Looking for my Tolkien fanfiction? Find a list of my Rings of Power, Lord of the Rings Online, and Silmarillion stories and prompt fills below or read them on AO3!
Interested in reading my Marvel, Doctor Who, or other fic from 2011-2022? Check out this masterpost on dreamwidth.
Rings of Power
unsung songs
Rating: Explicit.
Words: 22,949.
Pairing: Annatar/Celebrimbor.
Summary: Celebrimbor attempts to reconcile his feelings for Halbrand with Annatar’s new identity. As their relationship progresses, he finds himself falling far deeper than he realizes. They create their downfall...together.
fair exchange
Rating: Teen and Up Audiences.
Words: 4,283.
Pairing: Annatar/Celebrimbor.
Summary:
There is no power over flesh stronger than this sickness that corrupts him.
Or, five gifts Sauron took from Celebrimbor.
reward
Rating: Explicit
Words: 3,157
Pairing: Annatar/Celebrimbor
Summary:
“I can be kind,” Annatar says, his voice quieter. “Perhaps I can give you something you desire, instead. A true reward.”
Whose will is mightier… or, whose desire?
crowned
Rating: Explicit.
Words: 2,263.
Pairing: Celebrimbor/Halbrand.
Summary: Celebrimbor and Halbrand find themselves locked away in the treasury vault.
shadow dances
Rating: Explicit.
Words: 4,458.
Pairing: Celebrimbor/Halbrand.
Summary: Celebrimbor and Halbrand spend the night drinking at an inn...and end the evening in the alleyway behind it.
-------
Lord of the Rings Online
Song of the Shire
Rating: General Audiences.
Words: 2,048.
Summary: A poem based on the adventures of two brave Hobbit lasses.
(Podfic available!)
seasons of the second age
Rating: Teen and Up Audiences.
Pairing: Annatar/Celebrimbor
LOTRO-verse seasonal series telling the story of Antheron (Annatar) and Celebrimbor. No knowledge of the game required to read. Playlist here.
part i: the splendor of spring
Words: 7,372 words.
Summary: After two seasons away from Caras Gelebren, Antheron (Annatar) returns to the city and finds neither it nor he has changed as he hoped. Amid the chaos of the spring festival celebrations, Antheron uncovers his feelings for Celebrimbor.
part ii: a memory of midsummer
Words: 12,326.
Summary: It was inevitable, wasn’t it? Antheron spent nearly every day at his side, teaching with him, working with him, and arguing with him. Celebrimbor could not remember when his love for creating things together had turned into love for Antheron.
In the heat of summer, tempers flare. Celebrimbor’s lies create a wedge between him and Antheron (Annatar). He reflects on how he found himself falling -- and whether or not his heart is wise.
> Interlude: summer's end.
part iii: the haunted barrow
Words: 15,954
Summary: ‘Why let doubt creep in now?’ Antheron wonders. Everything he has done is for Celebrimbor, in truth. One day, he will appreciate the full extent of the power at their fingertips.
Antheron’s cautious life teaching ring-lore is interrupted by rumors of ghosts haunting the hills and a thief in the city. When he and Celebrimbor are trapped and faced with deadly foes, Antheron’s secrets begin to unravel. He realizes his greatest fear: losing Celebrimbor.
part iv: a final act
Words: 21,098
Summary: Even if he has not been corrupted fully, love has made his heart too foolish.
-
They are like a sword with a stress crack from tempering too late -- ready to shatter at the wrong blow. Antheron has stopped short each time, as Celebrimbor has, both of them ignoring three hundred years’ worth of hairline fractures.
Yule brings a snowstorm to Eregion and an awful clarity to Celebrimbor. Antheron clings to his vision of a future that will never come.
The Silmarilion
deep roots
Fandom: Silmarillion
Rating: Explicit
Words: 2,035
Pairing: Annatar/Celebrimbor
Excerpt:
“Can you make it release me?” Celebrimbor gasps.
“I could,” Annatar says, and the branches rearrange themselves around Celebrimbor’s legs with a nod of his head. “I think, instead, I shall make you kneel.”
-------
Prompt Fills
One Night: (Silvergifting.) And There Was Only One Bed.
Untitled PWP: (Silvergifting). The one with the nipple clamps.
adamant: (TROP, Disa/Galadriel.) Disa issues a challenge to Galadriel.
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divorced couple energy ship will always be immaculate to me. we hate each other. we've seen each other naked. I know how you take your morning coffee. I will never make you your morning coffee again. get it yourself. here you go, I gave it to you anyway. you disgust me. I will always be somewhat in love with you. I will be yours forever. you're not mine anymore. you will always be mine. fuck you. let's fuck, for old time's sake. did you steal my cd? no, no. keep it.
POV : You’re visiting Tirion’s palace with lady Celebrìan and there is a portrait of lady Galadriel as a very serious baby on the wall.
I thought about making her albinos like how I imagine her mother but ended up making her like her dad instead. Also the dress print is this cute ivy art nouveau border by Maurice Pillard Verneuil.
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the thing is that the quest for the silmaril was clearly intended to be celegorm and curufin's shot at redemption and it's not anyone's fault but their own that they continually beef it. the quest cannot succeed without the hound of celegorm and the knife of curufin. there are clearly celegorm and curufin shaped holes in the questing party to retrieve the sacred objects to which celegorm and curufin are oathbound. it is the fault of no one except celegorm and curufin that they aren't there for the main event. i wonder if that's why angrist snapped is because beren and luthien only needed the one but it would have held for all three if celegorm and curufin had been where they had every chance to be. shame they'll never know
"Begone, foul dwimmerlaik!": A linguistic analysis
(Disclaimer: It's possible someone has come to these exact same conclusions before. Because this essay was just for funsies, i didn't check.)
When Éowyn confronts the Witch King of Angmar on the Pelennor fields, the first thing she says to him is, “Begone, foul dwimmerlaik, lord of carrion! Leave the dead in peace!”
We can assume that, with “dwimmerlaik,” she has slipped into the Rohirric language, if only because of its similarity to the place name “Dwimorberg,” the location of the door to the Paths of the Dead that Tolkien translates as “Haunted Mountain.” And indeed, dwimor/dwimer is an Old English word (Tolkien uses Old English as a stand-in for the language of Rohan) meaning, according to the Bosworth Toller Old English Dictionary, “illusion, delusion, apparition; phantom; error.”
But what stood out to me most is the second half of the compound, “laik.” On first seeing it, I thought, “hey, I know that word,” and I know that word because it isn’t Old English, it’s Middle English (and specifically because it shows up a lot in Sir Gawain and the Green Knight, which I’ll come back to later).
In fact, the whole compound word shows up in the Middle English Dictionary as dweomerlak or demerlayk, so it seems very likely that Tolkien came across it in a Middle English text before deciding to use it as the Witch King’s epithet. But while he “Rohiricizes” Middle English dweomer/demer to something more like a standard Old English form, “dwimmer,” he does not do the same with laik. The “ai” or “ay” vowel combination isn’t typical of Old English.
Why break with the fairly straightforward use of Old English for Rohirric with this specific word? After all, “laik” has an Old English root—the word “lac.”
Both “laik” and “lac” have a number of possible definitions. I think the Witch King is a dwimmerlaik instead of a dwimmerlac to point us toward which one Tolkien intends.
Bosworth Toller states that “the idea which lies at the root of the various meanings” of lac “seems to be that of motion.” According to the dictionary entry, while the Icelandic cognate leikr came to more often indicate games or play—a connotation the word retained in “the dialect of the North of England”—and relatedly, both Icelandic and English used the word to mean “battle,” the most common definitions of Old English lac are related to gifts and offerings.
But Tolkien didn’t want the Witch King to be interpreted as a phantom gift or a phantom offering, so he couldn’t “retroliterate” laik into his typical Rohirric/ Old English.
The Middle English “laik,” on the other hand, in all its various spellings, is derived from both lac and the Scandinavian leik/leikr, and its most common uses by far are related to games, sport, play, and amusement. In retaining the Middle English here, Tolkien points us toward a definition of “dwimmerlaik” that has Éowyn calling the Witch King a kind of phantom/illusion play/game.
The connotation of this is epic mockery. “Dwimmer” underlines that the Witch King is a wraith, yes, but it also identifies him as insubstantial, not real. And as a laik, he is something not to be taken seriously. He is a phantom play, an illusion game. Something that will dissipate if you wave your hand and say the right magic words.
Also note that the Witch King is not the producer of the illusion here, he is the product, the illusion itself. “Dwimmerlaik” implies that, although he may take the name of “Witch King,” he is not the sorcerer behind his own manifestation. His form has been manipulated into existence by the real big bad, Sauron. This is a “shadow of Morgoth”-level insult.
The Middle English dweomerlak/demerlayk backs this up—the Middle English Dictionary defines this word as “magic art, witchcraft.” So the Witch King is not in fact the witch, he is the craft. He is not the magician, he is the magic trick.
Just a trick. A trick inside the mind of the beholder, perhaps—a reminder that despair, which is the Witch King’s greatest weapon, is a lie.
And the thing about tricks is that they can be figured out, and then the illusion is undone.
This is exactly what Éowyn does on the Pelennor. When the Witch King tells her, “No living man may hinder me!” she points out the loophole: “But no living man am I! You look upon a woman.”
For the first time, doubt enters the Witch King’s mind, giving Merry (also not a man) the opportunity to stab him in the leg with the sword he got from the barrow wight (not a living man). Éowyn (a woman) seizes the opening to stab him in the face, and poof! Like any decent magic trick or phantom or illusion, the Witch King vanishes.
In calling him a dwimmerlaik, then, Tolkien clues us in to something essential about the Witch King’s nature and hints at the means of his imminent defeat: he is a trick to decipher, a game to play.
More specifically, he is a word game—the chink Éowyn finds in his armor is a linguistic one, making the means of his death the solution to a riddle. “What can kill something invulnerable to living men?” I think Tolkien’s use of dwimmerlaik tips us off about this, too, if we look at where he might have encountered both “laik” and “dwimmerlaik” before.
More analysis involving specific Middle English texts, Sir Gawain and the Green Knight and Cleanness, below the cut.
That brings me back to Sir Gawain and the Green Knight (SGGK), one of the Middle English texts where “laik” (or “layk,” as it’s spelled there) appears most frequently—and where it has drawn quite a bit of critical attention, because the way this poem deals with games and play is interesting and weird. (As I say above, it’s the first thing I thought of when I saw “laik” in “dwimmerlaik.”)
We know Tolkien was very familiar with SGGK because he produced his own translation of it and was the co-producer of what was for a long time its standard critical edition. So, although it isn’t one of the three Middle English texts that features the compound word dwemerlak/demerlayk, it’s not unreasonable to think that Tolkien might have taken SGGK into consideration when he chose to stick with “laik” over “lac.”
It's even possible to draw some parallels between SGGK and Éowyn’s confrontation with the Witch King, particularly in the connotations of her “dwimmerlaik” insult.
SGGK, like Éowyn’s big moment of the Pelennor fields, features a lone knight facing down a giant, supernatural, occasionally headless foe. The Green Knight is a dwimmerlaik in that he himself is a trick, a form of play, a riddle. He rides into King Arthur’s court—his appearance a strange mix of the courtly world, the natural world, and the otherworld that is difficult to parse—declaring that he is there for a “Christmas game.” This turns out to be, in fact, a beheading game: someone is to take one big whack at him with an axe, but he gets to return the same blow in a year. Gawain ends up cutting the Green Knight’s head off, but then the Knight picks his head back up and rides away. He later reveals that this was an attempt to trick Queen Guinevere and scare her to death. But when that doesn’t work, it’s Gawain who has to undergo another series of games and tests (a hunt paired with a seduction/courtly love game, then an exchange of winnigs), all to solve the puzzle of how to a) keep his word to the Green Knight, and b) survive doing so. He succeeds in the end, more or less, when all the games and tests turn out to be clues toward solving the one big riddle of the Green Knight’s true nature and identity.
In the end, the Green Knight, like the Witch King, is also a dwimmerlaik in that (spoiler alert for a 700-year-old text) he is a work of a greater sorcerer’s witchcraft. In fact, while the actual text (in the Andrew-Waldron edition) has him say, “Bertilak de Hautdesert I hat in þis londe./ Þurȝ myȝt of Morgne la Faye, þat in my hous lenges (Bertilak de Hautdesert I am called in this land./ Through the might of Morgan le Fay, that dwells in my house),” Tolkien’s translation inserts a line to make sure the reader interprets Morgan le Fay as the sorceress behind the Green Knight’s supernatural appearance: “Bertilak de Hautdesert hereabouts I am called,/ [who thus have been enchanted and changed in my hue]/ by the might of Morgan le Fay that in my mansion dwelleth.” The Green Knight himself is just some guy hiding in plain sight, not that scary or impressive at all.
So that gives us an idea of what “laiking” is like in SGGK and some of the connotations Tolkien might have had in mind when he chose it—that games and puzzles usually involve trickery and can be deadly serious. And you might not even know you’re playing until all the clues come together.
But what about the compound word demerlayk/dweomorlak? Where was Tolkien likely to have seen it, and did that context influence his decision to have Éowyn use it against the Witch King?
According to the University of Michigan’s Middle English Dictionary, the word only appears in three Middle English texts: twice as dweomerlak/dweomerlac in Laȝamon’s Brut, once as demerlayk in the Wars of Alexander, and twice as demerlayk/demorlayk in Cleanness. Tolkien could have read all of these—they all had editions published in the 19th century. It’s likely he read the Brut, since that’s an Arthurian text, but note that, while the first half of the compound has the “w” more reminiscent of Old English “dwimer” and dwimmerlaik, the second half doesn’t use the distinctively Middle English laik/layk spelling that Tolkien chose to retain.
I don’t think it’s a coincidence that one of these three texts, Cleanness, appears in the same manuscript (called Cotton Nero A.x) as SGGK and may have the same author. While a cursory search doesn’t show Tolkien as having done any work with Cleanness in particular, he would have been familiar with it, and may even have examined/read it in the manuscript while working on his edition of SGGK.
The word “demerlayk” features in Cleanness’s retelling of the Biblical episode of King Belshazzar’s feast, where a disembodied hand appears and writes a message on the wall. Belshazzar sends for men “Þat wer wyse of wychecrafte, and warlaȝes oþer/ Þat con dele with demerlayk and deuine lettres (That were wise in witchcraft and other warlocks/ that could deal with demerlayk and interpret letters)” to decipher the message. Accordingly, among the “clerkes,” “wychez,” “walkyries,” and “sorsers” who answer the call are “deuinores of demorlaykes þat dremes cowþe rede (diviners of demerlaykes that could interpret dreams/visions).”
Significantly, the dwimmerlaik in this poem—the mysterious writing on the wall—is, like the Green Knight, something to be deciphered; the game/play that comes with the phantom/illusion is a linguistic puzzle to be solved. Daniel ultimately reads the writing on the wall, interpreting that King Belshazzar has been found wanting and therefore the days of his dominion, like those of the Witch King’s, are numbered.
I think that Tolkien’s understanding of “dwimmerlaik” may have been influenced by these texts such that, for him, the word doesn’t just refer to play and games, but to games that involve solving a puzzle or riddle. In using it to refer to the Witch King, he points to the kind of phantom/illusion game/play Éowyn is dealing with and how she will defeat him.
The solution to all the Green Knight’s games and riddles is that he is not what he seems; he is, like the Witch King, only the result of a greater sorcerer’s enchantment. And in Cleanness, the solution to the word-puzzle brings an evil King’s rule to an end. These two laiks and Éowyn’s with the Witch King are all of the high-stakes, life-and-death variety, and all are resolved with the unraveling of identity.
Another part of the laiking in Sir Gawain and the Green Knight is the incongruous laughter—Gawain and King Arthur laugh after the Green Knight picks up his severed head and rides out, and the poem ends with the court’s laughter after Gawain tells the story of how a moral failing almost cost him his life on the quest. Éowyn, too, lets out an incongruous laugh after the Witch King says, “No living man may hinder me”—but in her case, the laughter, though in the middle of a field of desperate battle, is not so difficult to interpret. She laughs because she has just figured out the trick, solved the puzzle, found the answer to the riddle. And she is going to win this shadow game.
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Everyone brings a dish to share. A table full of endless choices stands before you. Some dishes are labeled correctly, others arnt. Some are extra spicy so read notes and tags about the dishes.
But as you go down the table, you have the choice for what you put on your plate. Don't pick up the pasta if you're gluten-free. Avoid the stew if you don't like onions.
You have a choice again when you sit down and take a bite. Was the tater tot casserole not really what you wanted anymore? Cool, stop eating it.
Fandom is a potluck and you have a choice to not consume the things you don't like. You don't get a choice over what others bring to the potluck. You don't get to police others for what they want to eat either.
Don't be mad that we brought egg salad when you hate it. You're the one that is forcing yourself to eat it when we told you exactly what it is.
Don't like something? Don't put it on your plate and eat it. You do not get to be a bully and be mad that someone brought it and someone else likes it.
The fandom isn't all about you and your likes. We don't have to cater to you.
Find the dishes you like and just eat them. If you don't find anything you like, maybe it's time to contribute to the potluck yourself.
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being a 60s Dr Who fan is so hard. like hello I'm writing a fanfiction to explore this character's trauma. Yeah his trauma from when he was imprisoned on Mechanus. From when he was imprisoned on Mechanus by the Mechanoids. Stop laughing at him.