#the name comes from the last name of the main character of the novel: Metamorphosis

[spicyicymeloncat]

Nightcord Kaito is actually my favourite virtual singer from project sekai. He’s so angry I love him. (I changed his hair to kinda resemble the character from the original Samsa mv)

[thesorcerersapprentice]

🌿  T H E    B I R T H D A Y   P A R T Y  🌿

It's Rupert Cromwell’s ninety-fifth birthday, and he’s throwing the party of a lifetime. The hors d’oeuvres are set, the guest list is red-carpet worthy, and the champagne is flowing, but what promises to be a fabulous evening among the rich and powerful soon turns into a nightmare with the arrival of an unexpected guest.

Genre: Psychological Drama/Horror. Length: Novel  POV: Third Person Limited, Past Tense. Setting: Contemporary Metropolis (NYC or London). Audience Rating: R for Mature Readers. Contains graphic depictions of violence, substance abuse, racism, homophobia, psychological and physical trauma, death, sexual content, and language some readers may find offensive. Status: Re-outlining.  Tag: #thebirthdayparty

🌿  C A S T

~ RUPERT  The Protagonist | 95/Cisgender Male ~ BEATRICE The Socialite | 80/Cisgender Female ~ ANGHARAD The Temporary Guest | 21/Cisgender Female (or nonbinary?) ~ PAUL The Actor | 65/Gender Unknown ~ MORE TO COME Various Guests | 

🌿  S T R U C T U R E 

The Birthday Party contains three overlapping narratives:

The story of a dinner party that goes hideously wrong. 

The main character’s semi-conscious account of the disintegration of their body/soul in its grave.

The main character’s metamorphosis into a mythical figure, the green man.

As the story progresses, the dominant narrative (1.) (and associated imagery) is substituted for (3.) (and related imagery). (2.) is how this substitution is made possible, and its imagery is present throughout. The transition from (1.) to (3.) is achieved over three main acts, which correspond to (and are named after) the three dinner courses to be served at the event. 

🌿 F O R M

The form of the writing itself must mimic Rupert’s Arc. ACT ONE should be the least poetic and employ the book's most extended, typical sentence structures. In this way, ACT ONE reflects the state of Rupert’s world at that point in time; conventional, coherent, and primarily logical. ACT THREE, on the other hand, should descend into pure poetry. 

🌿 T H E M E S   A N D   S Y M B O L S

The Birthday Party contains several overarching symbolic allusions:

The Last Supper: The story is reminiscent of the “Last Supper of Christ,” where Jesus is betrayed, executed, and finally resurrected. In much the same way, Rupert begins his tale at a celebratory dinner, passes through several unsavory trials at his guests' hands, faces his annihilation, and is ultimately transformed. Of course, in Rupert’s case, this transformation couldn’t be further from exultation.  ~ Author’s Note: I should probably preface this by saying that despite growing up among Catholics and protestants and never quite being able to shake myself free of the imagery I inherited from them, I am and have always been an atheist. I don’t believe this should restrict my writing.

The Green Man: “The Green Man is a decorative design with a human face. Leaves and stems twist around the features, usually originating from the mouth. He can leer, he can grin. Sometimes he looks as if he is screaming in pain. He usually looks down from a ceiling.” (Source) The Green Man, Rupert’s final form, symbolizes death and rebirth (at least in our modern lexicon). The book's final image is of an oak-man, a creature with a strawberry heart that inflates and deflates as it rhythmically ripens and decays, and with those rings on the back of butterfly wings for eyes.

In addition, I’ve included several minor symbols. These are supposed to act as tools for foreshadowing and intensifying the novel’s various thematic elements:

A Comet: The night of the dinner party coincides with the sighting of a comet, a great green light that blazes through the night sky before things fall apart (ACT ONE). Comets are portents of upheaval; they signal death, revolution, disaster, and sometimes (Christ) birth. 

The Egg: The menu for the evening will include an egg or poultry during at least one or perhaps all of the courses. In creation myths, the universe is hatched from an egg (incubated in an egg). Including both limits of the cycle (bird and egg) in the menu alludes to the cyclical nature of life and foreshadows Rupert’s transformation. 

The Round Table: The table at which Rupert and his guests will sit is round, like the legendary table at which King Arthur and his Knights would convene. The fact that the table has no head implies that all who sit there are equal. This is somewhat of a red herring. Rupert doesn’t believe anyone at the table is his equal. The shape is also reminiscent of an egg (see above).

Larger Themes:

The Birthday Party is an allegory for the divide between our grandparents’ generation and our own. It pits the hyper emphasis on individualism and environmental exploitation of the 20th century against the more community-orientated, climate-conscious focus of the 21st. Rupert, an archetypal representative of the former, is a man who has spent his life taking from others and from the world, with little to no thought given to the cost. His transformation into the green man, a hybrid between a human and a tree, condemns him to live in the world he has left behind, to suffer the consequences of his actions in a particularly vulnerable form. 

The transformation Rupert suffers is made possible by an act of consumption. The Birthday Party is a three-course meal. Rupert and his guests sit and eat, but Rupert is being consumed, literally (in his grave) and figuratively (in so much as his guests are consuming his celebrity.)

🌿 T A G L I S T : @the-finch-address @violetboy @winterninja-fr @fearofahumanplanet

[helenapsent]

Okay, I guess I'll just throw you some profiles of my novel characters... I still don't have the sprites ready, but I'll do them later (as soon as all my relatives get off my back, I guess)

Anyway, I'll start with one of them.

So, the 2nd main character in the story "Awaken God":

1) Name: Werner.

2) Last name: Richter.

3) Address: He/His.

4) Age: 28.

5) Gender: Male.

6) Orientation: Gay.

7) Voice: Dance My Darling - The Fairy Tale Has No Happy End

8) Birthday: 11/16/1218.

9) Zodiac sign: Scorpio.

10) Height: 6' 4" (quite small for his species)

11) Weight: 85 kg.

12) Blood type: IV

13) Race: Arachnids (spider-like people).

14) Character: Werner is a very good-natured and cheerful person, able to raise the spirits of those around him; he is quite responsive, can support the creature both in word and deed; at times he is very playful, due to which he starts flirting with almost everyone who appears in his sight; most often shows sympathy for children, loves to fumble with them; sometimes he is irascible and restless; occasionally shows aggression; always tries to be judicious and wise in relation to any matter.

15) Biography: From birth Werner lived on the border of Raspebertz with his parents and his grandfather Bernhard. When he was 5 years old, his parents went missing, at which point Bernhard decided to take over the upbringing of his grandson himself. Everything was going great as never before: the boy was growing and developing (both mentally and physically); in addition, he started growing spider's fangs on his palate, which caused the spider to drink the first potion he could find (it was "love") in order to somehow take away the pain in his mouth (of course, he succeeded, but, as they say, there's no smoke without fire: As he drank the entire vial of the love potion (which he absolutely should not have done), his body underwent a slight metamorphosis: three strands of hair (at his temples and across his head from forehead to occiput) turned purple-black, and his eyes only changed color to pink when he was in love/excited); soon made himself a small company consisting of an elf (Eley Gestalia), a demon (Acheron Infern), animal-like twin brothers (Tibo and Kibo Pomeran), and two human boys (Arthurro Wilhelm and Sarma Faber). They were all great with each other and liked to spend time in an abandoned, sooty shack, which was later converted into a "living base". In addition, they would sneak into jousting tournaments to watch the brave warriors fight one-on-one for the right to be considered the best of the royal knights and for the attention of a beautiful lady. Werner was struck by the superior swordsmanship of one of the fighters, a fame among all others and a nickname that every townsfolk knew. Ever since, the boy has been interested in martial arts and tried to emulate his idol, the "Black Knight". In addition, he began studying jewelry and at age 10 he got a job as an assistant to a local jeweler. He also discovered his talent as a dancer, so he began watching itinerant artists and taking dancing lessons from them. Soon after, Werner would meet the "Black Knight" (by chance) and have a little talk with him, after which the boy got into trouble: the "Black Knight" took advantage of his naivety to confide in him, took the poison from him and a few days later raped him, which sent Werner into a fever. Having barely recovered from what happened, the spiderwebby rethinks his relationship with the royal warrior, and so begins to treat the man with apprehension. So two years passed imperceptibly. During this time, Werner managed to learn how to look after babies, shoot a crossbow, make earrings brooches, develop his body sculpture to a good level and start giving demonstrations in the "World of Sweets" restaurant owned by his grandfather's friend, chef Igar Apsent. He also became close to the "Black Knight" again: he asked the younger Richter to come to his mansion and entertain him with his dancing; he also told him that the indecent gestures he had been making to Werner all this time were a direct expression of special attention and sympathy for him. And time went on and on. Spidey had turned 14, and he had grown noticeably taller and prettier. He thought everything All was well, but not until he learned that the "Black Knight" used it purely for personal purposes, and considered it nothing more than a toy for relaxation. From then on, Werner avoided the ruthless warrior and tried to stay out of his sight altogether. This went on for some time until the "Black Knight" was finally furious and decided to punish the boy properly: the man killed his parents in front of him and threatened that if he told anyone anything about their affair with him, he would end up dead as well. Scared to death, Werner ran away from the "Black Knight" far away (back home to his grandfather) and promised himself never to meet or exchange words with this awful man again, otherwise he would not escape a bad fate. Soon the little spider told his grandfather about what had happened, and the grandfather promised to protect him from all harm, no matter what. So slowly his life began to get better. Of course, he could not stop thinking about getting

revenge on the "Black Knight" for everything he had done to him, but he had no idea what to do, so he decided to postpone this move for later and develop himself. In the end he didn't have to wait long: the "Black Knight's" henchman, Sir Stuart, who was the exact opposite of him, gave the spider boy an idea by giving him a small poison vessel that looked like a locket for luck. Then Werner and his grandfather devised a plan of reprisal against the cruel warrior and, having carefully prepared and waited for the right moment, carried it out. Revenge was accomplished, everything ended well and the boy could finally begin to live in peace. A few more years passed. The elder Richter's health began to decline little by little, and Werner, fearing for his grandfather's life, decided to restore his strength with a healing potion. But since it had run out long ago, he had to make his way to the mall. He didn't have any money with him, so the little spider decided to sneak a potion from the counter, which he later paid for by cutting off his hand because it was illegal. So the boy had to return home with nothing. He was soon able to regenerate his arm (it was "grown back" with the help of the regeneration elixir), and at the place of the "stump" (in the wrist area) he got a peculiar mark similar to a tattoo of magical symbols, which covered his arm like a bracelet. Since then, the younger Richter promised himself that he would never act so recklessly again and would think carefully before doing anything. Soon his grandfather was gone and Werner had to learn to live on his own. At first it was quite difficult to get used to the new conditions but he soon adapted more or less and things got better. He gained the status of town minstrel, and also began to work as a house jeweler. In addition, he had to make periodic visits to Arthurro's castle, since he had recently become king and was in great need of his best friend's support at the moment. In addition, Werner began to take care of the neighbor's children, Helen and Leone, and experience with them many life-changing moments, such as realizing his place in the world, transition, the appearance of new "faces" in the family, rethinking his values, serious illness, the departure of a loved one and other "horrors". Everything was going quite smoothly, until one day Leon started to grow cursed flowers, mercilessly taking his vitality, and disappeared without a trace. Then Werner completely lost his taste for life and almost committed suicide. Fortunately, Helen prevented him from doing so and assured him that one day he would return. Two years had passed since then. During that time, many terrible things happened, some of which were the death of the missing boy's parents and the unfortunate duel of the cook girl. Richter never stopped hoping that his beloved child had found an antidote after all and was about to return home soon. Soon it did: little Leonid returned back to town, but as soon as he was about to return to his ordinary life, news of the events that had occurred in his absence reached him, and the boy instantly sank. Gradually Werner pulled the young guardsman out of his deep despair. He brought him to his senses and "set him on the right track," also promising that he would help him whenever he encountered great difficulties, to which Leone was unspeakably happy and grateful. This idyll lasted for several months, until one day Leonid brought an ancient book with ways to awaken the Dog of Paradise...

16) Likes: Leonid; young youths; teasing people; mushroom soup; sugarless bitter coffee; composing songs and entertaining people.

17) Dislikes: Lake eels; when they start harassing and touching without permission; pinking; stone statues; deliberate harm; off-handed insults.

18) Features: His tongue is 10.4 cm long; very good at crossbow shooting; can enchant others with his dancing and singing; can play the flute; knows several languages.

/Well, that's all :^)

[terramythos]

TerraMythos 2021 Reading Challenge - Book 15 of 26

Title: Tehanu (Earthsea Cycle #4) (1990)

Author: Ursula K. Le Guin

Genre/Tags: Fantasy, Fiction, Third-Person, Female Protagonist 

Rating: 8/10

Date Began: 6/24/2021

Date Finished: 6/30/2021

Decades after The Tombs of Atuan, Tenar decided to settle down and live an ordinary life on the shepherding Isle of Gont. Now a farmer’s widow, she adopts a disfigured and horrifically abused child, who she names Therru. When a giant dragon deposits a grief-stricken Ged at her doorstep, Tenar finds herself in a strange situation as she cares for her old friend and her adopted daughter. But threats from Therru’s past and a malevolent force on the island soon threaten Tenar’s small family. 

Despair speaks evenly, in a quiet voice.

Content warnings and spoilers below the cut.

Content warnings for the book: Violence and death. Mentioned murder. Severe child abuse. Descriptions of traumatic injury and disfigurement. Mentions of r*pe, including of children. Trauma, sexism, and ableism are explored in depth. 

Tehanu is a much different book than the trilogy that precedes it. Perhaps this is unsurprising, considering the 17-year gap between this book and The Farthest Shore. I’d describe the Earthsea series as “grounded fantasy”. While all of them take place in a magical world, the thesis of each book is universal; the fantasy always comes second. Tehanu takes this idea to an extreme. The story is about everyday life as a common woman in the Earthsea world, with fantasy barely factoring in. The pacing is intentionally slow and introspective, which is something I normally don’t like, but Le Guin is a consistent exception. 

Key characters from the previous books make an appearance. Obviously Tenar is the biggest return, absent since The Tombs of Atuan. The Tenar in this book is older and much more mature, having decided to live a simple life in spite of her adventures and accomplishments. Ged returns, but he’s a shell of his former self, as he mourns the loss of his magic and the man he used to be. Even King Lebannen (formerly Arren, the main character of The Farthest Shore) makes a brief appearance, and is quite a palate cleanser after the horrible men throughout the rest of the book.  

Probably my favorite aspect of the novel is the fact that these characters stand well on their own without magic to prop them up. Tenar explored the terrifying freedom she won in The Tombs of Atuan; got married, settled down, had kids — but still finds herself at a loss on what to do with her life after her husband dies. Ged is in a similar boat; he’s gone from an almost mythic character to an ordinary man, and like Tenar finds himself at a crossroads in life. Other characters embody this idea of transformation and uncertainty; Therru’s escaped her abusers and now has a loving mother, but what does the future hold for someone with her appearance? Stuff like that. 

The idea of metamorphosis and new beginnings is well-trodden. But what makes Tehanu interesting is Le Guin primarily examines this with the middle-aged characters. Tenar and Ged are legendary figures in the world of Earthsea, but life has taken them to an uncertain future. The thrust of the novel lies in finding a purpose and becoming someone new. I also like that Tenar/Ged is endgame; I got Vibes from The Tombs of Atuan, but neither character was in a position where it would work. Seeing them form a romantic relationship much later in life is touching and cute. But it’s not the reason that either of them grow as people; finding one’s purpose is something one has to do on their own. Their relationship only develops once both parties have done so.   

My main complaint about A Wizard of Earthsea, the first book, is the sexism inherent in the setting, which is never examined below the surface level. Perhaps Le Guin’s outlook changed, or perhaps the publishing environment did, because often Tehanu reads like a response to this criticism. The central theme of the book is misogyny, the patriarchy, and its debilitating effects on women. Le Guin examines everything from micro-aggressions (“common wisdom” that happens to paint women as inferior) to domestic issues (“women’s work” and how much that actually is) to outright sexual assault (both in threats and actual acts; it is heavily implied this is part of the abuse Therru endured). She even goes into how powerful women are only considered as such because a man gave them that power. 

While I appreciate the fact she addresses these issues in such a frank, blatant way, at times reading Tehanu felt like reading a basic feminism primer. These subjects are all things I’m familiar with, and I feel like anyone who’s studied key feminist ideas would be aware of them also. Maybe 1990 was different? Le Guin doesn’t add any insights to the bleak reality of patriarchy and sexism, which is a little disappointing compared to previous books. That being said, this book is aimed at young adults despite its dark subject matter. Tehanu could be the first exposure to these ideas that many children receive; looking at it that way, it makes sense that the analysis comes off as basic. 

I also found the book’s examination of gender to be very cishet-normative. That’s definitely not surprising, considering the book was published in 1990, but to a 2021 reader this hasn’t aged super well. There’s a lot of discussion about the relationships and differences between men and women--whether there are any or not, how magic differs between them, the ability to bear children, and so on. There’s a weird sexual component to this, like how wizards (who are exclusively men) have to remain celibate in order to… keep being wizards? But women who are witches don’t have to do that, and that’s an advantage women have? (There’s mentions of male witches too, iirc, but it’s not expanded upon— do they have to remain celibate? Who knows.). I found this whole bit pretty odd and unnecessary, although I realize a lot of my perspective on the matter comes from a modern view of sex and gender (and, y’know, being trans). Not all the gender takes in the book are bad, but they are limited. 

I found Le Guin’s exploration of trauma and ableism through Therru to be more interesting. There’s a lot of examination about how society treats Therru, a survivor of unspeakable abuse. Her trauma is visible due to severe burns along part of her body, leaving her with a missing eye and disfigured hand. Tenar spends much of the novel wondering what future Therru has; no matter how capable she is and how much she acts like any other little girl, strangers gawk at her, or assume she “deserved” what happened to her. Therru becomes happier and more independent over the course of the novel, but relapses into a traumatized state when she encounters one of her abusers. As a survivor, it’s heartbreaking and distressingly realistic. As much as I like Tenar, I almost wish the novel was from Therru’s perspective (other than the brief jump at the end), but I realize it would spoil the ending.  

I’m torn on the ending because, while I thought it was cool and had some interesting revelations, it’s a jarring tonal shift. As I mentioned, Tehanu is a slow novel with a heavy focus on everyday life, and the trials and tribulations both Tenar and Therru experience. There’s even a climactic event a few chapters before the end; the only thing left is a persistent loose thread from earlier in the novel. That subplot explodes to the forefront a bare chapter and a half before the end of the book, and a lot of action-y fantasy stuff happens. It doesn’t come out of nowhere; it’s set up throughout the novel, but it is sudden. 

That being said, I do like that the subplot with dragons vs humans is hinted at as early as The Tombs of Atuan. When Tenar tells the legend about the origin of dragons early in the story, my mind immediately went to that one room from the Labyrinth with the sad winged humanoids painted on its walls. I’m curious if there are hints elsewhere in the series. I also figured out Therru’s true name and how she relates to that subplot based on context clues. While it’s not a shocking twist, it is a satisfying one. Though parts of it gave me a “magical destiny” vibe which is counter to much of the series so far; I do wonder how the last two books will address this. (Also… did Le Guin imply Kalessin is Segoy? AKA God? What did she mean by this. So Ged literally like… hitched a ride from God, who promptly yeeted out of the story until the end? That’s kind of funny. Maybe I misinterpreted something.) 

I probably sound critical of this book, but I did genuinely enjoy it. It just didn’t speak to me the way the previous two did. The next book is a short story collection before the conclusion to the series, so we’ll see where it goes! Tehanu set some stuff up that I expect will be expanded upon in these volumes.

[recentanimenews]

Bookshelf Briefs 6/20/21

As Miss Beelzebub Likes, Vol. 12 | By Matoba | Yen Press – When you have a main couple as innocent and naive as this one, it’s going to take a lot of struggle to get them together. Indeed, even figuring out what love actually is is tough for Miss Beelzebub, much less that she’s in love with Mullin. And then, just as she’s ready to tell Mullin how she feels, he’s seized by self-hatred and doubt, thinking she’s far too high a station for him. This leads to her being depressed and avoiding him, which… repeat as needed. Thankfully, they do eventually manage to confess to each other. The series may not end with the wedding on the cover, but this is good enough. It was sickly sweet at times… but that’s why everyone read this series in the first place. – Sean Gaffney

BL Metamorphosis, Vol. 4 | By Kaori Tsurutani | Seven Seas – While the series is based around the premise of a teenage girl and an elderly woman bonding over BL, it’s become apparent that this is Urara’s book. Which makes sense—she’s the one searching for a goal. The creation of the doujinshi is very much an up-and-down process, one which we see throughout this volume. It ends at “Comitia 128,” with our unlikely friends manning their own booth. Sadly, said booth—at least so far—has no actual buyers. Honestly, I would have hoped the sheer oddity of the pairing behind the table would have been a draw, but I suppose it’s hard to look beyond the tables. I think this ends with the next book, so it’s time to binge before the finale. – Sean Gaffney

Her Royal Highness Seems to Be Angry, Vol. 1 | By Kou Yatsuhashi | TOKYOPOP – This seems to be a classic case where I’m really intrigued by the ideas this brings to the table, but the execution is not as stellar. A young woman has it all—powerful magic, her isekai’d-from-Japan boyfriend, and a kingdom who loves her—then it’s all destroyed and she’s killed. When she wakes, she’s in the body of a noble far into her future. Magic is a sad shadow of its former self, and she herself is, essentially, a villainess. Most of the book, unfortunately, then sort of slips into standard shoujo romance, but I like the idea that she doesn’t HAVE any memories of her current self, and has to fake it and deal with everyone’s hatred. I might check out the second volume. – Sean Gaffney

Monthly Girls’ Nozaki-kun, Vol. 12 | By Izumi Tsubaki | Yen Press – It amazes me how this book can still be so funny even after all this time, and I credit this to its central premise, which is that everyone in it is a complete dumbass—but never all at the same time. It’s a comedy rule; there has to be someone to react. Sometimes it’s Sakura, despairing about a relay novel that gets out of hand. Sometimes it’s everyone else in the cast watching the continuing car crash that is Seo trying to get Wakamatsu to recognize her feelings. And sometimes it’s Hori and Kashima, where his confession turns out to be, perhaps appropriately, a giant excuse for drama. These kids are all terrible at life, and are all so endearing, I don’t know what I’ll ever do without them if this ever ends. – Sean Gaffney

Snow White with the Red Hair, Vol. 13 | By Sorata Akiduki | Viz Media – It’s good for you! Builds character! That’s what it feels like most of the first part of this volume feels like, as Shirayuki is off to the North, meaning she and Zen will be spending a long time apart. That said, it’s as much about their little group of five than it is about the couple, as it’s clear Shirayuki is going to miss Mitsuhide and Kiki just as much. And as for Obi… well, the love triangle that dares not state its name comes pretty close this time around. (It’s a well-known fact that a majority of the series’ fans, at least in the West, want her to hook up with Obi instead, so the plot twist is not surprising.) All this plus a long, unrelated short story to pad out the volume! Still great, though. – Sean Gaffney

Spy x Family, Vol. 5 | By Tatsuya Endo | Viz Media – A large chunk of this book focuses on Anya and her difficulties at school—not only is it an elite private school, but she’s a girl who spent her life as an orphan, experimented on and abused, and she’s lied to Loid about her age to seem older. So, needless to say, schoolwork is proving tough. Normally she can get by by using her powers (i.e. cheating), but that doesn’t work during the new moon—which matches with exams. It’s tense, but also leaves us plenty of choice hilarious bits. Elsewhere, Yor attempts to learn to cook, and we introduce a colleague of Loid’s who is obsessed with him and VERY upset she was not chosen to be his fake wife for this mission. Everyone should be reading this Eisner-nominated manga. – Sean Gaffney

Teasing Master Takagi-san, Vol. 11 | By Soichiro Yamamoto | Yen Press – One of the reasons that folks seem to be more tolerant of Takagi than they are of Nagatoro or Uzaki is that, for the most part, Nishikata enjoys hanging out with her, and while he finds the teasing frustrating, it’s not because she’s bullying him, it’s because he’s so competitive. Half the time Takagi doesn’t even need to tease him—he shoots himself in his own foot. Even when he literally ends up fanning her like a queen, it’s on him. And, once again, the fun comes from realizing they already ARE a couple, it’s just he can’t really admit that. The most interesting chapter has one of their friends briefly ponder using Nishikata as a fake boyfriend, but it doesn’t even last long enough for Takagi to ponder jealousy. – Sean Gaffney

What Did You Eat Yesterday?, Vol. 15 | By Fumi Yoshinaga | Vertical Comics – The back cover blurb for this volume says, “A hard-working middle-aged gay couple in Tokyo experience new challenges both at work and at home.” Really, that about sums it up. Kenji has taken over management of the beauty salon and must figure out how to delegate some of his new responsibilities so that he’s still able to have dinners at home with Shiro. Most of Shiro’s story is about his parents, who are considering selling their house and moving into a retirement home. In between, there is some shopping for ingredients, a lot of veggies getting chopped, many burbling pots, and incalculable TBSP of soy sauce. Oh, and also everyone tries not to eat too many carbs, which is extremely relatable. I’m particularly keen for the next volume, as Shiro will be meeting Kenji’s family for the first time. Good, as per usual. – Michelle Smith

By: Sean Gaffney

[zipegs]

i’ve been toying around with the idea of posting a fic rec list for a while, and finally decided that if i do, it might be nice to focus on newer and/or underrated fics in the fandom! some of my absolute favorites are on this list, and i highly suggest checking them out (and leaving the lovely authors some comments and kudos!)

this got pretty long, but it’s organized alphabetically by ship name (including gen) and then by length inside each ship!

blanky/little

Trysails by saltstreets  /  2k, t

“I know I can’t do much,” Blanky said, “but you can always talk to me. If you’re so inclined.”

A (very late!) offering for Tender Tuesday, "a friend in need".

okay!!!!!! okay!!!!! hear me out on this one!! this fic is wonderful. i’m a sucker for fics dealing with edward’s suffering during the worst of crozier’s captaincy, and this one is so good. blanky is so wonderful in this; i feel like his tender, kind side frequently gets overlooked in favor of his bigger, bolder attributes, and this fic truly delivers on everything i’ve been missing! it’s really gentle and sweet and i urge you to give it a read!!!!

bridglar

in the low lamplight by stelleri  /  338, g

It’s endless freezing rain outside, but the house is comfortably warm.

short and sweet! a really lovely little slice-of-life modern au

state of grace by aes3plex  /  860, m

He doesn’t mean to see it. He never does.

bridglar may be the most featured pairing, but this is told from irving’s pov and also contains irving/little and references to hickey/gibson. really sad, conflicted little peek into irving’s mind (and some nice, soft bridglar as well!)

passer iagoensis by greenery  /  3k, g

Night falls on the Beagle and Henry Peglar has just finished reading his very first novel.

Set in 1832.

this piece is so good!! it has some really beautiful (sad) foreshadowing of the franklin expedition, and is just... so soft, with some wonderful romantic tension!! and it’s funny! darwin and fitzroy are wonderful in this, and i’m always here for fic that deals with peglar learning to read (which this does!!!).

cracroft/crozier

the beggar’s opera by pyotr  /  990, e

for all of his usual anger and surliness it was almost fun to fluster francis, to rile him where he could not retaliate. sophia had spent all her life under the thumb of some man or another; she loved francis in part because she always had the upper hand.

sophia is my queen and that’s all i’ll say about that. seriously though, this piece is just... *chef’s kiss*

fitzconte

A Cheetah Never Changes His Spots by onstraysod  /  1.2k, m

Being the particular friend of James Fitzjames has its drawbacks, as Henry Le Vesconte learns during the expedition's first carnivale. But it also has its advantages, as Henry learns once the carnivale is over.

Written for Day 1 (A Special Disguise) of the 12 Days of Carnivale.

on beechey island, fitzjames reveals clio’s cheetah to the men. or... something like it! this piece is really a blast; fitzjames is in rare form, francis is glaring form the sidelines, and le vesconte is an absolute champ. and the ending is wonderfully witty and racy!

fitzier

wake me up, wake me up my darling by norvegiae  /  1.4k, g  /  mcd

James Fitzjames feels like a new man.

The old James Fitzjames lies on the cot in front of him, cradled by the man he wishes he could have had more time with.

set during 1.09, this fic is a really poignant, heartwrenching piece in which james comes to terms with the reality of his death, and of his life, as he watches francis grieve. very sad, and wonderfully written!

what the stars give us by WetSammyWinchester  /  1.7k, t  /  implied death

"They may know space, James, but you know what it means to truly fly."

70s scifi (space program!!!) au. really great translation of the terror; the mood in this is so good!!! and the little flashbacks are fantastic. it’s pretty sad, but it hurts in a good way.

fitzrossier

Take Your Turn, Take A Ride by courfairyac  /  7.5k, e

Francis agrees to accompany his friend to a masquerade, and stumbles onto something quite unexpected.

In short: Festivities! Voyeurism! James in a dress!

listen... fitzrossier is my new weakness, and this is a really fun, hot, canon-universe (pre-expedition) au.

gen

salvation by scribomania  /  250, t

The Concordia brings them survival, but not salvation.

featuring hodgson and little, and jopson. for a survival au, this little piece hurts!!! it’s so short, but it packs a punch. really, really good.

but no one remembers yet by disastermovie  / 885, t

“From the mutilated state of many of the corpses and the contents of the kettles, it is evident that our wretched countrymen had been driven to the last resource—cannibalism—as a means of prolonging existence.”

—excerpt from Dr. John Rae’s report on the fate of the Franklin Expedition to the Secretary of the Admiralty (written from Repulse Bay on July 29, 1854)

sad little epilogue concerning sophia and lady jane dealing with their grief

the weary world rejoices by disastermovie  /  1.3k, t

Fitzjames goes to his first Christmas party after the survivors are rescued. It doesn't go well.

this!!!! fic!!! i can’t even do it justice, it’s just so good. the slow build of james’s panic, the caroling and gaiety as a backdrop... it’s just so painful in the best way. i’m incoherent; pls just read it,

la belle dame sans merci by drowninglovers  /  1.7k, g

Nobody is quite sure who the first one to start making her clothing is, but one day she scampers over the shoulders of the ABs as they line up for lunch wearing a tiny shirt to match her pants. It’s nothing special, no fancy detail, navy blue like most everything else they wear. Whoever made it must have cared a great deal, to make sure it fit her perfectly.

this is incredibly fun!!! just some good, wholesome fic about boys dressing up their favorite lady. 10000/10 would recommend.

Come Here, Fellow Servant by whipstitch  /  1.9k, t

The sea is dangerous, but so too is the open sky. And in that case, Cornelius determines, a friend is an unexpected boon.

okay, i made a rule that i wasn’t going to include wips on this rec list,  but i had to put this guy on here. it could be read as a stand-alone, actually, which is what i used to convince myself to include it. peglar realizes that hickey has no fucking idea what he’s doing, and tries to help him, kind, caring sweetheart that he is. this is a really, really nice little piece—i love everything about it.

lie alone by greenery  /  2k, g

He turns the page. And maybe this is it. Maybe writing a letter to young Tom Hartnell is reason enough to leave the berth.

really nice oneshot featuring two good boys (hodgson & hartnell) and their wholesome status as pen pals

the crooked kind by darrenjolras  /  2.3k, m  /  non-consensual voyeurism

“You and I, Jopson,” Hickey says, and Jopson startles at those words alone, turns an affronted gaze his way. Hickey bathes in the glacial blue of it. Like being thrown overboard. “You and I aren’t so different, you know.”

Based on that Hickey/Jopson scene. You know the one.

the terror bingo fill: court martial

not totally gen, but also not really hickey/jopson? twisted, but very much in character; hickey is his delightful self in this, and his verbal sparring with jopson is very well done and quite fun to read!

gibson/hickey

Touch Her Not Scornfully by skazka  /  2k, e

Stolen moments down below.

this fic is just... really fucking good!!! it’s a fantastic look at the very early days of gibson & hickey’s relationship, and an intriguing little venture into billy’s head.

goodsir/mcdonald

And That is How it Starts by Intrepid_Inkweaver  /  1.2k, g

It starts with a handshake and a warm smile at their introduction at Greenhithe.

a really sweet, lovely canon-divergent piece. written in 2nd person pov. these two are just such a good, wholesome pairing and this fic really does them justice!!

hartving

let loss reveal it by disastermovie  /  1.6k, t  /  mcd

Tom could never quite see himself taking a wife.

this shit fucking hurts!!!!!!! it’s a beautiful glimpse at irving & hartnell’s relationship, told through hartnell’s introspection, and is written really, really well. also did i mention that it fucking hurts???

Lookout Blues by ClockworkCourier  /  2.1k, g

John and Tom Hartnell talk about the future while they wait on a new shipment.

hello??? 1920s au??????? the world-building is so tangible in this, even in such a relatively short piece. it’s a really lovely little conversation between the brothers, and i absolutely loved their little discussion of irving.

we’ll tak’ a cup o’ kindness yet by drowninglovers  /  6.3k, g

If this is to be the last time they interact (and it likely will), Tom wants it to be memorable.

survival au survival au!! tartnell runs into irving at john’s grave, and convinces him to stay with his family until new year’s. it’s kind of bittersweet, with some really great flashbacks (and discussions of said scenes!), and oh man is it soft!! just! really beautiful and tender, and the ending is just so cute!!!!!

hodgson/hickey

the chaos moves by itself by bluebacchus  /  1.3k, e  /  violence, mcd

Hodgson's mind cracks and the heavens flow in.

(Written for Day 7 of Halloween TerrorFest: A disquieting metamorphosis and posted separately because I don't want to taint my main post with borderline vore)

fair warning... this fic is fucked up, but in the best possible way! the religious imagery!!!! the philosophy!!!! just!! god.

hodgson/little

Allegro, B Flat Major by whalersandsailors  /  5.3k, g

George is freshly moved from his childhood home, ready to tackle the school year and his newfound independence all at once.

Too bad he's lonely, miserable, and homesick.

He turns to music when adulthood becomes unbearable, and when someone knocks at his door and leaves an anonymous note, George discovers another music lover not too far away.

have i mentioned i love george hodgson? because i love george hodgson. this fic is a beautiful modern au featuring our own georgie playing his way through his feelings (literally). the buildup to the reveal of george’s secret admirer is wonderful, and had me rooting for them from the start! really sweet, stunning fic for a pairing i’d never considered before!

joplittle

get out of the wind by Cicadaemon  /  1.6k, e

Edward Little is smitten with a certain bartender.

modern au. really lovely, wholesome, and happy; just what these boys deserve!

The Thylacine by Gigi_Sinclair  / 1.7k, t 

"Thylacines. That's what Sophia called them, all those years ago in Van Diemen's Land. Dogs with tiger stripes, cats with pouches. They stretch their jaws at him, as Francis struggles to sit. The movement makes his head spin. He pushes the discomfort aside. He has no time to entertain it; he must escape."

also features cracroft/crozier. this is a really clever, funny piece set during francis’s withdrawal; poor francis is a bit muddled in the throes of his fever, and gets caught up in a memory from van diemen’s land. i absolutely loved little and jopson’s reactions in this, and especially jopson and crozier’s conversation the next morning.

Prelude in D Major by scribomania  /  2.7k, t

Hodgson is very fond of the musical apparatus in Terror's great cabin; Edward is not.

For the Terror Bingo square "denial".

i’m a big big lover of terror lieutenant nonsense, and this fic absolutely delivers! just absolutely delightful.

When the Lights Go On Again by Gigi_Sinclair  /  4.1k, t

"Edward Little's ancestors were Naval officers, almost to a man. Nevertheless, from a young age, Edward's eyes turned to the sky rather than the sea.

He longed to fly, as high and as frequently as possible. In the Royal Air Force, he got his wish. He was happy there, thriving, rising in the ranks apace and doing what he always wanted to do. Then came the first of September, 1939."

wwii au. edward is a squadron leader in the royal air force, and jopson is a corporal working for group captain crozier. i’m weak for wwi and wwii aus to begin with, and this one is done beautifully. while it doesn’t hand-wave the trauma and heartbreak of war, it doesn’t hit you over the head with it either, and the result is a really soft, bittersweet, hopeful piece.

lozer

a lily for my love by whalersandsailors  /  3.7k, m

Solomon never thought that soul-signs were real, and the stories he heard about them made soulmates sound more like a prison sentence than any fairy tale romance. It is not until he finds a soul-sign on the skin of a very dear friend that he realizes their importance, as well as their undoing.

this piece is!!! beautiful!!! very poignant, and really had me feeling for solomon. i love what’s been done with the soulmark conceit—it’s not just a simple “we have soulmarks, we’re soulmates!!!’ au (which i’ll admit to enjoying too), but a really thoughtful take on the trope. the slow way tozer puzzles everything out is wonderful, and i love the glimpses we get into several of his friendships & relationships. 

morfin/weekes

to help you remember by whalersandsailors  /  1.2k, g

An anniversary, during which Weekes presents Morfin with a gift, and Morfin struggles to remember why.

do you ever just get clotheslined by a pairing you’d never even considered before? because that’s what this fic did to me

[nyxshadowhawk]

Nyx’s Complete List of Goth Names

Abaddon: From Greek, means "destruction" or "demon of the pit."

Acheron: The River of Woe in the Greek underworld.

Achlys: Greek primordial goddess of poison, misery, and sadness, personification of the death-mist.

Adonis: Means "lord" (as in Adonai). In Greek mythology, the most beautiful youth in the world, loved by both Persephone and Aphrodite. Died tragically.

Adrian/Adrienne: English, from Latin; means "from Hadria" (the Adriatic Sea). I've heard sources saying it means "dark one," but I haven't been able to confirm this. It's still a really cool, kind of gothy name. (Also the real name of Alucard from Castlevania.)

Ahriman: The Zoroastrian devil/evil god.

Akeldama: Means "field of blood," a place in Jerusalem associated with Judas.

Alastor: Greek, means "avenging spirit."

Alcmene: (Female) Means "might of the moon," Heracles' mother in mythology.

Alecto: One of the Erinyes (Furies), the goddesses of vengeance. Means "unceasing."

Altair: The brightest star in the constellation Aquila (the Eagle), from Arabic, meaning "the bird."

Amaranth: (Female) Greek; a mythical purple flower that never fades, a symbol of immortality.

Amethyst: A dark purple crystal, associated with wine and preventing drunkenness.

Andromeda: Greek, means "thinks like a man," the name of a princess in mythology, a constellation, and a galaxy.

Anubis: Jackal-headed Egyptian god of death and embalming.

Arcana: From Latin "hidden, secret" (literally "to shut in a chest"), refers to secrets or mysteries. Also refers to the groups of cards in a tarot deck (the major and minor arcana).

Arianrhod: Means "silver wheel," Welsh goddess of the moon, stars, and the flow of time.

Artemis/Diana: Greco-Roman goddess of the hunt, the moon, and virginity

Asmodeus: Means "wrath-demon," a Goetic demon appearing in a number of texts, representing luxury, sensuality, and lust. (Also Asmodai)

Asphodel: A white flower planted on graves, said to grow in the Greek underworld, and therefore heavily connected with death.

Astaroth: (Unisex) A demon in the Ars Goetia (from the Lesser Key of Solomon), described as a male demon and a Duke of Hell, but the name likely comes from the Phoenician goddess Astarte (or Ashtoreth), who is a version of Ishtar (Babylonian) and Inanna (Sumerian).

Astor: A French and German name from Occitan, meaning "goshawk." A goshawk is a bird of prey. I've read on naming sites that this name was originally a derogatory term for young men with hawk-like, predatory characteristics, but I haven't found anything to confirm this. This is the name of my alter-ego and one of the main protagonists of Shadowbook.

Astra/Astrid/Asteria: From Greek, "star." In Greek mythology, Asteria was a Titaness of astrology and prophecy, the mother of Hecate. An aster is also a star-shaped flower.

Atropos: The last of the Moirai (Fates), who cuts the thread at the end of life.

Autumn: The darkening part of the year, when everything is dying, and Halloween happens.

Azrael: The name of the Angel of Death, means "whom god helps." (Also Asriel)

Azazel: A Watcher's name, means "scapegoat." Taught humanity the arts of weaponry and cosmetics. Commonly associated with demons and evil.

Baphomet: A goat-headed, winged deity associated with Satanism; obscure etymology.

Bastet: Egyptian goddess of cats.

Belial: A Hebrew name meaning "worthless," a name of the devil or a demon.

Belladonna: Also called "deadly nightshade," an extremely poisonous plant that causes hallucinations and death.

Bellona: Roman goddess of war

Bezaliel: Means "shadow of God" or "damaged," a Watcher's name.

Blodeuwedd: Pronounced "bluh-DIE-weth," means "flower-face." A Welsh goddess who was turned into an owl.

Bram/Brom: Technically short for Abraham ("father of a multitude"), the author of Dracula, Abraham "Bram" Stoker.

Bran: Welsh, "raven." The name of Bran the Blessed, a giant and king of Britain in Welsh mythology.

Branwen: (Female) Welsh, means "white raven" or "fair raven."

Breksta: Lithuanian goddess of night, dreams, and twilight.

Caligo: Latin word for “mist,” “gloom,” and “darkness.” (Calignes is the plural, which could also work) (feminine)

Calypso: Greek, "she who conceals." The nymph who kept Odysseus imprisoned on her island.

Carmilla: A lesbian vampire from the gothic novel of the same name, predating Dracula. The name seems to have been invented by the author.

Cassius: Roman, "empty, hollow."

Ceridwen: Welsh enchantress or goddess who stirs the cauldron of poetic inspiration.

Cernunnos: Celtic forest god depicted as having a stag's antlers.

Chiroptera: Literally means "hand wing," the order of bats in taxonomy.

Circe: Means "circle." In Greek mythology, a sorceress who turned Odysseus' men into pigs (and later helped them).

Cora: From the Greek name Kore, meaning "maiden." A name for Persephone. (Also, Coraline.)

Cornix: A princess transformed into a crow by Athena in Ovid's Metamorphosis.

Corvus/Corax: Corvus corax is the scientific name of the common raven.

Crimson: Dark, rich red, the color of wine or blood. One of the Gothiest colors that isn't black. It's very easy for this to sound banal or cringey, especially if it's a character's given name, so use with caution. Scarlet works, too, if you want something easier to use as a given name.

Damian: From Greek, means "to tame," tends to be associated with demons or vampires, a bit cliche at this point.

Dantalion: A Goetic demon, the name is particularly cool.

Desdemona: A tragic character in Othello, comes from Greek and means "ill-fated." Can be shortened to "Mona."

Desmodus: The genus of common vampire bats. (D. rotundus)

Devana: Slavic version of Artemis/Diana, goddess of the hunt.

Dorian: The corrupt, depraved, nearly immortal and astonishingly beautiful protagonist from The Picture of Dorian Gray. (Turns out Oscar Wilde invented the name; it did not exist before the book was written.)

Dracul: Romanian, "devil" or "dragon." What really needs to be said?

Ebony: A very dark wood.

Echo: In Greek mythology, a nymph who was cursed so she would only repeat the names of others; died while pining after Narcissus.

Edgar: Anglo-Saxon, "rich spear." The name of the one and only Edgar Allen Poe (also, my cat).

Eidolon: A type of spirit or ghost in Greek liteature. Also a genus of bats.

Eirlys: Welsh, "snowflake."

Elatha: An Irish god, described as the "beautiful Miltonic prince of darkness with golden hair." Not sure what the source for that is, but cool!

Elvira: Spanish, means "foreign true," a stereotypical Goth name (and the name of the Mistress of the Dark!). Actually, I first ran across the name in reference to a vengeful ghost called Elvira Blood in New England folk legend. Spooky!

Empusa: A kind of Greek female demon (similar to Lamia) that served Hecate.

Endora: Comes from the Witch of Endor, a Biblical sorceress.

Endymion: In Greek mythology, a handsome shepherd whom Selene fell in love with. Zeus granted him eternal sleep so he would never age. Means "to dive, to enter."

Erebus: Greek primordial god and personification of darkness.

Esmeralda: Spanish name meaning "emerald." (Also, the heroine in The Hunchback of Notre Dame.)

Ethelinda: Anglo-Saxon, means "little serpent."

Euryale: Greek, means "far-roming," the middle Gorgon sister.

Eurynomos: Greek chthonic spirit of corpses.

Eventide: It could work as a name.

Fenrir: A wolf demon in Norse mythology, the son of Loki.

Finvarra: Irish, King of the Fairies (and sometimes King of the Dead), a benevolent entity that ensures a good harvest and abundance.

Gabriel: The angel. Means "warrior of god." Gabrielle also works (and is the name of Lestat's mother).

Gehenna: A Hebrew name for Tartarus or Hell.

Golgotha: From Hebrew, "skull," the place where Jesus was crucified.

Grimm: The surname of two German brothers who recorded a classic collection of oral folklore and fairy tales, many of which are very... well, grim.

Habundia: A Celtic name for the queen of witches and night creatures, possibly another name for Nicnevan. Etymology uncertain.

Hades: The Lord of the Underworld in Greek mythology (also the name of the Underworld itself).

Hawthorn: A type of shrub steeped in folklore, associated with fairies and with Beltane (1st May).

Hecate: Greek goddess of witchcraft, magic, the occult, the moon, necromancy, the Underworld, and the crossroads. Means "worker from far off."

Hellebore: A type of evergreen flower, some species of which are poisonous. Believed to summon demons, also believed to cure madness.

Hemlock: A plant used to poison people.

Herne: "the Hunter," a ghost that haunts Windsor Forest (sometimes identified with The Horned God).

Hesperos/ia: The evening star.

Hypnos: The Greek god of sleep.

Iblis: Satan in Islamic lore.

Idris: Welsh, "ardent (passionate, fiery) lord."

Igor: Russian, "bow-warrior." Became famous as the name of Frankenstein's hunchbacked assistant, even though he doesn't exist in the book and his name in the original Universal film was Fritz.

Ingram: Swedish name meaning "Ing's raven."

Iolanthe: Greek, means "violet flower." (eye-oh-LAHN-thay)

Iseult/Isolde/Isolt: A tragic lover in Arthurian legend.

Jasmine: A type of flower, in this case referring to Cestrum nocturnum, or night-blooming jasmine.

Kali: Hindu goddess of destruction, name means "the black one."

Kasdaye: Means "hidden power," the name of a Watcher (another name for Tamiel). (Unisex)

Kiara/n: Gaelic, means "little black one."

Kimaris: A Goetic demon. (Male)

Kokabiel: Means "angel of the stars," a Watcher.

Lacrimae: Latin word for tears.

Lamia: A female demon in Greek folklore who devours children. The name of the witch in the film version of Stardust.

Lenore: A variant of Eleanor (also a good name), means "foreign," the lost love of the protagonist of "The Raven," also has her own poem.

Leshii: A Russian god of hunting, similar to Veles

Lethe: River of Forgetfulness in the Greek Underworld.

Leviathan: From Hebrew, "twisted in folds," a Biblical sea monster. Sometimes associated with Midgard's Serpent.

Libitina: A Roman goddess of corpses, funerals, and the dead.

Ligeia: Greek, the name of a Siren, also the subject of a Poe story of the same name.

Lilah: Comes from the Arabic Leila, meaning "night."

Lilith: Means "of the night" or "screech owl." In Hebrew mythology, Adam's first wife and the Queen of Demons. She refused to submit to Adam, so she left Eden and began screwing around with demons. Often considered a succubus or vampire, or a champion of feminism. A lilim is also a succubus or incubus.

Loki: Trickster god in Norse mythology with ambiguous morals.

Lorelei: German, means "murmuring rock," the name of a German Siren.

Lucius/Lucifer/Lucien: All mean "light" or "light-bringer," a name associated with Satan.

Lucy: From Dracula, also could be a shortening/feminization of Lucifer. (Still means "light.")

Luna: The Roman personification of the moon.

Lycoris: A Greek word that means "twilight," the name of an Asian red flower, associated with death and the underworld (much like Asphodel).

Maeve: Comes from Gaelic, means "the intoxicating one." Associated with the Fairy Queen Mab.

Makaria: Greek goddess of blessed death, a daughter of Hades and Persephone.

Mania: Etruscan/Roman goddess of the undead, ghosts, and underworld spirits, goddess of madness. Also a modern medical term referring to a specific mental illness.

Mara: A name steeped in darkness, referring to a nightmare spirit (nightmare), a (benevolent) goddess of death in Latvian mythology, a (male) demon in Buddhist mythology, and a Sanskrit word meaning "death."

Medea: In Greek mythology, the sorceress who helped Jason, but then went on a murderous rampage when he left her. Considered to be a priestess (or, rarely, daughter) of Hecate.

Megaera: One of the Erinyes (Furies), the goddesses of vengeance. Means "grudge."

Melanie: Greek, "black" or "dark."

Melantha: Greek, "dark flower."

Melinda/Mindy: English, "black serpent."

Melinoe: Greek goddess of ghosts, nightmares, and madness, a daughter of Hades and Persephone.

Mephistopheles: The name of the devil in the Faust legend, could be from Hebrew and mean "disperser of lies," or from Greek and mean "does not love the light."

Merle: (Unisex) from French, "blackbird."

Mina: From Dracula. Short for Wilhelmina, a German name meaning "will-helmet."

Morana/Marzanna: Slavic goddess of winter and death.

Morgan/Morgana: From Welsh, means "sea-circle," the name of Morgan le Fay, a sorceress in Arthurian Legend (who may be good or evil, depending on your interpretation).

Morpheus: The Greek god of dreams, the main protagonist of Neil Gaiman's Sandman comics. (Also, The Matrix.)

Morrigan: An Irish goddess of death, battle, and ravens, name means "great queen."

Morwenna: A Welsh name meaning "maiden." ("Morwanneg" is the name of the witch in Stardust.)

Nepenthe: A magical drug from the Odyssey that cures sorrow and causes forgetfulness.

Nephthys: Means "lady of the temple," the Egyptian goddess of the dead, mate of Seth and mother of Anubis.

Nergal: Mesopotamian god of death, war, and destruction.

Nicnevan: Queen of the Fairies in Scottish folklore. She is the Scottish version of Hecate.

Nightshade: A family of plants including tomatoes, potatoes, and eggplants, but also the notorious deadly nightshade.

Nisha/nt: A Hindi name meaning "night."

Nocturne: Self-explanatory. Refers to a night prayer, a musical composition evoking night, or a night scene in art.

Nyctala/Nyctea: Two obsolete genera of owls. Nyctala is the genus of Boreal owls before it was changed to Aegolius, and Nyctea was the genus of Snowy owls before it was changed to Bubo. Both probably mean or are related to "night."

Nyctalus: A genus of bats.

Nyctimene: A princess from Ovid's Metamorphoses who was so ashamed at having been molested by her father, she refused to show her face in daylight. Out of pity, Minerva (Athena) turned her into an owl. Also a genus of bats.

Nyx: A Greek primordial goddess and personification of the Night. (also Nox)

Oberon: From French, means "elf-ruler," the name of the Fairy King in A Midsummer Night's Dream (Referred to in one scene as the "king of shadows").

Obsidian: A shiny black volcanic stone.

Onyx: A type of banded stone, most famously black. (The word comes from the Greek for "fingernail.")

Ophelia: A tragic character in Hamlet, which probably comes from Greek and means "help."

Orcus: A Latin word for Hell, and a Roman god who punished the dead (possibly an epithet of Hades/Pluto).

Orion: A hunter in Greek mythology, and the famous constellation.

Orlok: The name of the ugly-looking vampire from Nosferatu.

Orpheus: Greek name, possibly comes from the word orphe, "darkness." The name of a demigod with an impossibly beautiful singing voice who attempted to rescue his love from the underworld, failed, and then died tragically.

Pan: Greek goat-horned god of nature, herds, and lust, induces "panic."

Pandora: Name means "all-gifted." In Greek mythology, the name of the first woman, who opened a box that unleashed evil upon the world.

Pandemonium: The capital city of Hell in Paradise Lost, name literally means "all demons."

Persephone: Greek Queen of the Underworld, wife of Hades, and goddess of springtime. You probably know her story. Her name might mean "thrasher of grain" (which would make sense for an agricultural goddess), but could also mean "slayer."

Phaenon: Means "shining" in Greek, refers to the planet Saturn (which has long been associated with darkness in mythology, being the furthest planet from the sun that is observable with the naked eye).

Pluto: Hades' Roman name, also the ninth planet, or what was the ninth planet.

Ransley: An English name meaning "raven's meadow."

Raven: This is by far the most cliche Goth name there is (I originally created this list to provide alternatives to the name “Raven”), but it’s classic, it’s simple, it’s unisex, and it’s undeniably Goth. 

Ravenna: Self-explanatory, also an Italian city.

Renwick: Scottish surname meaning "raven settlement."

Sable: A word referring to the color black.

Salome: From Hebrew shalom, "peace." The daughter of Herod and Herodias, unnamed in the Bible, who requested the head of John the Baptist and danced the Dance of the Seven Veils.

Samael: Means "venom of God," a vicious angel of death, the mate of Lilith. He is not technically a fallen angel, but a servant of God who does the dirty work.

Sekhmet: Egyptian goddess of war and destruction, with the head of a lioness. Her name means "power" or "might." Her epithets included "Mistress of Dread," "Lady of Slaughter," and "She Who Mauls." Ra had to stop her from killing people by getting her drunk on beer that was dyed to look like blood.

Selene: Greek personification of the moon. (Includes "Selena" and variants.")

Senka: Basque name meaning "shadow."

Seren: (Unisex) Welsh name meaning "star."

Seth: A name of Set or Sutekh, the Egyptian god of evil, chaos, and storms. He killed his brother Osiris and cut his body into pieces, and then was defeated by Horus. His head is that of an animal that looks kind of like an aardvark but is not an actual existing creature (at least not anymore). He was associated with the color red and the desert. His name possibly means "one who dazzles."

Shadow: Self-explanatory.

Silas: From Greek, means "from the forest." In The Graveyard Book by Neil Gaiman, it's the name of a [spoiler]vampire.

Silver: The color of the moon, and it looks nice with black.

Sinistra: Technically, it's Latin for "left," but it obviously has "sinister" connotations.

Skiá: Greek word for "shadow" or "shade."

Skotos: Ancient Greek word for "darkness," especially the darkness of death or the netherworld, or obscurity.

Skuld: The last of the Norns (Fates), representing death. Means "debt."

Sombra: The Spanish word for "shadow."

Somnus: Roman name for Hypnos, sleep.

Spyridon: Greek name referring to wicker baskets, which implies wealth. Could also be connected to the Latin spiritus, which means breath or spirit. Usually shortened to Spyro.

Stella: The Latin word for "star."

Stheno: Greek, means "forceful." The eldest of the Gorgon sisters.

Styx: The River of Hate in the Greek Underworld, the most famous of its rivers. The souls of the dead are ferried across it by Charon, and the gods (foolishly, if you ask me, seeing as they always regret it) swear on the Styx to make unbreakable oaths. The word "Stygian" means "of the River Styx" and refers to something very dark or abyssal.

Summanus: Roman god of nocturnal thunder.

Sylvia​​​​​​/Sylvana: Latin, "from the forest."

Tanith: Phoenician, "serpent lady."

Tartarus: The deepest hell-pit of the Greek Underworld, where evildoers are punished.

Tempest: A wild storm, from the Latin for "time."

Thanatos: The Greek personification of Death.

Tiamat: Babylonian primordial dragon goddess.

Tisiphone: One of the Erinyes (Furies), the goddesses of vengeance. Means "murder-retribution."

Tristan: Welsh, "riot, tumult." (Although it sounds like the Latin tristis, which means "sad.") The name of Isolt's lover in Arthurian Legend, and the name of the protagonist in Stardust.

Valerian: Roman, means "strength" or "valiant," also the name of an herb.

Vega: (Unisex) Latin from Arabic, means "falling" or "swooping," a star in the constellation Lyra. It is one of the brightest stars in the entire sky.

Veles: Slavic horned god of cattle, forests, magic, and the underworld.

Veliona: Slavic goddess of death

Velvet: A fabric that most goths love to wear.

Vervain: An herb (verbena), meaning "sacred bough," considered a magical or holy herb in multiple cultures.

Vesperus: (or just Vesper), a Roman name meaning "evening." (Vespera for a girl)

Vespertilio: A genus of bats.

Victor: The first of the trio of gothy male "V" names, means "conqueror," as in "victory." Frankenstein's first name. (Victoria also works for a girl.)

Vincent: The second of the trio of gothy male "V" names, also meaning "conquering," from Latin.

Vivian: The Lady of the Lake in Arthurian legend. From French, means "lively."  (Another name for the Lady is Nimue, which is Welsh and may be related to the Greek word for "memory." She sealed Merlin in a tree.)

Vlad: The third of the trio of gothy male "V" names, the name of Vlad Tepes or "Vlad the Impaler," the real-life Romanian prince who inspired Count Dracula. It's Slavic and means "ruler."

Willow: A beautiful and mournful-looking tree.

Winter: The dark, cold season. Unisex!

Yvaine: Scottish, means "evening star," the name of the star in Stardust.

Zagreus: The name of a chthonic Greek god who was potentially a son of Hades and Persephone or Zeus and Persephone, considered in Orphic lore to be Dionysus before he was dismembered and reincarnated.

Zillah: Hebrew name meaning "shadow."

[miloswanders]

When I was a kid -- say, between the ages of 4 and 10 -- my mother would spend her Saturday afternoons ironing in the living room. Since she has always found this particular task to be extraordinarily tedious, she would pick a movie out of her rather large collection of VHS cassettes and keep it as background entertainment while she went about her chores. 

After a while, out of sheer curiosity, I would splay out on the sofa and watch whatever movie she had selected for the day, regardless of the rating. Since I was the one who, at 7 years old, had forced my mother to sit through Critters (carnivorous aliens terrorizing a rural American town... don’t even ask), she wasn’t too concerned about my young mind suffering any irreparable trauma at this point. 

Which brings me to the following: I’ve been feeling nostalgic, as of late, and have to find new ways to procrastinate doing all the things that I should be doing right now; thus, I’ve decided to present you with a List of Films That Were Meaningful During My Childhood, in no particular order.

Enjoy!

The Fly (1986). Of course, the first one has to be a horror film, and a great classic at that! The ambitious scientist, the tragic love story, the terrifying metamorphosis... I’m pretty sure I couldn’t shut up about it for the next week or so. 

Beetlejuice (1988). Another classic, which I am proud to say I personally selected from my mother’s collection. It’s been years since I last watched it, so I only remember bits and pieces of it, but I’m pretty sure it wasn’t even remotely appropriate for a six-year-old. But! there were ghosts involved, and at the time that was the magic word to spark my interest.

In & Out (1997). This one was my introduction to LGBT media and themes. Being mostly satirical in its intent, it has to be taken with a grain of salt; but I’d laugh my head off every time we watched it, as my mother explained all the stereotypes they were making fun of. After the first viewing, I distinctly remember asking: “What does “lesbian” mean?”, and her answering: “Same as “gay”, but for women”. I thought it was a really cool word. 

Mrs. Doubtfire (1993). This one... this one is special. I already knew Robin Williams from Jumanji, but, of all the roles he has played, this is the one that really stole my heart. My family was sort of falling apart when I first watched it, so it did a lot more than strike a chord -- it made me consider that maybe, just maybe, even if things were going to change drastically in my life, everything would work out all the same. A divorce didn’t have to be such a terrible ordeal, because there were a lot of different ways to remain committed to one another, and “family” didn’t mean the same thing to everyone. So, yeah... Thanks, Robin <3

American Beauty (1999). Picture this: it’s almost midnight, I’m bored out of my mind and should be going to sleep, but I’ve decided to stay up and see what’s on TV at this hour. I come across the first sequence of this film: girl speaking into the camera, creepy conversation with unseen interlocutor, then cut to the voiceover and the aerial view of the gloomy suburbs. My mother found me glued to the screen just as the “rose petals” scene was playing. She asked what I was watching, and I was like: “Uhm... American Beauty, I think it’s called”; she stared at the TV, verified her suspicion and went: “It’s late. I have the VHS, you can watch it tomorrow”. And I did. If anyone ever wonders how I got into the suburban-gothic genre, blame Kevin Spacey. 

The Color Purple (1985). The film that introduced me to Whoopi Goldberg. I had never heard of her before, and I remember repeating her name over and over to make sure I was saying it correctly. I doubt I’d even bothered to ask, let alone memorize the name of any actor before, but with her it was love at first sight. A few months later, I found a radio programme where the host would read “literary classics”, one or two chapters per episode; sure enough, Alice Walker’s novel was on their list. I listened to the whole thing. And, as I did, I guess I thought a lot about the word “lesbian”.

The Miracle Worker (1962). The autobiography of Helen Keller and Anne Sullivan. To this day, I cry at the end. Anne Bancroft was amazing. Also, possibly the first black-and-white movie I ever watched all the way through... and wanted to rewatch.  

The Elephant Man (1980). David Lynch’s debut film; it completely changed how I thought of “monsters”. It was a milestone in my growth as both human being and horror fan, precisely because there was nothing “scary” about Joseph Merrick, at all. It filled me with a sadness the depth of which I still find difficult to convey. Also... Anne Bancroft. Again. 

Divorzio all’italiana (1961). A film about infidelity, social hypocrisy and honor killings in Southern Italy. Not exactly kids material, but it’s not like anyone gave a damn. It’s the main reason why I laugh so hard and hysterically when people claim that misogyny concerns almost exclusively non-Western cultures. And by “laugh” I mean “scream into the void”. 

The House of the Spirits (1993). Saw the movie before I read the book. Five minutes in and I was enraptured. It may or may not have been the source of my fascination with magical realism and historical novels in general. I was missing out on a great deal of context, in order to fully understand the more “political” parts of the story, but over the years I did learn a thing or two thanks to Clara, Blanca and Alba. And yes, Clara was played by Meryl Streep, but I did not care to learn the actress’ name back then.

Stephen King’s IT (1990). Since I’ve started the list with the horror genre, why not have another one? The TV film that exacerbated my fear of clowns to near-pathological levels. It (both the film and the character) scared me so much that I could never bring myself to re-watch it. Instead, by the time I reached the 9th grade I’d gathered the courage to read the novel. “IT” and “Stand by Me” were my gateway into Stephen King’s fictional universe, although the former was branded so deeply into my subconscious that the mere mention of that damned clown used to give me chills. Surprisingly, I have recently convinced myself to watch short clips from the film, only to discover that I now like Pennywise as a character. I mean, that’s still Tim Curry beneath the makeup! 

The Exorcist (1973). Another classic. 9-year-old me was obsessed! I honestly don’t know how many times I re-watched it, but I can assure you they amounted to A LOT. I also tried to convince a dear friend of mine to watch it with me, once, but she freaked out halfway through, leaving me rather disappointed. 

So, there you have them: the highlights of my youth. 

And yes, before you ask, I did also watch cartoons like a normal kid. 

[oceansouldeadboy-blog]

Franz Kafka : The Metamorphosis

Franz Kafka The Metamorphosis

 Franz Kafka was born in 1883 in Prague in a middle-class German speaking Jewish family. His father had a great on influence on his writing. He was described as: „a true Kafka in strength, health, appetite, loudness of voice, eloquence, self-satisfaction, worldly dominance, endurance, presence of mind, [and] knowledge of human nature” by Franz Kafka himself. His father’s loud, demanding and maximalist figure caused more anxiety in Kafka than what would have been a healthy amount. At university he studied law, not because he liked it, but it gave him a lot of carreer choices, which pleased his father. Finishing university he found work at an insurance company, altough he hated his work and just wanted to focus more on literary work. But he published very little of his works in his lifetime and only read his works out to his friends. After his death in 1924, Milena Jesenská and Max Brod collected his works and published them. Kafka’s works started to gain reputation in 1950s.

Kafka lived in a strange, uncomprehended world while feeling lonely and solitary. He realized that the machine of society has been alieneted from the people. Estrangement comes from only doing one part of a job, never actually creating anything meaningful, while having to fullfill a social role, where you cannot possibly be yourself. His views on relationships were realistic too. He saw that people only make friends so they are not alone, or to later use them in order to achieve their own goals. If he became part of this ’act’, he felt guilty, while the other option – escaping from society – made him lonely. Maybe the only way here is metamorphosis...

Kafka sees the world in an absurd way. His stories are just as absurd as the characters. They get into impossible situations from one day to another and we get to see them trying to deal with it. When it comes to describing these situations, Kafka remains completely objective, like it is just another day and there is nothing to get fazed about. These stories are like parables, always having another layer of meaning under the surface. Wanting to make the reader think is one the main purposes, as there is not only one absolute meaning, but there are several other ones as well. Which one do you see is up to you. Just as not everyone sees the world in the same way, not everyone will see the same meaning of a Kafka piece. Not to mention that not everything is explained and the reader constantly has to use his or her imagination to fill the blank spaces, or to continue or finish the story.

Stories of metamorphosis were popular even in the ancient times. The change itself was either internal or external or both. Medieval thrillers’ subject was often a vampire, whose change is both internal and external, but for example the beast from Beauty and the Beast only changes externally, because his personality doesn’t change.

The story is presented to us from the perspective of our main character, Gregor Samsa. His name already speaks volumes, because ’sam jsa’ means ’lonely’ in czech, and that is exactly who he is. His relationship with people are basically non-existant. He never had a girlfriend, his relationship with his family is cold, objective and detached. Gregor’s father is very similar to Kafka’s father, and the mother is suffering from asthma, basically meaning she is oppressed, and needs some air, also she doesn’t have a say in anything. And the father is causing his son mental pain, just like Kafka’s. Gregor has his deepest relationnship with his little sister.

The story goes as follows, Gregor wakes up one day just to find out that he turned into a bug overnnight.

„One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that in bed he had been changed into a monstrous verminous bug.”  

This, of course, is stated calmly and objectively like it was an everyday occurance. Before he turns into a bug, he is the sole money-maker of the family, and it does not bothers him, he is happy to help, but sadly he is being used, both by his family and his company. He worked more and harder than anyone, but was not appriciated for any of it. And he did not do it for himself, he did it for his family.

„If I didn’t hold back for my parents’ sake, I would’ve quit ages ago. I would’ve gone to the boss and told him just what I think from the bottom of my heart.”

His only hobby is making items out of wood, but he hardly has any time for that which could bring some meaning and colour to his life. Gregor’s life is just overall gray, lacking any meaning. As Nietzsche said:

„To live is to suffer, to survive is to find some meaning in the suffering.”

Gregor lacks this meaning, and tries to survive without it, which would not be that bad, but he only acts with fear and cowardness, always does what others wants him to do. Of course, life is meaningless, so it does not matter at all what we do with it, but at least, for our own sake, we should always try to improve ourselves. His room reflects his life perfectly. Practicality had the upmost importance in the room: a bed, a desk, a wardrobe, and even the picture on the wall was characterless. The dust under his bed symbolizes his unconsciousness trying to sweep feelings and thoughts under (in this case) the bed. All in all he lives a purposeless life.

Gregor’s transformation is both physical and psychological, altough his physical transformation is sudden, but his toughts will only change after some time from a man to a bug. What’s interesing here is that he will lead a more concious life, than what he did when he was a human. His mind will expand, and will realize so much more than he did before.

His transformation will be received in two main phases. First they will be frightened and uncomprehending, but I would be in quite a shock too if one my family members would turn into a bug overnight. One of Gregor’s first thought in the morning is that he should get out of bed and go to work, dispite him being transformed into a bug. And that is exactly what the family is afraid of, that he will not go to work and will not earn any money, but they will be even more afraid when they realized what had happened, also they will just try to ignore what happened. They will feed him, but they do not want to be in his company.

The second phase is guilt. They will be be ashamed that this happened to their son, altough they make some last miserable effort to communicate with him (maybe just to ease their consciense), but after a while they do not want to see him again. To avoid meeting him, they will hire a cleaning lady to take of the room instead. Next step is to find some work, which they will, rendering Gregor even more useless now, and the family is starting to play with the thought of getting rid of Gregor. Soon he will be just another item in the room. Grete, whom Gregor was the closest to in his human (and bug) life, tells the family that they should stop believing that the bug in the room is their Gregor, and that they should get rid of it.

The novel can be interpreted in many different ways. I am now going to list some of them, but I’m sure there is more than this.

                       I.          Gregor was not living a life that is worthy to a human being, he was more like a machine, a thoughtless thing, or a less consious animal. He was already not a human inside, so it was inevitably that he turned into something else on the outside.

                     II.          Gregor’s existential crisis has expanded leading to his transformation. He felt guilty for not sticking up for himself, and not changing his life. Therefore his transformation is a punishment.

                    III.          Gregor becomes alieneted from his world, family and himself and it gets to a point where he simply transforms into something else.

                   IV.          Gregor’s transformation can also be interpreted as a revolution. Seems like this was his only way to revolt againts the world he did not enjoy living in, but was forced to.

                     V.          Gregor was forced into a specific social role, and he did not want to be part of it anymore, so society starts to see him as an outlaw, as a worm, so he turns into one.

                   VI.          Gregor’s transformation may be a mask to disguise his own personality, that he so very much despises, from himself.

                  VII.          Gregor may not even be transformed (what a plot twist it would be), he just does not want to fulfill his family’s expectations towards him. It is only his family that will see him as a worm.

 In conclusion, what Kafka tried to achieve is to show how complicated life itself is. There is no single and simple solution to everything. Life is complicated but so as people.