Jew solicitor, nor does the fact that you, personally, happen to agree with the Jew solicitor make your own part in the business any more admirable……Nothing short of a very serious operation can atone for More’s part in the sale of Oscar’s freedom to the Jews. A mere feverish cold is no good at all. But operations cover a multitude of sins as you know or ought to. […] As long as Oscar was a captive in prison and I was morally bound hand and foot, you and More could make your own arrangements, but now your interference is simply an impertinence and the fact that your interference between two perfectly free people is conducted by intrigue and backstairs wire-puling only makes it more intolerable. . . . I may point out that I never suggested that you were responsible in any degree for the silly and old-womanish attempt to separate me and Oscar but you have in your letter today deliberately claimed the responsibility and as you seem to be rather proud of it I have no hesitation in giving you the full credit of it.

The remark about ‘operations cover a multitude of sins’ was clearly referring to the kidney removal surgery which nearly claimed Ross’s life the previous year. This begs the question: for what supposed transgressions was Ross being asked to seek atonement, and by Douglas out of all people? The presumptive claim is perplexing. Moreover, perhaps it had never occurred to Douglas that were Ross to be pulling wires behind the scenes, he would not have stepped into the limelight, exposing himself to Douglas’s verbal rotten vegetables. Indeed, if Ross was truly manipulating events to drive a wedge between Wilde and Douglas, as Croft-Cooke, Wintermans, and Murray alleged, he would not have informed Douglas of his own role in negotiating Wilde’s divorce settlement, for it would only work against himself.

At this point, Ross’s patience with Douglas finally frayed. Douglas’ insults of Adey and offensive remarks aimed at himself did not sit well with Ross. Further fuelling Ross's anger was Douglas's apparent disregard for Wilde's precarious financial situation: not only did Douglas seem indifferent to the risk he posed to Wilde's modest annual income of £150 from Constance, he also showed little willingness to alleviate Wilde’s plight by paying £150 out of his own pockets. Thus, Ross’s reply was laced with biting sarcasm:

With your £150 he will have the added pleasure of your perpetual society and your inspiring temper.

In response, Douglas haughtily and patronisingly proclaimed: 

You still seem to cling to the idea that Oscar does not want to see me, The wish is the father to the thought. You probably overlook the fact that I am passionately devoted to him, and that my longing to see him simply eats my heart away day and night.

But alas, one could not feed on love alone. As Bogle acutely remarked, Alfred Douglas, the spoiled aristocratic boy whose mother indulged his every whim, struggled to comprehend that there were other things that mattered in this world beside his affections. Perhaps in his head, if he and Oscar had loved each other, nothing else ought to matter, not Constance, not Oscar’s children, not his own mother, not even his father’s threats. To him, anyone who dared to thwart his wishes must either be woefully ignorant or wilfully insidious. 

Upon being informed of the row between his two ‘dear boys’, Wilde immediately wrote to console Ross. On 28 June, he wrote that: 

Bosie has sent me a long indictment of you and panegyric of himself, to which I will reply to-morrow. You can understand in what tone I shall answer him. But for you, dear friend, I don't know in what black abyss of want I would have been.

Eight days later, he further promised Ross that he had chastised Douglas and that an apology from Douglas was forthcoming: 

I have had no time to write lately, but I have written a long letter - of twelve foolscap pages - to Bosie, to point out to him that I owe everything to you and your friends, and that whatever life I have as an artist in the future will be due to you. […] I also wrote to him about his calling himself a grand seigneur in comparison to a dear sweet wonderful friend like you, his superior in all fine things. I told him how grotesque, ridiculous, and vulgar such an attempt was.

In the same letter, he implored Ross to visit Berneval. In a rather saccharine if not somewhat erotic manner, Wilde promised Ross ‘a small garret […] with my heart waiting in it for you’. 

A period of silence followed, during which Wilde received no word from Ross, who might well have been nursing his anger or licking his wounds. During this very period, Douglas wrote Ross yet another letter, in which he haughtily flaunted Oscar’s love by stressing how eagerly Wilde implored him to go to France: 

[…] You must admit that if he doesn't want to see me, he has a curious way of expressing his disinclination. When a man writes to one and invites one to come and see him, and says that he trembles with ecstasy at the joy of seeing one again it requires a subtle mind like yours to detect symptoms of his unwillingness to see one.’

We do not know whether Ross believed him. After all, Wilde had never confessed to Ross how eagerly he longed to reunite with Douglas; if anything, his letters gave the opposite impression. Thus it may well be that Ross took Douglas’s flaunt as nonsense. But regardless, Ross did not reply to any of Wilde’s letters or postcards till late July. Ross’s delayed response, attributing his silence to ‘domesticity’, might have struck Wilde as a veiled expression of a wounded heart; thus, perhaps to reassure Ross, he once again upbraided Douglas and lavished Ross with kind words in his reply on 20 July: 

As regards Bosie, I feel you have been, as usual, forbearing and sweet, and too good-tempered. What he must be made to feel is that his vulgar and ridiculous assumption of social superiority must be retracted and apologised for. I have written to him to tell him that quand on est gentilhomme on est gentilhomme, and that for him to try and pose as your social superior because he is the third son of a Scotch marquis and you the third son of a commoner is offensively stupid. There is no difference between gentlemen. Questions of titles are matters of heraldry - no more. I wish you would be strong on this point; the thing should be thrashed out of him. As for his coarse ingratitude in abusing you, to whom, as I have told him, I owe any possibility I have of a new and artistic career, and indeed of life at all, I have no words in which to express my contempt for his lack of imaginative insight, and his dullness of sensitive nature. It makes me quite furious. So pray write, when next you do so, quite calmly, and say that you will not allow any nonsense of social superiority and that if he cannot understand that gentlemen are gentlemen and no more, you have no desire to hear again from him.

Over the subsequent week, Wilde pestered Ross with a flurry of letters and postcards, each brimmed with a mixture of requests and yearnings. Sometimes, like a lovestruck suitor, he beckoned Ross to visit Berneval and stay for long. Yet, in other letters, he dispatched orders for watches and pictures, treating Ross more as an aide than an equal.

By early August, despite the weight of professional and personal obligations, Ross carved out three weeks for Wilde. During this sojourn, Wilde’s creativity flourished and he began to pen The Ballad of Reading Gaol. It was also there and then that Robert Sherard accidentally spotted Wilde and Ross in a ‘sexual embrace’ through curtains accidentally left open by the pair. This was perhaps a ‘golden holiday’ for Ross, as Borland suggested, with Wilde parted from what he believed to be the ‘corrupting influence’ of Douglas, and with himself healing Wilde’s wounds with the balm of love. Yet, as argued above, it might have also been a period of intense struggle, where he was elated by Wilde’s affections but at the same time anxious about another corruption of his beloved artist by his own love just as his creative genius was about to be revived. We would never know whether Ross was content or conflicted under Wilde’s romantic advancement; but regardless, from what we do know, it was almost certain that Ross was very much smitten if not in deeply in love during that enchanted summer in Berneval. 

Yet, again unbeknownst to Ross, despite his promises, Wilde never seriously broke with Douglas. Though few letters from 7 July to 31 August between the two survived, from the ‘loving nature’ of their correspondence which ‘frame this gap’, it is possible that Wilde showered Douglas with ever more ‘exaggerated expressions of affection and devotion’ (as Douglas claimed in his 1929 autobiography) at the same time as he promised Ross that his heart was waiting in the bedroom for him. And given that Douglas was still accusing Ross of pilfering money and exploiting his own absence on 22 July, it was very likely that Wilde never chided Douglas for his offensive conducts towards Ross. 

Days after Ross left Berneval for London, on 28 August, Wilde reunited with Douglas in Rouen. He had informed a great many people except for Ross of his plan to escape from Berneval. After their reunion, ‘St Robert of Phillimore’ was replaced by Douglas as his savour from despair and creative impasse. On 31 August, he told Douglas that: 

I feel that my only hope of again doing beautiful work in art is being with you. It was not so in old days, but now it is different, and you can really recreate in me that energy and sense of joyous power on which art depends. Everyone is furious with me for going back to you, but they don't understand us. I feel that it is only with you that I can do anything at all. Do remake my ruined life for me, and then our friendship and love will have a different meaning to the world. I wish that when we met at Rouen we had not parted at all. There are such wide abysses now of space and land between us. But we love each other. 

Four days later, he finally confessed his real feelings for Douglas to Ross: 

Yes: I saw Bosie, and of course I love him as I always did, with a sense of tragedy and ruin. He was on his best behaviour, and very sweet.

Rather incredulously, after confessing that he had lied about breaking with Douglas, in the same letter, he told Ross that he really wanted him and beckoned Ross to join him in Rouen. We could only imagine how Ross responded to the invitation. 

Two weeks after Rouen, after he managed to borrow some money from a couple of his friends, on 15 September, Wilde and Douglas eloped to Naples, the city where homosexual men could enjoy ‘freedom from morals’. From Naples, he told Ross that his returning to Douglas was ‘psychologically inevitable’, because he could not ‘live without the atmosphere of Love’, and the fact that Douglas had ‘wrecked [his] life’ only made him love Douglas even more. To Ross, it was nothing less than a ‘metaphorical slap in the face’. But to him, the cruellest part of that letter was perhaps: 

I could have lived all my life with you, but you have other claims on you — claims you are too sweet a fellow to disregard — and all you could give me was a week of companionship. […] for the last month at Berneval I was so lonely that I was on the brink of killing myself. The world shuts its gateway against me, and the door of Love lies open. When people speak against me for going back to Bosie, tell them that he offered me love, and that in my loneliness and disgrace I, after three months' struggle against a hideous Philistine world, turned naturally to him. 

Relegating Ross to a part of the ‘hideous Philistine world’ which ‘shut its gateway’ after all of his sweet affection and labour of love was so callous that it seemed almost heartless. Moreover, dangling the dream of a life together before Ross’s eyes only to dash it by blaming his own infidelity on Ross’s absence was perhaps as hurtful as he could have been. Ross was understandably devastated and furious. In the following week he sent Wilde multiple angry letters. In response, Wilde wrote: 

I have not answered your letters, because they distressed me and angered me — and I did not wish to write to you of all people in the world in an angry mood. You have been such a good friend to me: your love, your generosity, your care of me in prison and out of prison are the most lovely things in my life. Without you what would I have done? As you made my life for me, you have a perfect right to say what you choose to me; but I have no right to say anything to you except to tell you how grateful I am to you, and what a pleasure it is to feel gratitude and love at the same time for the same person. I dare say that what I have done is fatal, but it had to be done. It was necessary that Bosie and I should come together again; I saw no other life for myself. For himself he saw no other: all we want now is to be let alone, but the Neapolitan papers are tedious and wish to interview me, etc. They write nicely of me, but I don't want to be written about. I want peace- that is all. Perhaps I shall find it.

Adding insult to injury, after declaring that he saw ‘no other life for [him]self’ but being with Douglas, he told Ross that they have rented a ‘lovely villa over the sea and a nice piano’ in Naples. But when a heartbroken Ross questioned him whether he wanted his[Ross’s] literary assistance at all, Wilde was quick to take him up on the offer. Because Ross’s letters were lost, we could not tell whether his offer was genuine or angry sarcasm; but regardless, despite the betrayal which ended their romantic affair, Ross stayed on as Wilde’s faithful editor, assistant, and literary executor. 

The elopement shocked everyone who had Wilde’s welfare at heart, chief of whom Constance. Mere months before, she was contemplating letting her ex-husband see their children despite the trauma he had inflicted upon the family, as long as he stay away from Alfred Douglas, whom she referred to as ‘that appalling individual’. After the betrayal, there was no way she could stomach paying her ex-husband £3 a week to sustain him and the ‘male equivalent of a mistress […] who had torn her family apart’. Perhaps moved by her agony, More Adey advised Wilde to give up his weekly £3 from Constance ‘in the name of Beauty and Art’, which he refused to do. But regardless, pursuant to the terms of their divorce settlement, Constance promptly terminated his weekly income on 16 November. Under his earnest entreaties over the subsequent weeks, Ross still sent Wilde small sums to keep him financially afloat as much as possible, though he was understandably unwilling to defend Alfred Douglas to Constance. 

Over the next two months, Ross wrote to Wilde about nothing but literature and business. He diligently assisted with the writing and editing of The Ballad of Reading Gaol, and Wilde had accepted a great many of his suggestions. However, trouble arose when the poem was about to go to the press in November. As Constance had cut off Wilde’s weekly income, and Lady Queensberry Douglas’s, both men were anxious for immediate profit from the poem. Consequently, Wilde proposed to serialise the Ballad on Reynolds, an English newspaper with a seedy reputation, before having Leonard Smithers publishing it as a book. From a business perspective this was self-destructive, for serialisation would spoil the book sale. Unable to drill such basic commercial awareness into Wilde’s head, Smithers complained that Wilde knew as much about the publishing business ‘as a chrysanthemum’. And despite Wilde’s insistence to Ross that Smithers ‘did not mind a bit’ the poem appearing elsewhere, Smithers had in fact written to Ross on 23 October, threatening that if Wilde was to ‘Reynolds-ise’ him, he shall ‘send back the manuscript of his poem’. Thus Ross was ardently against publishing the Ballad in any newspaper. This, to Alfred Douglas, who probably knew less about business than a chrysanthemum since he had always prided himself on his aristocratic aloofness above the commercial world, seemed like sabotage. In his letter to More Adey, he accused Ross of starving himself and Wilde of money by ‘throwing obstacles in the way of Oscar’s gaining money by his literary work’. The fact that Douglas seemed to have Wilde’s implicit support was the last straw for Ross. On 25 November 1897, Ross wrote to Smithers in resignation of his duty as Wilde’s executor: 

I regret to inform you that I have ceased to be on intimate terms with Oscar Wilde or to enjoy his confidence in business or any other matter…Alfred Douglas has written to a common friend that I have tried to prevent any considerable sum being obtained for the poem.

In response, Wilde protested to Smithers that: 

Robbie may not wish to be worried any more by my business affairs. He has had endless worry for two years over them but it would be fairer of him to say that it is too much worry to go on, than that he finds he has not my confidence. Such a statement is childish and, if taken seriously by you, would lead you to think that I was at once dense of judgment and coarsely ungrateful in nature.

Wilde seemed painfully oblivious to Ross’s pain. In his correspondence with all of his friends, Ross included, he spilled more ink arguing that Alfred Douglas was not in fact a ‘disreputable person’ than soothing Ross’s hurt after a second betrayal. In a follow-up letter to Smithers, he even complained that Ross was behaving ‘unkindly’ to him, and that Ross had sought to ‘claim the crown of thorns’ of the tragedy ‘on the ground that [his] feelings ha[d] been harrowed’. And although he acquiesced to Ross’s breaking up of their ‘intimate friendship’, he grumbled to Ross that the termination of their business relationship was ‘unjust, unwarranted, and unkind. He went so far as saying to Ross: 

I do think you make wonderfully little allowance for a man like myself — now ruined, broken-hearted and thoroughly unhappy. You stab me with a thousand phrases: if one phrase of mine shrills through the air near you, you cry out that you are wounded to death.

The accusation of making insufficient allowance was shockingly inconsiderate. After all, Ross had raised money for him, made time for him, given him his heart and body and provided him with substantial assistance even after the betrayal had left him heartbroken. Perhaps Wilde did not fully grasp the fact that Ross was under no obligation to provide him with comfort or assistance, and that the generosity hitherto had been premised upon love, respect, and mutual trust. 

It is difficult to determine why Wilde was so contradictory in his letters to Ross and Douglas, and biographers all had different guesses. Perhaps, as Frankel postulated, his ambition to restore himself in society through the more ‘upstanding and respectable’ Ross by reforming his lifestyle and reconciling with Constance faltered under repeated encounters with vicious homophobia, which reverted him to his old ways and rekindled his infatuation with Douglas. Or perhaps he simply wanted to enjoy the ‘safe, predictable, and consoling homespun of Robbie’s love’ and the ‘dazzling and dangerous love of Bosie Douglas’ at the same time as McKenna contended.Indeed, monogamy was never quite his style. As he confided to John Fothergill: 

Two loves have I:  The one of comfort;  The other of despair.  The one has black;  The other golden hair.

Or, if one is to be less charitable, he could have been ‘playing off Ross against Douglas’, manipulating Ross’s love to keep him as his free personal assistant, whilst intending to ‘join Douglas as soon as he could without endangering his income’. Douglas himself subscribed to this cynical version of events. In his Autobiography, Douglas rather cruelly boasted that Wilde cared more for ‘my little finger’ than for Ross’s ‘body and soul’ put together. And Rupert Croft-Cooke remembered that Douglas had once told him that Wilde and him kept Ross around as someone ‘useful’ in attending to ‘occasional matters of business’ which they were ‘too indolent’ to attend to themselves. Personally, I see elements of truth in all three interpretations (although to different extents), but I believe Wilde was less socially-minded than in the first version, (somewhat) more genuine in his love than in the second, and more noble a personality than in the third. His will might have faltered, his loyalties were possibly split, and he may have wished to keep Ross as a useful aid, but I believe underlying all of these was the irreconcilable tension between his Apollonian and Dionysian impulses. In Ross, and perhaps in Berneval as well, he saw the possibility of a more orderly, wholesome, and tranquil life, where he could derive artistic inspirations in the embrace of the sun and the sea;  whilst Douglas, and perhaps Rouen, Naples, and Paris too, constantly tempted him with the exquisitely decadent pleasures in the shadows of the metropoles. He saw artistic salvation in both men, and therefore he implored both men to ‘remake’ his ruined life for him.

It is even more difficult to scale Ross’s devastation. Most of his letters to Wilde over this period were either lost or destroyed. The few lines which survived read like a heartbroken spouse in a shattered marriage. For one, after discovering Wilde had been lying about his feelings for Douglas, Ross tersely admonished him: 

Remember always that you committed the unpardonable and vulgar error of being found out.

The choice of passive voice intriguingly obscures the subject who was doing the ‘f[inding] out’ and leaves much room for imagination. This was probably as much an allusion to Wilde being caught by Queensberry for associating with male renters as to him being ‘found out’ by Ross for associating with Alfred Douglas. The interplay, moreover, was clearly warning Wilde against another disastrous scandal arising out of affair with Douglas. Subsequently, Wilde proposal to dedicate the second edition of The Ballad of Reading Gaol to Ross with the words ‘When I came out of prison some met me with garments / and spices and others with wise counsel / You met me with love’ was sharply dismissed by Ross in his letter to Leonard Smithers, in which he wrote: 

I think the dedication with or without initials is ROT and at all events quite unsuitable to a poem of that sort…… I am convinced that dear Oscar meant to tell me and Douglas and two or three other people that each was intended. That only amuses me. 

The passage was brimming with the hurt, disillusionment, and passive-aggressiveness of a lover betrayed. It is worth noting that this dedication was first proposed to Ross on 28 May 1897, in that very letter Wilde had canonised Ross as ‘St. Robert of Phillimore’ and promised him that he wanted ‘no other’ in this world. Therefore, Lee was most likely right in postulating that Ross was heartbroken by the fact that ‘the man who had written him words of love a few months before had not trusted him enough tell him the truth’, and had instead ‘lied over and over’ about his feelings for Douglas. He might have also been deeply disillusioned in the character of the man he had loved and admired. As Bogle suggested, because he would ‘do anything he could for Oscar’, he had probably believed in an implicit understanding of mutual support and trust. The relevatin that Wilde might not fully grasp the depth of his devotion, or worse, that a genuine mutual trust had perhaps never existed between them, then, must have been jarring. 

But the heartache Ross experienced was not merely a matter of betrayed love, for Wilde’s return to Douglas had torn apart the very fabric of Ross’s aspirations and dreams for Wilde. As a friend, he had wished Wilde a healthy long life after prison, yet his hope was dashed by Wilde’s returning to decadence. Above all, he had worked tirelessly to repair Wilde’s relationship with Constance, hoping to restore his family life if not some semblance of respectability in the eyes of society. Yet, Wilde’s reunion with Douglas had irrevocably cast these hopes adrift, severing the fragile ties that might have reconnected Wilde with his sons. Moreover, as an admirer of Wilde’s artistic genius, Ross must have been pained by the fact that his own effort to rehabilitate ‘the literary Oscar Wilde’ to the European reading public by presenting him as ‘reformed, respectable, and not dangerous to read’ was endlessly sabotaged by Wilde himself —— his cohabitation with Alfred Douglas in Naples had raised endless English eyebrows, for one. 

Compared to the ‘branding problem’, however, Ross was probably more devastated by Wilde’s return to the ‘slough of coarse pleasures’ which he had implored Ross to save his soul from merely five months ago. The memory of Wilde begging for salvation from the snare of ‘Bosie’ was still fresh in Ross’s mind, and reading De Profundis word for word multiple times must have further convinced Ross of the exigency of saving Wilde’s art from Douglas’s destructive ‘lack of imagination’. And as mentioned, in his unfinished manuscript 23 years later, Ross fondly recalled Wilde’s post-prison days as a return to the state of nature before corruption: he was enjoying ‘the trees and the grass and the country scents and sounds’ like ‘a saree-bred child might enjoy them on his first day in the country’, and such enjoyment filled him with endless creativity, enabling his imagination to turn Reading Gaol into an ‘enchanted castle’. Thus it was possible that Ross saw Wilde’s disastrous return to Douglas as a result of his own failure to protect Wilde from corrupting influences, and he might have even considered himself partly responsible for failing to suppress his own love and ‘dragging’ Wilde back into ‘homosexual practices’. Therefore, in December 1897, beyond being shattered as a lover and disappointed as a friend, Ross was possibly devastated above all by his sense of guilt for yet again seeing Oscar Wilde expelled from his Garden of Eden. 

VII. 

After breaking off both his ‘intimate friendship’ and professional relationship with Wilde on 25 November 1897, Ross spent the next couple of months licking his wounds and trying to shut Wilde out of his life. The breakup also made Ross begin to contemplate resuming his own literary career: his best short story, A Case at the Museum, was penned in early 1898 and published in October in Cornhill Magazine. Between November 1897 and January 1898, he did not write to Wilde at all, though he sent him newspaper cuttings to update him on English literary news every once in a while despite his own illness during that harsh winter. When spring finally arrived, Ross was struck by the terrible news of the death of Aubrey Beardsley, another dear artist friend who was only 25 years old. Thus Ross was hardly in a state to cater to Wilde’s needs physically or mentally. 

Perhaps realising that he could not do without Ross’s literary and personal assistance, from 25 November to 15 December 1897, Wilde begged for Ross’s forgiveness and return via every channel possible. On 6 December, he wrote Ross a long letter explaining his conduct and expressing his gratitude: 

I knew that I was running a fearful risk of losing my income by being with Bosie — I was warned on all sides: my eyes were not blinded. Still l I was a good deal staggered by the blow: one may go to a dentist of one's own free will, but the moment of tooth-extraction is painful, as More's acquiescence in Mr. Hargrove's refusal to pay Mr. Holman wounded me — and I shot poisoned arrows back. […] You have done wonderful things for me; but the Nemesis of circumstances, the Nemesis of character has been too strong for me; and, as I said to More, I think I was a problem for which there was no solution..

On the same day, he reiterated the message of gratitude in his letter to Leonard Smithers: 

I am quite broken-hearted about Bobbie's attitude towards me, and the way he has written of me to Alfred Douglas. But nothing can ever spoil the memory of his wonderful devotion to me, or rob me of the pleasure of being deeply grateful to him for the love he showed me.

With the expectation that Smithers would serve as his intermediary in communicating with Ross, he also emphasised that he had parted ways with Alfred Douglas, who was ‘on the way to Paris’. But if Ross was heartbroken by his failure to save Wilde from himself, the apology of ‘the Nemesis of character ha[d] been too strong’ probably only served to rub salt into his wounds. In any case, Ross did not reply to his letters, and Wilde only heard back from Leonard Smithers, who advised him to ‘make it up with Robbie’. In response, on 10 December, he told Smithers: 

[…] I would gladly go on my knees from here to Naples if Robbie would be nice to me. I was upset and distressed at everything that had happened, and wrote bitterly - not about anything that was said about me but about what was acquiesced in about someone else. […] I still hope that Robbie may be kind to me again. 

But at the same time as he begged for forgiveness and confessed that he was ‘deeply sorry’ for the pain he had inflicted on Ross, Wilde also complained to Smithers about Ross’s reluctance to argue against Constance on the matter of whether Alfred Douglas was indeed a ‘disreputable person’. Moreover, he also grumbled that Ross ‘like most people […] only realises the pain he gets and not the pain he gives.’ In particular, he said:

Robbie's refusal to interest himself in my poem I feel is inartistic of him - my work as a poet is separate from my life as a man - and as for my life, it is one ruined, unhappy, lonely and disgraced. All pity, or the sense of its beauty, seems to me dead in the world.

A day later, perhaps realising that Ross would not take too kindly to his defensiveness when it came to Alfred Douglas, Wilde sent a more suppliant apology to Smithers professing his love for Ross yet again:  

As for dear Robbie, if he will kindly send me out a pair of his oldest boots I will blacken them with pleasure, and send them back to him with a sonnet. I have loved Robbie all my life, and have not the smallest intention of giving up loving him. Of all my old friends he is the one who has the most beautiful nature; had my other friends been like him, I would not be the pariah-dog of the nineteenth century. But natures like his are not found twice in a life-time. When dear Robbie heavily bombarded me (an unfair thing, as unfortified places are usually respected in civilised war) I bore it with patriarchal patience. I admit, however, that when he seemed to me slightly casual about someone else, I sent up a rocket of several colours. I am sorry I did so.

And as if worrying that the letters to Smithers were not enough, Wilde also asked More Adey to pass on his love to Robbie in his 15 December letter. 

However, Ross could not renounce his love for Oscar Wilde. Despite his every effort to set boundaries and cut the man who had hurt him so terribly out of his life, he could not help but to return to him. When Wilde finally broke with Douglas and beckoned Ross to meet him in Paris in February, Ross gave in; and when they met, it did not take much for Ross to forgive Wilde. And when Constance passed away in April 1898, upon receiving Wilde’s telegraph begging for his presence, Ross at once dropped everything and left for Paris, though he was subsequently very disappointed by how little Wilde was impacted by his ex-wife’s death. Moreover, whilst Alfred Douglas described Wilde as ‘a fat old prostitute’ over his incessant demands for money, Ross continued to dole out money to Wilde to keep him afloat between 1898 and 1899, even when he suspected that Wilde was lavishing money on random boys off the streets of Paris. Notably, once, despite knowing that Wilde was lying to him, despite being strapped for cash himself, and despite the fact that he had not gotten over the hurt, when Wilde asked him for money, Ross sold one of his beloved paintings and asked Leonard Smithers to send £5 to Wilde without stating the source of the money. In return, in February 1899, Ross received a short dedication on a new edition of The Importance of Being Earnest, the brilliant play which Wilde himself never took very seriously.

Over much of 1899, Ross travelled around Europe with his friends and family to recuperate from illness, yet ever so often he gave in to Wilde’s demand for comfort and company. In April 1899, Wilde sent Ross a series of postcards begging him to come to Switzerland because he was desperately unhappy after leaving Harold Mellor. Upon Wilde’s earnest beckoning, Ross headed to Switzerland despite being ill at the time. There, Ross paid off every hotel bill Wilde had racked up out of his own pockets, bought him train tickets, brought him back to Paris, and spent several days with Wilde trying to get him sobered up. In August, Ross fell ill again and spent a couple of weeks in the countryside with More Adey. Then, in October, before joining his mother and niece in Italy, he deliberately stopped at Paris to see Wilde again upon his request.  

Wilde decayed rapidly over the two years, and Ross constantly tried to save Wilde from himself. Apart from the old habits of lavishing money on beautiful clothes and beautiful boys, alcoholism was a particular cause for concern. According to his acquaintances, though Wilde had never been ‘exactly sober’, but since 1898 he began drinking excessive quantities of champagne and absinthe, and was often barely able to ‘stagger from the Madeleine to the Opera’. One claimed that he also used cocaine regularly. Moreover, insomnia was increasingly a problem. In March 1898, he asked Ross for money to rent two rooms ‘for insomnia’, and as he sunk deeper into alcoholism, he also began spending every night talking non-stop to everyone who cared to listen, from Ferdinand Esterhazy to poor street girls. This was most likely the consequence of severe depression. or other mental illnesses. Unfortunately, without modern knowledge into mental illness, he was never diagnosed and seldom found understanding. Even Ross, who wanted nothing but the best for Wilde, found it difficult to sympathise with his struggles or to help him at times. For one, Ross advised most friends that if they were to send Wilde anything, it was better to send clothes than money, for money would be squandered in self-destructive ways in no time. Similarly, when he was with Wilde in Switzerland in April 1999, he sternly warned Wilde of the consequences of alcoholism and ordered him to sober up, but was unable to prevent a relapse six months later. Ross blamed himself for not having ‘ordered around’ Wilde enough to keep him sober; however, perhaps Wilde was right in complaining that ‘Robbie is a dear but he does not understand’.

More intriguingly, Ross also tried to steer Wilde’s away from homosexuality despite his own relationships with men, and even as he occasionally engaged in polyamorous affairs with Wilde and his lovers. For one, he objected to Wilde taking unfurnished apartments for fear that he would take endless Parisian street boys to bed if he was accorded such freedom. He also lectured Wilde on associating with ‘gutter perverts’ and even went so far as suggesting another marriage. Yet, this apparent contradiction in Ross's stance was most likely not due to hypocrisy or wariness for societal opinion as some have suggested.: after all, he rarely lectured any other friend on their sexuality, and he opposed several marriages of convenience of his homosexual friends. I believe the key to unravelling this contradiction is in Wilde’s retort to Ross’s admonitions in mid-1898: 

It is a curious thing, dear little absurd Robbie, that you now always think that I am in the wrong. […] The only thing that consoles me is that your moral attitude towards yourself is even more severe than your moral attitude towards others. Yours is the pathological tragedy of the hybrid-the Pagan-Catholic. You exemplify the beauty and uselessness of conscience.  When I read your often bitter censures of me in your stern lectures, I think of your stern censures of yourself — of your awful curtain lectures — delivered alone — listened to in silence — unanswerable merely because they are unanswered. Judge and prisoner the same person — yourself your own gaoler. 

Echoing the subtle subtext in Ross’s unfinished manuscript reflecting on Wilde’s immediate post-prison days, here, again, we see Ross at once defying homophobia and internalising it: he never consciously denied his love for men, yet he could not help but to see it as his sin and corruption. His internalised homophobia, I believe, was not social but religious and psychological in nature: he did not shy away from associating with homosexual men as if it was a social blight, and he never intended to marry some poor girl to win societal acceptance, but his conscience before God was never at ease. Thus, he was his own ‘gaoler’ constantly engaged in self-flagellation. Consequently, he could accept homosexuality in anyone but the man he loved the most: everyone, including himself, could succumb to their base nature, but the artistic genius must be shielded from corruption. 

In April 1900, Ross spent his final days of joy with Wilde after recovering from a horrible flu, a period he later described with warmth in a letter to Adela Schuster. In the letter, Ross recalled that during their brief sojourn in Rome, Wilde wanted to be received into the Catholic Church through him, but he[Ross] believed that there was no priest in Rome sufficiently intelligent to debate theology with Wilde. Moreover, he fondly remembered in great detail how Wilde ‘made a good story’ out of the stay with him by playfully telling people that ‘whenever he[Wilde] wanted to be a Catholic I[Ross] stood at the door with a flaming sword which only turned in one direction and prevented him from entering’. But the happiness was tinged with a strong carpe diem flavour. In Rome, Wilde indulged in numerous liaisons with beautiful boys, and before leaving, he mused that: 

In the mortal sphere I have fallen in and out of love, and fluttered hawks and doves alike. How evil it is to buy Love, and how evil to sell it! And yet what purple hours one can snatch form that grey slowly-moving thing we call Time! My mouth is twisted with kissing, and I feed on fevers.

The awareness of his own mortality was poignant, for that ‘grey slowly-moving thing’ was to  grind to a halt for him in just eight months. 

Despite Ross’s every effort, in the end, he could not prevent Wilde’s life from slipping through his fingers. After returning to Paris, he wandered slowly from cafe to cafe looking pale, lonely, and desolate. One of his old friends recalled him saying that he had ‘lived all there was to live’, and that ‘it won’t be long’ before he finally meets the end. In October, the ear infection he had caught in Reading Prison remised. Consequently, he had to undergo a major operation which exteriorised his middle ear and the mastoid cavity in order to prevent the infection from spreading to his brain, this resulted in permanent and complete hearing loss in his left ear. Wilde downplayed the condition’s seriousness to Ross before the operation, but sent him two consecutive telegraphs begging him to come to Paris as soon as possible because he was ‘terribly weak’. Ross immediately set aside everything and headed for Paris, where he stayed with Wilde for a month, taking care of him every day and accompanying him on drives. After being reassured by the doctor that Wilde was recovering, on 13 November, Ross left for the South of France to care for his ailing mother. 

However, unbeknownst to all of them, the surgery did not prevent the invisible bacteria’s advancement towards Wilde’s brain. Merely two weeks later, on 26 November, Ross received an urgent letter from Reginald Turner (who had remained in Paris) informing him that Wilde was very unwell. On 27 November, Turner sent Ross two other ominous letters asking Ross what shall happen upon Wilde’s death, followed by another message the next day informing Ross that ‘it’s all over with Oscar’. Ross caught the express train to Paris at once. Upon arriving in Paris on 29 November, he found Wilde emaciated, struggling to breathe, and unable to talk. This at once persuaded Ross that Oscar was, in fact, dying. Remembering his promise in Rome to bring a Catholic priest to Wilde’s deathbed, Ross, though still weary from the 17-hour train journey, immediately went about Paris to search for a priest that would accept Wilde into the Catholic Church as he[Wilde] had wished. It was not until evening that he managed to find Father Cuthbert Dunne to administer last rites for Wilde. After fulfilling his promise to Wilde, Ross wired Harris, Adrian Hope, and Alfred Douglas about Wilde’s urgent condition late at night, before collapsing exhausted himself. That night was restless, with numerous nurse's calls and a final summons to Wilde's side as dawn neared at 5:30 a.m., marking the beginning of the end. The horrible process lasted for nearly ten hours, and Ross was by his deathbed witnessing every bit of the gruesome struggle. He would later recall this horrible day in painfully graphic details to More Adey: 

[…] I had never heard anything like it before; it sounded like the horrible turning of a crank, and it never ceased until the end. His eyes did not respond to the light test any longer. Foam and blood came from his mouth, and had to be wiped away by someone standing by him all the time. […] From 1 o’clock we did not leave the room; the painful noise from the throat became louder and louder. […] at 1.45 the time of his breathing altered. I went to the bedside and held his hand, his pulse began to flutter. He heaved a deep sign, the only natural one I had heard since I arrived, the limbs seemed to stretch involuntarily, the breathing came fainter; he passed at 10 minutes to 2 p.m. exactly. 

The pain was palpable through the text. We can scarcely fathom his agony when wiping foam and blood from the lips of a beloved for hours, or when sensing the pulse of the man he had cherished so dearly grow ever fainter under his fingertips as he held his hand for the final time. After washing and cleaning Wilde’s body, Ross requested Maurice Gilbert to take a deathbed picture of him, the picture is still preserved in the Robert Ross Memorial Collection at Oxford today. 

Douglas would later accuse Ross of misleading him to prevent him from seeing Wilde one last time. With all due respect for the deceased, this is plainly nonsense. Firstly, if Ross actually believed that Wilde was dying in early November, when he telegram Douglas to inform him that Wilde was ill but was recovering, he would not have left on 13 November himself only to return in haste barely 24 hours before Wilde’s death. Secondly, Ross did telegram Douglas on 29 November not long after he arrived in Paris himself. It could hardly have been more urgent. The unfortunately fact was simply that Ross himself had arrived too late. Thirdly, even Laura Lee, who is often prone to giving Alfred Douglas excessive benefit of the doubt, could not help but to point out that Douglas only had his own lusts to blame for the lack of farewells to his former lover. He had countless opportunities to visit Wilde in Paris between August and November —— after all, unlike Ross, he did not have to work and had just inherited a substantial amount of money from his deceased father. But instead, he chose to buy a stable in Chantilly and idle there; moreover, even when he visited Paris in October, he spent all of his time cavorting with cabaret boys instead of visiting Wilde.

Entangled in French bureaucratic red tapes and constrained by financial shortages, Wilde could only be laid to rest in a modest, provisional grave in Bagneux. At his funeral, Alfred Douglas was the chief mourner leading all of Wilde’s friends and former lovers. In Douglas’s shadow, Ross quietly laid on Wilde’s grave a wreath with the simple yet heartfelt inscription ‘From the admirer of his genius, a tribute to his literary achievements’. I believe this proved Maureen Borland right in believing that Ross mourned for the waste of Wilde’s genius, and that in his tormented heart he ‘longed for the Wilde of former years, the man who had dominated London theatre-land, the man who had, before hie his imprisonment, been destined to become one of the greatest dramatists of the century.’ As he laid the wreath, Ross silently vowed that once he acquire sufficient means, he shall secure a more magnificent final abode befitting Oscar Wilde, ideally in Père Lachaise, that famous resting place of Abelard and Heloise. 

[g0nta-g0kuhara]

DRV3 blackeneds and how you would (maybe) perform first aid on them if they managed to survive their executions (part 2)

I'm surprised you guys seemed to like the last post I made along these lines, so here's some self indulgent brain rot yet again. Once again should say that I'm just a beginner and am omitting stuff

Kaede:

For this, let's say that Kaede managed to escape being crushed by those spikes at the end. She'd either have to be gently lifted down, or have something moved under her so that the rope was no longer strangling her. After that, she should be carefully lowered to the ground for assumed spinal injuries (hold cspine). If she got nicked by the spikes at all, put pressure to those injuries. Treat for shock, give oxygen.

Kirumi:

Kirumi DEFINITELY has a major spinal/head injury. She should be immediately held in cspine and then checked for broken bones, which should then be stabilized. This is a rough one because of the sheer amount of lacerations she has- first aid responders would probably have to quickly identify the worst ones (ie the ones bleeding the most) and immediately bandage them up to put pressure on them while bandaging up the minor ones and freeing their hands to again deal with the major cuts. Treat for shock, too. You'd need all hands on deck for this one.

Korekiyo:

Other than dizziness and disorientation, the spinning at the beginning should be no problem. The biggest concern would be the major burns he would have over 80+% of his body, which would be life threatening. You'd have to remove as much of his clothes that were submerged in the boiling water as possible before any swelling, but not if they were stuck to him. Use cool (not cold) water to lessen the pain, then cover him in a dry sheet until you can get more help. I'm going to assume some kind of internal head injury (re: bleeding from the eyes?) and say to hold cspine just in case.

Gonta:

Uhhh. Hoo boy. okay. The biggest concern here is obviously the gaping chest wound. This would be extremely difficult to deal with and is kind of immediately out of my scope, but If I had to try and do something, Id say to pack the injury and slow blood flow as much as possible. Lower him and hold cspine, though the stake he's tied to might ironically help with this (considering the exit wound is probably through the spine, I'm not sure it would help MUCH, but it's better than not doing anything). I guess while youre waiting for more help you can care for the stings? but the chest wound is going to be problematic enough I don't think you'd have time to worry about that.

In a much more ideal situation, the bug's leg would stay through him and help to stop blood loss. But regardless, this is a really rough one.

Kaito:

If we're just talking about his execution itself, we'd have to check for broken bones and hold cspine for an assumed spinal/head injury. But that's not what killed him, is it? I'm not entirely sure how to go about Kaito's illness... from what we have in canon there really isn't much that could be done via first aid anyways. Keep him comfortable, give him oxygen, let him cough up the blood. The only way a first aid responder could do anything is if we were playing by the rules that his "illness" was actually poison. If you could figure out what poison it was, that could be extremely useful for him getting the help he needs later. but yeah, not much you can really do about that for him in the moment.

[gerec]

cherik genosha fics? (not necessarily canon or post paris proposal, but it could be) I just want a story developed in genosha.

Hi Anon,

Here are some of my favourite Genosha aus (along with a couple by yours truly)! I had to limit it to modern aus for this list otherwise it would be impossible wrangle them all into one post!

Three Kinds of Learning by luchia (series)

Erik intends to recruit Raven's supposedly amazing, all-powerful older brother. Instead, he finds himself dealing with Charles Xavier, a weak, tweed-addled professor who seems to think powers don't matter nearly as much as personality. Erik's misconceptions are blown apart when Raven goes missing.

Us by Pangea

“Charles,” Erik says, and if his voice hits a pleading note then who can really blame him, “Charles, it’s me.”

It takes several longer moments before Charles musters up the strength to answer, breath stuttering horribly as he tries to breathe. He’s shaking, entire body trembling.

“Erik,” Charles says, his voice cracking, “Erik, I want to die.”

With Abandon by sunryder

The best part about Charles' favorite bakery isn't the location, and it isn't the lovely smell, or even the Earl Grey cupcakes. It's the Baker.

Erik Lehnsherr is a beautiful specimen of a man, particularly when his fussing over Charles takes the form of pastry.

Such a pity Charles doesn't know Erik is an assassin.

Politico by cygnaut

Modern Genosha Politics AU. In which Erik is l'enfant terrible of the mutant National Assembly, and his staff just wants to get him laid.

The O(l)dd Couple by winterhill 

In public, Erik and Charles are immensely powerful and charismatic world leaders. In private, they're a pair of stubborn old men.

Westchester Café by orphan_account

Erik Lensherr is Magneto; second most powerful mutant, president of Genosha and constantly pining over the adorable waiter slash baker Charles Xavier at Westchester Café. He's also the self declared rival of Professor X; the most powerful mutant, and Genosha's mysterious wealthy benefactor, who no one has ever seen.

Nation Building and other Diplomatic Negotiations by Pookaseraph

With the recent passage of a submissive registration law in the United Kingdom, there are now only two industrialized nation with a relatively stable government to have neither a mutant nor a submissive registration law. Erik Lehnsherr, the newly minted King of Genosha, and his Prime Minister Emma Frost intend to take advantage of this turn of events to bring the Xavier Institute to the island nation of Genosha. They both know bringing Charles Xavier, the noted activist of mutant and submissive rights, to the island will necessarily politicize the man, and create all manner of complications. With a constitution not yet finalized and external threats to Genoshan security all around them, Erik, Emma, and Charles will fight for what they believe in to shape Genosha into what it should be.

A Genosha AU with moderate D/s elements.

Diplomatic Immunity by Not_You (series)

Erik has just finished helping liberate Genosha, and is still very scarred by his own time as a slave. He has no way to realize that in Westchester, 'slave,' means something more like, 'an indentured servant who has human rights and whose owner is responsible for their care and keeping to the terms of the indenture contract.'

So of course, he can't possibly exploit the beautiful boy he finds in his bed. Charles is extremely put out by this.

Civilised Nature by Tawabids

Genosha fights for its independence. Sebastian Shaw rules the burgeoning nation in all but name. Erik is an alpha politician second and a servant of the people first. And then he sees Charles, omega to the ruthless Shaw, and all his priorities change.

Your Faves are Problematic by JackyJango (series)

The Genoshan public knows the Professor and Magneto as veritable adversaries. As Mutant activists, Professor X and Magneto have rarely, or never, seen eye to eye on mutant issues and rights. They oppose and contradict each other even when they fight on the same side-- as rare as a blue moon that the occurrence is.

What would have been benign arguments with anyone else turn into raging wars when these two are involved. Their infamous debate in the Parliament on the Mutant Registration Bill, though a thing of the past, is still on the common tongue.

The press seems to love them; for when they share a screen-- or even breath the same air-- there’s no dearth of drama.

Shadows of the Past by pseudoneems, ximeria

Charles and Erik meet at a hotel in Genosha. Erik hiding that he is Magneto, one of the founders of the mutant nation. Charles running from his past, not to mention his gift.

Betrothed by TurtleTotem

Sixteen-year-old Charles Xavier just found out that his late father was the king of Genosha. That means he inherits the crown... and the spouse his father picked out for him, like it or not.

Heavy Crown by sebastian2017 (series)

Most people think being a prince is nothing but extravagant fun, drinking expensive champagne, and having no cares. Erik - or Prince Magnus Joseph Erik of Genosha, Duke of Carrion Cove, second in line to the throne, as he is more widely known - knows better. Being a prince means everything he does must be done in secret or face the scrutinizing eyes of the public.

Even sleeping with pretty-eyed science nerds at parties.

An Agreement Between Gentlemen by professor (series)

Erik Lehnsherr, King of Genosha, has arranged a meeting with Charles Xavier, CEO of Xavier BioCorp, to ask for his assistance in a delicate matter.

tumblr ficlets by ikeracity (chapter 68)

king erik has a crush on professor charles AU

Welcome to Genosha (king erik has a crush on professor charles remix) by Gerec

Professor Charles Xavier is the Keynote Speaker at the upcoming Mutant Education Conference in Genosha. He's excited about his first trip to the island nation, and even more excited that he might get to meet the King.

He has no idea what to make of the welcome he gets the moment he steps off the plane.

The One Who Rules by Gerec 

It's been five years since the Mutant Uprising, the powerful and ruthless General Magneto now the defacto ruler of the tiny island nation of Genosha. Though it remains a paradise of plenty, left relatively untouched by war, the safety and stability of the 'mutants-only' state remains in flux.

Devastated by the bombs Sebastian Shaw set off before his death, the human population outside Genosha has largely been decimated. The ones who remain struggle to survive with rapidly dwindling resources.

Adding to the uncertainty is the presence of the X-Men, mutants fighting Magneto and his Brotherhood for the rights of humans still living in Genosha, led by the General's former lover and co-leader of the Uprising, Professor X...

In Every World There Is You and Me by Gerec

“I will help you because you are Erik Lehnsherr and I am Charles Xavier. In every world, in any world - there is always ‘you and me’."

Post X-3: Erik Lehnsherr, powerless and without a purpose, finds himself mysteriously transported to Genosha, a utopian sanctuary for mutants. He meets his double Magneto who rules the island nation as King alongside his Royal Consort Professor Charles Xavier - the man Erik has loved and lost.

[the-pea-and-the-sun]

why is namek like that

i had a namekian specbio post drafted but along the way i got distracted with the namekian sky, so im just jotting down a bit of my thoughts about how a namekian solar system and planet atmosphere might work. most projections arent particularly stable, its no surprise they had a severe ecological disaster. we know namek has liquid water, and is an earth-like enough temperature for bulma to be comfortable there, so everything else is kind of bending around that. this super cool article by sean raymond talks about how you might make a no-night planet work. luckily no other planets are ever specified to exist in namek's solar system (to my knowledge) which makes this a lot easier! generally more stars = less planets, so im imagining that namek is the only planet in its solar system.

this is raymond's three star system diagram! in this model though, the planet actually does experience night, but only once every 600 years. im satisfied with this, as we get the information about namek "always having at least one sun in the sky" from dende, who's 8 years old, and likely just hasn't experienced or heard about namek's night yet. there's a lot of fun worldbuilding potential here! supposedly grand elder is only around 500 years old, and given that within his lifetime there was a catastrophe great enough to nearly extinct their species, it's possible that no living namekians know that their planet has a night time. but if they have, it's probably some huge legendary event, and is probably associated with porunga in some way since that's the only time the vast majority of namekians will ever experience a dark sky (do namekians have religion? holidays? questions for later...)

so COOL a three star system works! (as long as you allow for these substantial aus, anything for eternal sunlight..) however due to dragon ball rules we're working with a canon year of only 130 days. this is kinda problematic for a habitable planet like namek. shorter orbital period = closer to the (main) sun. given that there are already two extra suns shining light on this definitely liquid water having planet, this seems like we might have to do some magical hand-waving, which makes me sad because i find that boring. but its at least fun to think about what the magical logic is instead of just saying "eh it works because magic", so i wanted to try that! since the dragon balls operate on their own magical logic they might have a skewed definition of what a "year" can be classified as (and a year is pretty cultural too, right?). also, why do the dragon balls take a year to be able to be used again at all? (aside from plot reasons) like... what are they doing? with the dragon balls on earth, it was kinda easy to presume that they were "recharging" or that the dragon himself needed some kind of "rest", and that this process just so happened to take an earth year. the translations i could find were kind of vague on this, so im taking advantage of that vagueness. being about 1 au from the sun in this model, namek's "year" as defined by how long it takes to orbit its central star is about the same as earths (a bit boring, sorry) ! and the time it takes the other two objects in its system to make a full rotation around their shared center far far exceeds that, so i kind of don't think theres any justification to define a namekian "year" as 130 days other than that being the time it takes for the dragon balls to recharge, which makes perfect sense to me culturally! i mean, given that there are three suns, surely the amount of time it takes for your planets magical wish granting dragon to start working again would be a much more meaningful unit of measurement than the time it takes your planet to complete and orbit around your smallest sun (oh god what are namekian seasons like. probably fucked. another question for later). also from my wikipedia skimming it looks like alpha centauri's planet (assuming its a planet) has a similar orbital period to earth's too. its nice to have some real-life justification 👍

theres more to say about that but im moving on from this part for now. i just wanted to provide justification for a namekian year being however long it needs to be in order for namek to have three suns and still have liquid water.

i wanna talk a bit about the planet itself. namely: why the fuck is the sky green??

almost any other sky color could have some non-poison gas explaination except green. DAMMIT!! but its fine we can make it work. (also the plants are blue. which is actually a lot less problematic but i'll talk abt that later) im referencing this artifexian video for my information here btw 👍he gives a few ways that a sky could appear green but we kinda have to rule out all of them here except for something green being physically suspended in the air, because there just isnt any light/atmosphere combination that makes the sky look green to human eyes. since krillin is a human whos just so super wicked strong he can also fly, id be fine hand-waving breathing a green gas or dust for him and gohan, but. bulma is on that planet too... breathing away... also there's pretty clearly grass on this planet and like, brown earth. so mars like dusty skies dont make a lotta sense either. so i guess artifexian's sky-algae idea will have to work ! as horrifying as the implications are .... either these guys are just straight up breathing in green stuff all the time, or the algae is somehow suspended too high up to be inhaled. (also sky-algae would explain why the planet looks almost gaseous from space)

luckily bulma doesnt seem to be having any problems breathing it that green stuff, but like pollen allergies its easy to imagine that someone would be. which is kinda fun to think about actually. someone having an allergic reaction to the namekian sky, validating bulma's concern about breathable atmosphere would be a lot of fun... BUT I DONT HAVE TIME FOR THAT FOR NOW !! i have other goals in mind. i just wanted to record this "namek's sky is green because theres guys in there" concept somewhere. also, three suns at various levels of rising at setting at all times, while not portrayed in the anime due to technical limitations, would almost CERTAINLY mean namek would have a really cool variety of sky colors! just all tinted green because of the sky algae. of course sky algae doesnt need to be green all the time, nor does it need to be in the sky (or alive) all the time. maybe the green skies are new post ecological disaster? very fun to imagine pre-guru namekian skies....

[sirfrogsworth]

There is this horrible conservative Karen in Utah who is on a school board and she posted a picture of a high school girls basketball team. One of the girls pictured was perceived to be particularly masculine. This Karen assumed they were trying to sneak a trans girl onto the team. She captioned the photo "girls" basketball with transphobic scare quotes.

But the girl was cisgender. And she faced so much bullying and threats to her safety that the school had to hire security for her.

The moral panic about trans girls and women in sports is going to mostly harm cis athletes. Because, as I have pointed out many times, there just aren't very many trans athletes. Missouri passed an anti-trans law for K-12 athletics only to discover it affected a total of 8 people. In the entire roster of 130,000 NCAA women athletes, only 100 are estimated to be trans.

This narrative that there are trans students coming out of the woodwork to infiltrate school sports has caused people to see trans athletes everywhere. They might even be convinced this is now a commonplace occurrence. But if the NCAA is a good statistical model, for every athlete they accuse there is a 0.0769% chance of them actually being transgender.

This idea that these people are going to protect cis athletes from the unfair competition caused by trans athletes is a farce. The majority of the time they are going to embarrass, harm, and possibly threaten the very people they claim they want to protect.

That doesn't seem worth it, even from their hateful point of view.

That is unless their actual agenda is to sow fear and hatred towards trans people and not actually to protect the fairness of competition.

Beyond that, while there have been some initial laboratory studies showing trans athletes who have gone through male puberty do retain some quantifiable physical advantages in a limited number of athletic movements, these advantages have yet to manifest in any statistically significant way in real-life competition.

There have been no world records that have lasted more than a few months. There have been no undefeated trans athletes. There have been no significantly long winning streaks. Every single trans athlete that I could find in my research has been defeated by a cisgender opponent. And I could find very few that even had a positive winning percentage.

In every metric I can think of that would fall under the umbrella of "unfair competition" I have yet to find an example. And if trans athletes truly are so "dominant" I feel like it should be much easier to discover.

The only trend I discovered that might be worthy of discussion is some trans athletes have performed at a higher level for longer. There have been some cyclists who could compete professionally into their 40s, whereas cisgender women typically age out before then. But I could only find a few examples of this and I think much more data would be needed to verify this is common. But I feel this would only be an issue in sports that have an age bracket system.

There are so many other problems within sports that truly need addressing. As of yet, I have not even seen an example of trans athletes being problematic to the fairness of competition. Sometimes they win. Most of the time they lose. And chances are, most cis athletes will never even compete against a trans woman in their entire career.

[hyperpotamianarch]

So, after seeing @half-shadowgalra's post about what if Bianca stayed alive, I thought of analyzing the topic. So, my take on what might change, following the details of canon I can remember:

Firstly, let us assume that Bianca accidentally drove Talos into the Labyrinth, and just got severe head trauma and amnesia instead of dying. Zoe, Percy and co, however, still think she died and continue under this assumption. What happens next?

Well, as far as I know, only one god might actually know Bianca is still alive - her father, Hades. Who, I might say, is not present for the Winter Solstice council and doesn't seem like he'll inform anyone. He would want his daughter safe, probably, so there's a chance he'll send Alecto to find her and bring her somewhere safe - possibly the underworld. No guarantee that the Erinyes would succeed, though.

As to what we see in canon... In his angry burst, Nico mentions feeling Bianca being judged in the underworld, and having nightmares. I'm going to have to assume his nightmares will be altered. And, well... This certainty of her death, which was another sign of them being children of Hades, will likely not exist. How will it change things? Well, I think Nico will still be angry at Percy and consider him guilty of Bianca's death. Maybe. After all, the lack of certainty he had in another timeline can't actually help him realize Bianca is alive. He can't know he would've felt it if she died - even if he started feeling such things, he probably didn't understand that well enough yet. He might have some doubts, though. That's still a minor change, all things considered.

Next time Bianca's death affects the plot is the Iris-net messages. However, we might need to explore first what happened to Bianca. Especially since she not only fell into one of the most dangerous pieces of magical architecture, she did so in a time it was being explored by a whole bunch of people. At any given moment, she could encounter Luke's forces, Clarisse, Daedalus or one of the creatures looking for her. So, you're Bianca Di Angelo, daughter of Hades, who's trapped in a maze underground and have amnesia. What can you do?

Well, I think her bow and arrows are either right beside her or a summon away - the latter is going to be problematic, because she doesn't remember how to summon them. She'll probably have her hunting knife. Oh, and did I mention that she won't remember her training, whatever amount she had?

I don't think canon gives us much indication on what she might do in such a situation. Part of the question is how much she forgot. And since we're makeing this up anyway, we can go for the option we find the most fun! Oh, and I forgot Nico is joining everyone in the Labyrinth pretty quickly. Either way, I think I'll go (regarding her memories) with forgetting everything except for her brother. And English, though it will be fun to have her speak some Italian dialect for some time. Oh, and her name. Easier that way.

So, Bianca wakes up in a cave. She only remembers her name and that she has a brother called Nico. Who is, for some reason, not present. She hears weird sounds and runs away from them.

Now here's another bit: we don't know what Bianca's powers include beyond the ability to permanently kill skeletal warriors. Incidentally, we have another canonical Pluto kid who can control caves. Now sure, Hazel and Nico supposedly have between them Hades' two dominions: riches and death. No reason to keep them separate, however. Bianca can have some power over underground spaces. We have seen Hazel interact with the Labyrinth in the House of Hades, even manipulate it - though she was using magic instead of demigod powers, so we can't be sure if someone with similar powers but no magic could do it. I do think it's possible, though - especially without anyone directly resisting her. It'd be mostly instinctive and unintentional, though, so there's no telling where it would lead her.

Now, where would Bianca find herself? It's hard to tell. Everyone goes through the arena eventually, but it takes time. Bianca can get to many places, Camp Half-Blood included as well as Geryon's farm or the underworld. There really is no telling. Meanwhile, Nico is looking into ways to find his sister and bring her back. Does he realize she's alive? Or does he still try to learn from Minos? As far as I know, we were never told how he made his way to the underworld. Did Hades send Alecto to collect him? If so, does that mean we'll have a family reunion sooner rather than later? Or maybe does Bianca inadvertently run away from it in effort to stay alive and, ironically enough, find her brother?

One possible change would be that when Hades gets Nico, he tells him (at some point) that his sister is still alive. Not in an attempt to console him - Hades doesn't really know about that - but as a throwaway line when Nico mentions her death. I think I can picture that. Nico still runs away, but this time to find his living sister - all that assuming he somehow got to Hades' palace in the time between the Titan's Curse and the Battle of the Labyrinth. In such a case, he might not turn to Minos, which would significantly change BotL. So... Maybe the best option here is Nico not getting to Hades' palace/Hades being too secretive about it all.

Now, no Percy Jackson story is complete without old myths underlining events: Percy isn't compared to Heracles for naught, there are a couple of parallels between them - at least in monster slaying and such things. Sadly, I can't say I'm an expert in Greek mythology, and I'm not sure I know enough to create a story paralleling any myth. So, I kind of hope someone more experienced could come and give a fitting story - only thing I can think of right now is Atalanta, the huntress who took a vow of virginity, joined the Argonauts for a time and participated in the hunt for the Calydonian boar, drawing first blood and thus winning the boar's hide - which eventually lead to much strife. Now, one would think this boar was used in the past, like in tTC - but nope, it was a different boar, so I'm sure having some taste of the Atalanta myth could work. Kind of. Maybe, somehow, I don't know.

So, Bianca is dealing with her own stuff. Maybe, because I just thought of it, she can also have a taste of Cadmus' story - the guy looking for his disappearing sister who went on to found a city instead. I'll have to think about it for a bit, especially since I think both Atalanta and him had a weird "happily ever after in animal form" thing. Cadmus and his wife became snakes, while Atalanta and the husband she eventually did marry (thus breaking her vow of virginity, though the consequences were somehow unrelated) were turned into lions. Huh.

Anyway, she deals with that while running away from Alecto. Nico tries to find a way to reassure his sister while Minos hides the fact she's actually still alive from him. And maybe Bianca encounters Luke.

Now, the repercussions of Bianca being alive include Percy not getting the Iris-net calls about Nico. Which would mean that, if they meet in Geryon's farm, Percy has no way to convince Nico that Bianca doesn't want what he does. Which leaves us at an impasse, so Nico would head out with Minos straight away... Probably. Here's the thing: Bianca being down there means she can be found by someone. I think Clarisse isn't a good option for that, though. So, what if Luke found her? Would she join him? Or be killed? Well, obviously not the latter, we didn't save her so that someone else might kill her. But since we want her as a hero, we'd prefer her not to serve the titans, right?

So, after some thought: maybe she got to the arena and was forced to compete. Her fighting talent was promising, so Luke suggested she join them. And then... I think she run.

This is just a vague outline, and you may have noticed this is stream of thought writing. So, umm... well, I can only say that next she's probably told to give up the search for her brother and follow a cow, which probably should lead her to the huntresses, but instead of following it she'll keep looking and will find Nico, because I honestly don't like how easily Cadmus gave up on Europa just because the oracle told him. Curses be upon Zeus. Coming to think of it, the myth of Cadmus might fit well with the theme of BotL, because Cadmus is Minos' uncle. Yeah, it's all still stream of thought.

Bianca will probably meet Nico before the whole "king of ghosts" fiasco. I think this should affect the larger story, but I'm not sure how. So, umm... Let's leave it here for now?

So, a suggestion to a more organized outline: Bianca is in the Labyrinth. She runs away from some monster and accidentally finds herself in the company of some half-bloods loyal to Kronos. At first she journeys with them and they slay monsters together. However, after having drawn first blood from a very strong monster, some of the half-bloods became angry at her for hurting their egos or something? So she run away from them? Then she gets the magical cow, maybe Alecto finds her, and then she continues to search for her brother, who she maybe finds on the verge of killing someone to bring her back to life.

I might try to write it at some point, but I'm not very good at finishing stories. So, I guess we'll see.

[acourtofthought]

Fellow Gwynriel/Elucien here, but I don’t agree with the Nuala and Cerridwen erasure.

Here’s my question: why do you not want Nuala and Cerridwen to be involved in Elain’s story? Why are you so opposed to them having a more active role in Elain’s life?

Despite posting multiple times a day for what I’m presuming is years now, you have never once mentioned them in your blog (which is crazy, considering that Nuala and Cerridwen are indeed relevant to Elain’s character thus far). You didn’t even refer to them by their actual names in the post you made.

The ACOTAR novels rarely feature POC characters at the forefront. Nuala and Cerridwen’s involvement as Elain’s version of Gwyn and Emerie would be a fantastic opportunity to change that.

To date, aside from their spy work (which is never shown on page), they’re only said to be the IC’s servants/handmaidens, which is a particularity problematic stereotype.

Why shouldn’t we wish for more for both Nuala and Cerridwen?

Why couldn’t they be Elain’s own found family? We barely know them yet to make a call one way or another…

Nuala and Cerridwen aren't just the ICs servants or handmaidens, they're the ICs spies so they are already more. I'm also not sure why we have to claim someone who does hard work for others has to be given a more important role in order to be considered valuable. There's nothing wrong with maintaining someone's home.

Of course the main characters of a story go on to have greater purpose but it's a bit odd to claim every side character who works for them is the victim of a harmful stereotype. They're paid well and from what I gather are respected by Rhys so I'm not getting the sense they need to break free of shackles of some sort.

And having two of the NCs spies play a major role in a book feels a little redundant since Az is also one of the ICs spies and chances are high he's getting a book. And Lucien was once said to have been the Spring Court's emissary and possible spymaster so again, another main character who already fills that role. Both POC characters might I add. Which Rhys is, which Amren is, which Cassian is, which Az and Emerie are, which Helion is (and who would play a role in an Elucien book). An Elain pov featuring Nuala and Cerridwen would not be two female POC at the forefront. It would be a white FMC at the forefront with side character female POC, which we did see in SF, which we did see in ACOMAF in Amren. Emerie getting a POV would be a female POC at the forefront.

I'm not even sure the wraiths are technically POC because we're told they're half wraiths made from shadow.

Alis had brown bark like skin because she was a certain sort of fae that resembled the bark of a tree but I don't think she was meant to resemble a particular kind of person in real life. There was the blue fairie with wings in book 1. Again, not really a poc so much as a specific type of fairie. The Suriel was gray, were they written as a POC? I think that's what we're being told of the twins rather than them technically being persons of color the way Kallias, Helion, etc are. Also, Vassa is referred to as having golden brown skin therefore she appears to be written as a poc and would most likely play a major role in Elain's book. Vassa who cared for Elain's father. Even then though, I don't think Elain will have a found family in the same way Nesta and Feyre did, I think she'll have various friends across all courts and lands. If she's to end up in Spring or Day, it wouldn't make sense for her core group of people to be from the human lands or NC.

I also don't recall the fandom demanding justice for Alis having bigger representation though she was also just a servant and only servant.

The reason I didn't refer to them by name is their names are complicated, I didn't want to misspell them and I didn't have my phone beside me at the moment I was typing the post. Not to mention it's a pain to continue writing two long names over and over which is why the fandom often defaults to ship names when possible.

And the reason I'm opposed to them having a more active role in Elain's book is I'm not. I'm not opposed to anything. In fact my fanfiction features Elain interacting with them so your comment that I never address them is incorrect. Many of my posts have addressed that I believe they'll always be friends of Elain, just not her main found family.

What I do when reading these books is try to follow what I believe the author is telling us.

The wraiths have been around since book 1 and if SJM had wanted us to believe they were important to the future novels I feel she would have begun to give us a bit more on them. Look at Jurian for example. He's only ever been a side character yet he's been given tons of dialogue, an interesting backstory, a dimensional personality, character growth and a developing purpose.

Sarah has chosen to keep the wraiths singularly dimensional, not having them share in dialogue with anyone outside Feyre, not giving them a greater role than that which they've had since the start of the series and not writing hints that they'll be relevant to future plots, a lot like she wrote Alis. I love Alis but I can recognize when authors are writing side characters who are meant to only stay side characters. Were the wraiths even in the war? Not to mention if Elain leaves with Lucien, why would they steal centuries loyal workers of the NC from Rhys?

If Elain leaves with Lucien, what need is there for two NC representatives to tag along for their romantic arc as they travel to Spring, to the continent, to Day, etc? Where they will most likely be meeting new people along the way in each place?

I'm not saying we won't see Elain interact with them in her book but no, I don't think they're her found family that she'll journey with.

I don't read books hoping for things that I think the author should do.

I read books and try to anticipate what I think the author is telling us she will do.

My feelings on the wraiths don't matter in the end, what Sarah's feelings on the wraiths do. And based on her patterns and past writing of side characters who were given greater purpose at a later point, Nuala and Cerridwen do not fit that mold.

You claim they are relevant to Elain's story but based on that logic Amren should have played a much bigger role in Nesta's book yet Sarah chose to have Nesta develop a found family outside of the friendship she made prior to her book.

Of course I could be wrong or she could change direction but I'm not going to sit here and theorize that which the author doesn't seem to be hinting at at this point in time.

[nostalgebraist]

Here are some fun / amusing / potentially-interesting facts about the process of writing and plotting Almost Nowhere, if anyone's curious.

Major spoilers for the whole of Almost Nowhere under the cut.

(There's really no way to spoiler-censor this material without rendering it incomprehensible. If you haven't read the book, do that first before reading this post.)

(1)

A large fraction of the book's eventual plot emerged from my attempts to patch a single, in-some-sense trivial continuity error I made while writing the very first chapter.

The Mooncrash section of that chapter ends with this sentence (emphasis added):

All parties were used to stillness, now, for the Mooncrash was nearly four years old.

And a few paragraphs later, in the opening of the Academy section, we get this (emphasis added again):

For (as everyone knows) the Shroud is upon us and while it tolerates the Academy — as it presently is, as it has been for the last eight years, a chrysalis, preparing itself step by minuscule step [...]

So: The Mooncrash is 4 years old. The Academy crash is at least 8 years old, and indeed older.

Yet the Mooncrash is also as old as the crash system itself! It was made by humans, during the period between the discovery of the anomalings and the mass-crashing of the human race. (This is only shown in the second chapter, but I had it in mind before then.)

How long has the human race been crashed, then? At most 4 years, and at least 8 years? How could that possibly be?

It would have been easy enough to just edit the chapter, but that's not how I do things. Restrictions, famously, breed creativity. I enjoy attempting to solve puzzles I have inadvertently created for myself, and many of my best ideas have been produced through this process.

It would also have been simple and easy to merely say: "OK, I guess time elapses at different subjective rates, in different crashes."

Amusingly, I ended up doing that anyway! But for some reason, this avenue didn't occur to me at first. By the time I started asking myself whether to include this kind of effect, I already had a different solution in mind.

I spent a lot of time beating my head against the figurative wall, trying to resolve the 4-vs-8-year issue. The early parts of my AN notes are full of this stuff.

----

At some early point, I came up with the idea that the anomalings/shades would deal with troublesome crashes by "rebasing" them, rewriting their histories.

I didn't intend, initially, for this idea to take over the plot as much as it eventually did. It was just a fun idea that underscored the huge power differential between the anomalings and their captives, and felt in line with the Cartesian/Wachowskian themes of transcending a "fake"/illusory world, radically doubting one's own perceptions and memories, etc.

But, having stipulated that "rebases" were a thing, I hit upon the idea that they could be used to modify the total quantity of past (subjective) time inside a crash -- turning 8 years into 4, or vice versa, or whatever.

So, I could fix the problem by stipulating that one -- or both -- of the problematic crashes had already been rebased, in this way.

But why? And by whom?

----

Now, at this early stage, I also had the idea in mind that the character "Anne" would eventually escape from her crash, and that she would have a hand in various major events in the story -- including some events that had already occurred, relative to the "present" of the textual PoV.

But I didn't know, yet, what these interventions actually were.

(I put "Anne" in quotes, here, because in the very early stages I casually assumed that only the PoV Anne introduced in Chapter 1 would be a major character, and that her sisters were merely background material for her personal narrative, like the tower itself. Of course, in the process of thinking through the details of things, I realized that this assumption was needless and indeed counterproductive.)

As often happens when I'm plotting a story, I found that two unknowns slotted neatly into one another, each one providing a potential solution to the problem posed by the other.

We need something for "Anne" to do in the past. Something consequential, something that shows off her newfound agency -- but also something that obscures her role from view. Ideally, something kind of weird, esoteric, "advanced"; something that feels buried inside the deep, dark center of the backstory, which the reader will only "excavate" at the end of a long, strange journey.

And we need someone to rebase the Mooncrash.

That answers the "who?" question. But again -- why?

Well, it was already in the plan that Azad would join forces with Michael, when Michael went in search of his lost Anne. That Anne would meet Azad, as a result, and that it would be Azad who persuades her to return to Michael's crash.

I didn't, at the time, have much else planned for the Anne-Azad connection.

As originally conceived, the "Azad convinces Anne to return" scene was about Azad's uncertain loyalties, and about Anne's lack of exposure to other human beings (and to the power of words, as deployed by human beings with access to real human culture). That is, it merely served specific, separate purposes in the sub-stories of these two characters. There was no intent to set up, or develop, a thread connecting these sub-stories, making Azad a major character in Anne's arc and vice versa.

But that seems like kind of a shame, doesn't it? Why go to the trouble of preparing these characters, and bringing them into contact, if I didn't have anything for them to do together?

Anne and Azad.

We need someone to rebase the Mooncrash.

We need Anne to learn about real human culture, somehow, before she leaves. I knew that, already, though I didn't have a mechanism in mind.

(I also knew, by this point, that causing Azad's appointment as translator was another one of "Anne's" consequential moves. I had conceived of this, at first, as a relatively impersonal act, done only for its historical significance. Indeed, that would have been enough -- but the more the merrier, theme/motivation-wise.)

Problems paired up, interlocked, and became each others' solutions.

(1b)

As is obvious from the above, I didn't have the scenario planned out in very much detail when I wrote the first chapter.

At the time, the story had been gestating in my head for a while, but only as a bunch of vague inklings and intentions.

The proximate cause of writing-the-first-chapter was a sudden and unexpected burst of inspiration. I was riding the bus to a social event, and suddenly my mind was awash with crisp, never-before-glimpsed details about Anne and her tower, the Mooncrash, the Academy, Cordelia's blue dress -- all the stuff of Chapter 1. It felt like a crucial message was being beamed into my brain, VALIS-style, from the Muse / Higher Power.

I had an urge to bail on the social event, turn around, ride back home, and start writing immediately -- what if the magic went away, as suddenly as it had arrived? I resisted that urge and made a perfunctory appearance at the event, but then went back home and wrote as much as I could before falling asleep.

So, when I was writing that chapter, stuff like "four years" and "eight years" wasn't based on any single coherent picture, just vibes and vague inklings.

(I think 4 years probably sounded like the right amount of time for G&A to have been in the Mooncrash, character-wise. Meanwhile, Hector's ascension from the Academy had to be long enough ago that there would be no direct overlap between Hector and any of the current students. The "Bad Old Days" had to feel like something you'd only hear about in rumors, or from authority figures who probably weren't telling the full story.)

(2)

Like TNC before it, Almost Nowhere was originally conceived as relatively simple and straightforward story, only to become something much weirder and more complicated as I fleshed out the details.

As I said above, I only had a very vague "plan" at the outset of the writing process. But I kinda knew where I was going with it, in very broad strokes.

The original arc, insofar as it existed at all, was something like:

The bilateral / anomaling tension is introduced.

The bilateral PoV characters come to an understanding of their situation.

Many of the bilateral PoV characters join up with Hector Stein, who is already trying to defeat the anomalings and free humanity from the crashes.

Azad temporarily sides with the anomalings, and Anne temporarily returns to her captive state. But both them "come around" eventually.

Anne eventually triumphs over Michael, delivers a dramatic monologue castigating him for imprisoning her (etc.), and mounts a successful escape.

Shortly after Anne's escape, some (TBD!) resolution to the main conflict is achieved. Whatever it is, it is proposed/spearheaded by the bilateral faction (and specifically Anne herself), and it somehow exemplifies "the bilateral way of thinking/being."

The humbled anomalings conclude that "the bilateral way of thinking/being" has its advantages, both practically and morally.

So the story, as originally conceived, was much more straightforwardly about the "good" PoV humans fighting back against aliens.

It unabashedly took the bilateral side in the conflict, and it ended with a "beauty of our weapons" sort of moment in which the bilaterals are both victorious and righteous, and in which these two kinds of success are closely linked and almost merged.

I have to imagine that, even in counterfactual worlds where some things went differently, I never would have stuck to this version of the story all the way through.

Because, one way or the other, I would have eventually realized that.. like... this version of the story kind of sucks, right?

I mean, why go to the trouble of introducing these aliens, and trying to make them interesting, only to say "nah, actually these guys were just wrong, it's us and our existing 'ordinary' pre-conceptions that are right, and that's what the story was about all along"?

It would have been "inventing a guy to be mad at," as the saying goes.

Not a great foundation for a story. And the least interesting possible direction to go in, given this kind of setup.

It also presents a seemingly unresolvable tension, for the writer, about how to portray the distinctively "bilateral" nature of the bilateral side in the conflict.

If "bilateral" is as broad a category as the anomalings say it is -- if you and I and all of us, whatever other qualities we possess, participate equally in this sin -- then it's hard to strike a note of emotional triumph around the quality of "bilaterality" that doesn't feel wrong, vacuous, or bloodlessly abstract.

"Woo, yeah, humans are great!" I mean, are they? All of them? You don't get to say "well, only the good ones," here, or "in their ideals if not always their acts," or anything like that. Everyone is included in the relevant category, except for the guys-who-aren't that were invented for this specific story.

It's difficult to make this land properly, in the same way it would be difficult to write a story that inspires "carbon-based life pride" or "having-DNA pride" or the like in its reader.

So this version of the story was dead on arrival. And indeed, by the time I was thinking through the stuff chronicled in (1) above, this version of the story felt like a provisional placeholder, at best, in my mind.

Nonetheless, there are various echoes of it in the story I eventually landed on.

For example, in the original version of "Anne's" escape -- conceived in a much more straightforwardly positive way -- I had Anne reading "real" books in secret, drawing moral strength from them, and then including a bunch of literary quotes in her big dramatic monologue to Michael. (I took inspiration, here, from John the Savage reading Shakespeare in Brave New World.)

And I had the idea that "Anne," being an autodidact, would read omnivorously without making culture-bound distinctions familiar to you and me; that her selection of quotes, in the monologue, would put low culture alongside high culture, infamous books alongside famous ones, etc.; and as a particular case, that it'd be fun if -- before going on to quote Shakespeare and co. -- she began the whole thing by quoting Ayn Rand.

And that one idea stuck, even if the rest of it didn't.

(Or, consider how the idea of "a powerful move in the conflict that exemplifies the bilateral way of thinking/being" actually crops up multiple times in the finished story, right up to its last scenes. One can see traces of it in the "trick" that obsesses Michael, in the use of autobiographical writing to build up nostalgium, and in Annabel's improved crash design.)

(3)

I came up with the Mirzakhani Mechanism relatively late, in between writing Chapter 13 and writing Chapters 14-15 (in which the MM is introduced).

The MM was a product of looking back at the sci-fi elements that already existed in the story, like crashes and rebases, and trying to invent some single underlying explanation that covered all of them in a relatively parsimonious way.

This basically "worked," I think -- it certainly worked better than I had been expecting, after playing the dangerous game of "write a bunch of weird stuff and hope you'll be able to explain it all later." (I remember talking to one reader who was shocked that I hadn't had the MM in mind from the very beginning, which was flattering.)

It also had unintended consequences that kinda took over the story, but largely in a good way.

Earlier, I had planned to have the post-rebase crash timelines "screened off" from the outside world somehow, so that rebasing a crash wouldn't mess up the timeline of the outside world. But, once I'd fixed the idea that "rebasing is an MM event" in place, I realized that this wasn't consistent with the way MM events were meant to work. Instead, the exposition in Ch. 15 directly implies the stuff about rebases that Grant realizes much later in Ch. 41.

Once I'd noticed this, it was obvious that it was extremely important, and I re-incorporated it into the broader plot.

On a related note, I eventually decided that the account of the anomalings "going backward in time to our era" in Ch. 15 didn't really make sense. This meant I needed a different, more viable way anomalings and bilaterals to exist at the same point in time.

This line of thought, along with several others (like "what happened to all the nonhuman organisms?" and "which parts of the MM multiverse are real?"), eventually led me to invent Everywhere-Heaven and the beasts.

That happened right at the start of 2022, between Chapters 21 and 22.

It quickly became clear that the E-H/beasts stuff could be put to a lot of valuable use in story's third act, which was largely a worrying blank space in my head (even at this point!). From thereon out, I worked on fleshing out the third act behind the scenes while writing the second.

Not coincidentally, Chapter 22 contains a ton of E-H-related foreshadowing, and also some hints that human scientists (like Aidan in Ch. 15) had never fully understood the anomalings.

The use of Maryam Mirzakhani, a real (and recently deceased) mathematician, was a weird choice and arguably one in poor taste. All I can really say in defense of it is that it came to me suddenly, and had a number of properties that fit the vibe of the part of the story in which it appeared, and I have a policy of "going with my gut" when it suggests such things to me.

I felt similarly about this choice and another thing introduced in Ch. 15, the nuclear attack intended to kill scientists. Both of these things underscored the fact that the story took place in an alternate reality. And both felt sort of "edgy," "too dark," "too close to the real world" compared to the tone of the story so far. But I wanted to take the story to new places in the coming acts -- "darker," "more real" places -- and something felt right about introducing these elements at this exact point, as signposts providing an indication of where things were headed.

(4)

The phrase "NOWHERE TO HIDE" was originally "NO MERCY," in my notes.

And the abbreviation "NM" for "NO MERCY" was used throughout my notes for Nowhere-To-Hide related stuff, e.g. "NM Annes."

This wasn't the product of much thought, just the first thing that came to mind that had roughly the correct vibe. I almost immediately concluded that I'd have to replace "NO MERCY" with something else in the work itself, since it would seem like an Undertale reference that I didn't intend to make.

"Moon" was originally just a placeholder name -- a shorthand for "the 'NM Anne' who rebased the Mooncrash." But I liked the idea of actually using it, once it had occurred to me.

The corresponding placeholder name for A11 was "Ling," as in "linguist" (but also an actual name).

(5)

I went through 3 different outlines of the third act.

Really, there was a first outline, which was really bad, and then there were two slightly-different versions of a very different outline that mostly corresponds to the finished draft.

The first, bad outline was amusingly titled "notes-satisfying-ending.txt", because I explicitly used this post about "satisfying endings" as a guideline while writing it.

(To be clear, I don't think the linked post was to blame for the badness of that first outline. I didn't ultimately find the post very helpful as writing advice, but the "satisfying ending" outline wasn't even a "satisfying ending" in the post's own terms, and was also bad in unrelated ways.)

I don't want to go into much detail about the bad outline. It was really bad, and also really different from what eventually occurred. It's honestly a pretty embarrassing document.

A lot of the key ideas were there (E-H, etc.), and the very end of the story was roughly the same. But it had a ton of needless flaws that I later corrected. Various existing character arcs and motivations were dropped and never picked up, or suddenly diverted in some new and unfruitful direction; way too much time was spent on getting characters and objects from point A to point B, or otherwise sort of rambling about in a way that didn't matter in the end; it included a lot of whimsical "fun ideas" that weren't necessary and would have added clutter to an already very full canvas; etc.

I never got to the point of building a chapter-by-chapter version of this outline, but I'm sure it would have much longer than the existing third act, also.

The existing third act is pretty long, but it was actually the result of an aggressive pruning and tightening process.

If the "satisfying-ending" outline had a single greatest flaw, it was terrible pacing. Lots of slack, lots of empty space, and when big things did happen, they came out of nowhere, not really prompted by what came immediately before them.

The next draft of the ending resulted from taking the raw materials of "satisfying-ending," purging all the dross, re-thinking all the obviously flawed stuff, and then trying to rearrange the pieces in front of me in a way that was maximally "tight" and interconnected, with questions and tensions introduced and then resolved in a rapid-fire manner, and without any major thread "sitting around in the background" long enough to feel stale, or get forgotten.

That outline was in a file called "notes-good-end.txt."

Much later, I tightened up the plan even further, merging some things that were originally in separate chapters. This was in a file called "notes-true-end.txt", and -- true to its name -- was the version reflected in the book itself.

So there was "satisfying-ending," which sucked; "good-end," which was good; and "true-end," which was slightly better.

(I realize the multiplicity of the ending, and the account of deliberate "tightening" etc., is in apparent tension with my recent account of working by direct inspiration.

There are a few things I can say about this tension.

For one, it really is true that the third act of AN was more deliberately reasoned-out, and less directly-inspired, than some of the earlier stuff. This is kind of inevitable: you don't get to do anything after an ending, that's what an ending is, and so you have to deliberately try to make the final act of a story fully work as a thing unto itself, rather than writing checks in the hope of cashing them at some later point.

And separately, I do think the final version of the ending feels "more real," "more true to the work" than the satisfying-ending draft.

I think I was aware, even while composing "satisfying-ending," that it felt off and wrong in some ways. But it was only after going through the exercise of creating a complete ending -- some sort of complete ending -- that I was able to look back and say "OK, this fits, but this doesn't fit," and distill something that actually felt right.)

[majaloveschris]

Is he though? I'm not saying he is perfect, but most people in Hollywood are much more problematic.///

I think this just proved the point of the anon. Yes, Chris is human as we all are, but any time people say anything negative about him, it’s always well there are worse men.

We’re talking about Chris Evans though, not other men, if he was this stand up guy he would NOT be in this situation.

People have and continue to make excuses for him to the point people believe this isn’t him and he’s being forced in this mess, but my question is…..what if this IS him?

His past gfs haven’t been the best either, this current one being the worst due to obvious trolling and racist besties to the point we have to question who he really is to have thought she was the one or publicly have the world believing that’s his wife.

I know many believe due to many things this is fake, but what if it’s not. 🤷🏻‍♀️ Fake or not, he signed off on being associated to her as HUSBAND AND WIFE!

Maybe people simply refuse to accept that the stand up guy many thought really isn’t that stand up.

No mature adult man is going to be in a real or fake relationship with a 26 year old, simple as that. Chris has more control than people realize.

Fandoms get closer and closer to the line of cults because no one can see that these people sell images, matter of fact many will read this ask and try to take one thing and deflect from the bigger issue.

There were people saying Chris doesn’t like women like her because she posted her shower videos and has allegedly been doing videos for pay, yet people forget this man was coddled for posting his own dick pic.

People are going to do as they please, but just be mindful that sometimes your love and infatuation for a person can lead one to becoming very blind.

Chris is going to remain doing crap like this because he makes terrible choices and those choices get enabled or written off with excuses.

I said people, not men. Nobody said he is the best person in Hollywood or that he is the best man in the world. I just said that he doesn't seem a bad person considering what other people do in Hollywood. 

Do we know him? No. He might not be in this because of business but because he loves her. That's a possibility as well. We think it might be fake based on his previous relationships, his previous behavior, his behavior with Alba, and because of the weirdness of this whole relationship. We don't know anything for sure. We just theorize here. 

I do agree that it's dangerous if we put our heads in the sand and act like he is this perfect human being, but the same goes about thinking he is the worst person in this world. I think calling him out is okay, and yeah, he shouldn't be allowed to do whatever he wants, but the line is very thin between healthy and unhealthy fan behavior. Fans shouldn't feel like they can do and say whatever they want either. 

I also think it's really important to not have tunnel vision when it comes to him, because he is still someone we don't fully know. But at the same time, accusing him of crimes isn't right either. Again, the line is very thin. 

But I wouldn't say he doesn't feel the displeasure of the fans when it comes to this situation. Losing followers and fans, getting called out, and getting bullied (which I still don't agree with) shows how unpleasent fans are with his choices. But yeah, there will be people who will always try to find excuses, and they do the same thing with Alba too at this point, but that's how it is. You can go and call those people out too, because we "excusing" him when we say this is PR, and they "excusing" him saying Alba and her fans aren't even that bad, and they must've changed aren't that far from each other. There's always been and will be people who keep excusing someone's behaviors and actions, and he won't be the first counterexample. 

[problematic-yuri-poll]

Problematic Femslash Ship Tournament - Round 1

Despaircest - Junko Enoshima x Mukuro Ikusaba (Danganronpa Series) VS. Shoka Sakurane x Ayano Kamachi (Neo The World Ends With You)

Info and propaganda under cut! This will not be spoiler-free.

Problematic elements for Despaircest:

twincest, abuse, murder, toxicity, codependency

Problematic elements for Shoka x Ayano:

Age gap/underage ship. Shoka is 16 and Ayano is 19. Additionally, it's common to see them in a sisterly relationship, so some consider it to be incest. Lastly, they tried to kill each other (Ayano under the influence of brainwashing and Shoka in self defence) with Shoka succeeding in killing Ayano.

--

Propaganda for Despaircest:

MUKURO HAS A CANON CRUSH ON JUNKO. SHES ALWAYS FUCKING BLUSHING AROUND HER AND SHIT. THEYRE SO GAY. JUNKO LITERALLY SAYS SHE KILLED MUKURO BECAUSE IT WAS THE MOST DESPAIR SHE COULD EVER FEEL. SHE FUCKING LOVED HER TOO!!!!! - Twincest for the win! Junko also constantly abuses/tries to kill Mukuro and Mukuro is totally Into it! Plus Junko literally ends up killing Mukuro so yknow doomed yuri. They are so toxic and codependent and when Junko DOES end up killing Mukuro, she gets off to it, and says she wishes she were Mukuro!!! - They're THE incest sisters - Despaircest is soooo dear to me bc I shipped this shit even AS an anti man. Being obsessed w Junko is so entwined w Mukuro’s whole character that you cannot simply IGNORE the incest. Like man I don’t usually like twincest but these two. They are awful. - despaircest propaganda that was too big for the post:

Propaganda for Shoka x Ayano:

Shoka/Ayano is, to me, a deeply tragic yuri ship. For one thing, it's unrequited: Shoka canonically considers Ayano to be like an older sister to her. Ayano, on the other hand, refers to Shoka as "my darling:" a term you could use for siblings, but to me, hints at romantic feelings. She named her pet iguana "Shoka" as well, and most importantly, the only time her blushing sprite is ever used is after Shoka thanks her for helping her and taking care of her. They are both members of the Shinjuku Reapers, and start the game as close teammates and friends with a comfortable relationship together. Shoka speaks at length how much Ayano took care of her when Shoka first joined the reapers. Ayano shows protectiveness over Shoka and worries when she gets into danger. Shoka relies on Ayano to show her how to be a reaper. They seem codependent, but at this stage, it works for them. What makes this ship truly toxic is when their relationship falls apart. When the team moves to a new city, Shoka becomes less reliant on Ayano and finds herself at home in Shibuya, while Ayano struggles to adjust to the new city and to Shoka being with her less and less often. Later, Shoka becomes suspicious of her teammates' intentions for Shibuya and leaves the group. Ayano is so distraught at Shoka leaving the team that she willingly infects herself with Plague Noise in an effort to get Shoka to return to her side. When this doesn't work, Ayano lets the Plague Noise possess her, believing that if Shoka won't return to her willingly, she'll have to take her by force. The possession is irreversible, and Shoka is forced to mercy kill her. They get a brief moment together before Ayano is… gone forever. I'll link the video of their final confrontation and boss fight because it's so good. https://www.youtube.com/watch?v=vyoa2beYC8A To me, the only reason people don't see them as a potential ship is because of the age gap, and perhaps because of Shoka seeing Ayano as a sister. It's disappointing because Ayano definitely has incredibly strong (possibly romantic) feelings for Shoka. The unrequited, mismatched love is part of the draw for me. I love how tragic it is. Seeing two girls who deeply loved each other's relationship fall apart until they fight to the death… and yet, still loving each other and mourning each other… it hurts so good. I'm submitting this partly because I hope there'll be more content if people get the idea of the ship, because it's almost nonexistent. I'll end it with a quote from Ayano that shows how far she would go to make Shoka come back to her: "You asked me to stay, but you strayed from my side. Never again… I won't let you out of my sight… even if I have to tear you limb from limb… I'll take every last piece of you with me…"