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@leohtttbriar / leohtttbriar.tumblr.com

(she/her) | accidentally a star trek blog | leohtttbriar on ao3
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worflesbian

love how much of b'elanna's out of uniform clothes use cool browns and purples and muted autumnul colours it's such a fascinating palette for her. kind of gently morose, closest you can get to street casual poetic goth without going the whole all-black route. again with the way her whole angry-feisty reputation is complete bullshit - she's a cool colours autumn girl at heart, a bit melancholy but graceful with it.

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thinking about voyager inside jokes. I went on a backpacking trip for five days years ago and by the time we left the trail we had essentially invented a new dialect composed entirely of like 87 different inside jokes funny to us and no one else and these ppl are on one ship for seven years and you KNOW they've got bizarre terminology for EVERYTHING. tom paris makes some dumb joke on the bridge and it spreads through the ship like wildfire until even janeway says it without thinking. in engineering they've got silly nicknames for every tool imaginable and the decks with crew quarters definitely have names like neighborhoods based on the vibes of the crew members there. when that backpacking trip I mentioned was over we tried to explain one of the jokes to someone else and she just went "you all need to talk to other people" and that's it exactly

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thinking a lot about b'elanna torres and her machines; and @directedbygatesmcfadden's read of "prototype" as romantic/erotic; and donna haraway's cyborg manifesto---"why should our bodies end at the skin" and "for us...machines can be prosthetic devices, intimate components, friendly selves...we don't need organic holism to give impermeable wholeness, the total woman and her feminist variants (mutants?)"---and haraway's idea of existential cosmic answers found in cross-species bodily mutilation mimicry; and b'elanna's experience with being genetically split in half into two separate bodies, one of which died, the other of which had to regrow the other; and b'elanna's inherent romanticism; and b'elanna's role on the ship as the one responsible for the ship's ultimate health; and the fact that the ship has biological engineering incorporated into its structure; and b'elanna's position, twice over, between two different people and cultures; and how b'elanna is adaptable; and how b'elanna is lost with the rest of voyager but claims she has no physical place to truly return to; and how dreadnought said to b'elanna (lying)(sweetly) "goodnight" and she said "sweet dreams" back; how she and dreadnought, who has her voice, engaged in a chess match meant to determine who was right about where they both were; and sara ahmed's phenomenlogical queer theory, analyzing what exactly "Orientation" Means; how b'elanna made dreadnought functionally go through an "identity crisis" in order to win; and how b'elanna didn't flinch as she tried to stop something so instilled with her own self---

thinking about how b'elanna's orientation, derived from her own self-reflection, is both a reality of her navigating in voyager and navigating voyager through unknown space as well as an entry point into a genuinely fascinating queer reading of her character: to be so confused about the self and body--to be so unconfused about the vessel that bears you----and, in practice, to simply be alone in that.

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Chakotay said, “So.” B’Elanna braced herself.  “How are you holding up?” “I’m fine,” said B’Elanna, scrunching her toes in the sand, her pinky toe catching on a couple pebbles or shells caught under the surf and sediment.  “I’m only asking,” said Chakotay. “Because you don’t seem like you are.”

Chakotay and B'Elanna talk on a beach after Dreadnought: about Dreadnought, of course, but about other things, as well. And B'Elanna begins to heal a little from a burn.

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"Oread," h.d.

Whirl up, sea— whirl your pointed pines, splash your great pines on our rocks, hurl your green over us, cover us with your pools of fir.