Let Jon have his armies and his devoted wildlings and the love of their people, she thinks. Let him have his dragon queen. She’s in possession of a secret, tragic as it may be, but at least it’s entirely her own. For Sansa, that’s more than enough. It has to be. Rated M; inspired by content from S7. Previous chapters can be found here.
Sansa’s eyes dawned with realization while she stared
back at him, her face a kaleidoscope of surprise and panic that burst wide open
before swallowing itself up again as she recovered from his unexpected
“Hello, Jon,” she greeted evenly. Sansa may have had the
sense to speak first, but her tone was distant—as distant as it had been when
she’d spoken to him on the rampart. It was like she had thrown ice water over
him, jolting him out of his dazed bewilderment. The fact that she sounded so
casual, as if her presence wasn’t anything strange to ponder over whatsoever,
only set him off the edge just a little further.
she bought the white russepants. technically, she should’ve worn red ones meant for the students who took specialization in general studies, which she did, but Jamilla has always been artistic and even though she didn’t choose to take any arts in school, that didn’t mean her love for painting was gone, that she didn’t constantly doodle in her margins small entire worlds. so she bought the white russepants, the ones meant for the art students, and she painted them herself, making intricate patterns and arabesques in red, black and gold.
she’s an Art Girl and she can spontaneously go into a rant about how moving the National Gallery was one of the most thoughtless decisions ever made, no, you don’t understand Laila, that building is a monument of art, it is soo important, do they not know its history, Laila!!
Laila massages her shoulders, nodding in sympathy, and kisses her when she’s finished and tired. (inspired by the legend @sanoora!!)
she and the hijabi squad made a youtube channel on a whim one lazy evening their first year. Amina suggested, mostly as a joke, to make a video with hijabi tutorials, since Ramadan was near. Jamilla had shrugged and said, “why not?” and they did it. and it blew up way more than they had ever dreamed. and from then on, they made vlogs, tutorials, challenges and videos discussing school and social issues. Khadra even made a video about anxiety. Khadra would afterwards get messages from younger students telling her that their teacher showed them her video in class about mental health. (kudos to @theskamgirlsdeservebetter for this!!)
Jamilla meets Amal Aden when she came to her school for a lecture about writing, talking about issues around freedom of speech and society. while she was there, Aden told about how it was like to be an open lesbian Somali Muslim in Norway. Jamilla thinks oh. she thinks okay. she thinks it’s all right, i’m okay, i’m okay, it’s all fine.
she played football all through elementary and middle school, but had to take a break in high school because of an injury. when she was allowed to play again, she didn’t return, but instead focused on her studies, to get good grades, to get into her first choice. she made it, and she enrolled into the campus’ female football team.
she lost her shoe at the end of a football match once, but she kicked the ball regardless in her sockinged feet and made the winning goal at the last crucial moment.
ever since, she retained a habit of wrapping her shoelaces at least three times around her ankles before tying them in a bow at the front. twice.
The House of Ministries on Lenin Square, Tashkent, Uzbek SSR by Boris Mezentsev, Aleksander Yakushev, B. Zaritsky, Yevgeny Rozanov, Leon Adamov, and Yu. Korostelev . The building combines traditional Central Asian styles [Islamic screens and arabesque patterns in turquoise] with Soviet modernism, manifesting the union between the Socialist Republics and their ethnic differences, reminding them that they actively compose the USSR and are not simply passively being subject to Moscow.
An arabesque-patterned silk woman’s haori featuring silk-screened
‘matsu-kui-zuru’(cranes holding pine tree) motifs on a rinzu background. Foil
highlights. Late Taisho to early Showa
(1920-1940), Japan. The Kimono Gallery