Well Look Who It Is. My Old Friend. The Conses Of My Quences.

tiktok refugees i believe you are few but it is VITAL that you know on tumblr you can speak freely. kill. die. sex. fuck. you can say things here

do you think that once the hobbits got back to the shire they realised they needed to slow their walking speed because they'd gotten used to walking a lot quicker around the tall folks for the months of the quest

Magic in her Blood: story concept

(This is an idea I played around with. I might make a small series out of it if some people are interested)

Please do not replicate my work anywhere without my permission :)

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Smoke filled the streets of Small Heath, workmen feeding coal to metal beasts, breathing in the toxic air. The noise of their exploits echoed over the slated roofs, carrying for miles, and allowing for a cloaked figure to pass by silently.

Her eyes flashed with each burst of flame, catching the depth and piercing brightness of their blue. A pointed, angled hat cast shadow over her features, the glint of steel on the brim a warning to all those who are prey, and obscuring everything but the subtly smirking lips; painted blood red.

She passed through Small Heath with no opposition, no second glances, for all those who saw her, knew. This woman was one of them.

Granddaughter of a Romani king, princess of the Peaky Blinders, and all round predator. Sarah Shelby walked the streets of Birmingham like royalty, because that's exactly what she was.

The doors to the Garrison swung open, and heads came up, only to dip down again in respect. And fear. A few newcomers stared, until one of their friends shoved their heads to the table. 

She swept along the bar, plucking whiskey and a glass on her way. Her heels clicked off the wooden floor, a quiet power spilling out from the smooth, rolling silk that hugged her figure. Equally dark curls bounced upon her shoulders as she turned her head, one last look falling over the pub before she vanished into the private booth.

The Shelby boys all looked up, grins appearing on their faces and papers being set down. To those outside, nothing would have shocked them more than to know she returned the smiles.

"Good to see you again, boys," she said, sitting adjacent from the eldest sibling, Arthur.

"And you, sister," Thomas said, "we'd begun to think ourselves too common for your tastes."

"Oh, not at all," Sarah replied, matching the smirk he wore as she poured herself a drink, "I merely had some business of my own to attend," she said, and crossed her legs.

The air, filled with smoke from their cigarettes, tasted bitter on her tongue. Something hung there, unspoken, interrupted. It seeped into the old wood, spinning around the circular booth like a wailing spirit, begging for freedom.

Eyes narrowed, Sarah regarded her brothers with a tilted head. "What's happened?"

John chuckled, glancing over at Thomas and bouncing his leg. Little humour was to be found in his face, only a rather satisfied "I-told-you-so" gleam in his eye.

The two elders exchanged a brief look, and Arthur gestured towards her, raising another cigarette to his lips and leaving Thomas to answer the question.

"There is a copper from Belfast sticking his nose in our business," he explained, hands clasped on the table he leant on, "and he's causing problems."

"Now the barmaid makes sense," Sarah murmured, sipping her whiskey and gazing at it as the liquid swirled.

The brothers straightened in their seats. Thomas wet his lips. "What do you mean?"

She raised her eyes to them, one eyebrow arched. "A copper from Belfast comes along, poking his snout where it isn't wanted, and a beautiful Irish girl suddenly drops into Harry's lap; surely you don't think it's a coincidence?"

John and Arthur laughed, but quickly stopped, noticing the missing voice. Thomas stared at his sister, heart hammering in his chest, and fell back against the bench.

"Grace is not working for Inspector Campbell," he said, in a tone that seemed directed more at himself than anyone else.

Sarah drew her wand from its sheath at her side, rolling the cool instrument in her grasp. The familiar touch sent gentle sparks flying as she waved it through the air.

They each gulped, glancing at one another and backing up, further away from the weapon. But Thomas met her eyes, and smirked.

"Let's find out, shall we?"

A landscape I did a few (several?) months ago. I have such a backlog of paintings that will never see the light of day or of the computer screen.

I'm torn between a desperate want for the Pevensies to have lived out their lives in Narnia air fad, and the absolute beauty people come up with when writing about their return to earth. This is brilliant. Everything I love!

thoughts on the Pevensies returning home

Peter Pevensie was a strange boy. His mind is too old for his body, too quick, too sharp for a boy. He walks with a presence expected of a king or a royal, with blue eyes that darken like storms. He holds anger and a distance seen in veterans, his hand moving to his hip for a scabbard that isn't there - knuckles white. He moves like a warless soldier, an unexplained limp throwing his balance. He writes in an intricate scrawl unseen before the war, his letters curving in a foreign way untaught in his education. Peter returned a stranger from the war, silent, removed, an island onto himself with a burden too heavy for a child to bear.

Only in the aftermath of a fight do his eyes shine; nose burst, blood dripping, smudged across his cheek, knuckles bruised, and hands shaking; he's alive. He rises from the floor, knighted, his eyes searching for his sisters in the crowd. His brother doesn't leave his side. They move as one, the Pevensies, in a way their peers can't comprehend as they watch all four fall naturally in line.

But Peter is quiet, studious, and knowledgeable, seen only by his teachers as they read pages and pages of analytical political study and wonderful fictional tales. "The Pevensie boy will go far," they say, not knowing he already has.

His mother doesn't recognize him after the war. She watches distrustfully from a corner. She sobs at night, listening to her son's screams, knowing nothing she can do will ease their pain. Helen ran on the first night, throwing Peter's door open to find her children by his bedside - her eldest thrashing uncontrollably off the mattress with a sheen of sweat across his skin. Susan sings a mellow tune in a language Helen doesn't know, a hymn, that brings Peter back to them. He looks to Edmund for something and finds comfort in his eyes, a shared knowing. Her sons, who couldn't agree on the simplest of discussions, fall in line. But Peter sleeps with a knife under his cushion. She found out the hard way, reaching for him during one of his nightmares only to find herself pinned against the wall - a wild look in Peter's eye before he staggered back and dropped the knife.

Edmund throws himself into books, taking Lucy with him. They sit for hours in the library in harmony, not saying a word. His balance is thrown too, his mind searching for a limp that he doesn't have, missing the weight of his scabbard at his side. He joins the fencing club and takes Peter with him. They fence like no one else; without a worthy adversary, the boys take to each other with a wildness in their grins and a skillset unforeseen in beginner fencers. Their rapiers are an exertion of their bodies, as natural as shaking hands, and for the briefest time, they seem at peace. He shrinks away from the snow when it comes, thrust into the darkest places of his mind, unwilling to leave the house. He sits by the chessboard for hours, enveloped in his studies until stirred.

Susan turns silent, her mind somewhere far as she holds her book. Her hands twitch too, a wince when the door slams, her hand flying to her back where her quiver isn't. She hums a sad melody that no one can place, mourning something no one can find. She takes up archery again when she can bear a bow in her hands without crying, her callous-less palms unfamiliar to her, her mind trapped behind the wall of adolescence. She loses her friends to girlishness and youth, unable to go back to what she was. Eventually, she loses Narnia too. It's easier, she tells herself, to grow up and move on and return to what is. But her mourning doesn't leave her; she just forgets.

Lucy remains bright, carrying a happier song than her sister. She dances endlessly, her bare feet in the grass, and sings the most beautiful songs that make the flowers grow and the sun glisten. Though she has grown too, shed her childhood with the end of the war. She stands around the table with her sister, watching, brow furrowed as her brothers play chess. She comments and predicts, and makes suggestions that they take. She reads, curled into Edmund's side as his high voice lulls her to sleep with tales of Arthurian legends. She swims, her form wild and graceful as she vanishes into the water. They can't figure out how she does it - a girl so small holding her breath for so long. She cries into her sister, weeping at the loss of her friends, her too-small hands too clumsy for her will.

"I don't know our children anymore," Helen writes to her husband, overcome by grief as she realizes her children haven't grown up but away into a place she cannot follow.

Who was going to tell me that Lucy Gray is a poem by William Wordsworth where she gets lost in the snow (!!!) and disappears, leaving people to wonder if she died or is still living??

"Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind."

I'm frothing at the mouth, how did I miss this?? This also just adds a little extra flavour to her choice of name for Haymitch's girlfriend, Lenore, because the Covey really were out there preserving literature and poetry by literally weaving it into their identities.

The tapestries made by the Aubusson manufacture based on the art of JRR Tolkien are currently exhibited at the Collège des Bernardins in Paris until May. @actual-bill-potts and I went there yesterday, they're so beautiful!!

These are all handmade tapestries, each is based on a Tolkien artwork (the Rivendell one has the facsimile on the right for scale).

Under the cut: group ID and bonus details

ID: 7 photos of the tapestries, which are each about 3m high, located in a 13th century monastery. The first is the map of middle earth, the others are illustrations Tolkien made of his books. The bonus photos below are details of the tapestries.

“I know nothing about British or American imperialism in the Far East that does not fill me with regret and disgust, I am afraid I am not even supported by a glimmer of patriotism in this remaining war.”

- JRR Tolkien, Letters, p. 115

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