the confession of a child of the century

Cases such as this were common; to murder a child was a common method used by many suicidal people.[1] The reasons for this were religious. The contemporary religious belief was that suicide would send the soul to hell; however, an executed person who confessed and repented his/her crime was believed to go straight to heaven. Children were not just ideal victims because they were easy prey due to their disadvantage in size and strength, but also because they were believed to be free of sin and, thus, did not have to receive absolution before death in order to go to heaven.[3] In 18th century Sweden, the wish to commit suicide was the most common reason for murdering a child, second only to unmarried women suffocating their newly-born infants after their secret birth.

The Lesson (”The Visit” Pt. 2)

“The Visit” (Pt. 1)  / “The Quest” (Pt. 3) / “The Confrontation” (Pt. 4)

Ao3 Link 

Author’s Note: Here is the second installment to my previous fanfic, “The Visit”. I hope you like it. I’ll be posting the third one soon. 

Aelin Ashryver Galathynius was out in a beautiful meadow, the wind in her hair, and her father and Rowan arguing behind her.

“You can NOT threaten to bite her because she does not have the ability to shift on command. She is only a child,” her father yelled.

“I can damn well do as I please,” Rowan yelled back.

“Have you ever trained a child? Has that ever occurred in your long existence?” Rhoe asked.

Aelin huffed from the rock she was perched on. She looked at the two men, the father that she loved dearly and the fae warrior she didn’t know anything about. The confession that she overheard Gavriel say last night made a lot of sense in the light of the day, but she still didn’t know how to get through to him. She was only seven and a little girl, he was centuries old and quite a bit intimidating for her to handle.

“Aelin,” Rhoe called. Her head snapped up from her daydreaming state. She looked at the both of them. From their expressions, they had been trying to get her attention for a while.

“Sorry,” she said sheepishly and unfurled from the rock and strode toward them.

Her father looked concerned, but Rowan was again stone faced.

“Let’s get back to it,” he said and stalked to the middle of the field.

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Alfred de Musset (11 December 1810 – 2 May 1857)

French dramatist, poet, and novelist. Along with his poetry, he is known for writing the autobiographical novel La Confession d'un enfant du siècle (The Confession of a Child of the Century). (Wikipedia)

From our stacks: 1. Frontispiece “Rolla. He leaned on the ledge of the window.” from Poems of Alfred de Musset. Done into English by Marie Agathe Clarke. Illustrations by M. Bida - Henri Pille. Volume Two. Printed for Subscribers Only by Edwin C. Hill Company, 1905. “One Thousand Copies have been printed on Large Paper. The first One Hundred and Fifty sets in Levant binding, Extra Illustrated, the remaining Eight Hundred and Fifty in Buckram. This is Copy No. 855″  2. Frontispiece “He leaned on the ledge of the window.” from The Complete Writings of Alfred de Musset. Done into English by George Santayana, Emily Shaw Forman, Marie Agathe Clarke. Illustrations by M. Bida - Henri Pille. Volume Two. Revised Edition. New York. Privately Printed for Subscribers Only. James L. Perkins and Company, 1908. “One Thousand Copies of this Edition De Luxe have been printed. This is copy number”


It is weird to actually speak about it, but it is true, it is different to be directed by a woman–and rare. […] There is both Julie’s sensitivity and point of view as a woman; and the complicity between us as women. She was my confidante. It’s not the same rapport of seduction as with a man.

Charlotte Gainsbourg on being directed by Julie Bertuccelli for The Tree

Charlotte Gainsbourg directed by women filmography:

Kung-fu master! dir. Agnès Varda (1988)
Jane B. for Agnes V. dir. Agnès Varda (1988)
Love, etc. dir. Marion Vernoux (1996)
Season’s Beatings dir. Danièle Thompson (1999)
Une star internationale dir. Laure Marc (2004)
My Heart Laid Bare dir. Yi Zhou (2008)
The Tree dir. Julie Bertuccelli (2010)
Confession of a Child of the Century dir. Sylvie Verheyde (2012)
Misunderstood dir. Asia Argento (2014)

I really hate Dumbledore. He is so unethical and everyone actually thinks he’s the good guy. He used everyone for his purpose and don’t even think of them until it’s their time to play their role. And yes, I’m talking about Harry. Because don’t tell me that the greatest wizard of the century couldn’t intimidate two Muggles enough to stop bullying an innocent child.

We are often deceived in love, often hurt, and often unhappy, but we love. We say to ourselves I’ve suffered often, I’ve been mistaken at times, but I’ve loved. It is I who has lived, not some artificial being created by my arrogance, by my boredom. I have loved. I will still have the courage. I will still have the courage to believe. Blessed is he who escapes his times.
—  Confession of A Child of The Century
Peter Doherty, interview for Plugged France, dec 2016

Peter: “Hi! Who’s speaking?

Hello Peter, it’s Thomas, from Plugged Magazine
 Hi Thomas. I’m waiting for the soundcheck for tonight’s gig. We have about 20 minutes.

I’m glad I’m finally able to talk to you because… [Peter interrupts me]
 Can you remember your dream, Tony?

[Silence, we think he’s talking to someone else]
 Tony? Tony are you still here?

Tony? No, I’m Thomas.
 Oh… Sorry. Can you remember your dream from last night Thomas?

Hum… No… Sorry. Why?
 Because I had a horrible dream. I’m still upset about it.

What kind of dream was it?
 Oh believe me, you don’t want to know!

Why did you tell me about it then?
 I don’t know.

Ok. Let’s talk about the Bataclan then, if you don’t mind. The first gig was very emotional for the audience. Was it emotional for you too?
 Yeah… Honestly, I was very anxious towards this gig. I didn’t know if I could make it. I was less into it the second night, but the first show was amazing. Many emotions, and also many good vibes. Are you French?

PD: How old are you?

35, why?
PD: Oh, we’re almost the same age! That’s cool.

Hum…Yes. Back to the Bataclan, you’ve always had a special relationship with France. Is that the reason you wanted to be one of the first artists to play there?
PD: Yeah, fuck yeah! It’s hard to talk about this. It was important for me, so important I didn’t want to fuck it up. It was a big honour to be on that stage, especially after what happened. I couldn’t believe it when I’d been asked. So many people died in Paris these last few years. And I love Paris you know. I could die for Paris! Love and Paris are the only things I’m ready to die for.

There was a very good atmosphere at your gig, very positive, really.
PD: Yes, I had never seen something like that. Many times, I stopped to watch the audience. I couldn’t believe my eyes. People were laughing and dancing… To be honest, I had never witnessed something like this in Paris. That’s not a very Parisian attitude.

Generally speaking, do you think the Parisian audience is cold?
PD: Not cold, I would say worried. Usually, you can see the audience half into the gig and half lost in thoughts. But that night, it was beautiful. My grandfather fought in Paris during the war.. He was wearing a uniform and was looking for a man. Have I told you this story yet?

Not at all!
PD: Well, he found the man! I’ll tell you another time.

Hum… Ok.
PD: Do you have some other questions? I’d like to stop talking about the Bataclan please.

Let’s talk about your new album, Hamburg Demonstrations. It’s hard to date the creation of the album, it has songs you’ve been playing for years. Was it written before, during or after the Libertines reunion?PD: No, no, no,no! Listen to me [He speaks louder, a bit irritated]. I just recorded some acoustic songs. Then I got back with the Libertines, with the tour and the new album. Then I went back to the studio and the producer had rearranged it. Hamburg Demonstrations, it’s… difficult. I don’t know what else to say. 

To make this record, you spent several months in Hamburg. How was it?
PD: I don’t know. It was horrible. I’m still an addict… In Hamburg, it was a daily struggle aganst a 98-tentacles octopus. (long pause)
Fuck, shut up. (pause)
Ok, can you call me back in 5 minutes? Bye!

[He hangs up, and 5 minutes later, we call his manager back.]

PD: Sorry, there’s been a big shower, I had to find a shelter.

Weren’t you inside the venue, waiting for the soundcheck?
 What were we talking about?

 Fuck it, I don’t want to talk about Hamburg anymore!

Let’s talk about the musicians who played on the record. Who are they?
 Seriously? What the fuck? I don’t know actually. Like I said, I recorded some acoustic drafts. So I have no idea. But it’s ok, it sounds good. [He asks his manager who the musicians are, but the story seems rather complicated.] Do you know the song Good Times by the Stone Roses?

Hum… Yes. Why?
PD: What’s the name of the song I’ve just quoted?

Good Times by the Stones Roses.
PD: Bravo! It was to make sure you were listening.

What’s the link?
PD: [He starts talking in French] Today, on my way to the venue, I had this song by the Stone Roses stuck in my head. That’s it. Next question!

Your record starts with Kolly Kibber. The title is a reference to Brighton Rock by Graham Greene, published in 1938. After Morrissey, Queen and some other English musicians, it seems it’s your turn to be inspired by this book.
PD: Yes, but the spelling is different, it’s originally Kolley Kibber. But that’s not very important. Have you seen the movie Control?

By Anton Corbijn about Joy Division? Yes of course!
PD: What’s the name of the main actor?

Sam Riley.
PD: Yes, that’s it, Sam Riley! He plays Pinkie in Brighton Rock. This movie is outrageous! I should have played this role! I know Sam Riley well, we went to school together.

Really? He’s a good actor.
PD: No, I’m kidding. We didn’t go to school together. It was a joke!

Hum… Ok. Back to the record then. On Birdcage, we can hear a female voice. Who is this girl?
PD: Ah thank you Thomas! Thank you very much!

Hum… You’re welcome.
PD: Seriously, thank you. It’s the first time I’m asked.

Ok, but who is she?
PD: It’s Suzie Martin. It’s a call girl I met in the Far West [laugh]. No I’m kidding. She’s an artist from Camden. Can you take a picture of me Thomas?

PD: Could you take a picture of me?

It’s complicated, I’m in Paris, you’re in Toulouse!
PD: Yeah! Do you own a microwave?

A microwave? Yes, like everyone.
PD: Ah yes, that’s it! I knew it. Finally, the truth is out!

You don’t have a microwave?
PD: A microwave? Why are you talking about microwaves? I need to speak to my press secretary! (pause) I had one on the tourbus but it drove me crazy.

You’re hard to follow!
PD:  Anyway, I think you are very polite.

I try.
PD: Where do you live?

In Paris.
PD: Which arrondissement?

The 19th.
PD: Is it near rue de Rome?

PD: Then I don’t know it.

It’s in the north of Paris.
PD: Oh, I have to stay away from the north of Paris, you know. It’s the place of temptations… Shit! I’ve just hurt my finger!

PD: It’s my nail. It hurts!  [A long monologue ensues, he makes a lot of bad jokes and asks us about the history of French Guiana, we don’t know why.]

On the first night at the Bataclan, we had the chance to see Carl Barât!
PD: Yes I know, I couldn’t believe my eyes! It wasn’t planned at all! Carl came at the last minute, it was totally improvised. It was magnificent [in French]. But I really had too many drinks after the show.

Carl is currently in theatres, in the movie For This Is My Body. Have you seen it?
PD: Not yet, but I saw some bits. Car is a great actor!  He’s brilliant! The first time I saw him, I knew he’d be a great actor!

A few years ago, you played alongside Charlotte Gainsbourg in Confessions of a Child of the Century. How was it?
PD: It was way too short. The director wanted to make a second movie but she didn’t get the money. It’s a pity, I was ready to do it! The story was about a postman and a prostitute, it was cool. Where are you?

Still in Paris!
PD: Is there a TV on?

No, why?
PD: I can hear noises. From behind you.

Well yeah, your manager called me unannounced, I’m in a hotel lobby, waiting to do another interview.
PD: I don’t like phone interviews. I would have preferred to meet you!

Are you joking? We’ve been trying to meet you for weeks, we were at the Bataclan for that!
PD: I suggest you come to Marseille tomorrow, we’ll finish this interview nicely.

I’m a bit skeptic. Six years ago, I went to Lille to meet you and you cancelled. I don’t really want to go to Marseille for nothing.
PD: Yes, but now we know each other! I don’t feel very well. Bye! [He hangs up]

fireyfobbitmedicine  asked:

When you watched the movie I'm gonna need a full on review

Here it is! Review of The Sealed Card in all its bullet-point glory.

  • Tomoyo filmed and edited all of Sakura’s adventures but “accidentally” forgot to cut out the extra footage of Syaoran because she is a romantic mastermind 
  • Eriol literally has no purpose anymore now that all of Clow Reed’s cards are Sakura’s cards but I assume he’s just gonna go fuck shit up somewhere else because there is no sense in letting unlimited magic power go to waste if you’re not going to alter some realities or levitate some pianos
  • For the first time in recorded history, Tomoeda is doing a play that isn’t entirely genderbent. Everyone is intrigued by this new creative vision.
  • It’s so great that in this universe, “want to talk to my other self? let me switch” is a completely normal line of dialogue
  • Meiling has taken all the energy she used to spend on fighting her insecurities and has thrown it all into aggressively shipping Sakura and Syaoran
  • I have never seen a public school with a theatre department budget this impressive. I congratulate their appreciation of the performance arts.
  • “The Nothing card has all the negative power to make up for the positive power of the other 52 cards” okay it’s nice to know that magic follows the law of conservation of energy and it’s keeping with the idea that the opposite of love is not hatred but apathy. But… what do you think the Erase card was
  • Whoops Yamazaki was “accidentally” hurt and “accidentally” can’t do the play any more so Syaoran “accidentally” has to fill in as Sakura’s “accidentally” love interest whoops
  • The whole play is about a Magic Stone that causes international conflict and the protagonists want to get rid of it rather that have it continue to exist. Suddenly, everyone who wants to destroy the Silver Crystal in Sailor Moon looks really sympathetic
  • Why does everyone assume that “having your friends and family erased from reality” is like a reversible thing
  • who is going to tell the Nothing Card that reducing the planet to a vacant vacuum of space is not the best way to make friends
  • Wow! It only took the ACTUAL APOCALYPSE for Sakura to confess her feelings to Syaoran
  • Sakura now has the power to create cards, which means that a few centuries after her death, she can also inhabit the body of a young child and choose a successor by putting them through a series of rigorous tasks and absurd situations. Or maybe she won’t because she’s not a terrible person.
  • And then there is an entire extra ten minutes of just Kero and Anti-Kero chasing a takoyaki ball around town, to diffuse the tension of the prospect of the end of life on earth
  • Final rating: 53 out of 52 Clow Cards
To Feel Normal

This ficlet is part of the Jamie Through the Stones AU which starts with Third Time’s the Charm.

This ficlet is a direct continuation from Borrowing Strength

My Fanfiction Master List

Available on AO3 as Written in the Stones

This is an Outlander canon divergence AU ficlet.

Let me know what you think.

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anonymous asked:

It is 2115, a century after the Incident in the tarot community dismantled tumblr, then the world. Everyone divides into factions based on their signifier. The majors rule with tyranny. The pentacles control the money. The swords are corrupted police. The wands are rebels gangs and the cups are social upper class. Each child draws a card on their thirteenth birthday that will dictate their role in society. A lanky green eyed girl draws, for the first time in history, a blank. (Or a strawberry).


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