Modern AU that follows the ups and downs of a college English department:
Mary Shelley, the slightly morbid Brit lit professor who specializes in Gothic literature, and always has her students read the creepiest pieces
Edgar Allan Poe, the awkward, but lovable poetry professor who all the students either love or hate.
Emily Dickinson, the other poetry professor, who no one seems to have classes with, despite the fact that she’s been at the school for years…and when are her office hours again?
Oscar Wilde, the Shakespeare professor, who teaches not only two lit classes focusing on Shakespeare, but also teaches a drama class. Everyone loves him.
Ernest Hemingway, the hard-ass creative writing professor, who rips everyone’s writing (and self esteem) to shreds.
Charlotte Bronte, the Brit lit professor who lives and dies by the canon and thinks YA is an affront to literature.
Louisa May Alcott, the American lit professor who goes off on tangents during lectures and loses her train of thought. People like her because she’s an easy grader.
Mary Ann Evans, the feminist American lit professor, constantly at war with Charlotte Bronte over what constitutes literature, and desperate to be taken seriously in the academic world.
Fyodor Dostoevsky, the visiting professor from Russia, who teaches a specialty class on how different translations change the meaning of a work. The class is completely full.
Annabel Lee, the encouraging, sweet professor who teaches English 1, the composition class required for gen ed. Most of her students are freshmen.
H.G. Wells, the creative writing professor you want to get. He always encourages his students to be as creative and imaginative as possible, but he still manages to give them constructive criticism. His science fiction class is always full.
Lenore, isn’t an English professor. Lenore teaches History of Fashion, among other things. But she’s helped Oscar with costuming on a few plays, and she’s currently working with Mary Ann Evans on a specialty class that focuses on the ways that clothing plays a part in literature. She hangs out in the English department a lot, because her office is in the history department, and history professors “are, like, totally boring.”
If you are relatively new to Witchcraft, don’t worry. Interpreting tarot cards and even just finding where to get them is a lot simpler than people make it sound. Although you could always go for the complicated, tedious, mystical way of reading tarot cards, you honestly don’t have to. So here is my very, very, VERY long spew of tarot advice. Hope all of you find something helpful in here and if you have any questions at all, just message me!
Tarot cards don’t have to be tarot cards. What? Long story short, what I mean by this is that you don’t actually have to use flat out tarot cards for your divination. All you really have to do is go to a nearby dollar store and pick up a standard deck of playing cards. Yep, it’s that simple. Using them may be a tad bit different from regular tarot cards, but there is no doubt that you will be able to use them as every bit as efficiently as tarot cards.
If you aren’t satisfied with some playing cards, that is perfectly okay. Finding a real deck of tarot cards isn’t that difficult. First look for a nearby pagan store. It can be any kind of pagan store really, because any of them will most likely have some. If you don’t have access to any pagan stores, then you can easily find a deck online. Here are a few good tarot sets:
-Luminous Spirit Tarot Deck by Labyrinthos
-The Wild Unknown Tarot Deck by Kim Krans (available on Urban Outfitters)
-The Prisma Visions Tarot Deck by James R. Eads
-Spirit Speak Tarot Deck by Mary Elizabeth Evans
-Vessel Oracle Tarot Deck
Once you have acquired a decent set (around 35 or more cards), you can begin the process of bonding with your deck. Yes, you could just start right from the get-go, but nothing truly inspirational will begin to happen until you have mastered the personality of your specific deck. By the way, it is perfectly fine to have and use multiple decks, but make sure they are well-equipped for the job.
Moving along, here is my advice on getting to know your deck. Spend time with it. You won’t truly understand how it works and flows until you can understand it’s specifics. Some tips to get to know your cards:
-Play with them. Shuffle the cards, ask a question, and pull out a random card. Just hold the deck in your hands and feel the edges, their texture, their material, how they fold and move.
-Look very closely at their images. What do they depict? What do the pictures mean to you? What do they represent? Focus on the colors, name the shades, figure out which ones are your favorite.
-Breathe in the smell of your cards. What do they smell like? What does the smell remind you of? Is it nostalgic or unfamiliar? Do you like the smell? If you don’t, learn to listen to your cards. Or just spritz some lavender spray on them, or whatever herb you like.
-Sleep next to your deck. This one may sound a little weird at times, but it makes sense. You will fall asleep with your cards in mind, therefore allowing you to mull them over all night long. When you wake up, they’ll be the first thing to greet you, and you’ll be reminded of them yet again.
-Use your cards for basic divination. Start with asking questions, playing little games, and whatnot before you move on. Then, work your way up the scale. Begin predicting little things or feelings you will experience throughout your day, ask more complex questions, and so on. Eventually your cards will age and develop some trusty experience, therefore readying them for more serious and difficult magic.
After bonding with your deck, it is all primed and ready for magic.
Each deck has it’s own personality. Some are tricksters, others are gentle and compliant, while yet others are sassy and temperamental. Some decks are frustrating or angering at first, and that’s okay. Once you bond with your deck over time, you will be able to manipulate it and control it’s wildness. Once you can predict your deck’s next move and determine what it means, you are ready.
What are you ready for? Deep magic, of course. Predicting long-term events, strengthening your magic even further, challenging your mind and soul, and so on. Work your way up the food chain of divination until you can confidently say that you know exactly what you’re doing. Have fun and happy bewitching!
Tracklist: Tony Toni Tone - Anniversary Aaliyah - Rock The Boat Notorious BIG - One More Chance (Remix) Ashanti - Foolish Miguel - How Many Drinks 112 - Cupid Donell Jones - Shorty (Got Her Eyes On Me) Jodeci - Come & Talk To Me (Remix) The Dream - I Love Your Girl Chris Brown - Strip Chris Brown - Privacy Dru Hill - Sleeping In My Bed (So So Def Remix) Keyshia Cole - Let It Go ft. Missy Elliott & Lil Kim Diddy - I Need A Girl Pt. 2 Ft. Ginuwine & Loon Mary J Blige - Real Love Faith Evans - Love Like This Before Pharrell - Frontin’ Jagged Edge - Put A Lil Umph In It Ft. Ashanti & Jermaine Dupri Jacquees - Persian Rugs (Cover) Rihanna - Sex With Me R.Kelly - It Seems Like You’re Ready Keith Sweat - Nobody Usher - Nice & Slow Pretty Ricky - Love Like Honey Jeremih - Birthday Sex Goldlink - Crew ft. Brent Faiyaz & Shy Glizzy
I only have, like, 5 fucking ass fucking McFucking fucka-fuckbutt-dickfuck fuckfuck fucktures of Muriel and Malfiore, so I don’t know how on Earth I’m getting away with calling this a “mega post”, but I guess you can consider this the first of many. Currently, there’s more to come. Not immediately, but soon. If you two(edit: back down to one) freaks who follow me recall, I credit @pan-pizza with the concept behind these two. Anarchie was always going to get a goth girl or two just by the nature of the story, but I baptized these two with Pan’s Unholy Liquid.
Muriel Morash and Marie “Malfiore” Evans. Undoubtedly going to be part of more stories than just Anarchy in Prague. Like, zero more. Because I’ve only just completed the first draft of Anarchie.
Muriel was born in Dublin, Ireland. Marie was born in Birmingham, England.
As with many other things in Anarchy in Prague, their names are references to ‘90s media. Muriel Morash stems from Muriel Bagge (elderly woman character from Courage the Cowardly Dog) and Rodney Morash (protagonist of GTA: London 1969). Malfiore has two references to Ed Edd n Eddy— her name “Marie” being the name of a character in the show, and her clothing being very literally a gothic version of Ed’s.
Malfiore lives in a sewer palace as an homage to Cube, a character from the Jet Set Radio series
Muriel’s design comes as a cross between two characters— Tatsumaki from One Punch Man, and Sebastian Niccals, father of Murdoc Niccals of Gorillaz fame.
Malfiore casually uses nadsat, the fictional slang of the violent youths in Anthony Burgess’s 1963 novella, A Clockwork Orange.
Though they are part of separate musical groups, they both form a two-goth dark cabaret group. It doesn’t have a name and they’ve never recorded a song or advertised themselves; if you want to hear them, you have to seek them out.
Muriel, when she’s not gothing around, works as a librarian and erotic writer. No one knows how Malfiore makes a living, however.
Though they are allegedly lesbians, they may also be bisexual. They have a massive fetish for nerdy Latinos.
Only Muriel describes herself as a goth girl. Malfiore describes herself as a “doom girl”.
Muriel’s theme song is Joy Division’s “Dead Souls”
Lily Evans didn’t like how pale her skin was. Every pimple, rash, dark circle or bruise looked hundred times worse on her skin and she couldn’t stand the sun. Instead of having a beautiful tan like Mary she turned red as a lobster as soon as she stayed in the sun a few minutes. She once got a sunburn… In January. She regularly used a lot of foundation to cover every redness on her face. Blush was her best friend.
Mary Macdonald didn’t like how thin she was. When she looked in a mirror she couldn’t help but stare at her bones. She could easily count her ribs without even tucking her belly. She looked fragile and delicate like if someone could crash her into pieces without problem. She once tried to double her food portions in hope to win some fat, but it only gave her a few pimples.
Alice Longbottom didn’t like her body. She took weight too easily. When she went to the restaurant and ate too much or when she was stressed her clothes wouldn’t fit her anymore. Her stomach wasn’t flat and she had more curves than the average girl. She once tried a diet which allowed her to only eat green things, but it never worked so she tried that one instead who said to only eat raw things. It didn’t work either.
Dorcas Meadows didn’t like her muscled arms. Sure she was proud of them, she had earn them by working hard and it was a must being a beater. However, girls talked. Some said it looked ugly. Some said it made her look like a man. Her crush once turned her off and told his friends he’d never go out with a girl who had more muscles than him. She was proud of them, but no matter how much she said she didn’t care about those comments she couldn’t help letting them under her skin.
Marlene Mckinnon didn’t like her face. Her lashes were non-existent. Her nose was too large for her face. Her mouth wasn’t big enough. She had acne on her forehead. She thought she looked ugly without makeup so every morning she took an hour only to apply some. No matter what, she never went out without makeup. Even her dorm friends had rarely seen her without it.
Remus Lupin didn’t like his scars. They were all across his body and no matter what anyone said, disgusting. Some were bright red, some had pus. He never took out his shirt in public. He couldn’t stand people’s face when they saw how ugly his skin was. Every time he saw his scars it reminded him of who he was and he hated that.
Sirius Black didn’t mind his appearance. He knew he was good looking and that wasn’t being arrogant it was simply a fact. He used his looks multiple times to get what he wanted or to get away with something. However, that didn’t mean he liked everything about himself. His family made him feel like if he’d never be worth or loved by anyone.
Peter Pettigrew didn’t like being average. That’s how he thought of himself. He wasn’t as handsome as Sirius or as charismatic as James. He wasn’t really ugly neither. He was just average. The kind of boy girls don’t pay attention to because there’s nothing interesting to see. He was just plain, normal, boring average and he hated it.
James Potter didn’t give a fuck about any of those things. At least that’s what he said, but actually he didn’t take criticism well. When someone made him a reproach or insulted him he couldn’t help but take it personal. He thought about it over and over again, trying to convince himself that person was wrong, but a little voice inside his head would never shut up. It kept telling him it was all true.
They were all insecure about something.
They weren’t perfect.
me: *sees a post about sherlock repaying the currency of mary saving his life*
me: *pours myself a glass of red wine at 1pm* killer evans was after a counterfeiting machine. *lies down on the sofa* the garrideb they left out of tfp was the one named john. *slams back the wine* mary didn’t really save sherlock’s life. *pours myself another* counterfeit currency. *lights a cigarette* who killed killer evans. *swan dives out the window* mary is killer evans.
“I try for a poetic language that says, This is who we are, where we have been, where we are. This is where we
must go. And this is what we must do.”
Poet and writer Mari Evans initially gained fame in 1970 when her second collection of poetry, I Am a Black Woman, was published. “The volume heralded the arrival of a poet who took her subject matter from the black community,” Wallace R. Peppers wrote in Dictionary of Literary Biography, “and who celebrated its triumphs, especially the focus on the beauty of blackness that characterized the black arts and civil rights movements,
and who would mourn its losses, especially the deaths of Martin Luther
King, Jr. and Malcolm X.” Since then, Evans has published several volumes of poetry and children’s
books, and written for television, radio, and the theater. Her work has
appeared in over 30 textbooks and has been translated into several
languages, including German, Swedish, French, and Dutch.
Evans was born on July 16, 1923, in Toledo, Ohio. As she was growing
up, her father was her greatest influence. Evans recalled in the essay “My Father’s Passage,” which was included in Black Women Writers (1950-1980): A Critical Evaluation, that her father saved her “first
printed story, a fourth-grade effort accepted by the school paper, and
carefully noted on it the date, our home address, and his own proud
After attending public school in Toledo, Evans enrolled at the
University of Toledo, where she majored in fashion design. However, the
subject did not hold her attention for long, and she left without taking
Beginning in the mid-1960s, Evans began to make her name in the
public arena. From 1965 to 1966, she was a John Hay Whitney fellow.
Three years later, she received a Woodrow Wilson Foundation grant. From
1968 to 1973, Evans was the producer, director, and writer for the
highly acclaimed television program “The Black Experience” for WTTV in Indianapolis, Indiana.
In 1968, Evans published her first volume of poetry, Where Is All the Music?
Like many African American poets of the time, she celebrated her
heritage while rejecting the conciliatory attitude of African American
poets from the 1920s and 1930s. “Though she was born during the Harlem Renaissance, Mari Evans’
poetry reveals little of the inclination toward compromise with white
values and forms that was cherished by most black intellectuals of that
period,” Alan R. Shu-card wrote in Contemporary Poets. “Quite the contrary, her work is informed by the uncompromising black pride that burgeoned in the 1960s.” In the poem “Who Can Be Born Black,” Evans showed her awareness of the differences between Harlem Renaissance poets and poets of her own generation. Evans’ poem is a response to Countee Cullen’s mid-1920s sonnet, “Yet Do I Marvel,” a long list of the horrors God has created, the worst of which is “To make a poet black, and bid him sing.” In contrast, Evans wrote, “Who/can be born black/and not/sing/the wonder of it/the joy/the/challenge… Who/can be born black/and not exult!”
In 1970 Evans published her second poetry collection entitled I Am a Black Woman,
which brought her wide critical attention, and an award for the most
distinguished book of poetry by an Indiana writer. Each of the poems in the collection is written from the viewpoint of a
different character, and marked her movement toward more
politically-based poetry. This is most evident in her third volume of
poetry, Night star: 1973-1978, which was published in 1981. “At the heart of Mari Evans’ Nightstar is a questioning of the ways in which we know ourselves and are known, and a recognition of the subtleties of identity,” Romey T. Keys wrote in the book’s introduction. “Her language can compass a range of people and things, sounds and sights, places and times.”
Evans launched her academic career in 1969, which has included
positions at several prestigious universities. From 1969 to 1970, she
was an instructor in African American literature and writer in residence
at Indiana University-Purdue. The following year, Evans moved to
Bloomington, Indiana, and accepted a job as assistant professor of
African American literature and writer in residence at Indiana
University. She taught at Indiana University until 1978. From 1972 to
1973, she combined her job at Indiana University with an appointment as a
visiting assistant professor at Northwestern University in Evanston,
Illinois. Her academic career continued with teaching appointments at
Purdue University from 1978 to 1980, at Washington University in St.
Louis in 1980, at Cornell University from 1981 to 1985, and at the State
University of New York-Albany from 1985 to 1986. Evans has also taught
at Miami University-Coral Gables, and Spelman College in Atlanta.
Apart from the world of academia, Evans has served as a consultant to
several organizations. From 1969 to 1970 she worked with the Discovery
Grant Program for the National Endowment for the Arts. She also served
as a consultant in ethnic studies for the Bobbs-Merrill Publishing
Company from 1970 to 1973.
In addition to poetry, Evans has written plays, essays, and short fiction. Choreographed versions of two of her plays, A Hand Is on the Gate and Walk Together Children, have had successful off-Broadway runs. She has written several books for children, including J.D.(1973),/ Look at Me! (1974), Singing Black (1976), and Jim Flying High (1979). Evans also edited an anthology, Black Women Writers (1950-1980): A Critical Evaluation, which was published in 1984.
By the mid-1980s, Evans’ place in the annals of African American literature was assured. As Peppers wrote in Dictionary of Literary Biography: “Her
volumes of poetry, her books for adolescents, her work for television
and other media, and her recently published volume on black women
writers between 1950 and 1980 ensure her a lasting place among those who
have made significant contributions to Afro-American life and culture.” Evans now writes children’s books that concentrate on black history and
culture for the younger population. The most important of her countless
awards for writing came in 1981 when she received the National
Endowment for the Arts Creative Writing Award. Evans’ impact on Africa
was reflected in 1997 when the Ugandan government issued a commemorative
postage stamp in her honor. Mari Evans is also an activist for prison reform, and is against corporal punishment. She currently works with theater groups and local community organizations.