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motomamita · 6 months ago

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singledad!eddie × pregnant!female!reader

warnings: smut, +18, mentions of breast milk, breeding kink, no condom, pregnant sex!

Part. 1

Upon hearing the news of your positive test, Eddie was eager and happy to be able to share this new stage with you. However, his happiness faded when you met him at your trailer one afternoon to talk.

Distraught and with Lily playing at your feet, you told him that while you were delighted to take care of Lily, you still didn't feel ready to raise a child of your own. You were too young and Lily already required too much time and energy that you didn't know if you would be able to give to another baby. Eddie lowered his head, watching as Lily played with the laces of your sneakers as she babbled 'mom' at you. Sad but accepting your decision, he lifted his daughter in his arms and began to talk to her, explaining the situation.

"Don't be sad, my little flower. Your little brother or sister won't be able to come this time, but I assure you that soon you will have one to play with..." Eddie spoke sweetly to Lily and, as if she understood his words, pouted and sob.

Obviously that broke your heart. So much so that in the end you surrendered to him and decided to continue with your pregnancy.

You moved into Eddie's trailer, so you could take care of Lily more comfortably and little by little you would accommodate the space to receive the new baby. Gradually you began to adapt to life there, and to be with both of them almost 24/7. Eddie left for work in the morning and returned a little before dinner. Some days he would pick you up and would go to the mall to buy things necessary for your pregnancy.

Eddie was delighted and even seemed to enjoy the purchases more than you. He loved choosing your maternity dresses, your braziers and even the most comfortable underwear for you. While you were inside the dressing room, he stayed with Lily outside the room while he softly sang her a lullaby. Every time you came out to show off how your clothes fit, he would whistle at you flirtatiously and Lily would applaud awkwardly.

Inevitably you managed to fall in love with him. He was too attentive, loving and understanding with you and Lily. He enjoyed accompanying you to the doctor, listening carefully to every word he said and asking a lot of questions about how to cope better with the pregnancy. Sometimes after work he brought with him magazines with advice for the first pregnancy and several classical music albums, because according to him: 'scientists say that the baby can be smarter if he listens to Beethoven or Mozart!'. True or not, the reality is that he did everything possible to keep his family happy.

As the months passed, your belly increased in size and you experienced several signs and symptoms. Your feet began to hurt and so did the desire for strange food combinations. Eddie knew it and for that same reason on the weekends he took full care of Lily so you could rest. He would place your feet in warm water and massage them while he told you the list of names he had been making. He also made sure to leave the cupboard and refrigerator full of candy and other possible foods that you might want such as ice cream, cookies, chips, gummies and even pickles.

As for sex, it had never really stopped. What's more, his desire for you seemed to have increased as the weeks passed, taking advantage of every opportunity he had to make you his. Despite having a little girl in home, Eddie was quite creative when it came to getting between your legs. You could wake up in the middle of the night with his cock inside your pussy, his hands on your sensitive nipples and hot breath in your ear. Or during a quick shower, he would sneak between the curtains, helping you soap your back and taking the opportunity to kiss every sensitive part of your skin. Otherwise, far from the gaze of Lily who was playing in the living room, he would put his face under your dress to taste the juices of your pussy.

That Friday everything was as usual. Lily, who had barely begun to walk, played with holding on to the couch while moving her body from one side to the other to the rhythm of Beethoven. You gave the final details to the table and looked from time to time at the lasagna that was cooking in the oven. The sound of Eddie's truck's engine alerted you both that he was already there. Lily gave a little scream, anticipating her father's arrival.

"Daddy's home!" Eddie announced himself, informing the house. You received it with a small smile, letting Lily be the first to receive it. Seeing him, she began to walk clumsily into the arms of her father, who hugged her tightly. "Good job, Lily!" He smiled, picking her up in his arms and approaching you. "How did my girls behave?" He asked, giving you a sweet kiss on the lips and touching your belly tenderly. "And this little one? Can't wait to get out? Mm?"

"The food is ready." you announced, wiping your hands on your apron.

Eddie took Lily to the bathroom to wash her hands, telling the little girl about his day at work as if she understood something. Once at the table, you began to eat while the music played. You and Eddie helped the little girl eat her food, wiping her mouth every time she spit out a bit of it.

When he finished, Eddie took care of cleaning her and taking her to her crib to sleep. For your part, you picked up the dishes and were about to wash up when you felt Eddie's hands on your belly.

"Leave it, I'll wash them later. The food was delicious, so you deserve to rest, mommy." He speak and then kiss your cheek. You didn't object and left things to go sit with him on the couch. "How do you feel?" He asked, caressing your thighs and letting his rings make your skin crawl.

"Okay, a little tired. As Lily starts walking alone I should have been more careful that she doesn't set the house on fire." you joked, remembering the childrens prank she was slowly starting to get up to. "I missed you." You murmured, somewhat embarrassed by how much you needed him.

"Yeah? How much?" Eddie asked with a mischievous smile on his face, squeezing your thighs slightly.

"So, so much.." Eddie growled, knowing the tone of voice you used when you needed more than a kiss or hug.

Eddie approached and joined his lips with yours in a loud, wet kiss. He brought one of his hands to the back of your neck, grabbing some of your hair while his other hand moved up your thigh to your center.

"Poor mommy, spending so many hours here with my baby..." he murmured, separating himself a little. "Alone and without anyone who can satisfy and fill that sweet, tight pussy.." he massage your pussy over your underwear.

"You're bad, very bad for always leaving me wanting more..." you complain and then moans when he found your clit lightly pinched by him.

"I know, my queen, I know... but now I'm here..." Eddie pulled her hair a little, making you moan. "I'm all yours, use me however you want."

It was a matter of minutes before you found yourself on top of Eddie, naked, riding his big cock. Your swollen breasts bounced with each sit on his hard cock, leaving such an exciting sight for Eddie who watched you with his hands behind his head.

"Come on, mommy. Milk this cock." His words did nothing but encourage you to move your hips faster and making the clash of skin echo through the room. "Fuuck, that's right.. Use me, use me.." Eddie closed his eyes, moaning at the way your pussy rode his cock with ease.

You placed your hands on his chest, digging your nails and trying to stabilize yourself, making his cock go even deeper in you in that new position.

"God.. Look at your tits, they are so big.. And heavy.." Eddie brought his hands to her breasts, making circles on her erect nipples and pressing them lightly in the hope that milk would come out of them. "I promise you that as soon as your sweet milk starts coming out of here, I will be the first to taste it.." you moaned when you heard it. "Uh? You like that? Would you like to breastfeed me?" You bit your lower lip, nodding madly and still moving.

Just thinking about it made Eddie even more horny. He brought his hands to your waist, carefully pulling you towards him to begin penetrating you hard. His hips rose and fell quickly, hitting his pubis against your clit and rubbing your tits against his beefy chest.

"I'm going to fill you with my cum again and again..." he moaned as his balls slapped against part of your ass. "Tell me...Who did this to you? Uh? Who put a baby inside you?" He asked, looking lustfully into your eyes while one of his hands caressed your belly.

"You- It was you.." you managed to say with a broken voice, completely overstimulated. Eddie smiled proudly at your words, changing his thrusts for slower but deeper ones.

"That's right, mommy.. You're so good that your fertile womb took my semen the first time.. Good girl." You moaned at his compliments, feeling your orgasm approaching. "Are you going to cum? Mmh?" He asked sweetly, caressing your face as you nodded your head. "Come on, cum for me..." those words were enough for seconds later his cock was wet with your sweet nectar.

Eddie took care of cleaning you, covering you with a blanket and placing you on his chest. Your head was spinning, dazed and in some sort of subspace. He noticed it, caressed your hair and let him slowly put you back together while you listened to his heartbeat.

"Hey, I have to show you something." He spoke to you after a few minutes. You raised your head to look at him, Eddie reached into one of the pockets of his jacket and pulled out a small box. "Remember what I told you the first time..." he stretched out his words, referring to the time he fucked you on that same couch. "What did I tell you?"

You thought for a few seconds before answering. "That you would make me a baby." You responded confidently and Eddie laughed when he heard you. "And that you would make me your wife" You added, remembering the situation even more.

"Very good.." he smiled at you and brought the small box to your hands. "Well, I think it's time to make it official..." you slowly opened the box and found a beautiful ring inside. "Will you marry me?"

#eddie munson x reader #joseph quinn x reader #stranger things x reader #stranger things x you #eddie munson #eddie munson fanfic #eddie munson smut #eddie munson x you #joseph quinn #dark!eddie munson #dad!eddie munson #singledad!eddie

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persa-tra-i-miei-pensieri · 2 years ago

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Modi alternativi di seguire una partita di calcio ⚽

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brummiereader · 5 months ago

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MASTERLIST PREVIOUS PART

Uptown Girl (Part Two)

Summary: As the war of words, and destruction of inanimate objects continues between you and the blue eyed squatter in your home, Mr Thomas Shelby. You are pulled back into reality from the distraction of his presence and quickly reminded of your impending, dreaded nuptials when your fiance pays you a visit. But with the Birmingham gangsters observing eyes never missing a thing. What will he make of your husband to be's unruly hand when he sees the true nature of your relationship, and that of the man you're set to marry?

Warnings: Language, angst, manipulation, domestic violence, use of one racial slur

Word Count: 4332

Authors Note: £17,000 British sterling pound in 1924, is worth £850,000 in todays value.

" Thank you for coming on such short notice, Mr Abbott" you graciously greeted the piano tuner as you walked him to the main living area, crossing your arms in an attempt to put a stop to your fidgeting hands, and the relentless twiddling of your anxious fingers. How on earth were you going to explain this one? you smiled nervously to the portly man sporting an impressive moustache. It's perfectly curled, whiskery ends reaching the very tops of his wind-chapped cheeks.

After the previous days' eventful morning and a much warranted reminder that you were in fact, living with a gun-welding gangster. Tommy, your unwelcome housemate, single handedly took it upon himself to move your bullet-ridden grand piano into the living room and away from the vicinity of his quarters and ringing ears.

And with one morning of your musical skills having been missed, you were keen to reset the alarm for the following day. Or so, that's what you thought.

" What seems to be the problem then, Miss?" the man that had once sold you the precious musical instrument queried. His passion for his craft rarely seeing him leave his workshop where he preferred the sound of the ivory keys more than any human voice.

" Oh, just a small one" you replied, pushing the wooden door open. "A missing key" you found a way around to describe the charred bullet hole in the non existent note of B. B for bastard, you thought to yourself and the vandal that had destroyed it as your brow furrowed in confusion at the renowned craftsman who was now wide-eyed as you both stepped into the room.

"Oh, well this...this..." words stumped you as you turned your head to see your once glossy piano now in a piled heap of wood in the middle of the room. The hatchet used for it's barbaric destruction embedded at the very point of its woody mountain.

" Excuse me, for just, one moment" you forced a smile through the fury rapidly bubbling under your skin as you quickly turned on your heel, leaving the horrified pianist alone with the piano he had poured his love, sweat and tears into crafting as he pitifully pressed his finger down onto the only remaining chiming key of C. C for...

"Mr Shelby!" you shouted marching through the corridors in search of the only person capable of committing such a monstrosity as you came to a stop in front of the office door. Your learnt manners quickly escaping you when you stormed through without the polite formalities a lady such as yourself would possess, having had a governess for the majority of your childhood years.

"Mr Shelby!" You repeated, flying pass the opening door to see the squatters sleeves rolled up, a peak of chest hair visible through the open top button of his collared shirt your flustered stare had witnessed twice in already twenty-four hours. Hardly gentlemanly, you scoffed to yourself as your heated cheeks darted away from his causal choice of attire.

" On the mantel", Tommy said mid conversation, looking up from the papers between his fingers to the young worker with a brassy ornament in his hand.

"Mr..."

" No Beethoven this morning, eh?" He stopped you as he leant back into his leather chair with a satisfied smirk etched on his lips as you strutted forward, and the young employee made a swift exit. "Or maybe some, Mozart?" His lips tightened into a smile as he subtly cocked his head to the side, reaching for a much needed drag of a cigarette the stress of your presence gave him.

" What is all this?" you looked around the room, forgetting your barrage of accusations when your eyes widened at the many various objects he had added to your father's office to replace the ones you had hoarded.

" Oh, no, no, no. This won't do, this won't do one bit!" you said in horror, piling them into your arms whilst you made your way around the room as Tommy's scrunched brow followed you until you came to a stop in front of him. " This is my office you've just come in and commandeered. And my piano, you..."

" I think you mean my piano. In my living room. In my house, no?" Tommy corrected you as he lit a cigarette, his squinting eyes skimming over your figure hugging dress. You weren't exactly making it easy for him to look away. To ignore your bossy presence, he thought to himself as his blue-eyed stare lingered longer than intended before he snapped himself away from his wandering eyes and stood up, adjusting his tailored waistcoat.

" Look, we seem to have gotten off on the wrong foot" he said, playing the peace maker in attempt to replace the ferocious frown boring into him.

"The wrong foot?" You scoffed, shaking your head as he perched himself casually on the edge of the oak desk in front of you, the playful glint in his eyes toying with you through the cloud of smoke seeping from the rolled cylinder of tobacco between his fingers. " We got off on the wrong foot, the moment your foot stepped into my house and you shot, then destroyed my piano"

" Right. So those early wake up calls weren't to piss me off then? Drive me out, eh?" he cocked a brow as his tongue ran across his bottom lip, the slappable smile now teasingly glaring back at you, further irritating you.

"I...I"

"Yes, Y/N?" His brows raised, waiting for the smart response he knew your brain was trying to scramble together as he continued to keep you on a first name basis.

" I..." You stopped yourself, before you blurted something you would later berate your flustered brain for saying.

"Just so you're aware, Mr Shelby. I happen to play the violin too" you said as you wittiness finally caught up with the anger demanding all the free space in your head. "And poorly" you finished, stealing the smugness sitting on his teasing smirk as you quirked a brow. His widening eyes coming to the quick realisation that if he was going to get even an ounce of sleep to fill his notorious lack in slumber, there would need to be an urgent manhunt for the destruction of every musical instrument you possessed.

" Have at it, love" Tommy's heavy footing stomped after you as you turned for the door, his casual response hiding the protruding bone of irritation in his clenching jaw. " Last bit of fun until you're sent off to marry, eh?" He delivered the damning reminder of your predicament hot on your heels as your head snapped back to see him stood directly behind you, watching your satisfied smile drain.

" Cal Astor, no?" Tommy pointed to you, his cigarette resting loosely between the callous pads of his fingers. He'd been looking into you, gathering information, your mind urgently tried to weigh out how much he had learnt of your dire situation as your sharp glare met his. " One of the top ten richest men in the country. What a catch" he slipped the attained details of your fiance's status to you with a smirk.

" Tell me, Y/N. Why would a young lady such as yourself, weeks from marrying into one of the wealthiest families in the country care so much for bricks and mortar? " He questioned, blowing a cloud of smoke into the room as his interrogating stare bore into you while you stood momentarily lost for words once again.

"Oh, Sissy?" your brothers irritating pet name called to you from the foyer as a palpable silence settled in the room, pressuring one of you to make the first move.

" You have a guest, love" Tommy's gravelly voice broke the tension as he raised his brows, his challenging glare undisrupted from your brothers bellowing voice.

In a dramatic display of discontent for not only the way he had intruded into your home, but also, the details of your private life he had infringed on. You purposely released the items in your arms to the floor, when the sharp end of an ugly ornament stabbed you in the toe in the process, eclipsing your unfaltering stance to not have the stranger in front of you win another battle in the war he had declared.

Stifling the whelping pain now throbbing through your foot, Tommy waited and watched with curiosity. Thoroughly impressed that the lady in front of him, born with heirs and graces, had gone so long without a mere whimper, or foul-mouthed word. Was you really that bloody stubborn?

Holding in your impending scream, you swiftly turned your back and made your way out the door. Hobbling to the nearest wall, a stroppy, frustrated, grunt of pain left your lips while you lifted your throbbing foot, clutching your toe in pain as Tommy breathed out a heavy sigh and fell into the leather upholstered chair behind the wall next to you. How long would you both keep this up until you came to a solution? And how many toes, ornaments and any other inanimate object would be sacrificed in the process?

" Ahh there she is. My dear, sister" Johnathan greeted you as you walked forward through the bruising pain you had unintentionally inflicted on yourself.

" How's the houseguest?"

" Trespasser, Johnathan" you corrected him as you winced from one foot to the other, trying to ease the pressure of your swelling toe.

" Blimey, that bad?" he chuckled resting his heavy arm over your shoulders, forcing you back on to two feet with a shudder of pain. " Don't fret baby sister, church bells will be ringing soon. Then you'll be rid of this gloomy dump!" he said, squeezing you into him with a rough pat to your arm.

"Aha! Speaking of the husband to be" Johnathan said letting go as you looked up at the smartly polished dress shoes walking your way. Your stomach dropping at the sound of his voice beckoning closer.

" Darling" a voice broke through your brother's chatter as your fiance snaked his hand around your waist, leaning into your cheek.

" Cal" you meekly voiced as you turned your head away from him, earning you a scornful glare and a sharp squeeze to your hip.

"Playing hard to get are we?" Cal scoffed a laugh through his pearly whites, the insult of you refusing his affection in front of company further angering him and his tightening grasp that had become prone to landing blows to your delicate skin.

" You won't see my sister give in that easily, Cal" Johnathan laughed through the cigar between his teeth, oblivious as per usual to the true nature of his friend and acquaintance he had latched on to. Or rather, money he had latched on to.

"Indeed" Cal looked down at you with a smirk, having already had his way with you.

A moment of fear, of weakness. You told yourself when you had given into his forceful demands as he hitched up your dress whilst his heavy frame climbed on top of you.

Coerced, guilted, or even a last plea of naive hope on your part to have him finally let you be if you gave him what he wanted, you'd tell yourself in moments of reflection and sorrow for the part of yourself you lost that night when you dulled his predatory insistence with whatever drink you could find. Was that why you gave him so much power? Because he was your first intimate, and now tainted experience?

" Frances, one moment!" Johnathan called, jogging after your housekeeper as he watched her hurry away from your brother's long list of demands she knew she'd be dumped with if she didn't make a quick escape.

" You disappoint me Y/N" your fiance abruptly turned you to face him, now alone together, and away from observing eyes. " Was quite the surprise when I sent a car for you the other night and it returned, empty. My fiance, missing" he said as you tried to leave when his strong grip came down on your arm, bruising through your skin. "You're not going to go missing again are you, darling?" his irritation was felt through the sarcasm laced in his words.

Too many times had you avoided his invitations, had you purposely found yourself out of town when his presence increased with the death of your father and the rules of courting he had imposed to keep any premarital scandals at bay. The only rule your father had ever implemented in your life that you were thankful for.

" No" you shook your head, your strong character once again unable to stand up to the man you had unwillingly passed so much control of your words and actions over to.

" Good girl" he chided, a satisfied smirk growing on his lips closing in on yours as you flinched at his pressing hold around your reddened wrists, forcing you to endure his embrace.

" Johnathan, the car" he smiled breaking away, releasing you from his grip as he called for your brother who childishly waited on his every word.

Stood alone in the foyer, rubbing the taste of him from your swollen lips, the bruising soreness from your bluing skin, you watched as your brother entertained the man you had become to loathe, when your tearful eyes turned to see Tommy stood between the frame of the office door, having witnessed the most vulnerable part of your existence you had shamefully hidden away.

For be it poor or rich. A woman's woes in the time you lived in were always unheard, always played down to an inaudible silence. And Tommy was no fool to think otherwise, as he too stood silently watching you walk away without a word.

Sat in the bay window of your room later that morning, you smiled as you watched the stable hand pat down your mare's dusty coat, giving her the pampering she deserved.

"Your tea, Miss" Frances announced as she walked through the door with a silver platter of England's finest, freshly brewed. " Good heavens! What ever happened to your foot?" She said upon seeing your expanding toe precariously resting on a stack of cushions and books.

" Mr Shelby" you said as your eyes narrowed in on the trespasser now approaching your thoroughbred down in the courtyard.

" Mr Shelby did this?" Frances' eyes widened upon hearing your accusations as she examined your lack of care for your swelling digit doubling in size.

" No, Mr Shelby's ghastly ornament did that" you said briefly looking at your propped-up foot before your attention returned to outside. " What on earth is he doing?" You curiously observed the squatter, his presence a welcome distraction to your impending nuptials and crippling worries. Not that you would admit it, of course.

" Oh my" Frances's hand flew to her chest as she watched the bridle being adjusted to your saddleless horse. " I should go warn him" Frances turned to leave when you hoped up with a giddy smile as you searched for the shoe you would force to fit around your ballooning foot.

" No, no" you gently rested your hand on your housekeeper's arm, stopping her from sabotaging your fun. " Let him find out himself" you grinned as you limped to the door, leaving Frances shaking her head disapprovingly at the woman she had cared for since she was a rosy-cheeked baby, toddling from one foot to the other.

Stood by the stable door, you curiously watched as Tommy whispered words of gentle reassurance to your horse, brushing his hand down her muzzle as your steps apprehensively approached closer, unsure if the topic of conversation would be your finances heavy hand he saw earlier that day, you wished not to discuss.

" How's your toe?" Tommy asked, his cigarette resting loosely between his lips as he turned to face you with an emerging smile dimpling the corners of his eyes.

" My toe? Good as new" you lied, badly, as you crossed your arms at the amusing chuckle leaving your unwanted guests' lips." You should saddle her" you warned him as you watched him lead her towards you, secretly hoping he would continue his refusal to listen to your bossy demands.

" Was born riding, love. Think I can handle her" he confidently proclaimed as he shot you a wink. " Come on, steady now" he patted her side as you followed behind them, eager to see him unceremoniously take a blow to his insufferable cockyness.

" What's her name?" He asked as he lifted himself up, adjusting the reigns in his hands to his liking.

" Nelly" you said as you leant back on the wooden fencing of the small paddock, taking the weight of your throbbing foot you had shoved into the soles of your tightly laced boots.

" Nelly, eh?" Tommy quietly mumbled clearing his throat, suddenly doubting his riding skills as he looked down at the jittery creature bouncing from hoof to hoof. " Steady, girl" he managed to control her erratic movements as he pulled back the reigns with a gentle pressure. " Don't show me up, Nell. I'll never hear the end of it" he quietly whispered to your horse with a pat to her neck as you watched on with amusement.

" See, we're doing alright. Aren't we Nelly?" Tommy called out to both you and your horse as he trotted along the muddied ground. " She just needs some firm guidance, is all" he said as he passed by your rolling eyes. " With a horse like..." Tommy continued his unsolicited advice when a freckled orange and black butterfly passed in front of him, causing Nelly to rear up in fear before throwing him off and bolting away.

" Shit" Tommy huffed at the sound of your approaching hysterics as he lay in the mud, his ego having been embarrassingly taken down a few notches off it's high pedestal.

" Am I in hell?" he opened one eye to see your smirking face looming over him with your hand out for him to take, when your smile turned to a scowl and you let him drop to the ground once again. " No, still alive" he grunted as he pulled his body and throbbing head back up, resting his arms on his bent knees as he watched your horse trot towards you. " Her name wouldn't happen to stand for nervous Nelly, would it?" Tommy looked up at you both as he watched you nuzzle your head against her neck, her thumping heart slowly settling with your tender touch.

" Nervous Nelly, notorious Nelly. Even nutty Nelly at one point. My girl has earned herself quite a collection of nicknames, haven't you, darling" you said as you cupped your hand under her muzzle, letting her lick the saltiness of your palms.

" Here" you said, putting your free hand out for him to take. " Are you hurt?" You asked as you both hobbled out of the paddock back to the stables. Both a sight of giggling fits for the staff of Arrow House looking from behind the twitching curtains of your shared home.

" No more than your toe is" he smiled down at you as you walked beside each other, free of any bellowing voices or snide remarks for the first time in almost a week, having both taken a dramatic blow to your obnoxious stubbornness.

" Mr Shelby" you turned to face him as you gave the reigns to your stable hand. " How much did my father owe you?" You took the opportunity to ask the question that had been nagging you in your brief truce before the battle of words recommenced.

" £17,000" Tommy exhaled as he looked at you from the corners of his eyes, a feeling of pity for you and the burden your father had selfishly lumbered you with stopping him from making any smart remark.

With a future of little prospects, other than that of a high-society marriage, every woman such as yourself was destined for. Tommy had come to the knowledge that your father had secured your life by marrying you off into wealth rather than leaving you with his fortune to pave your own way in life.

As your eyes widened and the learnt details of your fathers debt and how big of a whole he had dug in his wake. A guttural feeling of dread weighed down your stomach at the large sum of money your father owed, nearly exceeding that of Arrow Houses' value.

" I will pay you back, Mr Shelby" you said as you looked back to your home and it's surrounding land. Suddenly feeling you had nothing else to offer other than your word.

"Look, Y/N..."

" I will find a way, Mr Shelby" you made a pledge you knew would be near impossible to uphold if the deeds to your house had indeed, no standing.

With a small nod of his head, Tommy gazed down at you as a brief moment of peace captured him in the silent breeze of summer blowing a lock of hair drifting across your cheek, glittering with the welcome rays of the midday sun. A silence you both welcomed in the neutral grounds of no man's land until the sound of your brother hurtling down the drive, car horn blaring, deafened your ears.

" Sister! I won it! I bloody won it! " Your brother laughed maniacally, high on his win with a wad of cash in his hands, having spent the entire morning in the casinos with your fiance.

" God's sake" you felt the embarrassment of your brother's presence as your eyes darted to Tommy undoubtedly judging your renowned noble name, questioning how a family such of your selves came to inherit it as you watched him ignite a cigarette behind the orangery glow of the flame.

" Sweet pea" Cal's voice approached you as you shifted away, stumbling into Tommy as you did. " Sorry" you apologised, tucking a rebel hair behind your ear with your flustered fingers as he steadied your fall with a gentle hand to your back, a touch foreign to you with the heavy strikes you had become accustomed to from the opposite sex.

"Cal, Mr Thomas Shelby. Mr Shelby, Earl Cal Astor" you introduced the two men as you stood in the middle, looking between their glaring stares as you subtly shrugged of your fiances hand on your arm in the process.

"Pleasure" Cal greeted him with a belittling tone of superiority with his hand out as Tommy's hovered momentarily in the empty space between them before lifting it to take a smoke. Only a mere nod of his head in acknowledgment of his presence.

Murder, theft, prostitution, gambling. Tommy did not only live a life in the dark shadows your fiance and brother would visit for entertainment. He was the maker of it. The master puppet to the riches seedy side of life he and his men would adorn with gold-collumed bars, and live jazz music to have them fill his pockets. He had met a dozen men like your fiance. Each a replica of the other. Each of them in the privacy of their home with wives, lovers and maids accustomed to feeling the back of their hand when money didn't get them what they felt they were owed.

There were many things Tommy's wavering moral compass didn't stand for. And have no doubt, he had seen the bruises on your wrists, the tears unspent in your eyes you hid as you hurried away earlier that morning.

"Excuse me. I have a business call" your unexpected houseguest said as he threw his cigarette to the ground, inches from the perfectly kept shoes of your fiance.

" Shelby!" he called with a mocking chuckle, angered by the blow of disrespect he'd been shown. " Perhaps you would grace us with your presence at our engagement ball next week. Then you can find the time away from your pressing business matters for us to get to know the Small Heath gypsy boy living with my soon to be wife" he tauntingly finished with his nose up, lifting the heavy gold signet ring of his family's crest to your lower back you had already felt on numerous occasions, the sharp end of.

Coming to a stop at the steps of Arrow House, you watched the notorious gangster with his hands seated in his trouser pockets as his back stayed turned to you, whilst you silently prayed he would refuse the invitation and childish game of belittling any class below him you knew your fiance was set on making a spectacle out of in sheer spite. A game you were not willing to play.

" Next week it is, Mr Astor" Tommy's low rumbling voice replied, never ceasing the opportunity to further his endeavor as his strong statue disappeared into the darkened foyer and the door shut behind him.

A potential for business, or rather a show of power to the man that had insulted his heritage so freely with one single disdained word used to rile him up and have him show his business acquaintances the true colours of the leader to the notorious cut-throat gang he had kept from their lives until any encouraging reminder was needed. For they were no better than him. Criminals with the most unsavory of dealings. And you had better believe, Tommy had no qualms being the one to show these men their own true colours, and the reminder that they were no different to any small-time thief from Small Heath with only a title of nobility slapped on the end of their name seperating them. No qualms at all.

NEXT PART

Tag list: @weaponizedvirtue @un-interneted @mama-ivy @kmc1989 @leighla3

@emotionalcadaver @mamawiggers1980 @sweetcheesecakesblog @cljordan-imperium @peakyswritings

@tiedyedghoulette

#tommy shelby #thomas shelby #tommy shelby x reader #tommy shelby x reader insert #tommy shelby x y/n #tommy shelby x you #tommy shelby x fem!reader #tommy shelby fanfic #tommy shelby fanfiction #tommy shelby imagine #tommy shelby series #cillian murphy #peaky blinders #peaky blinders fanfic #peaky blinders fanfiction #peaky blinders imagine #peaky blinders series #uptown girl

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whumpinggrounds · 2 years ago

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Overused Disability Tropes

Woohoo here we go. I expect this one to be a bit more controversial because I am using specific media as examples. I would really prefer if, when critiquing this post, you avoid defending specific media, and focus instead on what’s actually being said/represented about disabled communities. If you feel I’ve done a really grave injustice, you can come into my askbox/DMs/replies to talk to me about it, but I might not answer.

One more time: I am not interested in getting into a debate about whether something is a good show/movie/book/whatever. I’m not telling you it’s bad, or that you shouldn’t enjoy it! People can like whatever they want; I am only here to critique messaging. Do not yell at me about this.

Newest caveat aside, let’s get into it!

Inspiration Porn

Without a doubt, our biggest category! Term coined in 2012 by badass activist Stella Young, but the trope has been around for literal centuries. There are a few different kinds that I will talk about.

Disabled character/person is automatically noble/good because of their disability. A very early example would be A Christmas Carol’s Tiny Tim, or, arguably, Quasimodo from The Hunchback of Notre Dame. Real life examples include the Jerry Lewis MDA telethon, or children’s hospital ads that exploit sad-eyed kids with visible illness or disability.

Having a disability does not automatically make you a kind/angelic/noble person. This many not seem harmful, and may even seem positive, but in reality, it is condescending, inaccurate, and sets bizarre standards for how disabled people should behave.

This portrayal is often intended to elicit pity from abled audiences, which is also problematic.

In these portrayals, disability is not something to be proud of or identify with, only something to be suffered through.

Disabled character person does something relatively mundane and we all need to celebrate that. This is less common in writing, but happens in the real world when people do things like post pictures of disabled people at the gym captioned “What’s your excuse?”

This is condescending, and implies that anything disabled people are capable of, abled people are automatically capable of.

Makes it seem like it’s an incredible feat for a disabled person to accomplish tasks.

Uses people’s actual lives and actual disabilities as a reminder of “how good abled life is.”

The “Supercrip” stereotype is a specific kind of inspiration porn in which disabled people are shown to be capable of amazing things, “in spite of” their disability.

The Paralympics have been criticized for this, with people saying that advertisements and understandings of the Paralympics frame the athletes as inspiring not because they are talented or accomplished, but because their talents and accomplishments are seen as “so unlikely.”

Other examples include the way we discuss famous figures like Stephen Hawking, Alan Turing, or even Beethoven. Movies like The Theory of Everything and The Imitation Game frame the subjects’ diagnoses, whether actual or posited, as limitations that they had to miraculously break through in order to accomplish what they did. Discussions of Beethoven’s deafness focus on how incredible it was that he was able to overcome it and be a musician despite what is framed as a tragic acquisition of deafness.

The pity/heroism trap is a concise way of defining inspiration porn. If the media you’re creating or consuming inspires these emotions, and only these emotions, around disability, that is a representation that is centered on the feelings and perceptions of abled people. It’s reductive, it’s ableist, and it’s massively overdone.

Disabled Villains

To be clear, disabled people can and should be villains in fiction. The problem comes when disabled people are either objects of pity/saintly heroes, or villains, and there is no complexity to those representations. When there is so little disabled rep out there (less than 3.5% of characters in current media), having a disabled villain contributes to the othering of disability, as well as the idea that disability can make someone evil. There are also a few circumstances in which particular disabilities are used to represent evil, and I’ll talk about how that’s problematic.

Mentally ill villains are colossally overdone, particularly given that mentally ill people are more likely to be the victims of violence than perpetrators of it. This is true of all mental illness, including “””scary””” things like personality disorders or disorders on the schizoaffective spectrum. Mental illness is stigmatized enough without media framing mentally ill people as inherently bad or more suspectible to evil. This prejudice is known as sanism.

Explicit fictional examples of this include the Joker, or Kevin Wendell Crumb in Split.

People can also be coded as mentally ill without it being explicitly stated, and that’s also problematic and sanist. In the Marvel movie Doctor Strange and the Multiverse of Madness, Wanda’s appearance and behavior are coded as mentally ill. This is used to make her “creepy.” Horror movies do this a lot - mental illness does not render someone creepy, and should not be used as a tool in this way.

Visible disability or difference to indicate evil is another common, incredibly offensive, and way overdone trope. This is mostly commonly done through facial difference, and the examples are endless. These portrayals equate disability or disfigurement with ugliness, and that ugliness with evil. It renders the disabled villain in question an outcast, undesirable, and uses their disability or difference to dehumanize these characters and separate them from others. This is incredibly prevalent and incredibly painful for people with visible disability or facial difference.

An example of visible disability indicating evil is Darth Vader’s prosthetics and vastly changed physical appearance that happen exactly in time with his switch to the dark side. In contrast, when Luke needs a prosthetic, it is lifelike and does not visually separate him from the rest of humanity/the light.

Dr. Who’s John Lumic is another example of the “Evil Cripple” trope.

Examples of facial difference indicating evil range from just about every James Bond movie, to Scar in the Lion King, Dr. Isabel Maru in Wonder Woman, Taskmaster in Black Widow, Captain Hook in Peter Pan, and even Doofenschmirtz-2 in Phineas and Ferb the Movie. Just because some of the portrayals are silly (looking at you, Phineas and Ferb) doesn’t make the coding of facially scarred villains any less hurtful.

A slightly different, but related phenomenon I’ll include here is the idea of the disability con. This is when a character fakes a disability for personal gain. This represents disabled people as potential fakers, and advances the idea that disabled people get special privileges that abled people can and should co-opt for their own reasons.

In The Usual Suspects, criminal mastermind Verbal Clint fakes disability to avoid suspicion and take advantage of others. In Arrested Development, a lawyer fakes blindness in order to gain the sympathy and pity of the jury.

In much more complex examples such as Sharp Objects, a mother with Munchausen by proxy fakes her daughter’s illness in order to receive attention and pity. Portrayals like this make Munchausen or MBP seem more common than it is, and introduce the idea that parents may be lying or coaching their children to lie about necessary medical treatment.

Disability as Morality

Sometimes, the disabled character themselves is a moral lesson, like Auggie in Wonder. Sheerly through existing, Auggie “teaches” his classmates about kindness, the evils of bullying, and not judging a book by its cover. This also fits well under inspiration porn. This is problematic, because the disabled character is defined in terms of how they advance the other characters’ morality and depth.

In the “Disabled for a Day” trope, an otherwise abled character experiences a temporary disability, learns a moral lesson, and is restored to full ability by the end of the episode/book/movie. Once again, disability is used as a plot device, rather than a complex experience, along with more permanent disability being rejected as impossible for heroes or main characters.

Examples include an episode of M*A*S*H where Hawkeye is temporarily blinded, an episode of Law and Order: SVU where Elliott Stabler is temporarily blinded, and an episode of Criminal Minds where Agent Hotchner experiences temporary hearing loss.

Real life examples include sensitivity trainings where participants are asked to wear a blindfold, headphones, or use a wheelchair for a given amount of time. This does not impart the lived experience of disability. It should not be used as a teaching tool.

Disabled people as inherently pure. This is related to inspiration porn and disabled people as noble, but is different in that it is usually appears in combination with developmental, cognitive, or intellectual disabilities. These characters are framed as sweet, “simple,” and a reminder to other characters to be cheerful, happy, or grateful.

Examples include Forrest Gump, Rain Man, I Am Sam, and What’s Eating Gilbert Grape.

No matter what the stereotypes of a given diagnosis are (yes, I’m thinking of the automatic cheerfulness associated with Down Syndrome), disabled people have personalities. They are capable of being sad, angry, sarcastic, irritable, annoying - any number of things beyond good/sweet/pure. It is reductive to act otherwise.

Disability as Surreal

Less common than some of the others, but still worth thinking about!

Disabled characters are framed as mystical, magical, or other than human, a condition that is either created by or indicated through their disability status. This is especially common with little people.

“Disability superpower” is when a character compensates for, or is uniquely able to have a superpower because of, their disability. Common tropes include the Blind Seer, Blind Weapon Master, Genius Cripple and Super Wheel Chair.

Examples include Pam from Supernatural, Charles Xavier from X-Men, or the grandpa in Spy Kids.

Disability as Undesirable

Last and least favorite category here. Let’s go.

Disabled people as asexual or not sexually desirable. Disabled people can be asexual, obviously. When every portrayal is asexual, that’s a big problem. It frames disabled people as sexually undesirable or implies that it is impossible for people with disabilities to have rewarding, mutually satisfying sexual relationships.

Examples include The Fault in Our Stars or Artie in Glee.

Abandoned due to disability. Hate this trope. Often equates disability with weakness. Don’t want to talk about it. It’s all right there in the title. Don’t do it.

Examples: Quasimodo in Hunchback of Notre Dame, several kittens in the Warrior Cat series, several episodes of Law and Order: SVU, Bojack Horseman, and Vikings.

Discussed in 300 and Wolf of Wall Street.

Ancient cultures and animal nature are often cited as reasoning for this trope/practice. This is not founded in fact. Many ancient civilizations, including Sparta, cared for disabled people. Many animals care for disabled young. These examples should not be used to justify modern human society.

Disabled characters are ostracized for disability. Whether they act “““normal”““ or odd, characters with visible or merely detectable disabilities are treated differently.

Examples include pretty much every piece of media I’ve said so far. This is particularly prevalent for people with visible physical disabilities or neurodivergence. Also particularly prevalent for characters with albinism.

This is not necessarily an inaccurate portrayal - disabled people face a lot of discrimination and ableism. It is, however, very, very common.

Bury your disabled. What it says on the label.

Examples: Animorphs, Harry Potter and the Deathly Hallows, American Horror Story, Criminal Minds, Dr. Who, Star Trek, The Wire.

Mercy killing is a subtrope of the above but disgusting enough that it deserves its own aside. I may make a separate post about this at some point because this post is kind of exhausting and depressing me.

Examples: Me Before You, Killing Eve, Star Trek: The Next Generation, Of Mice and Men, and Million Dollar Baby.

Disability-negating superpowers imply that disability is undesirable by solving it supernaturally instead of actually portraying it, and giving their character powers instead.

Examples include (arguably) Toph from Avatar: the Last Airbender, Captain America: The First Avenger, The Legend of Korra, Dr. Strange, and Daredevil.

Overcoming disability portrays disability as a hindrance and something that can be defeated through technology and/or willpower.

Fictional examples include WALL-E, Kill Bill, The Goonies, The Dark Knight Trilogy, Heidi, The Secret Garden, The Inheritance Cycle, Agents of S.H.I.E.L.D, The Big Bang Theory, Dr. Strangelove, Sherlock, The Witcher.

Real life examples include videos of wheelchair users standing from their chair to walk down the aisle at a wedding, or d/Deaf children “hearing” for the first time through cochlear implants.

What Does This Mean for Your Writing?

First of all, congratulations for making it this far!

Now, as I have said again and again, I’m not going to tell you what to write. I’ll ask some questions to hopefully help guide your process.

What tropes might you be playing into when writing disabled characters? Why do you find these tropes compelling, or worth writing about? How prevalent are these tropes? How harmful are they? What messages do they send to actual disabled people?

Just because they are common tropes does not mean they are universally awful. Cool fantasy or futuristic workarounds are not necessarily bad rep. Showing the ugly realities of ableism is not necessarily bad rep. It’s just a very, very common representation of disability, and it’s worth thinking about why it’s so common, and why you’re writing it.

As always, conduct your own research, know your own characters and story, and make your own decisions. If you have questions, concerns, or comments, please hit me up! Add your own information! This is not monolithic whatsoever.

Happy writing!

#disability writing guide #writing disabled characters #disability #disability representation #disability justice #writing advice #disability tropes #writing tropes #ableism #sanism

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queers-gambit · 1 year ago

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Save Me From Myself

prompt: ( requested ) in a moment of unparalleled anger, you learn what Joel really thinks of you.

pairing: Joel Miller x female!reader

fandom masterlist: The Last of Us

collection masterlist: Clingy Baby

word count: (short as hell at) 1.9k+

warnings: very mild spoilers, there's probably cursing, oneshot (no part two), hurt no comfort, mild angst, shorty shorty short short shorty! author is disappointed in this one, she wanted to give much more.

"Gimme that," you grunted at Ellie, picking her backpack from her shoulder with ease as the shorter young lady protested with a small growl.

"I got it - "

"Take a break," you smiled at the kid, shouldering her pack. "Tell me another one of those shitty jokes you love so much."

Ellie smirked and whipped out her book, flipping through a few pages, scanning the pages, then deciding on one. "What... Is Beethoven's favorite fruit?"

You shrugged, "No idea."

"Ba-na-na-naaaaa!"

You laughed, you couldn't help it. "Goddamnit. That's a good one," you praised, eyeing her for a moment as she silently read down the page. You wondered, "You know, I meant to ask, but why that book in particular?"

"My friend gave it to me... It was a present," she explained softly, seeing your head nod of understanding. "What did one ocean say to the other?"

"Nothing, they just waved," you smirked.

"You shithead," she tisked. "Okay, okay, here's a good one. What's brown... And sticky?"

"Oh, Ellie, don't be gross - "

"A stick."

There was a long pause.

"Oh, you know what? Fuck you," You laughed heartily. "I gotta remember that, I like that one."

"You'll like this one, too. Why should you never trust stairs?"

You knew the answer, but humored her, "Why?"

"Because they're always up to something."

You chuckled, "Good one, kid, yeah. Okay, okay, wait, I got one."

"Lay it on me."

"How do you cut a Roman Emperors hair?"

"How?" She grinned, ready for the punchline.

"With Caesars."

Ellie paused, offering a confused look, "I don't get that one."

You both stared at one another for a long moment, still walking through the cold, dead field.

"You don't know Julius Caesar?"

"No? Who the hell is that?"

You chuckled, "You know what? Just as well, who fucking cares about the Roman Empire when we're living in the end-of-days?"

"It's a decent joke," Joel spoke for the first time in hours; holding his rifle protectively as he lead you both through the wilderness, "for what it's worth."

You smirked at Ellie and teased, "Told you I was funny."

"You used the term punny."

"Both are accurate."

"I think you're just an idiot."

"I think you've got a helluva mouth on you."

Ellie grinned and flipped through her book, your gaze trailing to Joel and eyeing him for a long moment. You've known him since you were 19 and hired to babysit his daughter, Sarah. Joel was everything you could've asked for - loyal, sweet, protective, respectful. You had been at their house, doing coursework for your university program when the Outbreak happened. You did what you could to help protect Sarah, but in the end, nobody was safe, nobody was immune, and Death stretch His hand unto all of mankind alike.

He left only select few, you, Joel, and Tommy being amongst the survivors.

The past twenty years had been anything but easy, and while you had gone into this pandemic together, you and Joel didn't actually stick together the whole time. When you settled in Boston with Tommy, Tess, and a few other nomads, you were exhausted from the brutality you were forced to survive in, and so, first chance you had, you broke away.

Technically, you and Tommy broke away. But still.

Joel turned to a life of shadiness with Tess at his right hand (and on his cock). The two of you becoming estranged, until he saved your ass from a pair of FEDRA agents harassing citizens.

He didn't just distract your assailants, but put them in the dirt, helped pick you up, dust off, check for injury, then escort you home. Once at your apartment, he ensured you weren't hurt and was truly okay, and after that, he was back in your life - like the snap of fingers.

You hated to admit it, but it felt nice having a constant back in your life. Joel was your tether to reality, and without him, you felt akin to a kite with the string cut - useless and drifting away.

After that, you came around a little more to see how much your old neighbor had changed in your time apart. Joel was familiar, he was family; had always been something of a source of peace for you. He was usually protective of your wellbeing - even if he had a strange (and borderline unhealthy) way of showing it - creating a bubble of safety.

You eventually left the Fireflies and met Bill and Frank, venturing out and about with Joel and Tess; the latter of who simply despised you for just existing. She was never fond of you, more so now that Joel was obviously attached to you.

Joel never let her argue about you; he never cared for her opinion nor what assumptions she had. He kept you close, he liked your close; and if she sneered any hateful slander, Joel was swift to push her away in favor of you.

One time, he even literally locked her out of the apartment because she was rude to you and told you to "get lost!".

How could you not feel safe? Comfortable? Secure?

When you made it to Jackson and found Tommy once more, you were overjoyed by his familiar face and scent, but quickly pulled him aside to voice your concern for Joel.

"He's been clutching his chest, walking slower than I've seen before," you whispered to Tommy. "I don't think he's havin' a heart episode, but somethin' ain't right, Tommy. He's not doing the best."

"I'll talk to him," he assured.

You believed him, there was no reason not to. You (willfully blindly) believed Tommy would go about this subject with sensitivity and wouldn't mention your words of concern, but you were wrong. Very wrong. Joel had a known temper and if he caught wind that you spoke his name, even in passing, he would lash out, so, truly, you thought Tommy wouldn't tip Joel off.

The moment you returned "home" (to the house you, Ellie, and Joel were offered), you were met with a fuming Joel and an awkward looking Ellie. "What's going on?" You felt worried, fearing for the worst, asking, "What's wrong?"

"You," Joel snapped. "You're what's wrong."

"I beg your pardon?"

"Joel," Ellie tried with a frown, "she just walked in 0 "

"You had a word with Tommy now, did'yah?" He demanded, ignoring Ellie to focus his glare fully on you.

"Well - yeah - I mean - "

"No," he seethed with narrowed eyes and furrowed brow, "where the hell you get off talkin' to my brother like that? Huh? You worried 'bout me, you say somethin' to me - otherwise, the hell you talkin' for?"

"Joel - "

"You overstepped," he shook his head and pointed a scolding finger at you, "and my health ain't your concern - "

"Of course, it is! Fuck's sake, how can you even say that? I get you're mad, fine, okay, you know what? I get it, I'm sorry if I overstepped by telling Tommy how worried I am, but for the love of God, Joel, I am worried about you because you're not the same man you once were!"

"Are any of us?" He huffed.

"You don't think we've noticed the way you've slowed? How you clutch your chest? I'm allowed to be worried - "

"You know, if you weren't so Goddamn clingy all the time, you wouldn't feel whatever compulsion this is to concern yourself with something that ain't got shit to do with you."

You blinked in shock, feeling disarmed by the harsh tone and bruising words he offered. "Joel, we're both worried about you,," Ellie stepped in again. "Don't be such a dick, she's just looking out for you."

"By involving those that don't need to be involved?" He sneered, glaring at the girl before rounding on you. "From now on, you stay in your place - enough with this - this fucking - this protector bullshit you think of me as. You cling any fucking tighter and I'll suffocate, so back the hell off."

You nodded slowly, watching him storm off; door slamming after him hard enough to make both you and Ellie flinch. "I, uh..." You cleared your throat, "I should... Um, uh, you know what, I'll jusy - uh, yeah, no, I can just... Yeah, I should - yeah."

"I'm sorry," she mumbled.

"You didn't do anything."

"No, but that wasn't very nice of him to say."

"No, I suppose not," you smiled ruefully, giving a hearty, heavy sniffle. "I should, you know, go and find somewhere to crash - "

"Why wouldn't you stay here?"

"I don't exactly like to linger where I'm not wanted," you mused, keeping your tears at bay. "I just need to clear my head for a bit. Go for a walk or something. Maybe he just needs some space, I don't want to be here and upset him more... You two have a mission at hand," you tried to smile, "that's bigger than us all, and whether I see the end of it or not doesn't matter now - what matters is you, Ellie. This petty squabble will pass," you lied, "because you're all that matters. I won't risk further upsetting Joel, gambling with this already sketchy-ass plan and put everything we've worked towards so far at jeopardy."

You both smiled ruefully.

"I know when to walk away," you ended softly.

She nodded, opening her mouth but closing it instantly; knowing you were stubborn enough that she didn't even attempt to stop you. So, she did the only thing she knew she could do: offered her joke book.

"Oh, Ellie, no," you breathed, "no, no, I can't take that, it was a gift."

"And now I'm gifting it to you," she shrugged, holding the book out. "C'mon, just take it, it'll make me feel good knowing you're cracking shitty jokes to yourself - or whoever will listen."

"I can't take this," you whispered.

"Just make sure you stay alive to give it back," Ellie compromised.

"Deal," you smirked, opening your arms and embracing the girl the moment she rushed into your chest. "I'll miss you," you whispered. You promised to see her as soon as you could (so you could return the joke, of course), kissed her forehead, then grabbed your bag, which had yet to be unpacked, and left the house.

You managed to find lodging in the old cantina, and you'd never know that when Joel got back that evening and saw your items gone, he breathed a sigh of relief. In his head, with you gone, it was one less painful reminder of Sarah, the life he had before; and while his mind played tricks into thinking he saw Sarah in town today, he realized you were the constant trigger.

The single strand that kept him in the past.

Constant reminder of who he was, who he wanted to be.

Prevented him from truly moving on.

Though not done in the best or most respectful way, in his heart, Joel knew he needed to shove you into the mud to get you to let go; you saw too much "good" in him. You saw him in the same light as Sarah, and he couldn't handle that; could not fathom that there was anyone left in this world who saw anything remotely humane in him.

So, Joel did what he did best: made his own life infinitely harder by pushing away those who loved him.

requesting rules and masterlist

TLOU masterlist

Clingy Baby masterlist

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mikrokosmos · 16 days ago

Text

The Gothic in Classical Music History (1760s-1920s)

Intro Back in high school I fell in love with two things; classical music, and Edgar Allan Poe. I’ve always loved Halloween, October, spooky things, ghost stories, horror and slasher movies, etc. And I always loved finding classical music that was also spooky, or dark, or evocative of the same eerie experience of a cold and foggy October day. Thinking about these memories made me want to put together a short list of Gothic Classical music.

But what do I mean? There is no true “Gothic music” as in a specific movement in classical history, because the traditional Gothic refers to literature. Not all art movements have corresponding trends in all mediums. Even so I thought it would be fun to say, if there was such a thing as Gothic music, what would that include?

18th Century

John Henry Fuseli - The Nightmare (1781)

Music of the 1760s-1790s, corresponding with the first wave of “Gothic Novels” in the English language. Some names in this era include Horace Walpole (The Castle of Otranto), Ann Radcliffe (The Mysteries of Udolpho, The Italian) and Charles Brockden Brown (Wieland). The closest we have to music of this same era would be in the Sturm und Drang style. Sturm und Drang (Storm and Stress) was used to describe music written in a minor key that was restless, agitated, intense, emotional, and more extreme than the typical expectations for restraint and lightness/clarity, music that aristocrats in powdered wigs and velvet and lace could relax with. Strong changes of emotion and more emphasis on subjectivity, reflected by sudden modulations and pulsing rhythms.

The most famous piece that I associate with Sturm und Drang is Wolfgang Amadeus Mozart’s “little” g minor Symphony no.25, K.183 (1773). It is famously used in the opening of Miloš Forman’s Amadeus (1984). It is a fun piece, and that opening movement is full of fire, and probably the young Mozart having fun (he wrote it at 17. If you ever want to lower your self esteem, look up what music Mozart wrote at your current age.). Another major work would be Joseph Haydn’s “Farewell” Symphony no.45 (1772), written in the very unusual for the time key of f# minor. And of course, even though he comes later, anything Ludwig van Beethoven published in a minor key has a lot of muscular passion to it, and his early/classical era of the 1790s is no joke. Check out the final movements of his Piano Trio no.3 in c minor and his Piano Sonata no.1 in f minor, or his most famous early sonata, the Pathetique.

But if the Sturm und Drang style and Gothic genre also emphasize the disturbed and the psychological, we can include programmatic works that do the same. Mozart’s opera Don Giovanni (1788) has an incredible moment in the finale. The sociopathic hedonist is confronted by the ghost of the man he murdered in the first act, who possesses a statue and confronts Don Giovanni with his sins. Don Giovanni doesn’t repent, so he is dragged into hell with a chorus of demons. Always a good reminder that Mozart wasn’t the eternal child who wrote pretty melodies.

19th Century

Caspar David Friedrich - The Abbey in the Oakwood (1810)

Music of the early 19th century corresponds better with Gothic fiction because Romanticism in art brought greater interest in the supernatural, in the subjective, in emotional reactions to the universe… major names in fiction include the poetry of Lord Byron (Darkness), Mary Shelley (Frankenstein, The Last Man), and Sir Walter Scott (The Bride of Lammermoor). Greater emphasis is put on the anxiety of the unknown, supernatural fears beyond our control.

Of all Franz Schubert’s songs, Erlkönig (1815) best exemplifies the Gothic (and this is a bold claim because I only know about a fraction of Schubert’s extensive song output). In it, a father and son are riding on horseback. The son is sick with fever. As they ride, the son cries out that he can hear the Elf King calling out to him, some evil spirit or demon that wants to take the son’s life. The father tries to calm him down, but the Elf King gets closer and closer. By the time they reach home, the son has died. Was the Elf King real? Was the son hallucinating from fever? How literal should we take this text? The ambiguity of subjective experiences and how we interpret and understand reality is a major theme in Gothic fiction.

Many famous German operas lean into the supernatural and magical. In this period we get Carl Maria von Weber’s Der Freischütz (1821), considered to be the first Romantic opera. In it, our main character Max who needs to win a shooting contest so he can be allowed to marry his lover, Agathe. He is given a gun that can shoot magic bullets by another forrester Kaspar (who has his own plans). Kaspar tells Max to meet him in the “Wolf’s Glenn” in the woods at midnight for more magic bullets. In the Wolf’s Glenn, Kaspar calls for a spirit, the Black Huntsman Samiel, to help him curse the other characters, offering Max’s soul in exchange. Making deals with demons/the devil was another fascination in Romanticism.

Legends of a diabolical nature were springing around great musicians. At the end of the 1700s, Giuseppe Tartini wrote his most famous composition, the “Devil’s Trill” Violin Sonata in g minor which is full of virtuosic passages. Tartini claimed that the Devil appeared to him in a dream, and that he sold his soul in exchange for the Devil to be his servant. He handed the Devil his violin, and the Devil “…played with such great art and intelligence, as I had never even conceived in my boldest flights of fantasy. I felt enraptured, transported, enchanted: my breath failed me, and I awoke” Source

Similar stories came about with violinist Niccolò Paganini, who astonished the audiences of the early 19th century with his (for the time) otherworldly technique, dazzling them with scales and leaps and scratches the likes of which you can hear across his 24 Caprices for solo violin. A young Franz Liszt was at one of Paganini’s concerts and he was enthralled and inspired to become the “Paganini of the Piano”. He too would dazzle audiences with his percussive intensity, glittering arpeggios, and dreamy modulations to possess women with the spirits of hysteria and other dated misogynistic diseases. Cliche to say but before Bieber Fever, before Beatlemania, there was Lisztomania.

The sense of Faustian bargains comes through in the pieces Liszt wrote after Goethe’s Faust. The Faust Symphony (1857) includes a movement for Mephistopheles, the demon/ the Devil that bargains with Faust. The Mephistopheles movement has no original theme, but takes and corrupts the themes of Faust and his lover Gretchen into a mocking tone. Later on, Liszt was inspired to write a tone poem “The Dance in the Village Inn” or Mephisto Waltz no.1 (c.1862). He also wrote it for piano around the same time. The story has Mephistopheles taking Faust to a wedding in a village and playing the violin so madly, the partygoers are intoxicated by the music and go off dancing in the woods. Emotions taking over and making one act irrationally was another fascination in Gothic fiction.

Liszt would go on in his later years writing a few more Mephisto waltzes, with a lot of forward thinking harmonies and piano writing, unfortunately not as popular. Mephisto waltz no.2 (1881) has moments that make me think of Debussy, and the third (1883) has glittering and ethereal moments. But the best example of Liszt’s interest in the Gothic would be his earlier concert piece Totentanz (1949), or Dance of Death (Danse macabre). In it, the piano and orchestra play out variations on the Medieval chant Dies Irae, always reminding us of the inevitability of death. The variations depict skeletons dancing wildly all while the Mephistopheles at the piano unleashes his seductive tones.

The Dies Irae chant goes across our pop culture, with one famous iteration being a synthesized version of passages from Hector Berlioz’s Symphonie fantastique that Wendy Carlos wrote for Stanley Kubrick’s The Shining (1980) after Stephen King’s novel of the same name. And it was Berlioz’s symphony that enchanted audiences in 1830 with new, titanic sounds beyond what orchestra music had been before. In the story of the Symphonie fantastique, an artist has tried to overdose on opium after feeling rejected by unrequited love, but instead he has a vivid drug induced nightmare where he is sentenced to be beheaded via guillotine, which was still a traumatic living memory for the Parisian audience. He then sees himself among ghosts and monsters during a witches’ sabbath, the lovely woman’s beautiful theme is distorted into a grotesque mockery, the Dies Irae comes back among the cackling. It was a new degree of imagination expected from the audience. Later, Berlioz would depict demons in Pandæmonium (the Capital of Hell in Dante’s Inferno) at the end of his Damnation of Faust.

Through the mid to late 19th century we get authors of Gothic literature such as Edgar Allan Poe, Elizabeth Gaskell, Emily and Charlotte Brontë, Nathaniel Hawethorne, and Victor Hugo. We also get two more operas that have Gothic themes. First is Richard Wagner’s The Flying Dutchman (1843). In this opera, a ship on the North Sea collides with the Ghost Ship of the Flying Dutchman who is cursed to sail the seas forever, but is allowed to come ashore once every seven years and if he can find a wife, he will be freed. I’m sure you can guess how this opera ends. The overture is often played in concert for a condensed version of Wagnarian thunder and romance. The next important opera is Giuseppe Verdi’s Macbeth (1847), because Shakespeare was being revived and translated in different languages across Europe and Verdi loved his plays. In the opera, Macbeth comes across a chorus of witches that foretell his success and downfall. He is too ambitious and goaded by Lady Macbeth, plans to take the throne through deception and murder. Lady Macbeth is later haunted with phantom blood on her hands which only she can see. And Macbeth succumbs to his inevitable fate.

We also get two significantly “Gothic” pieces of orchestra music. They are both tone poems, which also reflects the concert goers’ tastes. The one that has always been a quintessential “Halloween classical” piece is Camille Saint-Saens’ Danse Macabre (1875), opening at the stroke of midnight (softly evoked by the harp), a violin shrieks out the tritone (the “Devil’s interval” which the Romantics thought meant was cursed by the superstitious Medievals, really it was an idiom for “hard to use in music”) and introduces ballroom music along with the clacking bones of skeletons dancing in the graveyard (evoked by the xylophone). The skeletons dance through the night until the rooster crows at dawn.

The other great Halloween concert piece is Modest Mussorgsky’s Night on Bald Mountain (1867) which depicts another witches sabbath, this time on St. John’s Night, a major holiday in Slavic Eastern Orthodox culture. Walt Disney’s Fantasia (1940) would help bring this poem to life with an animated phantasmagoria of ghouls and skeletal horses and other demons flying around the mountainous demon Chernoberg.

[Here I want to give a quick shoutout to Cesar Franck’s Le Chasseur maudit (The Accursed Huntsman), a tone poem about a Count who doesn’t go to church one Sunday, and instead rides around to whip peasants for his own amusement, so demons drag him to hell. Not nearly as famous a concert piece as the others mentioned in this list but it has colorful orchestration so you should check it out.]

The initial idea for Fantasia was for Disney to repopularize Mickey Mouse by writing him into an animated version of Paul Dukas’ The Sorcerer’s Apprentice. The original poem by Goethe was a classic that Paul Dukas set to music in 1897. In it, we hear the Sorcerer leave his Apprentice to clean the floors of his workshop. The Apprentice uses magic to bring a broom to life so it can do the chores for him. The Broom mindlessly pours buckets of water all over the floor, and the Apprentice isn’t good enough with magic to stop it. He chops it up into pieces with an ax, but they regenerate into several brooms which go back to marching water in. The Sorcerer returns to clean the mess and scolds his Apprentice. This charming tale has a darker and more diabolically fun tone in Dukas orchestra.

20th Century

Harry Clarke - Illustration for "Masque of the Red Death" (1919)

In the same exact year of Dukas’ tone poem, we get Bram Stoker’s Dracula. At this turn of the century other major names include Gaston Luroux (The Phantom of the Opera), Robert Lewis Stevenson (Dr. Jekyll and Mr. Hyde), Henry James (The Turn of the Screw), Oscar Wilde (The Picture of Dorian Gray). At this time, there are a few more pieces that continue trying to evoke Gothic subject matter. One comes from Gustav Mahler’s Symphony no.7 (1905), sometimes dubbed “Song of the Night”. Two of the symphonies five movements are titled “Nachtmusik” (night music), the first is more in line with Gothic anxiety and spookiness than the second which is more like a serenade. But the most Gothic movement is the Scherzo which sits in the middle of the symphony and is like a Viennese ballroom full of dancing corpses and skeletons as waltz music decays with them.

A surprising example (at least, because of how relatively obscure it is) comes from Claude Debussy with parts of an opera based on Poe’s The Fall of the House of Usher that he worked on between 1908-1917. Not too much a surprise on the one hand because French translations of Poe’s work became popular and influential. On the other hand Debussy is more known for evocative sound pictures, unique musical colors, and subtlety. Perhaps he was drawn to symbolist and psychosexual interpretations of The House of Usher, the same interests that preoccupied him with his only finished opera Pelleas et Melisande. Roger Orledge reconstructed the opera and tried to stay true to Debussy’s style, so what we do have is passable and as shadowy and vague as his other orchestral masterpieces.

Maybe the hardest work to recommend (but I do recommend regardless, give it a chance) is a Modernist song cycle for chamber ensemble. Arnold Schoenberg’s Pierrot Lunaire (1910) uses freely chromatic atonality to give a demented color of psychosis experienced by Pierrot, personified version of a stock character for old Commedia dell Arte plays, a clown who over time became the “sad clown”. Maybe a precursor to the demon from Stephen King’s It, or the demented clowns and jesters that laugh at the madness of the cosmos across Thomas Ligotti’s short stories.

This was only meant to be a small overview of works that could fit my own view of the Gothic in music. There are more examples I could include, so as a hint toward today, I’ll end with a piece that was written about a century ago, yet sounds as if it could have been written today. Henry Cowell’s The Banshee (1925) is a short piano piece, so if you can, at least listen to this one. Instead of playing with the keys like you’re “supposed to”, Cowell asks the performer to drag their fingers along the wires directly. This creates disturbing reverberations and scratching sounds that tingle the back of your neck, that feel like the otherworldly cry of a Banshee.

Happy Halloween.

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