a fool's musings

Boreas by Waterhouse
Fool, said my muse to me,
look in thy heart and write...

Warning: Adult Content

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"pathological and unbalanced"

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    Music
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12.04.02 - 10:53 p.m.

Eli's coming...

Just took NyQuil, so I may be facedown on the keyboard before I get this typed, but I just watched the last episodes of season 1, and goddamn, Sorkin does like to recycle his own plots and dialogue and even episode names.

I never noticed that before -- that Jeremy's father and Sam's father did exactly the same thing. That the season finale for the first season of both shows is called "What Kind of Day Has It Been?"

I mean, I knew Jeremy was Sam, but for a while I was thinking Casey was Josh (just from the pure jackass POV), but then I couldn't place Dan. So now I'm thinking Dan is Josh and Casey is Toby.

I also forgot how much I hate what Rebecca does to Dan, even though I like Rebecca, and how much I cry when Casey tells Charlie that he'll never be embarrassed because he's his father. God, I was bawling like a baby.

And also - the amazing scene between Dana and Sally after Dana finds out about Gordon and Casey.

Sally's, "I don't think he likes me very much" breaks my heart, and I'm with Dan on her being an alien freak, so...

God, I love this show. Buying the DVDs has given me hours and hours of fun. I'm worried about all the second season eps I haven't seen, because I know things get rough for the boys and for Dana, and that Jeremy dates a porn star.

As an aside, I think I'm going to make a banner for this site: "No Simpsons Incest Here" just to see how many people click on it, because "Simpsons incest" is the search term used most often to find this diary, which bothers me a lot, but probably not as much right now because of the Nyquil.

~victoria



link

[current mood: sick and drowsy]
[current music: silence]
[random quote: Eli's coming, you better hide your heart, girl]

~*~

12.04.02 - 4:33 p.m.

Stop the world, I want to get off (no, not like that)

Home sick today.

Was supposed to be at Advanced PowerPoint training. Couldn't find the building. Stupid Tribeca. Was 25 minutes late to the class, so they wouldn't let me in. Fascists.

So I called my boss and told him I was miserable and angry and I wasn't going to take it anymore.

No, not really.

I just told him they wouldn't let me in and that I was sick as a dog and going home.

And home I went.

I slept for about 5 hours, but I still feel miserable.

I also had a dream that my dad sort of sold me as a sex slave to my boss's boss. And then we all went to dinner, the beach, and a movie.

Then my uncle stood up and told a joke, my mother felt ill and we went home, I made a list of books I wanted (speaking of which, this is my wishlist), and my cousin and I argued over whether Keith Hernandez' chest hair was grey.

Oh! And I had what my brain thinks was a Farscape dream last night. All I know is that tall blue lady was in it, and the hot guy was shagging her, and everybody else on the ship, and he was very unhappy to leave when we rescued him.

Then he found out that I was her avatar or something, and when I woke up, we were thisclose to screwing like bunnies.

Apparently being feverish leads to dreams of sex, both strange and squicky (the being sold by the family to the big boss part, not the tall blue alien lady part).

I have two more Christmas gifts to get, and then I am actually done.

Done.

Stick a fork in me.

~victoria



link

[current mood: sick]
[current music: silence]
[random quote: \"I just need a hand that I can hold onto When it's darker than death out there\" - Holly Cole]

~*~

12.03.02 - 12:16 p.m.

'people like us'

Currently involved in a really interesting discussion with my gusys about 'people like us' or who we identify with in fiction - especially on television - and how that happens.

I was arguing that people like to read/watch characters who are like them, because we identify more easily with people who are 'like us'.

Which on its surface is a pretty obvious and dumb argument, because duh, who doesn't want to read about someone they can relate to?

But then I said that it's much easier for say, *me* to find someone in fiction to identify with, because I'm a white, middle-class, Catholic, heterosexual woman.

And the discussion turned to the fact that those are not necessarily the factors by which we self-identify when a character resonates.

What I mean is, I like Xander. Xander is white, okay, but he's male, lower-class, ten years younger and non-college educated. His personality, out of all the scoobies, is closest to mine, though my background is perhaps closest to Joyce's. But I'm not a mom, and I was a 'loser' in high school, so Xander is my obvious counterpart.

Again, this seems so obvious as to not even need saying.

Or, to be more precise - I don't look at white, middle-class Christian women and say, "She's like me," based solely on those factors, and neither does anyone else. There's more to each of us than race, class, sexual orientation, religious affiliation etc. Those are superficial things that may draw my eye initially (hey, wow, Donna Moss is Italian-Irish, just like me!), but if the character doesn't match me in other ways - interests, experiences, opinions, ways of processing and reacting and coping - I may like her, but I won't necessarily *identify* with her as much as I would another character of differing race/gender/etc. who does *act* more like me, rather than just *looks* like me.

But my point was, in the discussion, and is now, that it's far easier for me to say that, when there are SO MANY characters that ARE superficially like me.

I mean, it's far easier for members of the majority to see ourselves in the fiction of a society than it is for minorities.

I can make lots of distinctions about who is 'like me' based on my personal experiences and preferences, and in media, I can probably find someone who is at least a halfway decent match, that I can identify with.

So I can make these distinctions easily. "Laura Petrie isn't like me. Mary Richards is." Or "Donna Reed isn't like me but Maude is" or, today, "I'm like Rory Gilmore, not like Lana Lang" or whatever.

Blacks, gays, Jews, Latinos, Muslims - these are people who until very recently, had *no one* onscreen to make those distinctions with (and Muslims and Latinos and Jews still don't, really, at least not on mainstream American network television).

"I'm like Wheezy Jefferson or I'm like Florence?" Let's face it, the majority of black women for the history of television have not had anyone to identify with until the past fifteen or twenty years. Sure, there was that Diann [sp?] Carroll show, and for men there was Bill Cosby, but for the most part, until the seventies, how many black faces were on tv, and if they were, how many were in a capacity as something more than household help or criminals?

I've got a broad range to choose from, so I can say, hey, I identify with the lieutenant on L&O who happens to be a middle-class, professional woman who's black more than I can identify with say, Krystle Carrington, who's rich and white.

When your choices *look* nothing like you and come mainly from circumstances unlike yours, that's a lot harder to do.

It's not an either/or proposition. It's a matter of range and preference. I'll gravitate toward characters who are like me in deeper, less superficial ways if I have a broader spectrum to choose from at that top level of age/race/socioeconomic status.

Because let's face it, I have more in common with the Cosbys than the Camdens, but both are middle-class families. At that point, race ceases to matter. I identify more with the Cosbys than with just about any other family on television, as sanitized and non-fucked up as they were. Because I come from a fairly functional family. I watched Roseanne and laughed, but those were not 'people like me' except on the most surface level, whereas my dad? Cosby down to the silly dance and the "this is my house and if you want to runaway, you'll go out the way you came in, naked."

Gays, blacks, etc. haven't had that until fairly recently, and so I can understand why people gravitate toward movies and books and televisions shows specifically marketed to them. Because it means there's somebody like them in on that very top, superficial level. There's a Brandy out there to match Blossom, if that makes sense in television terms.

In the seventies, black families at least had Good Times and The Jeffersons, but before that?

Who do Jews have? The Nanny? Willow Rosenberg? Michael Steadman?

Before Ellen, gays and lesbians had Billy Crystal on Soap, one of the Carringtons, myriad bad storylines on daytime television, and a big hooha over a m/m kiss on "Thirtysomething" back in the late '80s.

Latinos are beginning to overcome typecasting as criminals and migrant workers or household help, but where are the sympathetic Arabs and Indians (and I don't mean Native Americans, though they too are underrepresented and often used as nothing more than window dressing for mystical hokum, ala Skinwalker) and Pakistanis?

I'm not saying this articulately, and what makes sense in private email may come off as my own white liberal guilt or ignorance or whatever, but it seems to me that maybe part of the appeal of fanfiction (and slash especially) to so many who consider themselves fringe-dwellers in society - whether because of race, sexual orientation or whatever -- is to take the characters and make them more 'like us'.

Must do more thinking on this.

I hope nobody's offended. If you are, well, there are the comments...

~victoria



link

[current mood: still sick]
[current music: My Sweet Lord - George Harrison]
[random quote: \"...that's a rare thing, for people like us.\" Logan, XMM]

~*~

12.02.02 - 4:57 p.m.

the dating plan, scene 1

You know, I'm thinking romantic comedy? Not really my thing, writingwise.

I've spent the afternoon trying to write one measly, reasonably giggle-worthy break up scene involving Jack and Donna, and meh.

I don't think it's funny.

I hate that.

In concept, it's funny. Well, it is if you're me. But in execution? Not so much.

I do think I have the rhythm of the dialogue down though, WW fetishist that I am. *snerk*

I guess I need to add in action so we can see what they're doing. I was very spare with that. There's almost nothing but dialogue. Hmm...

The thing is, I can almost hear Josh's reaction, and then the discussion between Josh and Amy about it, in which Amy brings up ::drumroll:: the Dating Plan.

Yes.

Amy will bring up the Dating Plan, and then it's curtains for her. Curtains, I say!

Buh-bye, annoying Amy Gardner. Hello snarky Josh/Donna goodness.

The thing is, though, is that it needs to be funny, or that romantic comedy thing? Not really happening. Can't have comedy without The Funny.

So yeah, here it is, the first scene.

Ideas on how to make it funnier are welcome, especially without making Jack even more of an ass than he is. I feel bad about that, I really do.

***

It happened because she relaxed. That was what she told herself later. All evening, she'd been on her best behavior, and she felt like the universe was finally smiling upon her. She never should have trusted that things were going to go well. Because she was Donna Moss, and things never went well for her romantically, so why should this night be any different?

But she relaxed, and laughed and had a third margarita, because everything was going so well.

It was her third date with Jack, and up until they arrived at her apartment, she never thought it was going to be their last.

He nuzzled her neck as she unlocked the door, and she was glad she'd worn her fancy new lingerie from Victoria's Secret, because she had a feeling they were going to be undressing shortly.

As they entered the apartment, she was unbuttoning his coat and pushing it off his shoulders, while he did the same with hers, eager to get closer.

And then her roommate's cat attacked, rubbing himself against their legs.

At first, she was so wrapped up in Jack's kisses that she didn't notice, but when he pulled away and sneezed on her, she finally clued in that something was wrong.

His eyes were heavy-lidded and swollen, and she had a horrible feeling it wasn't from desire.

"Jack? What's wrong?"

"Allergic to cats," he wheezed. "Can't breathe."

He stumbled backwards out of the apartment, and she followed.

They ended up sitting on the steps as he breathed in big gulps, hacking and wheezing and sneezing so much that passersby stopped and asked if he was okay.

"Wow. You really are allergic, huh?" she said when he'd finally settled down.

"Gee, how'd you guess?"

That stung. "Hey, no need to snark."

"Snark?"

"Yes. Snark-- to be crotchety or sarcastic."

"I'm the one who just hacked up a lung, Donna--"

She put a hand on his arm. "And I'm sorry about that. Caesar's a good cat. He didn't mean--"

Jack huffed. "I can't go in there."

"Oh. Well."

He rose. "I'll see you around."

This can't be happening. This can't be happening. Think, Donna.

"What about your coat?"

"You can return it to me at work, after the cat hair is cleaned off."

He walked down the steps. Her brain went into overdrive.

"You're breaking up with me because of a cat? It's not even *my* cat!"

He stopped and turned. "I'm sorry. I really am. But I can't-- I can't date a woman with a cat."

"But it's not even my cat!"

"Which means you can't get rid of it."

"Aren't you being the slightest bit unreasonable?"

"Maybe, but I don't want to waste my time or yours. Obviously, I don't want to go around sneezing in your face when we kiss, and I doubt you want that, either. Since you can't get rid of the cat, and I can't expect you to move into a new apartment just to date me --"

"Why can't we go back to your apartment?"

"We could, yeah."

She stood up and walked toward him, exaggerating the sway of her hips. When she reached him, she ran her fingers down the side of his face, tracing his lower lip with her thumb. "Then what are we waiting for, big boy?"

"Big boy? What the hell--"

She dropped her hand, flustered. "I don't know. I thought it would sound sexy or something."

He laughed. "Okay. See, that's what I like about you, Donna."

"See, you like me. And I like you. So why are we standing out on my stoop arguing instead of going to your apartment and, you know--"

"I'm sorry, Donna. This is the thing -- say we start dating seriously. Everything is great. We spend all our time at my apartment. You'll start to feel resentful. You'll think, 'Why can't we go to my apartment? Oh right, Jack's allergic to the cat. Stupid cat.' But soon, you'll be thinking, 'Stupid Jack' instead of 'stupid cat', and then there will be a nasty break up and we'll both say things we'll regret in the morning and--"

"Wow, you've put a lot of thought into this in the last few minutes, haven't you?" His answering smile was sad. "Oh. Oh! You've gone through this before, huh?"

"Yeah. And I don't want to do it again. So I think it's better to end this now than to let it go on." He cupped her cheek and dropped a kiss on her forehead. "Bye, Donna."

"Bye, Jack," she said. She watched him walk away, feeling tears burn in her eyes.

She went upstairs and found Caesar sitting on the welcome mat, meowing. He'd been locked out when they left and wanted back in.

She sighed. "Why couldn't you be a nice Pekingese?"

The cat meowed again, and they entered the apartment together.

She fell asleep on the couch, cuddling Jack's cat-hair-covered coat.

***

That's it. Please deposit your laughs in the comments.

Of course, Josh tries to fix it, which goes badly, and then Amy mentions the dating plan, and well, I'm going for a very Carole Lombard/William Powell kind of thing, or maybe Cary Grant and Rosalind Russell in His Girl Friday for Josh and Donna, but I don't know if I can pull it off.

I think I'm going to go home, watch some more SportsNight and then take NyQuil and go to bed.

~victoria



link

[current mood: stuffy]
[current music: Solsbury Hill - Peter Gabriel]
[random quote: Waiter, will you serve the nuts? I mean, will you serve the guests the nuts? ~Nora Charles]

~*~

12.02.02 - 11:29 a.m.

"A point of view can be a dangerous luxury"

In response to yesterday's entry on Why I Read and Write Fanfic (by Victoria P. Aged 32), Fay wrote:
I've found a very different appeal in putting together characters who haven't met in canon. It's the whole 'what if' thing, in which the appeal (for me) is the very fact that you're getting to look at a character from a clean pov, uncluttered by canonical interaction.

So I want to clarify:
I don't dislike crossovers, not at all, as long as the meshing of the two universes makes some sort of sense (Buffy/Smallville works, so does X-Men/Smallville. I'd have a harder time buying, say, West Wing/HP).

What I'm talking about is, "Ooh, Lex is hot! Spike is hot! Let's have Lex/Spike!"

That makes no sense to me, because slash *for me*, comes from the subtext within the canon. Clark/Lex. Angel/Xander, Giles/Ethan (which is, perhaps, more text than sub). *g* So to have two characters who've never even MET suddenly fall into bed... it generally doesn't work for me. I can joke about "they're so pretty," but I find for the most part (yes, I'm generalizing. I know there are exceptions, and I can point you to a few of them *g*), those types of fics are almost as bad as Any Two Guys stories, because I either have to suspend my disbelief so far that it snaps, or the two characters are written as Any Two Guys, or so OOC that they may as well be.

Is that clearer?

Crossovers, when done well, are fabulous. Crossovers that exist for the sole purpose of getting Pretty Boy from Universe A into bed with Pretty Boy from Universe B, when in reality they NEVER should have met, just don't push my buttons. Or, rather, they push the *wrong* buttons. *g*

Edited to correct grammar. Sigh. Stupid noun-verb agreement.

Unless it's a parody. Then I dig it. Because crossover parodies, that jampack every fanon cliche for two (or more) fandoms into one story? I live for 'em. Love 'em to bits and pieces.

Uh huh.

And, for fun, the POV meme:

1.) From whose POV have you written? Or, if there are too many to name, who have written most recently/famously/frequently?

Rogue. Rogue. And more Rogue.

Most recently, Sam Seaborn.

Most unusually, Boromir, Jean Grey and Snape (unposted as of yet). Those are unusual because I dislike those characters.

2.) How do you generally choose the viewpoint character(s) for a story?

The story generally comes with a POV, though if it doesn't work or I hit a point where I'm stuck, I'll go back and switch (Happy Endings started out as a Clark POV, for example, but didn't work for me that way).

3.) First person or third person: do you have a preference? Is one easier than the other?

Third person, past tense is my default setting. I do first person occasionally, but I have to be really comfortable inside the character's skin. Rogue is usually the only one I feel that comfortable with, though in Parallax and All of Heaven Away (it's a series, and three of the 'stories' are actually first-person vignettes), I worked with numerous first person POV scenes.

4.) How do you decide which person to use in a particular story?

I don't.

Well, no.

I'll start off in one and if it works, it works, but sometimes it doesn't, so I go back and change it, and if it works better with a different person, I go with that.

5.) Have you ever written second-person? Third omniscient? A story with no real viewpoint character, just an impartial eye?

Second person? Yeah, twice. Once really successfully - The Language of Goodbye. Once, eh, I was fiddling, trying to do second person, future tense to be as wanky as possible - Fail Safe.

Have not ever managed third omniscient, though I've come close a few times, with In the Service of the Queen and Touch of Frost, both of which were based on a fairy tale, which calls for a third omniscient.

As for no real viewpoint, hmm... I'm trying, with Consumption, to have a roving viewpoint, like a camera would be in a movie. The POV moves from character to character without the sections being clearly defined sometimes. I think it works in most cases, because it feels natural. The POV flows from one character to another naturally. But we'll see. It's not done yet.

6.) What's the largest number of viewpoints you've ever used in a story?

8, in Parallax

7.) Are you drawn to a certain type of character as narrator?

Yeah. Snarky, cynical yet romantic types.

8.) Are there characters whose viewpoints you would never consider writing?

Never say never.

I've found that one of the best ways of learning not to hate a character is to write from their POV. Boromir (Absolution), Jean Grey (Alone Again Or and 32 Flavors)- yeah, it's an interesting exercise, to see if you can write through their eyes, and therefore not be allowed to hate them or demonize them, but try to understand their motivations and actions.

9.) Are there characters you would only write as the narrator, but not from outside?

Nope. Not that I can think of.

10.) For which viewpoint character and which story did your conception of the character change the most over the course of writing the story?

Absolution - Boromir.

He went from being just a pompous, arrogant blowhard to being a really sad man who could never live up to his father's expectations or his own.

Huh. That was interesting. POV isn't generally a problem for me, though in my early days, I used to jump around some, which was distracting. I've gotten much better at not breaking POV, or of doing it *knowingly* and for a reason, rather than just willy-nilly.

~victoria



link

[current mood: better]
[current music: Take the Long Way Home - SuperTramp]
[random quote: A point of view can be a dangerous luxury when substituted for insight and understanding. ~Marshall McLuhan]

~*~

12.01.02 - 2:21 p.m.

on fanfiction, and why I read it

Am I the only one who doesn't quite get how the ground can't cause a fumble?

I mean, I realize it's the rule and all, but it just makes no sense.

Anyhow, the malaise I've been feeling? Not so much fannish as illish.

Yeah, last night I had the low-grade fever and the skin and body ache of being sick, which explains my being completely out of sorts and feeling bleh.

Still feeling bleh, but the fever is gone, at least.

In the midst of my tossing and turning in between freezing and frying last night, I was thinking of many things.

Firstly, some dialogue for my Josh/Donna story, which I hope is 1. funny and 2. in character and 3. fitting with the stylized dialogue on the show. I have a few scenes in my head, I just have to figure out how to tie them together, and also how to avoid demonizing Amy, even though I hate her. Jack is such a non-entity that I'm not worried at all.

Then I was thinking about fanfiction and stories and such, and I'm trying to hone my view on what a story is, and also what fanfiction is, and well, this is kind of where I am right now.

For me, a story has to have some sort of action in it. It doesn't have to be Indiana Jones-style action. It can take place all in one character's head - i.e., a decision being made. That's a story. Clark watching Lex sleep? Not so much, not unless in that time Clark has come to a decision about their relationship or something he will later take action on.

I mean, I'm queen of the PCR* and sometimes it's a nice respite from epic stories with way too much going on, but in the end, unless the character begins at one point and ends at another, you can't really call it a story, because nothing has changed or happened.

Now, what I look for in my fanfiction is very different from what I want in my original fiction.

And this is where any comparison between the two genres will eventually trip me up, because obviously, I go in with different expectations.

What I like in my fanfiction is something that is in-character - I want to recognize the characters I see every week in the story. If they're acting wildly out of character, there had best be a good, solid explanation within the story for it.

I also prefer that most of my fanfiction adhere fairly close to canon as it's known at the time.

Let's face it - every X-Men story I've written, with the possible exception of The Same and Parallax, will be Jossed within the first five minutes of the sequel. And I can live with that, because they were all written based solely on the first movie, and canon was sparse on the ground.

This is why I have had such trouble writing BtVS/Angel fic and one reason I find myself writing episode tags or things that could have happened between episodes of Smallville, rather than big future fics.

Because I want my stories to fit, somehow.

See, for me, fanfiction does one of two things (and sometimes, depending on structure, it can do both): it interpolates scenes that we don't get to see (e.g., Sam being told about the MS) or it extrapolates beyond what we get to see (e.g., all of my XMM stories that take place after the first movie but before we had any sequel canon to work with), taking what is known in canon to a logical conclusion.

This is one reason that crossover slash holds little to no appeal for me. If two characters have never shared a scene onscreen, and can't even be reasonably said to know each other, how the hell can you be teasing the subtext out of the canon?

The other thing I've found, and I've mentioned this before, is that I much prefer 'the moment' to the whole magillah.

If I want a long, involved plotty story, I'll read a novel. When I read fanfiction, I want it to hit my emotional buttons, preferably in under 15,000 words. With rare exceptions (I can probably name them on one hand, but I won't), anything longer than that loses me.

This is one thing that hampers me in my quest to write longer stories, because for the most part, I'm not that interested in the setup. If the setup can be gotten over in a couple of paragraphs of narration, I'm all for that (see Dreaming's End), so I can get to the emotionally charged moment where the realization of... whatever takes place.

Obviously, there are exceptions. But mostly I'm in it for a good story about characters I already like and know.

I don't think fanfiction is lesser than professional fiction; I've read fanfic that easily outstrips some published writers for writing quality and depth of emotion.

That's not my point here.

I'm just trying to figure out why I write and read fanfiction, and after being involved in it for two and a half years (as a writer) and a little longer as a reader, these are the conclusions I'm coming to. This is always changing, obviously.

I mean, I'm not one of those people who can read fic for shows I've never seen, nor do I read about characters or pairings I don't like. Why would I? Why should I? That would be like telling me I had to read X author when I already know I don't care for his/her work or the genre s/he writes in. It's my time and I'll spend it as I see fit.

I mean, obviously, for me, fanfiction is about what canon isn't going to give me (Logan/Rogue, Josh/Donna, Willow/Xander), and when it comes to a couple I ping with, it's going to take an awful lot of stories to fill that need, and if I have to write 'em myself, well.... Sigh. We've seen where that leads, and it's madness. Madness, I tell you!

Ahem.

I think I need more NyQuil. And also, the Giants are on the goal line, trying to retake the lead, so I'll stop now.

*PCR=Plotless Character Ramble

~victoria



link

[current mood: sick]
[current music: Giants-Titans on television]
[random quote: Love, money, revenge - of all the various and sundry motives for murder, talking in the movies is the most reasonable excuse.\]

~*~

11.30.02 - 6:59 p.m.

on design and turkey soup

I've been reading through this weekend's New York Times Magazine, and it alternately depresses and offends me.

I freely admit to being hopelessly mainstream (in addition to painfully earnest), but the idea of a $19,000 cellphone or a $35,000 pair of jeans is just disgusting.

I'm no puritan, per se. I mean, I like my creature comforts as much as (and probably more, considering the amount of time I spend in bed) the next person, but there's something seriously depraved about 'distressing' jeans to match the jeans worn by some miner guy back in the 1920s and selling them for hundreds of dollars. Or maybe it's not the making but the buying that offends me, I'm not sure.

On the other hand, the feature on the magazine Wallpaper and on this other guy Walrod or whatever his name is... you know how some people just know people and that gets them in where you or I will never get?

That's just depressing.

Because again, it's who you know, or what your money can buy, that delivers status, instead of what you know or what you can do.

And while I have absolutely no ambition to know or do anything that will make me famous, I find it depressing that if I did have such an ambition, I'd not have the connections to get it done.

I do, however, know people who are being quoted in the newspaper, if only in their online personae: If Frodo Loved Bilbo* by John Allemang, is an interesting article in the Globe and Mail about fanfiction, and slash in particular.

I'm feeling a little out of sorts today - I have a headache, my back hurts and my skin is a little sore.

I hope I'm not coming down with something.

My mother did make some wonderful turkey soup for dinner, so that was good. Soup always helps when I feel ishy.

*If Frodo loved Bilbo as more than his uncle, that'd be incest. Ah hell. Now people are going to click here for hobbit incest as well as Simpsons incest. Sigh.

~victoria



link

[current mood: out of sorts]
[current music: While My Guitar Gently Weeps - Beatles]
[random quote: \"Life is pain, Highness! Anyone who says differently is selling something.\" Westley, The Princess Bride]

~*~

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The painting is "Boreas" by John William Waterhouse. Again, not a muse, but I like her. She suits the color scheme.

The quote is from Sir Philip Sidney.

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