post war britain

Lieutenant Masoni of the 379th Bomb Group with Barbara Deane after crash landing his B-17 Flying Fortress in Deans’ garden, 4 July 1944… . Printed caption on reverse: ‘Independence Day Incident: American Bomber Lands In Garden In Southern England. With two engines out of commission and several of the crew wounded by flak, an American four-engined bomber returning from an early morning raid on targets in Normandy made a belly landing in a garden in Southern England on Independence Day. Photo Shows:- After the emergency landing Barbara Deane meets one of the airmen in front of the bomber. He is the navgator, Lt. Masoni, of New York City. Lal July 5 1944 PN.

@tcmparty live tweet schedule for the week beginning Monday, April 17, 2017. Look for us on Twitter…watch and tweet along…remember to add #TCMParty to your tweets so everyone can find them :) All times are Eastern.

Friday, April 21 @ 10:15 PM
Two married strangers meet in a train station and fall in love.

The most effective propaganda is found not in the Sun or on Fox News - but beneath a liberal halo. When the New York Times published claims that Saddam Hussein had weapons of mass destruction, its fake evidence was believed, because it wasn’t Fox News; it was the New York Times. The same is true of the Washington Post and the Guardian, both of which have played a critical role in conditioning their readers to accept a new and dangerous cold war. All three liberal newspapers have misrepresented events in Ukraine as a malign act by Russia - when, in fact, the fascist led coup in Ukraine was the work of the United States, aided by Germany and NATO.
—  John Pilger, ‘War by media and the triumph of propaganda’

The thing is, capitalism has never been reformed ‘peacefully’.

Reform movements which have formally disavowed violent means - from the Civil Rights movement in 1960s America, to Attlee’s Labour government in 1940s Britain - have only been historically successful because mass, organised, revolutionary movements of the politically disenfranchised outside of the formal reform movement have forced those benefiting from the status quo to cede concessions to non-violent, often middle-class, reformist leaders. Malcolm X, the Socialist Party of the USA and the Communist Party forced the American elite to come to the table with Dr. King; the syndicalist and communist trade unions in post-War Britain made opposition to Attlee’s NHS and limited nationalisations foolhardy.

Those who preach non-violence as a strategy rather than as a flexible tactic fatally mistake capitalism for a rational, logical system which plays by its own rules and respects human life.

We know better.

honestly, when people complain how our generation wastes so much time producing silly things like memes, instagram posts or ‘frivolous’ fb posts about what we ate for lunch- it’s so incredibly myopic.

if we back up this stuff well electronically- we’re leaving a goldmine for historians centuries and centuries from now. one major problem for historians trying to piece together how things were like for people in Ancient Egypt or Roman Britain or any other ancient time period is that you might often not find many surviving records for the mundane stuff people did. Sure, you might find a treaty or decree or poem about XYZ emperor or pharaoh but that means what you know is mostly about the wealthy political class, not the rest of society. You have to infer and fill in the blanks a lot more because you can’t read what people thought in their own words. When you have ‘mundane’ records? An exam question I once did was about the diaries of housewives in immediate post-war Britain, and that was just as important to getting a picture of the late 1940s-50s as whatever the PM or the Queen was saying. Or just like how historians would be really interested in letters penned by low-ranking Roman soldiers, complaining about the shitty weather here and asking for warm socks and underwear. ‘cos how else do you get an idea of how people lived? Roman life wasn’t all speeches and political decrees by emperors and senators. the mundane is important.

personally, i think it’s great. never in human history have so many people been literate and able to leave records in our own words. 

Because the world is fucking terrible, some of the AU @mzminola and I began working up the other night.

5.  Grifter

The Malfoy Family took off for the continent before enough of the dust cleared for the good guys–whoever they were–to start asking questions or decide what, exactly, ought to become of them.

It took about a week for Draco’s head to get all its thoughts lined up again and get a handle on just what the hell has become of his life in the past…

Month?  Year?  Decade?  His entire life up until this point, basically?  Every moment that ever led up to his existence going back all the way to the very first Malfoys running Muggle-hunts over the moors?

Well.  Yes, that, but also and more importantly: he and his entire family were at least nominally fugitives, and they’d left the better part of all their worldly possessions back in England.  Bugger all.

Keep reading

Arthurian Legends

The early Arthur: history and myth

  • De Excidio Britanniae by Gildas, 490-560. To castigate the native British of his time in general, and a specific set of their kings in particular for their sins. In process he did provide something like an account of British history since the end of Roman rule, but it was sketchy, selective and vague, It was intended to  accuse the Britons of being both morally bad and unwarlike, and their defeats by the English as a just punishment by God.
  • Bede, 730s. To make out his own people, the English, to be the chosen people of God and the true heirs of the Romans. To justify that view, the native British had to be like the Biblical Canaanites: the low life that got swept aside in the proper implementation of God’s plan for Britain.
  • Historia Brittonum completed in Gwynedd, the north-western kingdom of Wales, at the behest of its monarch, Merfyn, during the year 830. It represented the Welsh as the natural and rightful owners of all Britain: pious, warlike and gallant folk who had lost control of most of their land to the invading English, because of a mixture of treachery and overwhelming numbers on the part of the invaders. Established the Arthur who has been commonly regarded, even since the collapse of belief in the later medieval pseudo-histories of Britain, as the ‘real’ one.
  • Oliver Padel: physical ‘wonders’ associated with Arthur represent the original, completely imaginary figure behind the legend, a giant associated with magic and with marvelous animals, who was later turned by some traditions into a quasi-historical warrior. Arthur and Fionn are the same mythical being, a land-protecting superman, deployed in different linguistic regions.
  • Stories among the Ossetians, a people living in a remote part of Caucasus Mountains. A mechanism has been found to explain how these traditions could have been transmitted to Britain, in the form of Sarmatian cavalry from the steppes north of the Caucasus, who were deployed by the Romans.
  • The legend in archaic Greece. A king of Arcadia called Arktouros. 104 passages in Greek and Roman literature that appear to refer to characters or episodes from the Arthurian romances.
  • The traditional appeal of archeology, since it began to emerge in the late nineteenth century, has been as a quest romance, undertaken to reveal the truth about particular episodes of the human past. Hugely more expensive than historical studies, and projects that make a powerful appeal to the popular imagination stand the best chance of raising the necessary money. To a post-war Britain, caught in the process of resigning its imperial and Great Power status, and jettisoning most of the attitudes and ideologies left from its Victorian apogee, the Arthur of the Historia Brittonum seemed to be a traditional hero better fitted than most to adapt to changing needs. Funding decreased later, reflecting the waning of the 1960s romanticism and idealism, in the harsher, more cynical and more pessimistic cultural climate of the late 1970s.
  • Ever since he appears in the record, Arthur has been more than one kind of being, demanding more than one kind of understanding. In that sense, the ‘early’ Arthur is actually more complex than many of those who have featured in legend since.

The twelfth-century Arthur

  • The History of Kings of Britain, Geoffrey of Monmouth. Invented a proud past for Britain before the invasions of foreign races. (On the face of it, there was nothing to be proud of: the Celts had been overrun, first by the Romans, then by the Anglo-Saxons, and then again by the Normans.)
  • Arthur so close comes to realizing it that the story of his rise and fall seems to have been shaped to impress upon us its tragic quality of ‘almost-but-not-quite’.
  • Chretien de Troyes. Having thrown off the shackles of history, he presents a universe that is self-consciously fictional and obeys its own rules. When he does not want to provide any justification for these rules, he simply calls them ‘customs’. The Knight of the Cart: true lovers know that Love has its own laws and is itself a religion, so if Lancelot’s actions are shameful and objectionable by all reasonable standards (Christian morality, chivalric honour), they are paradoxically necessary and meritorious in the cause of Love. The Story of the Grail: inscrutable principles of causality.
  • Grail: ‘a serving dish’, though certainly elevated beyond the ordinary by describing it in hyperboles and by giving it the sacred function of carrying the eucharist (Chretien). The cup of the Last Supper, given by Pilate to Jesus’ disciple Joseph of Arimathea (Robert de Boron). An emanation of the divine in the earthly world (Vulgate). A stone, lapsit exillis, once the seat of the neutral guarded angels and is now jealously guarded by the Grail family who live on the food it miraculously provides (Wolfram von Eschenbach).

The thirteenth-century Arthur

  • The ethic of solitary and individual enterprise; the knight-errant hero and the quest; the search for chivalric identity; the court of Arthur as the point of departure and the benchmark for individual adventure; the tournament as the locus for chivalric competition; the exploration of sexuality and desire; the conflict and reconciliation of love and chivalry; the pleasures of deferral; the problematic and irresistible ultimate adventure, the Grail.
  • Fascination of the Grail: deferral – ‘ending’, which one would expect to be the first consideration of any continuator, is not a preoccupation. The marked tendency towards cyclicity.
  • Robert de Boron responsible for the leap of imagination which transforms Chretien’s mysterious but neboulous Grail into the cup of the Last Supper. Wolfram von Eschenbach transforms the dish into a stone with mysterious powers guarded in a Grail Castle Munsalvaesche by an order of Grail Knights.
  • Lancelot remains as the epitome of passionate love and it is his son, Galahad, named for the ancestor whose connections link him directly to Christ, chaste and unsullied, engendered in mysterious and magical circumstances, who usurps his father’s name and takes on the role of spiritual hero. He is who finally achieves the Grail and puts an end to the ‘adventures’ of Logres. Lest the Grail quest come to seem a mere parenthesis in the biography of Lancelot and the history of Arthur, it becomes their defining moment: in the wake of the disappearance of the Grail, the Knights of the Round Table lose the chivalric impetus that built the kingdom.
  • The image of an ideological continuity, an ordered vision of world history. It is not fate which destroys the Arthurian idyll, but moral and spiritual forces generated by the characters themselves, and which find their narrative roots hundreds of pages previously. This is a vision of world history encapsulated in the dream of Fortune’s Wheel which Arthur is vouchsafed before the final battle and which epitomizes an organic understanding of world history and the rise and fall of kingdoms and civilizations.
  • Controlled narrative. Crucial to it is the pattern alternating assembly with dispersal: the great religious festivals which bring the Round Table at Arthur’s court as both the locus for communal activity and the arena from which individual knights are scattered to solitary adventure. Alternating chivalric activity with withdrawal.
  • Early Gawain romances: burlesque, faintly louche atmosphere. Gawain appears as a flirt if not an outright seducer.
  • The thirteenth century institutionalizes the parameters of what the modern reader will think of as ‘the Arthurian legend’; that makes Arthur the epitome of personal misrule; makes the overwhelming adulterous passions something to be celebrated (while recognizing its potential for tragedy); favours the collective over the individual enterprise; honours the elect and his impossible spiritual excellence over the prowess of the merely mortal.

The fourteenth-century Arthur

  • Arthur passes from defending his own territory to conquering lands held by the Emperor of Rome. Arthur’s war-plans become openly imperialistic. He claims his descent from those British kings who formerly ruled Rome – just such an argument was used by English kings of the time in support of their claims on Scotland.
  • ‘Truth’ is a key item in fourteenth-century English vocabulary; denoted all kinds of fidelity – to a lord, a companion, or a lover, and also to one’s own pledged word.
  • Sir Gawain: the logic of stories such as this predicts that a hero who faithfully keeps to his agreement will be spared by his adversary at the return match. Green Knight blames Gawain the less since it was because ‘he loved his life’ that Gawain clung on to the belt – a politer way od referring to his fear of death, a natural passion.

The fifteenth-century Arthur

  • Malory’s immense subsequent influence lies in his perception that there might be unity that made sense of Arthur’s career and the Round Table world as a whole.
  • By contrast, in Scots traditions, the illegitimate Arthur usurped the rightful heir Mordred, son of Uther’s only legitimate child Anna and Lot of Lothian, so that Mordred’s rebellion becomes his bid for his birthright.
  • Dame Ragnelle. Gawain plays a central role characterized not only by his brave submission to tests, but also by his avoidance of coercion and courteous respect for others’ identity. Arthur himself – not in control of events – presented in a questionable and undignified light.
  • Arthur’s imperious impetus to compel submission and to appropriate. Chivalrously compassionate conqueror (Malory). Campaign to overcome Rome itself is both his crowning achievement yet also (implicitly) a hubristic overstepping, promptly undermined by news of Mordred’s treachery at home.
  • The obsessive and destructive passion of Tristan and Iseult – claustrophobic, antisocial, furtive and amoral. Malory’s Tristram portrays a fantasy of chivalric society – floating free of concern for any historical moment or political responsibility – it defines its own realities. It can stand for the extended summer of Arthurian chivalry at the heart of Malory’s Arthuriad.
  • ‘Joseph of Glastonbury’ aa the apostolic missionary to Britain and a new English national saint, and such affirmation of Britain’s conversion within living memory of Christ’s ministry had major diplomatic implications. At the Councils of Pisa (1409), Constance (17), Siena (24) and Basle (34), the English delegations invoked England’s conversion in bolstering her claims to rank as a nation alongside France, Spain, Germany and Italy; the date of Joseph’s arrival was moved progressively earlier to counter impertinent French claims for the primacy of their St Denis.
  • Malory’s hermits offer ethical judgements instead of mystical or typological expositions.
  • Arthur values the corporate ideal of the Round Table not only more highly than his wife but also more than any personal interest or injury.
  • The shrewishly capricious personality of Malory’s Guinevere, who so takes her lover for granted, catches something of the unromantic reality of a long-established relationship as Lancelot experiences it. Yet Guinevere has immortal longings in her, and comes to an end that both transcends her life and character, yet proves a development of her earlier constancy.

The Arthur of the sixteenth to nineteenth centuries

  • The Scots doubt. The increasing value given to classical learning over medieval tradition: Aeneas more credible nation-builder than Arthur. The new style of Tudor administrative organization made the idea of a king ruling through his great warriors with advice from a magical grand vizier seem improbable and irrelevant. Protestantism recoiled from Arthur’s Catholic ambience and Puritan moralism found the cheerful violence and sexual awareness unappealing.
  • Arthur’s deployment as an icon to validate the seizure and maintenance of royal power, and to euphemize military power from Edward I to Henry VIII.
  • English writers found it compelling to imagine the conquest of the cold, bracing regions to the north as a kind of ideological, political, response to the luxurious antiquity and power of the south.

Questioning Arthurian ideals

  • The romance could soothe tensions between different social groups within the aristocracy by offering an idealized version of unity in the form of the Round Table. The glamorizing of a royal court at which barons would attend for long periods, and so be prevented from building up a power-base in their own provincial lands, was very much in the interests of the monarchy.
  • National politics and prejudices can have a bearing on attitudes to the Arthurian story, as can the desire of clerical authors to educate the aggressive nobility of the twelfth and thirteenth centuries into more courtly behaviour.
  • The Grail introduces the notion of sin into Arthurian romance. In this new context, the choice of black or white armour carries moral significance, and beautiful damsel in distress may turn out to be devils in disguise.
  • In later Middle Ages, there seems to be a shift to stories about mistakes and failures. Failure is built into the Arthurian legend seen as a whole. Arthur and his Round Table knights do tame the wilderness and introduce civilization – but it cannot last. The flawed and doomed idealism and heroism of the Arthurian world are responsible for the enduring appeal of the legend.

Arthurian ethics

  • Arthurian scene is never now. Arthurian chivalry always lies in a past discontinuous from the present or in some fantastical otherwhere, and its contemplated at a distance by a consciously ‘modern’ commentator.
  • Somewhat like the Aboriginal ‘Dreamtime’, ‘Arthurtime’ exists in a constant tension with the present, pressing upon it and on what it may imminently become: neither now nor never.
  • Our moral judgements o  ‘Arthur Life’ and its actors are complicated by our perception of them as neither ‘us’ nor ‘not-us’ and neither real nor inconsequential.
  • Arthurian writers and readers can never fully inhabit the Arthurian moment, neither can its residents.
  • The characteristic Arthurian dilemmas can only be resolved in an elsewhere outside the court, a fantasy space receding within the works themselves. Thus the Grail is achieved in a distant castle, and knights love happily in far-flung domains.
  • ‘Camelot’, viewed as the conjunction of a set of ideals with a lived place, is an inaccessible object of desire and anxiety within the Arthurian world.
  • In the thirteenth century, Arthurian romances distanced themselves from the intellectual playfulness and ethical experimentation of the early works. The Arthurian moral space becomes didactic, a place of lessons directed to the text’s own present. Paradox and irony now signal a tragic mystery weighing on the human race.

Imperial Arthur: home and away

  • Today, Arthur’s imperial conquest is the least popular and least often retold of the main stories about him in medieval literature.
  • Rome embodies what is pre-eminently desirable but the Romans are enemies; the idea is for the British to beat them, not to be them. To become ‘Romans’ would be to become foreigners whose rule is arrogant oppression, so in that respect it may seem necessary as well as tragic for Arthur not to get over the Alps into Italy.
  • The central theme of Morte d’Arthur is to find an antidote for War (White). The literary result is a half-nostalgic, half-despairing retelling of the medieval story as a challenge to the European legacy of violence and militarism. White’s work is fundamentally about the socio-political and psychological effects of education and upbringing.
  • The Cold War concern with Western unity based on alliance with USA found several aspects of Arthurianism congenial: the political centrism of Camelot from which all adventures start and to which all return – the period of J.F.K.’s presidency later became known as ‘Camelot’; the Round Table, symbolizing political unity of the world itself; the sword Excalibur, understood as a symbol that ‘true’ power belongs to one wielder alone, whom all good people will benefit from supporting.
  • The modern discarding of Arthur’s Roman wars is more a means of preserving than abandoning the imperialist potential that they once realized. Arthur is allowed to make war without too many questions asked. The pressing Saxon threat and need for unity justify his will to dominate Britain. Without the further narrative of continental campaigns, he suffers less scrutiny of personal ambition and military aggression in many modern versions than in later medieval texts. Modern Arthurianism still seems wedded to the concept of a ‘true’ ruler, in whom imperium is vested by a superior and unquestionable right. However far from Rome, Arthur still claims the power to intuit the order of things and set global goals, on a destined mission to unite, control and justify his world.

Love and adultery: Arthur’s affairs (the BEST chapter)

  • In romance narratives, the queen’s adultery is a transgression against the king. The queen’s conception of illegitimate child would threaten the proper succession of the throne in a way that the birth of a king’s bastard would not, since the queen’s child would be born into the royal family, whether or not her husband was the father.
  • In the Post-Vulgate version, the king’s incestuous liaison with his sister is recounted at both the beginning and the end of King Arthur’s story – an effort to make sense of the consequences of the king’s sexual transgression or to displace the queen’s adultery with the king’s incest by identifying the king’s transgression, rather than the queen’s, as the cause of destruction of Arthur’s kingdom.
  • Arthur’s relationships with his lovers do not endure, but his love for them does, even after their deaths. If his love is initially won through magic, Arthur continues to love the women he has lost after the magic is no longer effective. He continues to love women who betrayed him, who seduced him with magic and drugs to take his land or his power.
  • As a spectator of battles rather than participant, Arthur risks his body only in love.
  • The body metaphors used to describe kingship in medieval political theory to explain Arthur’s bodily vulnerability to seduction. The immortal yet human nature of the royal sovereign is represented by the king’s two bodies, one undying and transcendent, the other mortal and human. While the body of the man experiences the pleasures and vicissitudes of human existence, the corporate body of the king transcends them through enduring symbolic power. This distinction doesn’t apply to representations of Arthur’s bodily vulnerability in love. In his case, the transcendent value of the king’s symbolic corporate body is inseparable from the king’s material body. To control the king’s body – through spells, with drugs, by love – is to control the kingdom. It locates kingship in the material body of the king.
  • The lack of an evident succession locates kingship in Arthur’s own personal body. His corporate body doesn’t extend to an heir; the symbolic, corporate body of the king is contained by, subsumed by, the king’s material body. In this, the kings is like the queen.
  • The status of a medieval queen is grounded in her material body – in medieval monarchy, the role of a queen is to produce an heir. The queen has no symbolic body through which she exercises or claims authority. For a medieval queen, personal and political influence are gained through the birth of the king’s heir. The queen might gain symbolic power only through her material body, as mother of the king’s heir. She may claim authority based on a relationship with her son.
  • Arthur is also like aa queen in his vulnerability to sexual intrigue. His status and authority are located In his body, and that body is vulnerable to seductions that threaten his status and authority. If the status in the king’s court depends on the king’s favour – on the king’s love – then the danger at the heart of the court is not so much that Arthur will be taken captive, but that Arthur will love his captor, not so much that Arthur will be seduced, but that Arthur will love his seduces.
  • The danger at the heart of the court is that Arthur will love a dangerous woman. If Arthur is vulnerable it is not – or not only – because he is betrayed by those he loves, but because he loves traitors.

Arthurian geography

  • Importance of water, and land somehow bounded by water, to the Matter of Britain from its origins: Arthur’s sword coming from and being returned to some mysterious watery realm, Lancelot and Gawain attempting to cross dangerous bridges into a kingdom that seems not quite mortal, the knights in numerous texts who defend less-unearthly bridges as a point of honour.
  • Tintagel seems to have been inhabited in the years following the withdrawal of the Roman legions from Britain, and was connected through trade with the continent and the Mediterrean.

anonymous asked:

Hey! Can you do a growing up together fic rec? Basically ones where they've known each other since childhood and they grow up together. And if I missed a rec post you've already done, could you link me to it? Thanks xx

Ooooh I love this request !!

- nocturne in silver and blue  :  There’s a boy sitting on the branch. Harry’s sure he’s a real, live boy, not a pretend one. Only– he doesn’t look like any boy Harry’s seen before. Because he glows. His skin looks like there’s a gentle light coming out of it, and if Harry squints– are those colours on the boy’s skin? Harry suddenly thinks, looking at him, that he looks just like the sky. [louis is a fallen star and harry brings him home. told over the course of fourteen years.] (97k)

- Candles On Air : Harry’s smile is filled with unconditional love — just not the right kind. Louis has told himself for years that it’s okay. Harry loving him the way he can is enough. Each year it gets a little harder to repeat the same mantra.  "It gets better. It will pass. His friendship is enough.“  Harry has taken the liberty of putting on classic Christmas tunes on the speaker in the kitchen, and as their shared flat isn’t the largest Louis can hear Mariah Carey’s crooning from where he’s perched on the small sofa in the living room. Harry is on the floor, humming along. And yes. All Louis wants for Christmas is Harry.A Christmas AU ft. Pining, Heartbreak, and maybe A Happy Ending. (30k)

- I’ll Fly Away: Harry and Louis grew up together in Lake County, Harry with his mom and stepdad in a tiny cottage on Edward’s Lake and Louis in his family’s farmhouse a few minutes down the road. But after high school, Louis stuck around and Harry did not; Harry went to Chicago where he found a boyfriend and couple of college degrees. Six years later, Harry ends up back in Edwardsville for the summer and he and Louis fall into old patterns and discover new ones.ft. One Direction, the local boyband; Horan’s Bar and Grill; families, most especially children and babies; Officer Liam Payne; many local festivals and fireworks displays; and Anne Cox, PFLAG President. (122k)

- your kisses burn (only love can hurt like this) : it’s winter-time again, and all harry can focus on is trying to get over the insane crush he has on his best friend. or they’ve been best friends almost longer than they have known how to walk, and harry’s been in love for twenty seven years. ‘12k)

- Counting The Steps Between Us :AU. So, yeah. That year abroad helped Harry establish that he is in love with his best friend. Now, if Louis would stop treating him like a little brother, that would be awesome. (Additional ingredients: a collapsing tree house, a lot of pining, the other three boys as Louis’ new best mates from university, and a camping trip. Serve hot.) (24k)

- I Love You Most  : Friends with benefits has always been enough for Louis. Until, of course, it isn’t.  (12k)

- Two Steps Behind : “Can I play?” He’s far away enough that he almost has to yell a little bit. He’s got one leg steadying him on the ground, and he’s holding the handles of his bike as tightly as he can. He doesn’t want to fall off in front of the older kids - the cooler kids.“We’ve got four of us, though, and we don’t want uneven teams,” Zayn lies apologetically, and Louis frowns. He’s not stupid. They don’t want to play with him. “Maybe tomorrow.” That’s also a lie, because Zayn said the same thing yesterday and now it’s tomorrow and Louis is being told no, again. His head is spinning with rejection and confusion and, most of all, disappointment. (Or, Louis is two years younger than his neighbors, Harry, Liam, Niall, and Zayn, and he grows up bending over backwards to get their attention and acceptance. Especially Harry’s.) (38k)

- Auf Wiedersehen, Sweetheart : Louis and Harry had been childhood best friends, but had been separated by evacuation as the city they grew up in was destroyed around them. Now, twelve years later, they are both back in London, and through chance they meet again. In a time when you can’t admit to being gay, for fear of arrest, admitting to your best friend that you love them seems like an insurmountable obstacle.Featuring boxer Harry and mechanic Louis, much pining, and a lot of post war Britain (19k)

- Faking It : uni AU in which Louis has been Harry’s best friend since he offered him cubed fruit on the playground, and they spend more time cuddling in their dorm beds than they do apart, but it’s not like that. Or is it? Aka Harry pretends to date his best friend to escape unwanted attention from a too insistent classmate and hopes it won’t blow up in his face. Featuring embarrassing dildo accidents, awkward boners, longing, first times, late night conversations, emotional discoveries and Niall as the exasperated friend with bad advice. (45k)

- Long Before We Both Thought The Same Thing: “So are you admitting you love Harry yet?”Louis pauses in the middle of his story about the movie he and Harry went to see last night to raise an incredulous eyebrow. “What are you on about? Of course I love Harry.”Has Zayn lost his mind? He’s been friends with Louis for nearly seven years and Harry for six, under what circumstances did it appear like they didn’t love each other? “Okay, let me rephrase,” Zayn says, an amused little quirk to his mouth like he knows something Louis doesn’t. “Are you admitting you’re in love with Harry yet?” Louis stares at him in bewilderment, mouth working as he tries to form a response. “I…what?”*Or, Louis maybe, sort of realises he’s in love with his best friend of almost twenty years and he maybe, sort of thinks that said best friend could love him back? (36k)

- The Five Letters Harry Wrote Louis, and the One He Sent  : Louis has been a part of Harry’s life since before he was born. (6.5k)

- My Only Sunshine : Harry and Louis have known each other since the start of everything.When Harry is only a few weeks old, and Louis is two, the older boy is immediately intrigued by the little person in the carry cot.
Jay knows that it will be difficult to keep her son away from her best friend’s little boy.
Auf Wiedersehen, Sweetheart - Anonymous - One Direction (Band) [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

Auf Wiedersehen, Sweetheart for noellehenry
Word count: 19277
Louis and Harry had been childhood best friends, but had been separated by evacuation as the city they grew up in was destroyed around them. Now, twelve years later, they are both back in London, and through chance they meet again. In a time when you can’t admit to being gay, for fear of arrest, admitting to your best friend that you love them seems like an insurmountable obstacle.

Featuring boxer Harry and mechanic Louis, much pining, and a lot of post war Britain

Shacklebolt to resign?

3rd July 2016

Kingsley Shacklebolt’s position as Minister of Magic has today been speculated, following rumours he is pondering his resignation.

A spontaneous cabinet meeting of all Heads of Department was called by Shacklebolt yesterday evening, presumably to discuss the matters surrounding Shacklebolt’s rumoured departure. The minister’s secretary Lance Spair refused to comment on the matter when questioned earlier this morning, though appeared slightly flustered and fatigued; Daily Prophet photographer Jules Fernhead noted that “he’d clearly been in meetings all night, he was wearing his jumper back to front.”

Shacklebolt celebrated his 18th year as minister last month, and is not due for another election until 2019. Recent polls illustrate a strong national approval for Shacklebolt’s post, leading many to question the basis for possibly vacating his role.

There are a variety of potential reasons for Shacklebolt’s likely abdication, since the Ministry has faced recent turmoil following the abnormal movements of trolls, giants and werewolves during the past 8 months. Muggle Britain’s inevitable departure from the EU is also another likely trigger, the imminent arduous negotiations over the next 4 years could perhaps be a step too far for the 67-year-old.

The possibility of Shacklebolt leaving his post has also aroused rumours of his successor; probable individuals include Head of the Department for International Co-Operation Deon Royston and Head of the Department of Magical Education Astarte Samson. Though the most foreseeable candidate would be Head of the Department for Magical Law Enforcement, Hermione Granger. Granger has headed the department for 2 years and has worked an effective partnership with Shacklebolt, whose alliance dates back to the legendary ‘Order of the Phoenix‘. At only 36-years-old, If Granger were elected she would be the youngest Minister since the MoM’s inception in 1707.

Shacklebolt has overseen the rocky transition of post-war Britain, imposing various political and constitutional reforms which have shaped the stable society we live in today. Though many would be disheartened by his departure, if he did leave, there is no doubt he will be one of the most highly regarded M.o.M’s in British history.

queerlaurabarton  asked:

I know you like British mystery tv so I was wondering if you have any cozy tv mysteries you would recommend? The kind of stuff you can kind of turn off your brain & knit or fold clothing to? I'm not sure what to start next. thanks!

COZY BRITISH MURDER MYSTERIES my favourite thing. Recs in no particular order:

Midsomer Murders is my go-to “turn off my brain and do crafts” CBMM because it is. Fundamentally kind of dumb. It’s been going for nearly twenty years and they’ve gone through two inspectors and, like, a million sergeants, not to mention who knows how many pathologists, yet it meanders on because continuity isn’t important, what is important is:

  • at least three corpses an episode
  • really weird deaths, ask me about the catapult
  • a healthy sprinkling of incest, 50/50 whether it’s knowingly or unknowingly
  • everybody is awful so you’re never sorry when the extra corpses start showing up
  • beautiful English countryside
  • all white people, all the time

There is nothing positive I would definitively recommend it for and yet I’ve watched eighteen out of nineteen seasons. It’s…that kind of show. 

Poirot is similar but with, obviously, a 1930s vibe. Ironically it has way more character continuity than the books, because Agatha Christie clearly didn’t care about anybody except Poirot himself, but David Suchet is a delight as Poirot and it’s solid translation of the Golden Age detective story to TV. Very easy to drift away from the actual plot in this one, but it doesn’t really matter because Poirot will always helpfully get everybody in a room together and explain what happened at the end of the episode. 

Miss Marple: the same, but with a little old lady instead of an eccentric Belgian and more nostalgia for the vanished nineteenth century. 

Lewis: is technically a follow-on to Inspector Morse, apparently one of the most popular CBMM shows of all time, but I’ve never seen Morse and don’t plan to and it works for me. Has a fair stab at representing modern Oxford as it actually is demographically. Much more of a buddy cop vibe than the CBMM usually has. Does require you to pay some attention because it’s the kind of show where stuff is implied not said outright. Requires a MASSIVE transphobia warning for one second-season episode, Life Born of Fire, which sucks because that’s also the episode that gives us an effectively canon bi main character, so fuck you, writers, I don’t wanna have to pick. 

Rosemary & Thyme: I know you’ve seen this but for anybody else looking for recs in this genre, this is a hidden gem. A botany professor who’s just been fired and a housewife whose husband has just left her team up to start a gardening business and Solve Crime, everything is beautiful and nothing hurts (except the dead people, but, you know, priorities.) The rare example of the slashy buddy murder mystery With Ladies. 

Foyle’s War: The CBMM takes a detour to the South Downs during World War II. Really great if you like history because they take care to tie most episodes into the ongoing events on the Home Front of the war, and - in the final couple of seasons - post-war Britain. Also unusual in that while our lead DCS Foyle has a sergeant, who I find frankly irritating, the real secondary lead is his driver Sam Stewart, and she is The Best. 

I know I have a bunch of followers who also enjoy this genre, so other suggestions, people? 

Auf Wiedersehen, Sweetheart (19277 words) by Anonymous
Chapters: 1/1
Fandom: One Direction (Band)
Rating: Mature
Warnings: Creator Chose Not To Use Archive Warnings
Relationships: Harry Styles/Louis Tomlinson, Louis Tomlinson/Original Male Character(s), Liam Payne/Original Female Character(s)
Characters: Harry Styles, Louis Tomlinson, Niall Horan, Liam Payne, Nick Grimshaw, Jeff Azoff, Zayn Malik, Original Male Character(s)
Additional Tags: Ok the OMC, is not as bad as it might sound, so please don’t avoid it cause of that, it’s a plot device, 1950s AU, Post War AU, post war britain, Boxer Harry, Mechanic Louis, Baker Harry, Childhood Friends, who lose each other, and then find each other again, Pining, so much pining, very little smut, Slow Burn

Louis and Harry had been childhood best friends, but had been separated by evacuation as the city they grew up in was destroyed around them. Now, twelve years later, they are both back in London, and through chance they meet again. In a time when you can’t admit to being gay, for fear of arrest, admitting to your best friend that you love them seems like an insurmountable obstacle.

Featuring boxer Harry and mechanic Louis, much pining, and a lot of post war Britain

—— This fic was amazing!! I read it all in one go and the ending was so touching I cried. It is beautifully written and is so perfectly fitting with the time period, I adore it! Defo a must read!