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i realized this week that, in true s4 form, the bulk of this longass fic takes place over approx a three hour period, but it just keeps going on and on, because klaus will not sit down and stfu. at least he and caroline are in the same room again?
24/7 sylvia plath
snippet 1 of insihta
snippet 2 of insihta
snippet 3 of insihta
snippet 4 of insihta
very short snippet 5 of insihta
snippet of a later post-graduation installment
this falls after snippet 5. not super long, but it starts to get into the meat of why caroline went home with him after he tried to kill her. it's kind of a rumination on what it really means to be an immortal monster.
"So, you...what? You have whims! And the worst temper ever."
"Because I can't!" he hissed. He set the cup in his hand down before he could give into the urge to throw it. To cause some manner of satisfying destruction. "Once. In over a thousand years, I turned off my humanity one time, when Katerina escaped and I failed to break my curse. Do you understand that?"
By the frown on her face and the furrow in her brow, he knew she did not. "But I thought only younger vampires could turn it off."
"Yes," he agreed. "Typically. The older the vampire, the more difficult the process, buried as the original superego becomes under time. It requires an extraordinary set of circumstances. Despair beyond reckoning. A near complete loss of hope. Of self, even."
"No," she denied, shaking her head. "You wouldn't have."
There were moments when he cursed her cleverness, her unwitting insightfulness. Even when he led her there, her knowing of him was still an uncomfortable ache.
"I would have."
"You wouldn't! Not over me."
"Yes," he insisted. "I would. It was already coming. I could feel it. A creeping chill of the spirit. As you faded, the numbness spread. Like hypothermia. I've nothing left to look forward to. That's the truth. For a thousand years, I had a mission. Protect my family. Break my curse. Build my army. Kill my father. Straightforward, really, for all its complications. And now I'm done. It's all resolved itself one way or another, for good or ill. What else is there for me?"
"You can't make me your only reason to go on." Her hands flexed between them, as though she wanted to grab him and shake the foolishness out of him. "People can't be that for each other. I'm just me! I'm not...it's not supposed to work like that."
"Why shouldn't it? We're not people, Caroline. We're monsters carved from our mortality. In time, I will find new endeavors. There will be more threats, more enemies to sink my teeth into. But for now?" Klaus leaned towards her, looming despite their similar heights. Her eyes were wide, reflexive breaths coming shorter in her agitation, but he didn't stop, as merciless in this as she'd ever been with him. "You wanted to understand why you no longer fear for yourself. Instinct. It's as simple as that. The monster inside knows there is an even more terrible creature here to protect you, even from itself." He lifted his hand to her face and hovered above her temple, wanting to memorize her--the shape of her eyes, the line of her delicate nose, the cut of her stubborn chin--with his fingertips, and when when she did not flinch away, let himself have the pleasure of touching her hair and brushing his thumb along her cheekbone. "You will not end. I will not allow it."
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Blue for a Wedding: An 1872 Dress at the Grand Rapids Public Museum
This blue silk dress was offered up in the Fashion and Nature exhibition to point out yet another natural resource that was used for fashion: mother of pearl. You can see in the mannequin’s hands one such shell punched through with holes, each hole having been made into a button. Before plastic, mother of pearl was an easily found and satisfyingly decorative way to make buttons. And you can find all sorts of vintage mother of pearl in antique stores and online.
This was a wedding dress which tells you that not everyone married in white at the time. Although you will notice the touches of white lace at the collar and at the edges of the wide sleeves. These both drew attention to the face and hands and showed off a bit of luxury. Of course, the rich silk of the dress shows off luxury as well.
This dress offers such typical elements of Victorian women’s clothing: the tight bodice through the waist, the large and long flared skirt, and multiple kinds of decorative embellishment: including ribbon, fringe, and lace. The ribbon follows the cut of the dress and emphasizes the narrowness of the waist by swooping in from the shoulders along with the fringe. The ribbon also swoops around the sleeves and then around the overskirt as well along with the fringe. There is also a swirl of ribbon creating a little ornament on the sleeve just after the elbow. And, of course, do not forget the mother-of-pearl buttons shutting the dress. And this was far from the most ornamented of Victorian gowns. In fact, this is one of the simpler ones. They really liked to gussy up a dress in the mid to late 19th Century.
You can see it for yourself at Fashion and Nature running now at the Grand Rapids Public Museum: https://www.grpm.org/fashion-and-nature/
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(today on get your shit together sunday:
-type up my handwritten monstrosity (in the words of ariana grande “guess i did it to myself”)
-i have a sticky note of books i need to pick up from the library to hold hostage
-hang up my clothes instead of leaving them on the designated laundry chair (alternatively, i have paid my lorge bebe to do this for me in the past, so this is also an option)
-figure out what im wearing to a wedding next weekend— im feeling like The Grinch when hes going to the Whobilation Festival and my closet is a wasteland
-there is an art exhibit i desperately want to go to and squeeze in today, but it depends on item number one on this list because we have a DEADLINE folks)
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When Nylon Was New: A Wedding Dress from 1939
This dress appears at the South Bend, Indiana History Museum as part of Unveiled: Wedding Traditions which runs through January 8, 2023. The curators tell us it was made, not of the traditional heavy silk satin, but of a stretchy nylon which it true makes it quite a find.
Nylon, the first completely synthetic fiber, had only been invented in 1935, and then become very popular in 1939 when the finest fibers were used to make women’s stockings. Nylons, in fact, became the word used for women’s stockings which were not made of natural fibers like silk or cotton. So this dress must have been one of the first of its kind. It also used a metal zipper which which was a modern invention too. Earlier and for years after, women’s dresses used a placket of hidden snaps to shut on the side instead. Fashion, like other parts of material culture, was influenced by technological innovations.
The style itself is more traditional with a lavish train which you see gracefully swirled on the floor. Then gathers and bands mark the bodice piecing to shape the waist and the upper arms of the sleeves as well. The fitted waistline was common in the late 1930s, as the silhouette had moved away from the tube shape of the 1920s. So it was a mix of new technology and old-fashioned dressmaking come together for Mary Ann Frash who wore this when she married Frances Jones in 1939.
To learn more about the exhibition, go here: https://www.historymuseumsb.org/see-do/exhibits-2/
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