a journey to the modern classics

To everyone learning a language, who is getting frustrated and impatient and maybe even thinking of quitting: remember how far you have come (not how far you have to go), remember why you started and remember how fantastic the end product will be. Learning a language is difficult and the journey can be long but it is rewarding and it opens so many doors. You are capable of doing this, you can do this… don’t quit now

Ok, so I’ve been thinking a lot about Alien Covenant since I saw it 24 hours ago and I think I finally know what’s really going on here.

Spoilers.

So, back when Prometheus came out five years ago, we wondered what was going to happen next. Were we getting a new spinoff franchise based on the Engineers/Space Jockeys? Or were we getting more actual Alien movies starring the good ol’ “xenomorphs”?

It really looked like it was going to be the later, I mean the movie flat out had “Alien” in the title and the publicity campaign made no secret that the classic aliens were in it…

But we were wrong.

This really IS a new spinoff franchise, but not in the way anyone expected. The Engineers are not actually the focus of these movies starting from Prometheus onwards…

It’s David. This is David’s franchise now. He was arguably the most beloved part of Prometheus, now he’s the main character, the villain, and the monster. An unstable super android in his journey to wipe out humanity and replace it with his own creations.

In fact, he’s the modern equivalent of Victor Frankenstein from the 60′s Hammer Frankenstein films (the one played by Peter Cushing). Like those movies, these are about the escapades of a wicked creator of monsters, now IN SPACE. And while the aliens may be present in these movies, so was the Frankenstein’s monster and derivatives in the Hammer movies. 

Alien: Covenant is actually a David movie, Prometheus is retroactively a David movie, and now we wait for the sequels.

This may actually be the new direction the series needed. A very different kind of central character to Ellen Ripley. We’ll see. For now, well played, Fox; you may not have Star Wars anymore, but at least you have space robot Victor Frankenstein played by Michael Fassbender.

A-Z Book Recommendations.

What a great idea from my friend at @macrolit :) Had to give it a go. I’ve omitted “A’s” and “The’s” from most of the titles for sake of flow.

  • A - American Gods by Neil Gaiman - A wandering modern “fantasy” that felt keenly poignant to me having grown up in the midwest. You’ll need patience for this one but this book is truly about the journey not the destination.
  • B - Bloody Jack by L.A. Meyer - I’ll be honest, I never finished this series. It got a little overblown but the characters are so genuine that I held out a lot longer than I would expect of myself. This first book though is the definition of a classic middle reader. Lot of Adventure and a lovable, fierce, albeit flawed, female protagonist. 
  • C - Clockwork Orange by Anthony Burgess - I used to read this book every summer. It’s a rough read with some explicit violence (sexual and otherwise) but an important one I think. I recommend reading the “British” publishing which has 21 chapters (the publishers took out the last one for American audiences, because apparently we don’t like character redemption and growth *eyeroll*). The real genius of this book is the vernacular Burgess created from scratch that is truly like reading another language at first. 
  • D - Darker Shade of Magic by V.E. Schwab - Not to be cliche but I find that a lot of the titles Booklr obsesses over in the YA genre to be par-baked at best. Not the case with this series! Well developed characters that exist beyond their actions and exhibit real emotional complexity without relying on tropes and a plot that kept me turning and turning pages!

Keep reading

The Element of Air: The Breath of Relationship

In the natural zodiac wheel, the houses of relationship are the air houses. On first reflection, air is not an element that we would ascribe to relationship as it is can be separate, non-attached and distant. Its focus is more on the heavens than the earth, embracing lofty and transcendent ideals that inhibit commitment in relationship. Air is the spectator, not always the participant; the messenger but not necessarily the message. However, air encourages equality, individuality and consciousness, necessary in relationship to permit merger and union without the loss of self. Astrologically, this is represented by air preceding water in the zodiac. If there is a healthy sense of separateness, then this safeguards regressing to a union of total merger or surrender where the self is lost. Air encourages enough separateness to relate to someone different from ourselves. The houses of relationship provide a venue for this task, so that the merger into relationship can be conscious. Separateness and symbiosis, two polar instincts that underlie life, are continuously balanced by the element of air.

Airy qualities of detachment, non-attachment and witnessing are all important in the participation of equal relationship. In these houses we meet the witnesses of our life. The third house sibling witnesses our childhood years, shares the same history, the same culture and is the touchstone of our early life experiences. The seventh house partner witnesses in us the process of maturation and discovery in the world beyond the family. The eleventh house colleague and friend witnesses both our personal and professional experiences as we mature in the wider world. In these houses, the record of our personal developmental history is shared and witnessed by the significant others in our lives.

The air signs associated with these houses are Gemini, Libra and Aquarius. In the natural wheel, Gemini corresponds with the third house and is the restless search for the missing ‘twin’. Libra corresponds to the seventh house and is the quest for the ideal soul mate. Aquarius, the eleventh sign, is the journey towards social equality. The glyphs that represent these signs are dual, two lines detached from each other. Gemini and Aquarius are represented in human form while Libra is the only sign represented by an inanimate object – the scales. Duality, judging, weighing are all part of the process of relating.

The modern rulers of the air signs, Mercury, Venus and Uranus, as well as the classical ruler of Aquarius, Saturn, are the regents presiding over the territory of equal relationship. They are the deities we encounter in the archetypal process of individuation and relationship. Different forms of rulership also connect these signs together. Mercury rules Gemini and is also exalted in Aquarius or the eleventh house. Saturn, as the traditional ruler of Aquarius, is exalted in the sign of Libra. Venus rules Libra in traditional astrology and Gemini in esoteric astrology. Threads of amity run through these signs. Throughout the air signs and houses there are consistent symbols reminding us of the process of linking, connecting, bridging, as well as separation, duality and polarity.

anonymous asked:

I have a very important question. From which series should i start Doctor Who? Do I start from the 2005 series or do I have to find the first series and start from the first doctor? I am very confused. And please don't hate on me for starting this late 😁

Well, now. Big question. With the show in its 54th year, it must seem a little daunting? Classic Who will always be, well… classic, and is full of beloved characters. There are however other ways to jump aboard now. Let’s give you the lowdown… 

‘An Unearthly Child’ is where the greatest show on Earth began, back in 1963 with the incredible William Hartnell.  This would ultimately be the best possible starting point, though it’s a long, long journey to catch up. The classic era can always be revisited once you’ve joined our wonderful fandom, but this is one option for you. The classics are definitely unmissable! Oh we’ve got so much to talk about! *takes breath*. Okay, onwards… 

‘Rose’ is what is considered the first episode of ‘New Who’. We now have the fantastic Christopher Eccleston and Billie Piper at the helm, and Russell T Davies has brought the show back for modern audiences, back in 2005! This is honestly where we began, and after watching the first series, we were super excited to enjoy the classics! *let the massively huge DVD collection begin!* 

This is a wonderful starting point, and one we’d strongly recommend. You’ll get just one fantastic series with Christopher, and then three brilliant series with David Tennant (you’re going to love him too - Allons-y!).

David is lovable, charming, and to quote one of our favourite episodes, “He’s like fire and ice and rage. He’s like the night and the storm in the heart of the sun. He’s ancient and forever. He burns at the centre of time and can see the turn of the universe. And… he’s wonderful!” *squee!*

Matt Smith takes over for Series 5 (2010), with the Mighty Moff (AKA Steven Moffat) as the new lead writer. Word of warning: Cravings for fish fingers & custard and Jammy Dodgers will begin, and you might find yourself sporting a bow tie and fez! A totally unforgettable era! Geronimo! 

Eventually, it’s time for one last bow for the superb Matt Smith, as the keys to the TARDIS are handed over to the cosmic Peter Capaldi. You’re now bang up-to-date, and have three exciting series to enjoy with The Doctor’s latest incarnation… HOWEVER… one of Moffat’s latest decisions were to create an episode designed specifically for new viewers. A perfect “jumping-on point” for you. You might want to check out Series 10′s ‘The Pilot’. You need no knowledge of preview episodes, and can dive straight into a universe of space and time travel. This was last week’s episode in fact, so hop-on! If you decide to start here, you can always go back and enjoy the classics, and of course, the previous ‘New Who’ stories. They’re all so fabulous! 

To summarise, ‘An Unearthly Child’ is the first ever story. Right at the beginning. The very beginning! 

‘Rose’ is where it all came back for modern audiences in 2005 - an amazing starting point, and where we started ourselves! 

‘The Pilot’ is the first episode of the current series (Series 10) This is yet another brilliant jumping-on point for you. Older episodes will always be there to catch-up on someday! 

Now, we’re sure other fans have their own suggestions to add, so please be sure to check out their responses too. Oh, and… Welcome to the greatest fandom in the galaxy! 

Out on a Limb

Annnnd here’s the next chapter! You guys seem to really be enjoying this fic, and I’m glad! King of the Squirrels is one of the originals, the old school, and he doesn’t get a lot of attention. He happens to be a favorite of a friend of mine too. uwu We still have quite a few chapters to go, with lots of surprises in store!

For now, let’s take a musical journey with everyone’s favorite jibberish singing ego!

That’s legitimate Simlish. @alcordraws

AO3 Mirror

Chapter 4: who let the squirrels out

Enjoy the music. uwu

Keep reading

Y!!!OI Spread - AniWave (27th January 2017 Edition) Translations

Hi! I’m back with some translations! I just got back home at around 11:30pm on the 1st and I’ve been working on this since last night so yes, it’s finally here! It’s somewhat lengthier than the SAO translations due to this interview piece being around three pages long in the magazine. I just bought the latest copy yesterday afternoon and scans of the cover will be up by tomorrow. But for now, this is the Yuri!!! On Ice Interview with Toyonaga Toshiyuki (Yuuri), Suwabe Junichi (Viktor), Uchiyama Kouki (Yuri) and Hatano Wataru (Georgi Popovich)! The headline roughly reads Figure Skating Pretty Boys [下]. Since there was an interview with the first three voice actors mentioned last issue, this could be taken as a continuation / finale. 

The subtitle below the main header states that “last week’s article wasn’t enough to cover everything, so this week’s issue reveals the rest of the information!

This does not feature translations of every single question otherwise it would take an awfully long time for this post to be complete and I’m sure no one wants to read a three page long translation piece. If anybody else wants to add on to translations for questions and answers I did not include feel free to reblog this with your own additions. Note that I am not the best at Chinese despite being of that race myself, so please excuse my errors! I am a young student aiming to improve so this is good practice and hopefully this will appease you YOI fans.

Translations under the cut!

Keep reading

The Tarot

I have read Tarot for many years. I have studied in depth the symbolism contained in the cards. You see there is nothing special about the cards. They are just regular cardstock with arcane symbols for universal things known as archetypes. There is nothing supernatural about them.

The cards are divided in the Major Arcana and the Minor Arcana. The Major Arcana chronicles the Fool’s journey to wisdom. The fool is the uninitiated, the unawakened person who does not yet realize that there is more to existence than he sees with his eyes. Each card contains many different symbols drawn from Classical Greece, Ancient Egypt, Numerology, Rosicrucianism, Christian mysticism, Pagan lore and more. These symbols represent concepts which are universal.

The Minor Arcana are somewhat like modern playing cards with suits, royal cards, and numbered cards. Each suit has a general meaning and each card a specific meaning.

Many Tarot cards “readers” have no idea of the symbology involved. They merely memorize certain meanings to particular cards. Like “Death” means change or the Tower means calamity. They lack nuance. You see it is not the cards themselves but the symbols contained therein which matter. So the Tower might mean one thing next to the “King of Pentacles” and another thing next to the “Sun”.

I see the cards as a kind of random generator. Like when a handful of sand is thrown into the air and lands in a pattern based upon random or not so random but perhaps unknown factors. I rarely use cards for divination. I use them mostly for meditation.

๑ Samsaran ๑

Books and Coffee 47 @c.booksandberries

Trip no further, pretty sweeting.                           

Journeys end in lovers meeting,

Afro-Vegan: Farm-Fresh African, Caribbean, and Southern Flavors Remixed By Bryant Terry

Product Description:

“African, Caribbean, and southern food are all known and loved as vibrant and flavor-packed cuisines. In Afro-Vegan, renowned chef and food justice activist Bryant Terry reworks and remixes the favorite staples, ingredients, and classic dishes of the African Diaspora to present wholly new, creative culinary combinations that will amaze vegans, vegetarians, and omnivores alike.

 With more than 100 modern and delicious dishes that draw on Terry’s personal memories as well as the history of food that has traveled from the African continent, Afro-Vegan takes you on an international food journey. Accompanying the recipes are Terry’s insights about building community around food, along with suggested music tracks from around the world and book recommendations. For anyone interested in improving their well-being, Afro-Vegan’s groundbreaking recipes offer innovative, plant-based global cuisine that is fresh, healthy, and forges a new direction in vegan cooking.

Blending these colorful cuisines results in delicious recipes like Smashed Potatoes, Peas, and Corn with Chile-Garlic Oil, a recipe inspired by the Kenyan dish irio, and Cinnamon-Soaked Wheat Berry Salad with dried apricots, carrots, and almonds, which is based on a Moroccan tagine. Creamy Coconut-Cashew Soup with Okra, Corn, and Tomatoes pays homage to a popular Brazilian dish while incorporating classic Southern ingredients, and Crispy Teff and Grit Cakes with Eggplant, Tomatoes, and Peanuts combines the Ethiopian grain teff with stone-ground corn grits from the Deep South and North African zalook dip. There’s perfect potluck fare, such as the simple, warming, and intensely flavored Collard Greens and Cabbage with Lots of Garlic, and the Caribbean-inspired Cocoa Spice  Cake with Crystallized Ginger and Coconut-Chocolate Ganache, plus a refreshing Roselle-Rooibos Drink that will satisfy any sweet tooth.”

10

And beneath that… darkness, there was another kind. It was… it was deeper, warm, you know, like a substance. I could feel, man, and I knew, I knew my daughter waited for me there. So clear. I could feel her. I could feel… I could feel a piece of my… my pop, too. It was like I was a part of everything that I ever loved, and we were all… the three of us, just… just fadin’ out. And all I had to do was let go… and I did. I said, “Darkness, yeah.” And I disappeared. But I could… I could still feel her love there, even more than before. Nothing… There was nothing but that love. Then I woke up.

Rust Cohle, True Detective “Form and Void”

Katabasis or catabasis (Greek κατὰ “down” and βαίνω “go”) is a descent of some type or a trip to the underworld: “In the ancient world, descent in search of understanding was known as katabasis”, thus endowing mythic and poetic accounts with a symbolic significance (kateben (“I went down”) - an allusion to Odysseus’ journey into the underworld). The term has multiple related meanings in poetry, rhetoric, and modern psychology. The katabasis must be followed by an anabasis (a going up) in order to be considered a true katabasis instead of a death.

The trip to the underworld is a mytheme of comparative mythology found in a diverse number of religions from around the world. The hero or upper-world deity journeys to the underworld or to the land of the dead and returns, often with a quest-object or a loved one, or with heightened knowledge. The ability to enter the realm of the dead while still alive, and to return, is a proof of the classical hero’s exceptional status as more than mortal. A deity who returns from the underworld demonstrates eschatological themes such as the cyclical nature of time and existence, or the defeat of death and the possibility of immortality.

For the extensive list of mythological characters who visit the underworld and return, more here.

4

COLIN MORGAN by Farfetch
 

If this week’s homepage star, Colin Morgan, has caught your eye it’s probably not just because - as our shoot’s stylist put it - ‘he can really pull off a suit.’ More likely, you recognise the Northern Irish actor from his expansive work on stage and screen.

Words by Hollie Moat. Photography by Matt Irwin. Styling by Tony Cook.

‘For me, the ideal is variety’ says Colin, whose television C.V. voyages from the fantastical (Merlin) to the gritty (The Fall) via historical biopics in the cinema and Shakespeare at the Globe Theatre. This spring he’s busier than ever – with the release of The Huntsman: Winter’s War and The Living and the Dead, a spooky upcoming series set in the Industrial Revolution that’s loaded with potential to become the BBC’s next mega-hit.


Tell us a bit about your Huntsman: Winter’s War character, the Duke Of Blackwood.

‘He’s the lover of Freya, played by Emily Blunt, and essentially the catalyst for her powers coming to fruition in the way they do - unlocking another side of her that changes her forever.’


What was it like to work on such a big blockbuster movie?

‘If ever there was a film to experience what the “real deal” is all about, it felt right that this was the one. The producer Joe Roth is doing such strong work on these epic adventure movies and I especially enjoyed working with the director Cedric Nicolas-Troyan, he’s got such a great energy and positivity.’


Next up you’re playing the lead in the supernatural series The Living and the Dead – what makes that part so exciting?

‘Nathan Appleby is a complex and demanding man. Like all of my characters, he intimidated me and created an element of fear - that’s normally a good sign, it means I’ve no idea what that role’s journey will be but that I’m willing to go on it anyway.’ 


And can we expect an anti-hero or a more traditional leading man?

‘I wouldn’t like to spoil anything regarding Nathan and what type of man he is. I will say however, that he goes on a journey the likes of which I don’t think we’ve seen before, with regards to what you mention about heroes and anti-heroes being separate types of character.’


When you’re on set, how important is what you’re wearing?

‘Costume is vitally important for character - I can do as much preparation work as I need but sometimes it’s only when I put on a costume that it really all comes together. It’s about how the actual clothes feel to wear in contrast to what I’m used to wearing every day, it helps with the internal as well as the external.’


And what’s the best costume you’ve ever worn?

‘Nathan Appleby’s clothing is my favourite, the way he is reflected in such detail visually through his appearance and the clothes and hair and makeup really helped with that journey. I also loved the costumes of Victor Richardson - my character in the Testament of Youth movie - that Consolata Boyle created with such characterful elegance and detail.’


THE BONUS ROUND: GETTING TO KNOW COLIN MORGAN


What’s your favourite designer label?
‘Dolce & Gabbana have wonderful suits and I think they have a real modern-classic style that really appeals to me.’

Your scariest horror movie?
‘I’m generally not easily unsettled by the horror genre. However I do remember the film version of Roald Dahl’s The Witches being terrifying as a child.’

What luxury item would you want on a desert island?
‘My entire music collection: I love my music - if you were to ask me to narrow it down to one album, I wouldn’t even know where to begin!’

The Huntsman: Winter’s War is in cinemas now.
The Living And The Dead will air on BBC1 in June and BBC America in October.

La La Land is the best film of 2016.

I would like to preface this very, very short review by saying I just reluctantly saw this movie today because it was free and I like hanging out with the guy who invited me.  I have almost no interest in movie musicals or romantic comedies.  Ryan Gosling does nothing for me and Emma Stone hasn’t been impressing me lately either.  The trailer did not light a fire under me and all the good ratings and critics reviews seemed like a bunch of old white people bestowing their good favor on a very white movie dripping with nostalgia released during the height of awards season.

Y’all.

I’m still giddy over it and I left the theater two hours ago.  This “review” is going to be short because I honestly feel like every person should have the experience of going into it without knowing what is going to happen.  A few things I can point out without spoiling the film:

Keep reading

Legit Tip #179

or - “Writing the Modern Bildungsroman”

The word itself may be a bit big and scary, but the concept isn’t. A bildungsroman is essentially a coming of age novel, and it’s rooted in classic literature. You’re sure to have read a few bildungsroman novels if you’ve had any sort of formal English literature training. Some of the most famous include:

  • Jane Eyre
  • Great Expectations
  • To Kill a Mockingbird
  • The Catcher in the Rye
  • Little Women
  • Tom Sawyer/Huckleberry Finn

However, these classics aren’t the only books with bildungsroman elements that you’ve probably read, In fact, if you’re a fan of YA literature, you’re sure to have read novels that align with the classic bildungsroman. Harry Potter, anyone?

The elements of the bildungsroman are essentially so ingrained in the novel writing form that knowing what they are and how to incorporate them into your writing can help you create stronger coming of age stories, allowing you to build on this classic form and use it to your advantage. 

The Separation from Home and Family

One of the first key elements of the bildungsroman is that it typically begins wherein the young hero experiences a separation from home and family. This isn’t always the case, especially with more modern iterations of the coming of age story - I’ll get to why this is the case in a second. 

However, a separation is important for a few reasons. Forcing the heroine or hero to have to make their own decisions and to be independent, even if they aren’t necessarily ready for that independence, is a key factor in the coming of age story. In the classic hero’s journey, the hero was thrust out into the wilderness to begin their journey.

In the bildungsroman, losing one’s parents, or being sent away to a boarding school, or simply having nasty and neglectful parents to start with is the thrust that starts the hero/heroine on their own journey toward adulthood and independence. 

Now, how do we modernize that? Unless you’re writing a fantasy story where your character does go to a magical boarding school or is raised by androids, they may not have this same situation. 

There’s a reason the “new kid at school” motif is so popular in teen fiction (…beyond the fact that it’s an easy way to start a story and introduce new things). Maybe a parent was recently unemployed and finances are tough at home, so they’re being forced into a situation where they’re not a “kid” anymore and they have to see the reality of the adult world for the first time. 

Reconciling Self with Society

Another key asset of the bildungsroman is the importance of society to the story. Not just that, but the character’s identity and the way that they must learn to fit in with society is incredibly important.

Now, this is where the past and the present bildungsroman diverge a bit. In the past - say, your classic Dickens novel - the story was all about your character learning to fit into society. Your character was a poor street urchin who had to grow up, learn the societal norms, and become a proper adult. 

These days, your character can be (and frankly should be) a bit more revolutionary. Rather than learn to fit in with society, your character can rebel against it - which is frankly awesome. This is especially important when you’re writing characters whose identities don’t neatly fit into societal “norms,” or norms as they’re typically portrayed - i.e., when you’re writing POC characters, LGBT+ characters, etc.

In these instances, the reconciling of your character to the society they live in can be about your character finding their place within the greater society - finding their niche, their community, and their people. 

The Process of Maturity

It’s important to show the process of gaining maturity in the coming of age story. As your character sets out on their journey, they’ll largely be driven by their own wants and needs, but as the story progresses, they’ll start to think more about their responsibilities - about what they MUST do rather than what they WANT to do.

This is another point where the traditional bildungsroman may diverge from more modern stories, I’ll point out. Traditionally, these stories showed these characters fully integrating into society. Which, frankly…ew.

Your character doesn’t have to do that. In some cases, depending on how you’re writing your story, they shouldn’t. Maybe in your story they’ll take on a greater sense of social responsibility. Maybe they’ll learn what it means to take care of a family. 

But this type of story is at its core about growth and learning, so remember that. Whatever other elements you bring in - romance, mystery, science-fiction, fantasy - the character’s maturation remains key. 

“Welcome to Jupiter!” NASA has just received a signal from its spacecraft, Juno, which is now orbiting the largest planet in our solar system, 540 million miles away! What NASA is going to find on Jupiter is uncertain, but some of our Classics can help us guess. Maybe there is another Earth floating out there, like in H. G. Wells’ A Modern Utopia, which follows two space-warped travelers on their journey through the Utopian Earth. Or maybe reading Gaston Bachelard’s The Poetics of Space will make your imagination run wild with ideas—this Classic is all about craving spaces that inspire dreaming, and with a huge planet like Jupiter, there’s a lot to dream of.

7

A Nostalgic Ride Through Russia with @dobryvolshebnik

To see more photos from Georgy’s journeys in his orange car, follow @dobryvolshebnik

“People on the road always spot this orange classic car. They remember their Soviet past—some of them had this model 20 or 30 years ago,” says Russian Instagrammer Georgy Chernyshev (@dobryvolshebnik), who uses the retro vehicle to travel with his girlfriend across Russia and Ukraine. The car is a 1975 Muscovite (Russian “Moskvitch"—"Mосквич”), and Georgy says its distinctiveness helps him meet interesting people in his journeys. He also feels inspired to travel more. “You can feel a special nostalgia traveling in this car which you wouldn’t get in a modern car,“ he says. "I feel its soul, character and history.”

Nabakov’s Favorite Word is Mauve

Nabakov’s Favorite Word is Mauve

Ben Blatt

2017, Simon & Shuster

269 pages

In the 1960’s two researchers used data analysis to figure out which disputed essays in The Federalist Papers were written by Alexander Hamilton and which by James Madison. In Nabokov’s Favorite Word is Mauve, author Ben Blatt applies similar analysis to classic and modern literature. The result is a fascinating look at how and why authors use the words they do. Using several different methods, Blatt takes us on a journey of the use of -ly adverbs, the differences in male and female writers, which authors abuse cliches, authors’ favorite words, and so much more. His analysis is provided in a light-hearted and non-judgmental manner. Blatt is aware of the skepticism that comes with applying objective analysis to art. He points out correctly that using numbers to understand how writers use words is no different than a painter in the 1900s who “might want to know the specific paints and techniques that Monet used.” Blatt includes a lot of visuals in the form of graphs and charts, which makes this a fun and well-paced book that should be a useful tool to any aspiring writer, or simply an enjoyable read to anyone who values statistics.

So a funny thing happened on twitter between myself, @ghostofcrux​ and @shamingcows​, which resulted in more Purple Prose AU. Basically the whole thing started out with “What if Sergei wrote romance novels in his spare time?” and it spiraled out from there. Thanks to ghostofcrux for the “Love never needed an audience…” title that is used throughout here.


Seraph Mikleo,

It is with humble apologizes that I write this letter to you. Since I first met the Shepherd and the years following I have consistently made assumptions about the nature of Sorey’s relationship with Rose. Considering the restrictions on my ability to see seraphim, you can see how the fault was first made. Not that I am offering this as an excuse. I should have realized by the circumstances, their behavior and later conversations the true nature of your relationship with Sorey. Instead, I ignored it and continued to spread the lie, even to the point of using it for the basis of several novels. I wish that I could erase every word of them but I cannot. I can only offer my sincere apologies and hope that you have not been offended or your life been made awkward by these assumptions.

Humbly yours,
Sergei Strelka

Keep reading