#vol LXXIV

[verobatto]

Destiel Chronicles

Vol. LXXIV

It was a love story from the very beginning

You Are (Part III)

(11x23)

Hi! We reached the last meta from season 11! Yay!

As I disclaimed in my last meta, this is a Destiel centered series of analysis, so the rest of the topics could be taken superficially.

Hope you enjoy! Let's start!

[[MORE]]

You are back

Çhuck, God himself, was agonizing on the floor, the event most important on the entire Universe, but even so, Dean ordered Sam to go to check on him, because Dean wanted to check on his angel, his own personal universe.

Gif credit @mad-as-a-box-of-frogs

So the relived and slight one side ways smile he showed when he realized his Cas was back, it was priceless.

So, okay, the world was about to end, but Dean has Cas back, so... 🤣🤣

And later, when Cas made a innocent appreciation about Dog's breakfast, Dean just feels so proud of him. Throwing to his brother "Cas is back."

But I know we are not here for this little scenes ... But the nefarious car talk... Okay, let's suffer now.

I for We. And you are a brother to Us

We all know there was plenty alcohol in that bunker when Dean decided not to die sober.

The camera showed us deliberately, when the hunter opens the fridge, we had beers there.

So the 'let's go to a ride to buy some beers before the world ends' was just an excuse.

He invited Sam to covered his intentions, knowing Sam would reject him for sure.

So, when Sam said no, as he was expecting, he calls for his angel.

Once in the road, the conversation wet from one point, to another. But the way it ended it wasn't pleasent.

DEAN: How you doing? You good? I mean, you know, the whole Lucifer thing.

So, this is what happens with Dean: he can openly talk about his feelings or other people's feelings with Sam or Jody, but he lost track of his own words when Cas is in front of him. So here, by this, he wanted to know about why Cas said yes, or... What was happening with him. Because he didn't see that coming. But he simplifies this whole ideas that haunting him for so many days and night without sleeping, saying 'the whole Lucifer thing'. The whole Lucifer thing means all of this, including his own deception of Cas rejecting to be saved by him. To come back to him. So there this wall between Dean's true feelings and Dean's words towards Cas. He is protecting himself from that pain, the rejection. So he is deeply concerned, but he needs to act cool.

CAS: I was just... so stupid.

Cas is still sad and feeling not usefulness.

DEAN: No, no, no. It wasn't stupid. You were right. You were right to let Lucifer ride shotgun.

Me and Sam wouldn't have done that.

By saying this, Dean is trying to convince Cas he was useful, and brave. Because he did something not Sam not him would do. Dean is trying to support him and comfort him, as a real friend would do. He could be yelling at him, and saying he did a stupid thing, as he uses to do when Cas takes this kind of decision, but this time is different, because he recognizes Cas said yes to Lucifer because he was feeling sad, and bad. And Dean didn't see that.

CAS: Well, it didn't work.

DEAN: No, but it was our best shot, and you stepped up.

CAS: I was just trying to help.

DEAN: Well, and you do help, Cas.

Dean repeats to Cas that what he did was useful, was very helpful, he is important in the fight. Now that he settled that point, is time to let the angel know he's not just important for the fight, but for him. Because he was terribly worried about him, not sleeping, imagine he could lost him forever... But his fears to rejection played Dean again.

DEAN: You know, l— You know, sometimes me and Sam have got so much going on that...we forget about everyone else.

He backtracked, but he tried, he tried to apologise because he didn't see what was happening with Cas. So he look for a shield. Sam. If he uses Sam, he won't be alone in his feelings... Because Sam loves Cas a a brother, a real friend. But not Dean. Dean is in love with Cas, so, Sam is the shield. Those feelings: BROTHERHOOD, FRIENDSHIP. Yes. Dean can handle that. But his true feelings? The first person talk? The L word?, He just can't right now... that's why he transforms I into WE/US/SAM AND ME. We didn't see you sad. We weren't aware of your depression.

CAS: Well, you do live exciting lives.

DEAN: [Chuckles] Yeah, that's one word for it.

But you're always there, you know?

With this Dean is trying to say another thing it was haunting his mind this whole time for sure. Cas always come when they call. Cas is always there for them. Cas takes care of him, all the time. He failed to Cas.

[Dean looks over at Cas]

DEAN: You're the best friend we've ever had.

Dean is feeling the cowardice all over him, using the shield, the safe WE and covering his own true emotions and feelings, to deliver a message to Cas: YOU ARE IMPORTANT, best friend, is wonderful privilege, a great place. But Cas is more than just that, even for Sam, so he adds...

You're our brother, Cas. I want you to know that.

Dean places Cas in Sam's spot: BROTHERHOOD that's the maximum place for a friend. So for sure, Sam considers Cas his brother. But is not the place Dean gave Cas in his heart. But is a safe word: BROTHER, there's not danger on that. Not feelings exposure. Not rejection.

Gif credit @mad-as-a-box-of-frogs👇

Cas' sad and disappointed expression when he hears Dean saying this is so painful to see. That's not the place he wants with Dean. So is more pain for his angelic heart. Dean, heartbroken as he was for being rejected when he tried to save him, is heartbreaking Castiel now. Misscomunication, that will take a huge place in Dabb's era.

Jealous Cas

Just a few words about this, because I'm addition to the new rejection our angel had felt in Dean's hands, when they were planing the soul bomb, they needed someone to get close to Amara. And Cas, who had witnessed the way Dean and Amara interacted, that... Bond, he gave his own opinion about the plan...

CAS: We need somebody to get close to her, someone with a... personal connection.

Cas made a face here, not a good one hehe. He knew about this, about their connection.

Goodbye

Dean said goodbye to his mom the grave ( as a foreshadow of her resurrection), to his brother, and then, it was time for Cas...

Gif credit @spnsmile 👇

The hug is tender, and Dean looks sad at the end. But then Cas throws to him his quote ...

CAS: I could go with you.

DEAN: No, no, no. No, I got to do this alone.

Castiel is always willing to die for Dean, so let him go alone to a certain death is not something he is able to handle, but because Dean is requesting him this, and then he even gave Cas a mission: to take care of Sam. That's why Cas stays. He has a new mission, to protect Sam and comfort him.

Finally, when the world was saved, the camera shows us Cas asking for Dean. Because his thoughts were with him the whole time. Just like Dean's thoughts when he wanted to get his angel back, or when they were planning to defeat Amara, and Dean asked what Cas thought about the plan, and Lucy mocked him, of course.

Gif credit @mad-as-a-box-of-frogs 👇

Need vs Want

The writers presented to us the topic we will explore in season 12/13 and even 14. What do you want, Dean?

Want is not need. The quote I NEED YOU. It was used by Dean Winchester in the crypt scene, as a shield too, to avoid the fact that he needs Cas because he loves him.

But here we have Amara

AMARA: Dean, you gave me what I needed most. I want to do the same for you.

And she wasn't wrong, she needed her brother to be in peace, and after a visit to the bunker, finding that pic with Mary and Dean on it, she perceived Dean needed his mom the most. So Dean will need his mother to finally find what he really wants. It will be the start of his self knowledge, self acceptance and self love that will lead him to finally express his true feelings for Castiel, that we all are waiting to happen in season 15.

I hope you enjoyed this!! See you in the next meta! Season 12!

To Conclude:

Last episode from this season showed us an attempt of Dean Winchester to put into words all the things that he was struggling with. But using Sam and changing the I for We/Us is a symptom of Dean's fears of being rejected. He is not ready to express his feelings which is translated into a new deception and rejection for Cas. Misscomunication.

Ending with the Need vs Want, preparing the self knowledge path Dean will have in season 14.

Tagging @magnificent-winged-beast @emblue-sparks @weird-dorky-little-deana @michyribeiro @whyjm @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @dickpuncher365 @vampyrosa @authorsararayne @anonymoustitans @mybonsai1976 @love-neve-dies @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @teddybeardoctor @pepevons @helevetica @isthisdestiel @dizzypinwheel @jawnlockwinchester @horsez2 @qanelyytha

@imjustkipping @destielle @agusvedder @spnsmile @shippsblog @robot-feels @superlock-in-the-tardis @superduckbatrebel

If you want to be added or removed from this list, just let me know.

If you want to read the previous metas from season 11, here you have the links.

Vol. LXII, LXIII, LXIV, LXV, LXVI, LXVII, LXVIII, LXIX, LXX, LXXI, LXXII, LXXIII.

Buenos Aires, August 11th 2020 5:30 PM

[pairtext3-blog]

Kate Chopin A Re-Awakening - Additional Resources



Bibliography makers

An Overview of the Life and Works of Kate Chopin An article in Empire:Zine, a monthly Internet magazine on writing.

The Fifth Kate Chopin Conference Information on the Fifth Kate Chopin Conference, held earlier this year at Northwestern State University of Louisiana.

A Guide to Internet Resources for Kate Chopin's The Awakening A collection of extratextual resources available on the internet that might enrich the understanding and enjoyment of The Awakening. Compiled by Sharon Masturzo, School of Library Information and Science, University of South Florida.

Domestic Goddesses: AKA Scribbling Women A moderated E-journal devoted to women writers, beginning in the 19th century, who wrote "domestic fiction."

Kate Chopin Web Page A web site created by students at Assumption College, Worcester, Massachusetts.

Recent Publications of Chopin's Works:

The Awakening, New York: Avon Books, 1972.

The Awakening and Selected Stories, edited with an introduction by Nina Baym, New York: The Modern Library, 1993.

A Matter of Prejudice and Other Stories, New York: Bantam Books, 1992.

A Vocation and A Voice, Penguin Books, 1991.

Complete Works of Kate Chopin, edited and with an introduction by Per Seyersted; Foreword by Edmund Wilson, Volumes I and II, Baton Rouge: Louisiana State University Press, 1969.

Per Seyersted and Emily Toth, eds., A Kate Chopin Miscellany, Oslo: Universitetsforlaget and Natchitoches: Northwestern State University Press, 1979.

Forkner, Ben, ed., Louisiana Stories, Gretna, La: Pelican Publishing Co, 1990.

Bonner, Thomas, Jr. "Kate Chopin: An Annotated Bibliography," Bulletin of Bibliography, 32 (July-September, 1975) pp101-105.

Toth, Emily, "Bibliography of Writings on Kate Chopin." In A Kate Chopin Miscellany, ed. by Per Seyersted and Emily Toth., pp212-61.

"Kate Chopin, A Woman of Yesterday, Today and Tomorrow," A project of the Watson Library, Northwestern State University, Rapides Parish Library and the National Endowment for the Humanities.

Arnavon, Cyrille, "Les Debuts du Roman Realiste Americain et L'Influence Francaise." in Cahiers des Langues Modernes, I Paris, Didier (1946).

Bender, Bert, "The Teeth of Desire: The Awakening and The Descent of Man," in American Literature, Vol. 63, No. 3, Sept., 1991, pp. 459-473.

Berry, Wendell, "Writer and Region," in What are People For? Essays. San Francisco: Northpoint Press, 1990, pp. 71-87.

Bloom, Harold, Ed., Kate Chopin, Modern Critical Views. New York: Chelsea House Publishers, 1987.

Blumenthal, "Literature" Chapt. VI in American and French Culture, 1800-1900, pp. 174-232.

Bonner, Jr., Thomas. "Bayou Folk: An Evaluation": a paper contributed to the Kate Chopin Seminar at the 1974 MLA Conference.

__________, "Kate Chopin's At Fault and the Awakening: A Study in Structure." Markham Review, 7 (Fall, 1977), pp.10-15.

__________, "Kate Chopin's European Consciousness." American Literary Realism, 1870-1910, Vol. 8, 1975, pp. 281-84.

__________, The Kate Chopin Companion, with Chopin's translations from French fiction. New York: Greenwood Press, 1988.

Boren, Lynda S. and Sara de Saussure Davis, Eds., Kate Chopin Reconsidered, Beyond the Bayou. Baton Rouge and London: Louisiana State University Press, 1992.

Bush, Robert, Louisiana Prose Fiction, 1870-1900 (Dissertation). State University of Iowa, 1957.

Cott, Nancy F., The Grounding of Modern Feminism. New Haven and London: Yale University Press, 1987.

Eble, Kenneth, "A Forgotten Novel: Kate Chopin's The Awakening," in Western Humanities Review, X (Summer, 1956), pp. 261-269.

Dyer, Joyce, "Gouvernail, Kate Chopin's Sensitive Bachelor," in Southern Literary Journal, 14 (Fall, 1981), pp. 46-55.

__________, "Symbolic Setting in Kate Chopin's 'A Shameful Affair'." in Southern Studies, Vol. XX, No. 4, 1981, pp. 447-452.

Ewell, Barbara, Kate Chopin. New York: The Ungar Publishing Company, 1986.

__________, "Making Places: Kate Chopin and the Art of Fiction." (Unpublished Paper).

Judith Fetterley, "Introduction" in Provisions, A Reader from 19th Century Women, Bloomington: Indiana University Press, 1985. pp. 1-40.

Judith Fetterley and Marjorie Pryse, "Kate Chopin," in American Women Regionalists, 1850-1910 (Norton, 1992) pp. 408-412.

Fletcher, Marie, "The Southern Woman in the Fiction of Kate Chopin," Louisiana History, 7 (1966): pp. 117-132.

Fox-Genovese, Elizabeth, "Between Individualism and Fragmentation: American Culture and the New Literary Studies of Race and Gender," in American Quarterly, Vol. 42, No. 1 (March, 1990), pp. 7-29.

__________, "The Fettered Mind: Time, Place, and the Literary Imagination of the Old South" in The Georgia Historical Quarterly, Vol. LXXIV, No. https://synthesis-essay.com , Winter, 1990, pp. 622-650. (Review Essay of Louis Rubin's The Edge of the Swamp.)

__________, Within the Plantation Household: Black and White Women of the Old South. University of North Carolina Press, 1988.

Gardiner, Elaine. "Ripe Figs: Kate Chopin in Miniature." Modern Fiction Studies, 28, Autumn, 1982, pp. 379-82.

Garietta, Anthony Paul, The Critical Reputation of Kate Chopin., Greensboro: University of North Carolina, 1978.

Gebhard, Caroline, "The Spinster in the House of American Criticism" in Tulsa Studies in Women's Literature, Vol. 10, No. 1, Spring 1991, pp. 79-91.

Gilbert, Sandra M. and Susan Gubar, Eds., Norton's Anthology of Literature by Women. New York, 1985.

Howell, Elmo, "Kate Chopin and the Creole Country," in Louisiana History, 20 (Spring, 1979), pp. 202-219.

__________, "Kate Chopin and the Pull of Faith: A Note on Lilacs," in Southern Studies, 18, (Spring, 1979), pp. 103-109.

Jasenas, Elaine, "The French Influence in Kate Chopin's The Awakening" in Nineteenth Century French Studies, 4(1976): pp. 312-22.

Jones, Anne Goodwyn, Tomorrow is Another Day: The Woman Writer in the South, 1859-1936. Baton Rouge: Louisiana State University, 1981.

Jones, Howard Mumford, "America and French Culture, 1750-1848" in Milestones in American Literary History, edited by Robert E. Spiller.

Kate Chopin Newsletters

Vol. 1, No. 12, Spring, 1875.

Vol. I, No. 3, Winter, 1975-1976.

Vol. II, No. 2, Fall, 1976.

Vol. II, No. 3, Winter 1976-1977.

Kazin, Alfred. A Writer's America, Landscape in Literature, New York, Alfred A. Knopf, 1988.

__________, On Native Grounds, Cornwall. NY: Cornwall Press, 1942.

Kearns, Katherine, "The Nullification of Edna Pontellier" in American Literature, Vol. 63, No. 1, March 1991, pp. 62-88.

Koloski, Bernard, Ed., Approaches to Teaching Chopin's The Awakening. New York: MLA, 1988.

__________, "The Structure of At Fault"

Kraditor, Aileen S., The Ideas of the Woman Suffrage Movement, 1890-1920. New York: Columbia University Press, 1965.

Lally, Joan Marie. "Kate Chopin: Four Studies" (PhD Dissertation, University of Utah), MLA. University Microfilms, Ann Arbor, Michigan, 1973.

Lewis, R.W.B., The American Adam, 1955.

__________, Trials of the Word.

__________, Cleanth Brooks and Robert Penn Warren, eds., American Literature: The Makers and the Making. 1973.

Lohafer, Susan, "The Classics" in Coming to Terms with the Short Story, Chapt. 6, pp.103-133.

__________, "Preclosure and Story Processing," in Short Story Theory at a Crossroads by Susan Lohafer and Jo Ellyn Clarey, pp. 249-273.

Martin, Wendy, Ed., New Essays on The Awakening,part of The American Novel Series. New York: Cambridge University Press, 1988.

Mills, Elizabeth Shown, Chauvin Dit Charleville: Mississippi State University Press, 1976.

Oates, Joyce Carol, ed., The Oxford Book of American Short Stories: Oxford and New York, Oxford University Press, 1992.

O'Brien, Sharon, "The Lineaments of Antebellum Southern Romanticism," in Rethinking the South, Essays in Intellectual History, pp. 38-56.

__________, "Sentiment, Local Color, and the New Woman Writer: Kate Chopin and Willa Cather," in Kate Chopin Newsletter, 2, (Winter, 1976-1977), pp.16-24.

O' Connor, Flannery, "The Regional Writer," in Mystery and Manners, pp. 51-59.

Papke, Mary E., Verging on the Abyss, The Social Fiction of Kate Chopin and Edith Wharton. New York: Greenwood Press.

Pattee, Frederick Lewis, A History of American Literature Since 1870.

__________ "The Feminine Novel," in The New American Literature, 1890-1930.

Perspectives on Kate Chopin: Proceedings of the Kate Chopin International Conference. Northwestern State University, Natchitoches, Louisiana, April 6-8, 1989.

Portales, Marco, "The Characterization of Edna Pontellier and the Conclusion of Kate Chopin's The Awakening," in Southern Studies, Vol. XX, No. 4, 1981, pp. 427-436.

Potter, Richard, "Negroes in the Fiction of Kate Chopin," in Louisiana History, 12 (Winter, 1971), pp. 41-58.

Prenshaw, Peggy Whitman, "Southern Ladies and the Southern Literary Renaissance," in The Female Tradition in Southern Literature, ed. Carol Manning, University of Illinois Press, 1992.

Rogers, Nancy, "Echoes of George Sand in Kate Chopin, Litterature Comparee," No. 1, 1983, pp. 225-228.

Rosowski, Susan J., "The Awakening as a Prototype of the Novel of Awakening, in Women's Experience," pp. 26-33.

Rowe, Anne E., "Kate Chopin" in Fifty Southern Writers before 1900, pp.133-143.

Scott, Anne Firor, The Southern Lady: From Pedestal to Politics, 1830-1930. Chicago: University of Chicago Press, 1970.

Seyersted, Per, Kate Chopin. A Critical Biography, Baton Rouge, Louisiana: Louisiana State University Press, 1969.

__________ and Emily Toth, eds., A Kate Chopin Miscellany, Natchitoches: Northwestern State University Press, 1979.

__________ "Kate Chopin" in American Literary Realism, 1870-1910, Vol. 3, No. 2, Spring 1970. Dept. of English, The University of Texas at Arlington.

Showalter, Elaine, ed., The New Feminist Criticism: Essays on Women, Literature and Theory. New York: Pantheon, 1985.

__________, Sister's Choice, Tradition and Change in American Women's Writing. The Clarendon Lectures, 1989. Oxford: Clarendon Press, 1991.

__________, "Tradition and the Female Talent: The Awakening as a Solitary Book," in New Essays on the Awakening, pp. 33-55.

Sims, Barbara, "Emersonian Idealism and Kate Chopin's The Awakening" (Unpublished paper).

Skaggs, Peggy, Kate Chopin. Boston: Twayne Publishers, 1985.

Sloane, David E. "Kate Chopin's European Consciousness" in American Literary Realism, 1870-1910, Vol. 8, No. 3, Summer, 1975. Seminar Moderator, MLA Conference on American Literary Realism, 1975.

Stayley, Laura, "Suffrage Movement in St. Louis during the 1870s," in Gateway Heritage, Vol. 3, No. 4, Spring, 1983, pp. 34-41.

Stepenoff, Bonnie, "Kate Chopin in `Out-At-The-Elbows' St Louis" in Gateway Heritage, Summer, 1990, pp. 62-67.

Stevens, Walter B. "Conde Louis Benoist" (in which Louis A. Benoist is also portrayed); "Eugene Hunt Benoist;" "Howard Benoist;" and "Lee Benoist." Brief biographical sketches in St.Louis: History of the Fourth City, 1763-1909. Chicago and St. Louis: The S.J. Clarke Publishing Co., 1909, pp. 86, 89, 400, 872-874.

Taylor, Helen, Gender, Race and Region in the Writings of Grace King, Elizabeth McEnery Stuart, and Kate Chopin.

Toth, Emily, Kate Chopin. Austin: University of Texas Press, 1990.

__________, "Kate Chopin's North Louisiana Awakening," in Louisiana Endowment for the Humanities, Winter, 1993, pp.12-18.

__________, "Kate Chopin and Literary Convention: 'Desiree's Baby'" in Southern Studies, Vol. XX, No. 2, 1981, pp. 201-208.

__________, "Kate Chopin on Divine Love and Suicide: Two Rediscovered Articles," in American Literature, Vol. 63, No. 1, March 1991, pp.114-121.

__________, "The Independent Woman and Free Love." Massachusetts Review, 16 (Autumn 1975), pp. 647-664.

__________, "St Louis and the Fiction of Kate Chopin," in Missouri Historical Society, 32 (October, 1975) pp. 33-50.

Turnell, Martin, "Maupassant," in The Art of French Fiction. New York, New Directions, 1959, pp. 93-97.

Turner, Frederick, Spirit of Place: The Making of an American Literary Landscape. Washington, D.C.: Island Press, 1989.

Wilson, Edmund, Patriotic Gore.

__________, ed., The Shock of Recognition. New York, N.Y.: Farrar, Straus and Cudahy, 1967.

Walker, Nancy, "Feminist or Naturalist: The Social Context of Kate Chopin's The Awakening," in Southern Quarterly, 17 (1979), pp. 95-103.

Wolff, Cynthia G., "Kate Chopin and the Fiction of Limits: 'Desiree's Baby'" in Southern Literary Journal, 10, Spring, 1978, pp.123-33

Wood, Ann Douglas, "The Literature of Impoverishment: Women Local Colorists in America 1865-1914" in Women's Studies, Vol. 1, No. 1, 1972.

Zabel, Morton Dauwen, Literary Opinion in America. New York: Harper and Brothers, 1937.

Ziff, Larzer, The American 1890s: Life and Times of a Lost Generation. New York: Viking, 1966.

Primary Sources:

From the Missouri Historical Society:

Kate Chopin Papers

Kate Chopin Account Ledger with Houghton Mifflin and Co, February 28, 1902

"Katie O'Flaherty, St. Louis. 1867" ( Commonplace Book,1867-1870)

"Impressions 1894" (May 4,1894-October 26, 1896)

"Leaves of Affection."

"Leilia. Polka for Piano." Undated. Published for the author by H. Rollman and Sons, St. Louis, 1888.

Correspondence: R.E. Lee Gibson to Mrs. Chopin, April 28, 1899. ALS. Lewis B. Ely to Mrs. Chopin, April 28, 1899. Lewis B. Ely to Ms. Chopin, May 13, 1899. L. to "My Dear Little Katie", May 16, 1899. Sue V. Moore (Publisher of St. Louis Life from 1890-1896) to K.Chopin, (on response to The Awakening). Letter fragment regarding The Awakening.

Essays: "Crumbling Idols by Hamlin Garland" in Life, October 6, 1894. "The Real Edwin Booth." Undated. in St. Louis Life, October 13, 1894. "Emile Zola's Lourdes" in St. Louis Life, November 17, 1894. "The Western Association of Writers" in Critic, July 7, 1894.

Logbooks

Wednesday Club of St. Louis Reciprocity Day, "An Afternoon with St.Louis Authors," Wednesday, November 29, 1899.

St. Louis Society Scrapbook, 1889-1906, p. 100.

From the Cammie Henry Research Center, Watson Library, Northwestern State University of Louisiana:

Benoist, Clemence, " My Native Town," a handwritten essay about Cloutierville when she was a student at Grand Coteau (Sacred Heart Academy in Louisiana).

Melrose Collection

Arthur Babb Sketchbook (material on Brazeales)

Death notices of Mrs. Marie Chopin Breazeale

Mildred McCoy Collection

Various materials on Kate Chopin, Oscar Chopin, Bayou Folk Museum, letters and some photographs

Box 5 holds Oscar Chopin papers:

(Leases, Sales, Tax papers, Mortgage Papers from Citizens' Bank of Louisiana)

Court Case involving Oscar Chopin, Executor, Vs the U.S., No 592, French and American Claims Commission.

"Sucession Oscar Chopin, Dec'd"

Review of At Fault in The Enterprise in Natchitoches, December, 1890.

Correspondence: Kate Chopin to the Editor of The Enterprise, in response to the review of At Fault, December 9, 1890. Fragment of a handwritten letter describing racial violence in Natchitoches Parish in 1876, author unknown.

From the Library of Congress:

19th century Guides to St. Louis:

The St. Louis Guide, St. Louis: F.W. Benton and Company, 1888.

Strangers' Guide to the City of St. Louis, St. Louis: T.K.Sage and Co.

From Oakland, Afton Historical Society:

Correspondence, James Murrin to J.H. Tighe Jan 7, 1868. (Alludes to Mrs. Thomas O'Flaherty, Jennie and Katie O'Flaherty)

Stories and Poems (Handwritten or Original Publication):

"A Little Free Mulatto"

"Alone"

"An Embarrassing Position" One act Comedy by Kate Chopin. Printed

"A Scrap and A Sketch", Retitled by hand as "The Night Came Slowly"

"The Christ Light" Original issue of Syndicated American Press Association story retitled "The Going a. of Liza. "

"The Dream of an Hour" (Vogue, December 6, 1894)

"Reve D'une Heure" (Translation of "The Dream of an Hour")

"Emancipation. A Life Fable." Undated; late 1869 or early 1870.

"The Maid of Saint Phillippe"

"The Storm: A Sequel to the 'Cadian Ball.&quot July 19, 1898.

"Two Portraits"

At Fault (Novel) July 5, 1889-April 20, 1890. Published for the author by Nixon Jones Printing Co., St. Louis, Sept., 1890.

A Night in Acadie (Collected short stories) Chicago: Way and Williams, 1897.

Bayou Folk (Collected short stories). Boston: Hougton Mifflin and Co, 1894.

The Awakening, (June (?)1897-Jan 21, 1898. Chicago and New York: Herbert S. Stone and Co, 1899.

Newspaper Articles:

"A St. Louis Woman Who Has Won Fame In Literature," in St. Louis Post Dispatch, Magazine Section, Sunday, November 26, 1899.

Bassford, Homer, "Louis A. Benoist Quieted Bank Run Here Century Ago by Paying in Full All Who Asked Cash," in St. Louis Star and Times, May 30, 1933. (From Oakland Papers, Afton Historical Society.)

"Dr. William Taussig tells of the Gasconade Disaster," St. Louis Republic, November 1, 1905.

"The Gasconade," A poem in The Leader, Literary Department, November 17, 1855

"O'Flaherty's Fatal Ride" The St. Louis Daily Times, Monday December 29, 1873 (contemporary account of the death of Kate Chopin's brother, Thomas O'Flaherty).

Newsclippings re Death of Thomas O'Flaherty. November 10, 1855, with Ms fragment and photograph of Kitty Garesche (1870) on verso.

"Open to Hermann," in The Leader, Saturday, December 22, 1855. p. 7 (small article on the aftermath of the wreck of the Gasconade bridge).

"Recalls the Noted Gasconade Horror," Globe Democrat, November 2, 1913 (Missouri Historical Society Vertical File).

"Seventeen Persons Killed. Great Numbers Wounded" The Leader, Saturday, November 3, 1855.

Weil, Tom, "Historic Central Louisiana Haunted by Romantic Past," St. Louis Post-Dispatch, Februrary 26, 1989, 3T.

Wilensky, Harry, "Her Masterwork was Taboo," St. Louis Post-Dispatch, Wednesday, April 24, 1974, p. 3F.

"Wreck Survivor Writes about Gasconade Crash" (Joseph T. Keyte); appeared in the Republican (?), Nov 10-13m 1913 (Missouri Historical Society Vertical File).

Viets, Elaine, "Author's House Still Has Spirit," St. Louis Post-Dispatch, March 7, 1985, F1.

Wolfe, Linda, "There's Someone You Should Know: Kate Chopin," The New York Times, September 22, 1972.

[verobatto]

Destiel Chronicles

Vol. LXXIII

It was a love story from the very beginning.

You Are (Part II)

(11x21/11x22a)

Hello dear friends! We are reaching the end of the season 11!

Remember this is a series of metas focused on Destiel, and maybe some topics like Chuck, or Sam's arch could be taken superficially.

I will talk here about episode 11x21 and first part of 11x22, so I hope you can enjoy the last ones from this season.

Let's start!

Longing for you

What is important about Destiel in episode 11x21 'All in family' ? Amara uses Dean's longing for Castiel as a phone line to reach him through the angel.

And this is one of the most Destiel iconic scenes, showing us how canon is that Dean and Cas share a profound bond, that bond turns out so real, that even Amara (and Jack in season 13) are able to find Dean (and Cas).

I'm not giving new facts here, but remember when Claire Novak was walking down the road and Castiel appears in his car, and he talks about how an angel can sense longing? That's the connection we need to think over here.

Dean was in the middle of the night, again because he couldn't sleep, worried about Cas and the horrible torture he was receiving from Amara, and all those desperate thoughts, longing strongly for him, when Amara showed in front of him with Casifer in bad shape to threatening him.

Amara knows now Dean's Tru feeling for Castiel, and when Lucifer loses conscience she senses that longing too. She frowns and with a hand on Castiel's chest (and this is very symbolic, the chest is where the heart is placed) she reaches Dean.

This is one of my favorite references in the show about the relationship between Dean and Cas. Their profound bond is real, and I'm certainly sure we will see some of it again as endgame for Destiel. (We already saw it in episode 15x09, and I wrote about it in this meta here.)

So, we learned in the last meta that Amara can't contact Dean anymore, so she will use that feeling, that strong connection between the angel and Dean she has just discovered, to reach him.

Gif credit @mrsfitzgerald

When Dean sees Cas in that shape (okay, maybe Casifer but it was Cas' vessel) he became more desperate.

Even with Chuck there and all the questions they want to make him, Dean focuses on Cas. He cut his brother in the middle of a speech.

Dean: Amara is – she's in my head. Hey, I didn't ask for it, okay? She just showed up. But she's showing me visions of – of Lucifer. By Lucifer, I mean Cas, and he looks like crap – like she's really doing a number on him.

Dean ignores Amara used the connection he has with Castiel to find him, but we, as audience, know because the writers wanted us to know about the way Amara reached Dean.

Here again, is not Lucifer, but Cas the one that cares to Dean, because for him, CAS IS THE ONE BEING BEATED UP BY AMARA.

There's another Canon scene, in which Amara appears again in front of Dean, and when you look for the connection with Cas, you find Sam and Donnie talking about angels. Even Sam says the word: ANGELS.

This is perfectly settled by writers too, as we know, because in season 13, we will see how Dean gets very sad when he speaks about angels to the sheriff in episode 13x01, so when we say Angels, we say CAS.

Dean's thoughts were on Castiel

Another Canon fact, but building perfectly by Berens, playing with the switch between scenes that characterizes him, is the rescue of Castiel and Amara and Dean meeting.

These two scenes are switching with a purpose: TO SHOW US THAT DEAN WINCHESTER ISN'T BONDED TO AMARA IN THE WAY HE WAS AND MORE IMPORTANT, WHERE DEAN'S THOUGHTS WERE: ON CAS.

Amara: Thank you for reaching out to me, Dean.

Dean: You said you wanted to meet.

Dean doesn't want to be nice with her, 'I CAME BECAUSE YOU WANTED ME TO COME (Because you threatened me, and because you have my angel) is not something Dean wanted but is something Dean is using to keep her away while Casifer is rescued.

Amara: I missed you. And the... sensations you arouse. I know you feel the same way. So...what do we do?

Dean: There can be no us. We should just walk away.

Amara: Then why don't you?

This is a little ironic, because Dean is rejecting God's sister ONCE AND FOR ALL, and indirectly is because HE LOVES SOMEONE ELSE and because HIS THOUGHTS ARE ON CAS NOW, is as if he was saying WE CAN'T GO OUT, I'M IN LOVE WITH CASTIEL.

And it keeps being more interesting, because Dean asks for a separation, 'We should walk away' and Amara is like: OKAY YOU DON'T WANT TO BE WITH ME THEN WHY YOU CAME? And we laugh because HE WENT TO YOU BECAUSE WE NEED CAS BACK.

Berens want us to make the connection with the switch of scenes.

Amara: Dean, give up your... smallness, your humanity and become boundless within me.

With my head again on my spec, I can't stop thinking how this is so related to it, because DEAN REJECTS THIS OFFER GIVEN BY AMARA, A FORCED BOND, will he be able to decide it for himself? And I meant, as the Destiel endgame I presented to you months ago, will Dean be able to give up his humanity for love? And be one with Castiel? Willingly?

Dean: You're right. I am drawn to you. And it bothers the hell out of me, 'cause I can't control it.

Perfectly said by Dean himself: IT BOTHERS THE HELL OT OF HIM, the feeling that Amara gives him, is not something he wants.

Amara: Then why fight it? What you're feeling is that I am the end of your struggle. Something stops you. Keeps you from having it all.

There's a huge misscomunication here, Dean is saying I DON'T LIKE YOU, and she is not getting the message.

We also know what is the only thing that stopped Dean to give up before Amara: Cas, and because the scenes between this one and Cas' rescue keep happening, the audience also knows it.

Amara: Where are your thoughts? Something's different.

Thanks to Master Berens we can answer this for Dean: CASTIEL.

Something is different since Dean found out Lucifer had Cas, and then that Amara had Lucifer who had Cas. So... Yes.

From daddy issues to Dean's worries about Cas

Quickly, I want to point a couple of facts from episode 11x22.

About Destiel, we had Dean worried about what Cas thought about the plan they were constructing between demons, witches and angels. He was the only one here asking for Castiel's opinion, and the concern he shows made Lucifer felt so done, and mocking him again. 'Yes, your husband is agreed', the line wasn't this one but it sounded like that, right?

Then, there was two scenes, and I want you to know I'm not talking about new things again, as I repeated a thousand of times, these scenes had been analyzed plenty in the fandom, but I have to mention them anyway.

When Amara enters on the place where everyone were waiting to attack her, she didn't look well, and the first thing Dean's body does is trying to reach her. Sam stopped him. It was like a reflection, vestiges of the forced bond

But immediately after that, we had our Destiel scene. When Amara hurts Casifer, Dean yells Cas' name and went to attack her.

Where's the power Amara has on Dean on that? Inexistent. Is gone when Cas is the one in danger.

Amara quotes: WELCOME TO THE END, as a foreshadow of Chuck at the end of season 14.

To Conclude:

Episode 11x21 are full of Profound Bond references and Destiel.

Is blatant here that Amara lost badly against those blue eyes.

Dean's thoughts had been always on Castiel.

Hope you like this meta, see you in the next one! The last from season 11!

Tagging @magnificent-winged-beast @emblue-sparks @michyribeiro @whyjm @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @dickpuncher365 @vampyrosa @authorsararayne @anonymoustitans @mybonsai1976 @love-neve-dies @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @teddybeardoctor @weird-dorky-little-deana @pepevons @helevetica @isthisdestiel @dizzypinwheel @jawnlockwinchester @horsez2 @qanelyytha

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If you want to be added or removed from this list just let me know.

If you want to read the previous metas From this season, here you have the links:

Vol. LXII, LXIII, LXIV, LXV, LXVI, LXVII, LXVIII, LXIX, LXX, LXXI, LXXII.

Buenos Aires August 4th 2020 7:16 PM