deep fathom

anonymous asked:

I've been meaning to write for some time to thank you for something so important about the sex scenes in OFD: that John is so careful to get Sherlock's consent at every step and that John is not assuming he wants what John wants. As a woman over 40 whose "sex education" was being told "nice girls don't," I cannot imagine how different my first sexual experiences would have been if I had been empowered by reading stories that modeled communication, openness, & reciprocity. Your story matters.

Wow, this message was so meaningful to receive. To imagine that my writing might do something against our oppressive, patriarchal, sex-negative culture and have a positive effect on people’s sexuality is…. everything.

Thank you, thank you for taking the time to write and tell me. <3

‘Deep as Hell Kettles’
15.5x19.5 inches
Mixed media on watercolor paper

The Hell Kettles, three small circular ponds about seventeen feet deep near Darlington, have long been regarded with superstitious awe. Holinshead’s Chronicle reports:

There are certaine pittes or rather three little pools a myle from Darlington, and a quarter of a myle distant from the These [Tees] bankes, which ye people call the Kettles of hell, or the devil’s Ketteles, as if he should seethe souls of sinful men and women in them: they adde also that the spirites have oft been hearde to cry and yell about them…

It’s added that “the water is nowe and then warme,” and seventeenth century chronicler William Camden had heard the same - ‘“The common people tearme them Hel-Kettles, because the water in them by the Antiperistasis or reverberation of the cold aire striking thereupon, waxeth hot.”

But had Holinstead or Camden tested the water? Or had they simply heard the pits described in much the same terms as were used in 1634 by the Military Company, who dispatched “a captain, a lieutenant, and an ancient” on a survey and ultimately reported: ”The three admired deep pitts, called Hell Kettles, we left boiling by Darlington”? This might refer to heat or motion, as the kettles contain vigorous springs, and the water was certainly not hot in the nineteenth century, nor indeed at the turn of the seventeenth.

Camden had said that the pits were “of wonderful depth” and this was put to the test by “a very ingenious Gentleman” on behalf of Camden’s translator:

According to the promise which I made you, I went to sound the depth of Hell-Kettles near Darlington. The name of the bottomless pits made me provide myself with a line above a hundred fathoms long … but much smaller preparations would have served: for the deepest of them took but fifteen fathoms, or thirty yards of our line. I cannot imagine upon what grounds the people of the Country have supposed them to be bottomless…

That more than one person must have known that the Kettles were not very deep did nothing to dampen the belief that they were bottomless, and in the nineteenth century they were proverbial - “As Deep as Hell Kettles.” Regarding their origin, Camden was probably nearer the mark when he reported the belief of the wiser sort that they had come by the sinking down of the ground swallowed up in some earth-quake. This might have been the one described in a Chronicle from 1328:

1179. About Christmas, a wonderful and unheard of event fell out at Oxenhale [part of Darlington township], that …the ground rose up on high with such vehemence, that it was equal to the highest tops of mountains, and towered above the lofty pinnacles of the churches; and at that height remained from the ninth hour of the day to sunset. But at sunset it fell with so horrible a crash that it terrified all who saw that heap, and heard the noise of its fall, whence many died from that fear; for the earth swallowed it up, and caused in the same place a very deep pit.

Whether or not they were created thus in 1179, a tradition of an earthquake seems to lie behind a tale told here in the nineteenth century. According to some versions, the farmer who centuries ago owned the land was about to cart his hay on St Barnabas’s Day, and when reproved for this act of impiety replied:

“Barnaby yea, Barnaby nay,
A cart-load of hay, whether God will or nay!”

Instantly he, his carts and horses were swallowed up in the pools, where they can still be seen on a fine day with clear water, floating midway, many fathoms deep.

Wherever he left Flint, there’s always going to be a sentimentality there. There’s always going to be guilt. There’s going to be a constant reasoning with himself whether or not he did the right thing. They were closer to one another than any two other people in the world. So I do like the idea that if he came across a parrot that just, you know, HATED him–just hated him. Found him when he’s working as a cook. So Silver starts to feed it. And when the parrot turns around and starts coming to Silver for food, he’ll be like–‘Ah. That’s Flint.’ The point is that he meets a creature that could not have had more disdain for him if it tried, and that very same animal comes to eventually rely on him. That’s when the parrot gets its name. ‘You remind me of my old friend.’ I don’t see it as derogatory or taking the piss, you know? Even in the book, for me, the joke rang of something more profound than that.
—  Luke Arnold, i’m going to dropkick you into the fucking ocean how dare you, Fathoms Deep 





Ahem. So I now have the most authentic historical (and firsthand) knowledge about how OFD Sherlock would have tied his cravat (he favors the style on the left obviously, the Gordian Knot), and of course, most important of all, how sailor John UN-ties them… 😏😏😏

The idea that the only meaning that can be gleaned from hearing Silver’s backstory is that the world is “full of unending horrors” completely shifted my idea of why Silver never divulged it in the first place.

I always saw the secret of his story as a tool - as a way to have something over other people. For grifter Silver, for loner Silver that was an asset in manipulation because he could be whatever he wanted to be in any given moment.

But after this interaction, I think it’s possible that he’s ashamed of his backstory, and of his life. His childhood was perhaps a million times worse than anything that we could have ever imagined, and he is ashamed of it.

And so he stands opposed to Flint in this sense, because while Flint acknowledges how his past shaped him, how it motivated him, how it still motivates him, Silver absolutely and resolutely refuses to be defined by his past. He needs it to not have meaning, while Flint needs it to mean everything.

But in a way you could argue that it has already had meaning. The fact that Silver was so determined to be a loner always suggested to me that he’d been hurt by people. But the aspect of shame is a surprise. Because you can tell on some level he wants to give Flint what he wants; he’s not being stubborn or defiant. He’s - in a lot of ways - apologizing. You know all that I can bear to be known, I’m sorry.

So I feel like this gave us a window, even though it’s a backstory that’s not a backstory. But in a way that’s beautiful too - our imaginations are pretty strong. So if you give me a backstory that’s too hard for Silver to even relate to his closest friend, my imagination is going to go to all the horrible recesses of the world.

I also feel like this explains a lot. He started out a loner, a decided loner. But once he’s offered a community - once he finally finds a home - the lengths to which he is willing to go for the sake of that community starts to make so much sense.

Every move he’s ever made starts to make sense; all of season 3, his attempts to gain Flint’s respect, and his attempts to finally have people, a crew, a home. He goes to such extremes to guarantee that he somehow holds onto whatever he’s got now. He holds his world together with both hands.

If his childhood was so horrible, and he was such a decided loner, it’s like he didn’t have the muscle memory to know how to do relationships. Even though he was really good at reading people - that’s something that people who have experienced abuse know how to do very well.

So this could explain why he eventually becomes so tied to people. Why he became so devoted to his crew, why he became so devoted to Flint, and why he becomes so devoted to Madi. Because suddenly he was offered something he’s never had - a whole slew of things he’s never had, and perhaps even things that he never even knew he wanted.

And it’s in this conversation with Flint that we get another beat of whether or not something is enough, mirroring his earlier conversation with Madi.

“Can that be enough, can there still be trust between us?”

The tragedy is that you can see very clearly on Flint’s face that the answer is no. Flint didn’t answer - but the non-answer said enough.

And yet, in this episode, even though you can tell that the answer is no, Flint is so willing to get past that, to take the leap of faith. He still shows absolute trust in and loyalty to Silver, but he cannot be certain. When it comes down to it, he cannot know for sure whether or not Silver will make the right call.

Flint knows how much his backstory, how much his baggage with Thomas and with Miranda influences his actions and keeps him from seeing what is true. But he doesn’t know Silver’s backstory. By not divulging the secrets of his past, Silver leaves room for Flint to guess. And for a man like Flint - one who needs to be in absolute control all the time, who needs to see the inner workings of every single piece on the chess board so he can strategise accordingly - for a man like that to take a leap of faith like this, at a time like this, is as astounding as it is beautiful.

The old Flint would have most likely killed Silver and gotten him out of his way rather than go for such a risky and potentially astronomically costly gamble. And it’s this divergence that reinforces what we see clearly in this whole episode - that Flint does love Silver. It’s that simple. He desperately wants Silver to live and to be a part of this.

—  Fathoms Deep, 409; on Silver’s backstory and his relationship with Flint
Over Fathoms Deep - bittergreens - Sherlock (TV) [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

Chapters: 41/?
Fandom: Sherlock (TV)
Rating: Explicit
Warnings: No Archive Warnings Apply
Relationships: Sherlock Holmes/John Watson
Characters: Sherlock Holmes, John Watson, Philip Anderson, Greg Lestrade, Mycroft Holmes, Molly Hooper
Additional Tags: Romance, Alternate Universe - Historical, Historical, Boats and Ships, Sailor!John, Aristocrat!Sherlock, AU, Johnlock Trope Challenge, Sexual Content, Explicit Sexual Content, sherlock POV, Pining Sherlock, Young!naive!Sherlock, Muscular!Sea-hardened!John, POV Sherlock Holmes, SailorLock, sailinglock, Angst, Hurt/Comfort, Slow Build, Slow Burn, Virgin Sherlock, Anderson has no redeeming qualities whatsoever, Sherlock is a sad gay baby, boxing lessons, Sherlock’s Violin, sailor!lock, Sailing, First Kiss, Bottom Sherlock Holmes, Top John Watson, Sherlock is a trembling gay flower petal, John is a golden god of sex, First Time, Unresolved Sexual Tension, Resolved Sexual Tension, Hand Jobs, Blow Jobs, Frottage, Masturbation, Age of Sail, Regency, Threats of Violence, Threats of sexual violence, Angst with a Happy Ending, THIS STORY WILL HAVE THE HAPPIEST ENDING YOU CAN POSSIBLY STOMACH, but there will be angst and conflict along the way, and also lots and lots of sex

When the youngest son of the aristocratic Holmes family is shipped off to sea in an attempt to cure him of his poor temper and bad manners, he fully expects to spend a long tedious voyage as miserable as ever. What he does not count on is having his heart stolen by the strapping young crewman, John Watson.

Chapter Summary:

Sherlock will never be able to look at his desk the same way again.

MERCUTIO : She is the fairies’ midwife, and she comes
In shape no bigger than an agate stone
On the forefinger of an alderman,
Drawn with a team of little atomi
Over men’s noses as they lie asleep.
Her wagon spokes made of long spinners’ legs,
The cover of the wings of grasshoppers,
Her traces of the smallest spider’s web,
Her collars of the moonshine’s watery beams,
Her whip of cricket’s bone, the lash of film,
Her wagoner a small gray-coated gnat,
Not half so big as a round little worm
Pricked from the lazy finger of a maid.
Her chariot is an empty hazelnut
Made by the joiner squirrel or old grub,
Time out o’ mind the fairies’ coachmakers.
And in this state she gallops night by night
Through lovers’ brains, and then they dream of love;
On courtiers’ knees, that dream on curtsies straight;
O'er lawyers’ fingers, who straight dream on fees;
O'er ladies’ lips, who straight on kisses dream,
Which oft the angry Mab with blisters plagues,
Because their breaths with sweetmeats tainted are.
Sometime she gallops o'er a courtier’s nose,
And then dreams he of smelling out a suit.
And sometime comes she with a tithe-pig’s tail
Tickling a parson’s nose as he lies asleep,
Then he dreams of another benefice.
Sometime she driveth o'er a soldier’s neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five fathom deep, and then anon
Drums in his ear, at which he starts and wakes,
And being thus frighted swears a prayer or two
And sleeps again. This is that very Mab
That plaits the manes of horses in the night
And bakes the elflocks in foul sluttish hairs,
Which once untangled, much misfortune bodes.
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
Making them women of good carriage.
This is she—
—  William Shakespere, Romeo and Juliet

Not heard the Fathoms Deep interview with Luke Arnold and I’m not sure I’m going to (mainly because I have a very difficult time listening to the ladies because I’m hypersensitive to high laughters on radio and so I tend to miss half of what they’re saying) but I’m genuinly confused about the supposed hate Luke Arnold is supposed to have received from people in the fandom.

I mean, come on: if you’re sending hate of any kind to an actor/creator/writer/musician/und so weiter, you’re obviously not a part of the fandom. You’re a person with severe issues, hurting innocent people because you don’t realise celebrities are human beings. That’s not being a fan, that’s being an asshole. End of fucking story.

Then, when it comes to the silverflint and madisilver matter. I didn’t even know what the term shipping meant before I stumbled across this fandom about a year ago so I, as some people might know, had no clue about things like shipping wars and what terms like “otp” meant. I still have to look up a third of fandom slang and I feel old.

I didn’t ship silverflint, because I simply didn’t see what silverflint shippers saw. Which is a whole other thing than being 100% sure it’s not there. I was genuinly interesting in seeing what they saw, but failed. But when the show was over, I was sitting in my couch, teary-eyed over all my sweet, murderous pirates and couldn’t stop thinking about Silver’s expression. That face when he spoke to Madi about his actions, didn’t leave me. And then I read what the creators said, that there were more beneath the surface of Silver’s and Flint’s relationship.

To me, it’s important to separate fanfiction and shipping from the original work, and not read in stuff that is clearly not presented by the creators. But as soon as Steinberg and Levine spoke more about the silverflint relationship, I could make sense of the silverflint shipping I’d earlier failed to see. 

Silvermadi was, for obvious reasons, far easier to ship because the ship was sailing on screen for all to see, but the last scene we have of them, their relationship as it is, is breaking apart. Yes, they will still remain together, so they somehow manage to fix it, but as the creators also said: their relationship aint gonna be a very happy one. That’s their peak high of emotional closeness and in a way no less destructive than Eleanor’s and Vane’s relationship.

Silver and Madi love each other, yes. But they are not close, they will never be, and they don’t come first for each other. Madi has her people and Silver, even if he’s no aware of it, has Flint.

Remember, this is a show where relationships are deep, complex and definately not always are about two persons. The pirate society was known for polyamory, gay and bi and interracial relationships, so what’s the big deal here?

Silver loving Madi, doesn’t rule out him being in love with Flint too.
Flint loving Thomas didn’t rule out him loving Miranda or falling in love with Silver.
Madi loving Silver, doesn’t mean she loves her people more.
Anne loving Jack, didn’t stop her from falling for Max - or Jack from accepting that. 
Elenor loving Vane, her father and Max, didn’t stop her from putting her own feelings aside and both end up hurting and getting hurt all the way until her end.
And Billy loving the crew that was all his world, his family, after being taken from his parents as a kid, and then being torn between the relationships with Flint, Gates, his brothers and Silver, are all reasons why he ended up on a dark path in the end.  

All these fluid relationships, sexual or platonic, is the heart of Black Sails. They are the beating pulse here and I think that since polyamory still is something very weird and threatening to a lot of people, the idea of a heart not fully beloning to ONE person, is the idea of a love that’s not true.

Which couldn’t be more false. We are presented with two threepart relationships in the show, Flint/Miranda/Thomas and Jack/Anne/Max. None of them could be accused of being uncomplicated and they certainly not remind of each other.

I’m certain that Silver, in his heart, loves Flint but isn’t aware of it, just as I think Flint could’ve loved Silver if he’d allowed himself. I think what Silver feels, is something utterly new to him and that the love he has for Madi is way easier for him to get a grip on, but in the end, Silver is ultimately alone. What he has with Madi isn’t bad, but it’s missing something. They both miss something and reckognizing that isn’t the same as saying madisilver isn’t for real. Of course it is, but silverflint is real too and so is thomasflint, mirandaflint and mirandathomas. 

Black Sails’s relationships are basically all a bunch of shipwrecks, trying to make at least a part of themselves to safe shores. And none of those who make it to safe land, are whole and unscattered.

Well, except from Idelle and Featherstone, of course. Those two are fucking unsinkable and should they ever end up in a storm, Idelle’s glorious tits will keep them both floating, and Featherstone’s tit curtain will be the sail to take them home. 

Dazai Osamu/Youngest Port Mafia Executive/Bandage-wasting Device/Mackerel/Beauty/Smiles I want to Protect

June 19

I’ve been waiting badly for this day because of the announcement about the upcoming movie. I already died with the mere poster so what’s gonna happen now when more details come out?? Come on Bones, bring it on

Anyway, more importantly, yes, it’s Dazai Osamu’s birthday. You know I scream about Chuuya all the time but the fact remains that Dazai is my favorite character in Bungou Stray Dogs. 

I love the mystery of his character. He may have a bright personality but at the same time it is dark. He appears to be shallow but is actually deep, so deep you cannot fathom. 

Dazai may no longer be human but all I want for him is to be human. I’m forever grateful to Odasaku for making Dazai go to the side that saves people. I really hope that Dazai may have found something worth living for in his new life. I love his smiles, his genuine smiles I want to protect with my all.

((I was originally planning to make this similar to my Chuuya birthday post BUT I had a really hard time choosing my favorite Dazai photos so I ended up putting more. Yayyy))


BSD Manga Dazai

BSD Wan! Dazai

And ofc, my favorite GIF

Originally posted by seieiryu


P.S. I still hate you for hurting Chuuya. But tbh you just want everyone to be on Chuuya’s side that’s why you bully him and act like you don’t care. And as expected of you, you got the result you want - everyone loves Chuuya and will give him all the happiness he deserves ❤

I think Silver always seems proud of being Flint’s Quartermaster. Because Flint is trying to run the ship, you know, trying to be a Captain, and he’s trying to get them all to bloody listen to him for once, and Silver is always proud to be a part of that. Whenever he talks about it, it’s just–he’s proud that Flint’s proud of him. So even in the book, I always thought that calling the parrot Flint was something affectionate rather than something derogatory.
—  put me in the ground, fucking throw some dirt over me i’m done, Luke Arnold for Fathoms Deep
Zethu's Fathoms Deep Podcast

Zethu’s interview was delightful. I didn’t think it possible to like her or the character Madi more, but I was wrong. Just a few quick takeaways.

- Zethu unequivocally expresses Madi’s love for Silver. Over and over and over again. It’s beautiful. she referred to them as a Revolutionary couple.

- She stated that Madi fell in love with him while nursing him back to health. She was drawn in by his strength and vulnerability. She loved the way he cared for his people. It inspired her. Also, she could relate to being so young and having so much responsibility. She stated Madi wanted to grow with him, learn from him and travel the world with him.

- Regarding the “Am I Enough scene”: She stated that it was ironic that their first fight wasn’t even about them. She said that Silver wanted her to say “yes love, where do you want to go” and he probably felt that she would answer that way because she’d earlier told him that she would follow him anywhere. The silence doesn’t mean she doesn’t love him and it will be addressed.

- Regarding Billy: She’s pissed that Billy has let his hate for Flint destroy the alliance. She also doesn’t like that Billy acts as though she’s Silver’s groupie. She isn’t. She wouldn’t follow this man unless she loved him. She’s a Queen and had a good life of her own. She’s no ones groupie.

- Regarding Flint: She think Flint sees a little of his old self in her. Back when he was idealistic. She thinks he may now want to guide her or protect her like a father figure, because he knows how cruel the world is and she’s been sheltered.

- She compared Madi and her life’s, based on Madi being raised on Maroon Island and her being born in South Africa after Apartheid. They both have a more idealistic view of the world because they didn’t personally witness the more horrific parts of slavery and apartheid. They know about it, but they didn’t live the daily brutality. Therefore, the overwhelming fear doesn’t exist.

There is so much more that I’m definitely leaving out. Like the fact that Luke’s’ eyes really are that beautiful or that he took her on a date so they could bond. 😍 All in all, it was a great interview and truly worth the listen. You have to listen for no other reason than to hear her say “cut a bitch” in her lovely accent. It’s hilarious. Even more so, because the bitch she’s referring to cutting is Silver. On his “other” leg, of course. 😂😂😂 BTW, after listening, I feel even more confident that she is truly his Treasure Island wife.

I want all of you who respect Luke Arnold and have love for him as Long John Silver to tweet to him and let him know.  Show your love for this man.  Listening to him on Fathoms Deep Podcast talk about the hate Silver received is heartbreaking.  This man gave us 4 seasons of exceptional acting and I appreciate him for it.  Do not hold him accountable for a story he did not write.  Those of you who disagree, Fuck Off!
The Johnlock Collection by cwb | Chapter 3: Small Odes to John's Perfection
story: The Johnlock Collection by cwb | Chapter 3: Small Odes to John's Perfection ( music: Funky Sherlock by Gregory White (

@violetwylde is a good person and reads again. @conversationswithjohnlock  musing as Sherlock, a trembling gay flower petal to @holmesianpose  ‘s John, who is a golden god of sex

Read it here:

The Johnlock Collection - Chapter 3 

Over Fathoms Deep

Luke and Flint and Silver

There were many, many fascinating insights in the way Luke Arnold talked about Silver in the most recent Fathoms Deeps episode, but what stood out to me, and what I found really interesting, is that in 4.10, he thought that Silver found it most terrifying that Flint would forgive him just so they could go on with that war. 

Because I’ve always seen that scene as Flint forgiving Silver because he relates to him, and because he loves him, but it’s really a good question if Silver ever really got to the point of realizing it. If Silver ever realized how much of an attachment Flint has formed to him, how much projection is going on there (with Flint projecting his vision for Miranda and Thomas on Madi and Silver), that the thing Flint feels for him goes beyond respect and loyalty and Silver’s usefulness. 

That when Flint teaches him how to fight, it’s not to turn him into a more useful tool but because Flint wants him to give him the means to defend himself. That when Flint tells him, “I want you to learn how to fight and not die” what Flint is saying “I love you”; that when Flint tells him, “Again”, after Silver has asked whether there can still be trust between them, Flint is saying “I love you”; that when Flint says, “I believe that. I trust it. Do you?” he is saying “I love you”. 

And now I wonder, did Silver really not know? 

And if he didn’t know it, what would have changed if he’d realized?

It’s interesting because of all people, Silver – who has for the whole show been so adept at understanding and reading other people – he’s the one who cannot talk about himself. Of all of the main characters – and each one has a different way of recounting their back-stories – Silver is the only one who cannot go there, he is the only one who cannot speak of what has happened to him.

Well, I think it suggests horror from another direction. Whatever happened to Silver was so terrible that it essentially broke his ability to exist within his own story. I think there is something that is fundamentally therapeutic about existing in a story. It’s normal; it’s a part of the human condition. When you find your place in a narrative, you almost necessarily feel like you make sense. And so I think whatever it was that happened to him that made him incapable of reconciling that – that is his trauma. His backstory was that he was removed from his own story. And his curse is that he is stuck in someone else’s story that he never really wanted to be in, but now he can’t get out of.

—  Jon Steinberg, on John Silver for Fathoms Deep

Here is Luke’s Fathoms Deep interview.