The theme of November’s installation of my new “Top Ten” series is soul mates (in the magical realism sense). As always, this Top Ten Series is inspired by werewolfwagon, one of my favorite Sterek sources.
Note: Because this is my top ten soulmate fics, this list is based off of personal preference, not the fandom’s collective preference.
They watch the omegas in their class miss a week at a time for their heats, or turn up pregnant, or drop out entirely, and see even the nicest, brightest boys and girls get rude and dumb and aggressive after presenting as alphas. Privately, they wonder what the rush is about.
John and Sherlock are eighteen years old and still haven’t presented as alpha or omega, though they’re both sure they know how their cards have been dealt. That is their first mistake.
Everyone is born with the name of their Soul Mate on their finger. This is called their SBI, or Soul Bond Inscription, and from the time a person turns sixteen, they are locked in a Search for the person with the corresponding SBI; the person with their name on their finger, in the same color as their own SBI. They do not know when, and they do not know where. All they know is that at the end of their Search is the person they are meant to spend the rest of their life with.
That’s right. All those “big changes” I was talking about? They weren’t just lies so I could stop filling requests, I swear. I’m super excited to present a new series for this blog: Top Ten Fics. This is an idea I got from the absolutely wonderful werewolfwagon (an excellent Sterek fic source). I’m not sure what the time frame on these will be, but hopefully I’ll be able to do one every month or so.
This month’s theme is fluff.
It was a serious struggle to narrow this down to ten, and then order them. Undoubtedly I’ve forgotten some, but hopefully I’ve got the main ones on here. Note: Because this is my top ten fluff fics, this list is based off of personal preference, not the fandom’s collective preference.
Just where exactly is the line between “to love” and “to be in love”? What difference is required between “flatmate” and “husband”? (Besides the rings, obviously.) No, the important bit is that they have each other.
The two working in tandem, silently anticipating each other’s needs, is not unfamiliar to Greg, as they have become something of a smoothly oiled machine at crime scenes, but their easy comfort in such a domestic setting still surprises him.
The first time Sherlock kisses him, John keeps his eyes open, and so does Sherlock, and mostly, he wonders what Sherlock could possibly be up to. There’ll be some logic to this. Some ridiculous experiment about body warmth or respiratory rates or testing a new way of picking pockets. Sherlock does the unimaginable for bizarre reasons, but behind it, there’s always logic and curiosity. Sometimes, it just takes him a while to explain it to John.
A young Bruce Chatwin in an earlier life as an art expert at Sotheby’s. From The Songlines:
When I was in my twenties, I had a job as an ‘expert’ on modern painting with a well known firm of art auctioneers. We had sale-rooms in London and New York. I was one of the bright boys. People said I had a great career, if only I would play my cards right. One morning, I woke up blind.
During the course of the day, the sight returned to the left eye, but the right one stayed sluggish and clouded. The eye specialist who examined me said there was nothing wrong organically, and diagnosed the nature of the trouble.
“You’ve been looking too closely at pictures,”, he said. “Why don’t you swap them for some long horizons?”
Aboriginal Creation myths tell of the legendary totemic beings who had wandered over the continent in the Dreamtime, singing out the name of everything that crossed their path—birds, animals, plants, rocks, waterholes—and so singing the world into existence….
Each totemic ancestor, while travelling through the country, was thought to have scattered a trail of words and musical notes along the line of his footprints … these Dreaming-tracks lay over the land as ‘ways’ of communication between the most far-flung tribes….
In theory, at least, the whole of Australia could be read as a musical score.
“To lose a passport was the least of one’s worries: to lose a notebook was a catastrophe.”
– Bruce Chatwin inThe Songlines
Chatwin famously used Moleskine journals that he bought from a shop in Paris. When the manufacturer stopped making the notebooks Chatwin, as he liked to tell people, bought all the notebooks left in the Parisian store so he would have as many as possible.
Personally I am both a fan of the Moleskine notebook (except for the price) and the quotation above. I have been reduced to tears because I couldn’t find my notebook.
en los pies del fabuloso vestido hecho por Alexander McQueen, björk usó botas para escalar en el video de ‘who is it’ dirigido por Dawn Shadforth. hay una sección en la retrospectiva llamada 'songlines’, es un metodo de explorar por un paisaje físico recordando una canción. - [x]
Divided into three experiences, the exhibition endeavors to give a glimpse into the immense audio and visual landscape created over the last 20 years by the ground breaking experimental musician Björkand her collaborators.
As visitors enter the museum lobby, they encounter the otherworldly sounds of experimental instruments - a gameleste, pipe organ, gravity harp and Tesla coil - which were created specifically for Björk‘s Biophilia (2011) album.
Perched above in a pavilion specifically created for the exhibition, the Songlines experience invites the viewer to take an audio-guided journey through Björk’s albums designed to complement the displays of her costumes worn on tour and in music videos. The most intriguing artifacts are Björk’s notebooks which contain the original notes for the lyrics she penned to some of her greatest hits.
The highlight of the exhibition lies in the MoMA commissioned sound and video installation for the song Black Lake fromBjörk’s new Vulnicura (2015) album. The video features a radiantBjörkas she emerges from the depths of a deep cave as she overcomes the deep pain of her breakup with artist Matthew Barney.
“On the other hand, if you smashed or lost your tjuringa, you were beyond the pale, and had lost all hope of ‘returning.' of one young layabout in Alice, I heard it said, 'He hasn’t seen his truringa. He doesn’t know who he is.’”
– FromThe Songlinesby Bruce Chatwin
A 'Tjuringa’ is a sacred stone, on which is written the piece of the songline that belongs to a particular person. These are stored in a safe place and it is up to the individual to protect their tjuringa and keep it safe, therefore, keeping that piece of the song safe.
The Dreamtime, for the native peoples of Australia, is a kind of time out of time, a time hidden beyond, or rather, within the manifest presence of the land. It is that time before the world itself was entirely awake – a time that still exists just below the surface of wakeful awareness – that dawn when the totem ancestors first emerged from their slumber beneath the ground, and began to sing their way across the land. The earth, of course, was still in a malleable, half-awake state. And as the Dreamtime ancestors – Kangaroo Man, or Tortoise Woman, or Honey-Ant Man, or Wallaby Woman – as they first wandered, singing, across the surface of the earth, they were shaping the land as they traveled, forming valleys where they laid down, creating creeks or waterholes wherever they urinated, and forests where they kicked up dust etc. So today, when an aboriginal man goes walkabout, traveling along his ancestral dream tracks, he chants the verses originally sung by his dreaming ancestor, singing the land into view as he walks through it. And, in this manner, he renews not only his own life, but the very life of the land itself.
Because it is not humans alone who dream, and not just the other animals and the plants, but rather the land itself dreams, continually. The Dreamtime is not something that happened once and for all in the distant past; rather the Dreaming lies in the same realition to the open presence of the land around us as our own dream life lies in relation to our conscious or waking experience. It is a kind of depth, ambiguous and metamorphic. Indeed, it is a sense of both the past and the future not as dimensions that reside somewhere else, but as realms that are hidden, secretly, within the depths of the present moment. A sense of time as depth. Deep Time. – David Abram, from ‘Gary Snyder and the Renewal of Oral Culture’ as published in The Alliance for Wild Ethics