Anghraine

I've never been the audience for "humorous headcanons that don't quite make sense as part of the joke", and I know that my sense of humor is even more muted than usual because of RL stresses. But even before that, I've been put off by this increasingly common genre of fandom joke post that's like ... "I don't remember/know the canon and I'm not going to check but wouldn't it be hilarious if [thing contradicted by about seven different elements of the story]" that then becomes some inescapably viral fanon. Sometimes the OPs don't acknowledge being unfamiliar with the story (though often they do!), but it's usually fairly clear regardless, and the OPs tend to be aggressively indifferent to the story they're ostensibly talking about. They're not so much in the fandom for that thing as in social media fandom, and it feels like the snarky, joking aspect of these headcanons is partly there to justify neither knowing or caring about the story they're talking about.

Additionally, it seems likes there's really no way to interact with this approach that isn't "yep, hilarious, this is canon to me now" or pedantic nitpicking. I don't even add the pedantic nitpicking in most of these, but some fandoms are more prone to it, and when the OP of this kind of post acknowledges the responses at all, it'll generally be with some tongue-in-cheek "explanation" of why their headcanon actually does work that makes no more sense in terms of the story, but which is presumably funny, and forceful enough to be convincing if you're not particularly into the fandom. Some of them, in fairness, will admit that they simply forgot or don't know the story that well and just thought it'd be funny, or "I choose to reject X because my headcanon is funnier, but I know it's there." But more often, I see half-mocking "actually I'm right [but you're a humorless asshole if you actually engage in any way other than agreement]" defenses.

Of course, nobody appointed me god empress of fandom or anything. There's nothing wrong per se with people making posts without being obsessively into the original material or enjoying fandom in a way I don't. But that form of defensive humor really does not work for me. And there's something about an approach to fandom that's dominated by snide, viral BNF humor that doesn't need to make any sense in terms of what it's ostensibly about, that doesn't even need its audience or author to know what it's about beyond the vaguest pop culture osmosis/online memes and is better if they don't, that I find both obnoxious and just kind of ... sad, I guess? I didn't come into fandom in the truly early days, but it was early enough that everyone I encountered had intense feelings about some aspect of the thing they personally had read or seen or heard. Even people with incredibly bad takes seemed to generally be an emotionally invested fan or hater of the actual story.

sulfin-evend said:

I love your take on Gondor. What do you make of Boromir's quote in the council of Elrond paraphrasing "those who shelter behind us give us much praise but little help". I presume he is talking about other Gondorians. And the Stewards are often referred to as Lords of Minas Tirth or lord of the city.

What does this mean for how Gondor and its provinces view themselves and how its armies function. Are the Princes of Dol Amroth minting their own coin? Do the lords of Morthond present their daughters at the Stewards court? Are all the lords related to each other in a tangle of blood and marriage ties or do they keep to their home fiefs? It could be envisioned so many ways I am curious to read your perspective.

I replied:

Thanks!

I’ve always taken the opposite reading of Boromir’s line—that he’s talking about the peoples of Middle-earth sheltering behind Gondor generally, and this is why (if I’m remembering correctly) the others at the council go out of their way to point out that it’s not just Gondor that’s protecting the people of Middle-earth.

That said, Tolkien described the Princes of Dol Amroth as almost independent, but not quite; they’re “tributary princes” who contribute … something … to Gondor as a state. So while it might not look exactly like taxation as we’d understand it and could refer to things other than money, I do think it suggests some degree of cohesion, if even the Princes of Dol Amroth (definitely the most powerful and independent of the regional nobles) have to contribute to the whole.

We do see that the fiefs have a lot of authority when it comes to what troops they raise and where they send them. They only sent 1/10th of the forces at their command to help defend Minas Tirith because they were so worried about their own people, and seem to have been entirely free to make that call (and the people of Minas Tirith are disappointed but not enraged). So there’s still quite a bit of regional power in the military sense, at least. But Tolkien also said that a Dúnadan king or Ruling Steward was a fairly absolute ruler in other ways (esp dealing with interpretation of law), so it may be that the lords’ authority is particularly pronounced in military matters and more limited in others.

I do imagine that there would be a lot of intermarriage between the Dúnadan noble families, given that there are only so many of them. While Gondorians have less hang-ups about ~purity than in the Kinstrife days, I think it’s still something people are conscious of, as with Éowyn’s joke that Faramir’s people will wonder why he didn’t choose a woman “of the race of Númenor” to be his wife (she doesn’t seem to think her ¼ Númenórean ancestry will count for Gondorians).

IMO it’s entirely probable that the Stewards and Princes of Dol Amroth have intermarried multiple times, say—not with first cousins (I think that taboo became pretty non-negotiable post-Akallabêth), but more distant connections. Perhaps Imrahil is recognizable as part-Elvish to Legolas despite the generational distance from Mithrellas because Imrahil’s actually descended from her many times over. Etc.

[ETA 5/24/2024: sulfin-evend did respond to this, but given that they acknowledged being "contrary" in this interaction and that they defended Elrond's profoundly racist characterization of modern Gondor, I didn't feel inclined to reply again.]

In this age of remakes and adaptations (though pretty much all ages are ages of remakes and adaptations tbh), I sometimes imagine adaptations of my childhood/adolescent faves. Off the top of my head and in no particular order:

• Jane Yolen’s Wizard’s Hall (super formative, could make a pretty cool, sometimes creepy, film)
• The Witch of Blackbird Pond (just … great, probably fits a mini-series better)
• Sweet Valley Twins (maybe this already exists? it would be terrible, but I inhaled them as a kid)
• Agatha Christie in general (definitely exists, though the quality is variable … I really disliked the version I saw of Cards on the Table)
• She-Ra (exists, is great)
• The Belgariad and the Elenium (I would prefer the latter, with Liberties taken to deal with some of the Eddingsisms, but the former might be more cinematic. I once had an AU where as a fairly minor background detail, the Elenium was made in place of GOT, but with the same cast, like Lena Headey as Sephrenia, etc …)
• LOTR, esp Gondor (of course there are the movies, but a) their treatment of Gondor is terrible on a lot of fronts, and b) I think LOTR is better suited to TV anyway, and in my dreams, really high-quality animation)
• Wheel of Time (in the works, I’m lowkey terrified)
• Daughter of the Empire (no idea how this would be done)
• Incarnations of Immortality (I don’t really want money going to Piers Anthony, so no, even though it’s conceptually one of my fave takes on Death)
• Pern (??? I would mostly watch this for Lessa. Probably super expensive to make as a series, which it would have to be)
• Valdemar (I DON’T EVEN KNOW)
• Tamora Pierce (I love Emelan best, but Tortall would be cool, too!)
• So You Want to Be a Wizard (it seems like it would be very cinematic in some ways and not at all in others, so I’m not sure, but if someone could make it work, awesome)

I managed to integrate a lot of tangents into last night's infodump on Númenórean pregnancy because it turned up so many interesting sort-of related things, but there were STILL MORE details that I couldn't work in but was delighted in various ways by. A list:

1. Tolkien struggled to make the Maeglin story work with the developmental scheme he was trying to mathematically pin down for Elves, given that Maeglin's history requires him to be born much later than most of the other Elves of his generation. Tolkien concluded that Maeglin had to be an adult, but that he would have been very young in Elvish terms, and this is part of the reason Idril was so unsettled by his interest in her. He wasn't a literal child but he was kind of a kid from Idril's POV.

2. SPEAKING of Maeglin's history, another idea Tolkien came up with to deal with the Maeglin problem was the idea that Maeglin actually isn't that much younger, but instead, Aredhel was either persuaded or trapped by Eöl before ever reaching Aman! In this case, the "Dark Elf" descriptor for Eöl would have no racial subtext whatsoever—Eöl would not be Avari or Sindarin at all, but another Noldo who refused to finish the journey to Valinor and thus never saw the light of the Two Trees. The implication of Noldorin Exiles calling him "Dark Elf" is less "Sinda" and more "loser."

3. Tolkien makes a couple of errors in trying to figure out the math. Some of those mistakes are the math, or at least numerical (Arwen's birth year gave him a lot of trouble, more on this further down), but he also does things like mixing up Elenwë and Anairë at one point. IDK, there's so much hagiography in Tolkien discourse that it's kind of endearing to see him making ordinary writerly mistakes.

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I'm taking a brief break from my dissertation to ... uh, amuse myself by figuring out my readers' ranking of my genderbending fics on AO3.

Rules I'm applying: 1) I'm only including fic verses that are collectively at least 2000 words long because, well, I do have to go back to the diss, 2) verses comprised of multiple fics are ranked according to either the popularity of the series as a whole or the most popular individual fic (depending on which is higher; not combining them because there's a lot of overlap), 3) I'm considering both bookmarks and kudos in my judgment—we'll see if it makes a difference, and 4) I'm ignoring everything with less than 30 kudos and 5 bookmarks.

1. First Impressions | 215 bookmarks | 876 kudos | genderbent characters: Elizabeth Bennet (-> Henry Bennet) and Fitzwilliam Darcy (-> Catherine Darcy)

This is a genderswapped retelling of Pride and Prejudice set in its original period (not really a true "what if"). All stats are specifically for the original (completed) 36k fic. It individually beats out every possible stat for every other fic in the series as well as the series as a whole. (Note: The overall series is 44k words long.)

2. Lucy Skywalker series | 163 bookmarks | 406 kudos (The Jedi and the Sith Lord) | genderbent characters: Luke Skywalker (-> Lucy Skywalker)

This is a genderbent AU that mostly, but not completely, sticks to the rails of canon until the end of the ESB timeline, at which point it swerves into the "real" AU. The Jedi and the Sith Lord is the sequel to The Imperial Menace/the ESB plot, and the third fic in the main series, focusing on the consequences of Vader capturing Lucy. It's technically completed at 70k, but only in the sense that it explores what happens to/with Lucy and Vader until the nature of her captivity fundamentally changes, and everything after that will be a separate fic but hasn't been written yet. Although none of the individual fics have as many bookmarks as the series as a whole, my #2, #3, and #4 most bookmarked genderbent fics are all for the Lucyverse. (Note: the overall series is 129k words long.)

3. Love, Pride & Delicacy | 25 bookmarks | 163 kudos | genderbent characters: Fitzwilliam Darcy (-> Catherine Darcy, for convenience)

This is an actual Elizabeth/f!Darcy "what if" femslash AU rather than a retelling, though a slow one—it's still early in the overall story at 25k. It's also placed in the original P&P setting. There is no wider series.

4. The Lady of Gondor | 25 bookmarks | 119 kudos (we also are daughters of the great) | genderbent characters: Faramir (-> Fíriel)

This is a deeply self-indulgent Aragorn/f!Faramir/Éowyn AU, though it's not only a WIP but split into different vaguely related fics (some of which are also WIPs!) about some aspect of the verse in relation to Fíriel. I think the norms of Gondor and Middle-earth make the gender change particularly significant (in some ways more than any other verse), so actual plot and relationship changes tend to be the focus. The kudos are for the specific linked fic, which is a WIP at nearly 5k and the most Éowyn-centric of them. (Note: the overall series is about 9.5k words long.)

5. The Edge of Darkness | 17 bookmarks | 106 kudos | genderbent characters: Tarrlok (-> Taraka)

This is a genderbent f!Tarrlok AU, though told entirely from Noatak/Amon's perspective, and to some extent more about the impact on him than on Taraka herself (though she's extremely important to the fic). Even more than that, the linked fic is focused on the effect of the change on their family dynamics as children, until teenage Noatak leaves her behind per canon. The fic can look like a retelling à la First Impressions, since the basic plot points don't change, but the larger series is on course to swerve into full "what if" territory as well. However, like First Impressions, these stats are all for the completed opening fic (18k) and not the longer WIP series (32k), which is temporarily paused at the point where 37-year-old Taraka openly identifies Amon as Noatak. CW: child abuse.

6. Blood and Fire | 16 bookmarks | 67 kudos | genderbent characters: Tarrlok (-> Taraka) and Noatak (-> Nataka)

This is a dark(er) AU of The Edge of Darkness in which Noatak/Amon is also genderbent, and the bloodbending siblings never separated. Taraka fled home with Nataka back in the day, they only grew closer (...too close), and although Taraka still ended up on the Republic City council, her true loyalty is to Amon. She promptly turns Korra over when Amon shows up, which is where the fic begins; it's told entirely through Korra's attempts to navigate her circumstances as a prisoner of the Equalists. CW: incest, complicated F/F/F dubcon??? emotional bonding kink with occasional violence yet little overt romance and no sex. I am what I am. The stats are for the completed (though deliberately ambiguous) main fic, which is 10k, and not the side fics or the series as a whole (13k).

7. The Queer Rogue One AU | 12 bookmarks | 57 kudos (the words we've both fallen under) | genderbent characters: Cassian Andor (-> Cassia Andor)

This is, on one level, a relatively straightforward genderbent!Cassian AU that is more or less complete at 13k. The underlying concepts are: a) what if my male fave was a hot lesbian and my ship was f/f and b) what if we headcanon every single member of the main team as queer in some capacity :D and c) the SW universe is so blatantly patriarchal in the films that it's a particularly interesting setting for exploring the effects of the gender change on someone like Cassia, a female revolutionary and spy :D :D. It's a little challenging to properly evaluate where it sits wrt stats because I revised the scattered, vaguely connected scraps of the universe into a single fic through both sentence-level revisions and significant additions, but that revision is only on Tumblr (where the link currently goes to, sorry) and my GoogleDrive, not AO3. It's not even a series in my heart! But it is on AO3. Evaluate as you will, but when I finally get around to converting the AO3 version to the correct format this may or may not change. For now this is where it goes by AO3 stats.

8. Daughters of Númenor series | 5 bookmarks | 33 kudos (the voices of the sea) | genderbent characters: all Númenórean throwbacks in LOTR, but specifically Aragorn (-> Aranor), Faramir (-> Míriel), Denethor (-> Andreth), and Imrahil (-> Imraphel)

As might be guessed, this is an AU where every Númenórean throwback mentioned in LOTR is genderbent (in the backstory, this also includes Ivriniel and Finduilas of Dol Amroth, who become Túrin, Prince of Dol Amroth, and Gwindor of Dol Amroth). It's Aranor/Míriel and definitely focused on them despite the broader change (where Arwen is a non-factor for the OT3 in The Lady of Gondor because she went to Valinor with Celebrían, she actually is present in Middle-earth in this series, though unfortunately very straight). While Fíriel in The Lady of Gondor was never expected to be a warrior and gets on reasonably well with Denethor, this AU is more about the broader effects—so even though we rarely see f!Denethor/Andreth, it's significant that she was a trailblazer as a female warrior, loremaster, and ultimately the first female ruler of Gondor, inadvertently laying a foundation that Aranor could build on later (which would have horrified Andreth herself!). The specific fic with the most kudos in the series, linked above, is a nearly 2k fic about the effect of Faramir's canonical visions on Míriel. (Note: the overall series is currently 3k words long.)

I’ve gotten a bunch of new followers recently and I’m not sure why—but regardless, hi!

[ETA 4/28/2024: I'm cross-posting this one mainly for record-keeping purposes, though I've added Dreamwidth-relevant clarifications in brackets. I've also been recently fixing, consolidating, and adding some DW tags for a more consistent system over here, so some older posts are only under the tags for the relevant fandoms and characters rather than the specific book, show, or film they're referencing. Anything Austen-related is under #fandom: austen, say, but many of my older Pride and Prejudice-specific posts don't have the P&P tag because I instituted the specific tag more recently.]

Run-down: my name is Elizabeth and I’m a 30-odd, US American PhD student. I study 16th-, 17th-, and 18th-century British literature, primarily 18th [ETA: and early seventeenth, these days]. I also kind of hate academia at this point, lol, so you’ll see a lot of complaining about it unless you block #ivory tower blogging [DW tag: #uni and academia for anything related to academia, while #complaining covers exactly what you'd expect].

I talk reasonably often about mental health issues; I have autism, bipolar II, and anxiety, and my general tag is #rare breed of attack unicorn [DW tag: the same; I also tend to tag the specific disorders more often over here, since I don't have to worry about them going into a site-wide autism tag or whatnot; e.g., posts about anxiety are tagged with both #rare breed of attack unicorn and #anxiety].

I write original fiction in addition to fanfic and angst about it; the tag is #original fic rambles [DW tag: #original fiction, though plenty of it is either locked or under a different account], and vaguer or more general writing stuff is just #writing [DW tag: the same]. Rambling about my fanfic is under #fic talk [DW tag: #genre: fic talk, usually accompanied by a specific tag for the fic or verse, such as #fic talk: lucy skywalker for my f!Luke Skywalker fics].

My main fandoms and other tags include:

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There are various timeline glitches in Middle-earth, but I can never decide whether my favorite is:

a) Arvedui claimed the throne of Gondor as not only the son-in-law of the previous king of Gondor, but as heir of Isildur … while his own father was still alive

or

b) The Númenórean fleet that saved the Elves is supposed to be sent by Tar-Minastir, but was actually sent under Tar-Telperiën.

Tagged: #hatred or love? hmm can't choose

[ETA 4/23/2024: I don't hate either of these facts, to be clear; I hate Arvedui and love Telperiën.]

My best friend and I had an interesting, fairly wide-ranging conversation about the distinctions between adaptation, retellings, fanfiction, other forms of directly intertextual storytelling (à la Wide Sargasso Sea, Lavinia etc), covers (as in music), heavily illustrated editions of texts, collage, sampling, novelizations, ekphrasis generally, translation, and inspiration.

The distinctions here are mainly ones that he makes and I do not. For me, all of these things are on a spectrum or scatterplot of something like intertextuality. As I was saying on Tumblr the other day (re: fanfiction), I don’t actually think that most of these kinds of terminology reflect coherently defined art forms at all. They reflect norms, values, and conventions shaped by laws and corporations and other economic/cultural concerns, not any consistent system of understanding intertextuality more broadly.

This is a frequent point of disagreement between him and me, because he prefers to refine terms like these into … philosophical coherence, I guess? So he’ll say, well, I think of the term as more specifically meaning X, not Y, and that lets us examine the different approaches that X and Y take in a more systematic, artistically formal way. (As in the linked post, this is formal in the sense of form not as in propriety.)

And I’m like … it does, yes, but I don’t think that kind of re-definition corresponds to the meanings of those terms in actual usage. Narrowing the definitions imposes a coherence and logic to these distinctions that I don’t think actually exists. It’s more like a grab bag of imprecise, overlapping categories defined by values and customs and legal practice than anything they’re doing artistically.

Him: inconsistent laws and customs are kind of arbitrary and uninteresting in terms of theorizing categories of art, though.

Me: not to me, but anyway, I think the way we theorize art is very profoundly shaped by modern customs and laws to a degree we often can't even see, and words are defined by usage, not philosophical convenience.

(Yeah, we’re super fun at parties. But seriously, this is how we’ve talked since high school.)

Regardless, his theory is that adaptation is actually a narrower category of intertextual art than in casual (or academic) usage. His view is that an adaptation is an attempt to represent the actual source; there may be new material added, and some of the original material may be removed, but there is an effort to preserve not just character outlines or plot structure or elements of setting, but considerable amounts of the original source, usually in a different medium than the original. A re-telling, on the other hand, is a work that re-casts the source material into new language and sometimes generic (as in genre) form.

This is all according to him, not me. I think all storytelling of this kind = re-telling and that there is no hard line separating these approaches, just gradations of variance.

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vardasvapors on Tumblr made a post about the annoying Silmarillion fandom trend of tying everything to the Fëanorians, even when there is zero evidence or even zero probability of a connection. I reblogged it and added:

#god bless #this happened with my arnorian dúnadan post and i'm STILL annoyed

[ETA 4/18/2024: the post in question is about the Dúnadan of the North who enchanted/crafted the Barrow-daggers to break the spells on the Witch-king, the Northern Dúnedain's greatest enemy at the time. Some of the Fëanorian stans who saw it tried to figure out some way this could actually be attributable to them, even though this man was born well into the Third Age, is unlikely to have ever interacted with any Fëanorian, and his work is entirely consistent with everything else we hear of Númenórean knowledge and mystical capacities.]

I reblogged a meme telling fic writers to tag the first fandom they wrote for, the fandom they've written the most for, and the fandom they're currently writing for.

Tagged: #1) bookverse tolkien #2) star wars by an incredibly narrow margin #3) the last thing i worked on was for austen! #the big three

[ETA 4/13/2024: to my amusement, I now have exactly the same number of SW and Austen fics, which feels apropos to who I am as a person.]