seen from Russia
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...if you want the story, then remember that a story does not unwind. It weaves. Events that start in different places and different times all bear down on that one tiny point in space-time, which is the perfect moment.
--Terry Pratchett, from Thief of Time
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I smoothed the linen on my knee, touched my stitches. Unskillful as they were, they formed a pattern, I realized; they bound one thing to another; they changed the shape of a tiny piece of the world.
--Patricia McKillip, from "Solstice Wood"
I know all possibilities. For everything that happens, a million things don't happen....But I remember all the threads that never get woven. For me, all possibilities are real.
--Terry Pratchett, from "The Carpet People"
Crone n: Great Hag of History, long-lasting one
--excerpted from the Wickedary of Mary Daly
Headcanons: The Tapestries of Fëar
The larger main corridors in Mandos are hung with Vairë’s tapestries, as are all of the walls. But in these more public spaces, the tapestries are broad, macroscopic depictions of the important events in Arda’s history. Despite the obvious skill of their weaving, there is little nuance to the stories shown upon these hangings, little detail. They are bright and grand and ultimately meaningless, like most of what is called recorded history.
It is in the smaller side chambers that Vairë’s true craft can be seen. There exists a tapestry for every fëa in the Halls, and these hangings are very different from the others. Vairë weaves them with the assistance of the fëar themselves, and each story shown is utterly true—though they often contradict one another, truth being, like beauty and goodness, relative.
The tapestries of lives are smaller at first glance than those in the outer halls. But when the eye follows their permutations, the sophistication of Vairë’s skill becomes apparent, for she has woven them in four dimensions. These tapestries almost seem to warp the air around them, containing more within than is apparent from without. Each is an entire lifetime spent embodied, now depicted in Vairë’s shimmering threads.
The completion of these tapestries is a part of the rehabilitation and healing each fëa goes through while in Mandos. Consequently, the tapestries are in various stages of completeness, depending on the willingness of the fear to assist. But as Vairë weaves to the words of the fëar, they can watch their lives unfold from outside, as it were, and they can learn much of who they have been… and who they wish to be in their future embodiments.
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Threads, she saw. Stitches. Patterns. Stitches to hold fast. Patterns to make boundaries, to cover, to shape. To mimic. Bindings to hold them there. Threads to create. Knots to bind.
--Patricia McKillip, from "Solstice Wood"
Headcanons: The Secondborn Children
Vairë spends little time with the elven fëar; they generally come to the Halls at least somewhat prepared, in full knowledge of what befalls the spirits of their people after their bodies are killed. Instead, she walks often among the Secondborn--who generally come to the Halls in terror and dismay. And while she cannot tell them what is to come next when their spirits depart the Halls, she speaks to each in depth and creates an individualized tapestry which depicts each life in full. These tapestries she hangs in the Westernmost room in the Halls of Mandos—that the lives of the Edain might dwell in the uttermost West at last, deathless.
