Once, that would have been another reason for me to envy him, unlovely as I now am. But today, I think, He is mine. For as long as the Admiralty will let me keep him, he is mine.
An illustration for Halfway Home in collaboration with brilliant @the-golden-vanity
Drawn for @theterroradvent ✨
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Chapters: 1/1 (532 Words)
Characters: George Hodgson (The Terror)
Setting: Post Canon Survival AU
TW: Religious trauma, references to canon cannibalism, and hurt/no comfort
It's Maundy Thursday today and I got to thinking about good old Hodge's religious background as the son of an Anglican priest, cannibalism, and how that could tie in with the Last Supper.
As a kid, I served on the altar at Maundy Thursday services - they were actually my favorite, quite theatrical. Episcopalians have similar services to the Anglicans and while I don't know what early 1800s services were like, there is an established precedent of how the service is conducted, namely the washing of feet, stripping of the altar, extinguishing the special candelabras and then what is apparently called "the strepitus" or loud noise at the end of the service (never knew it had a name).
No beta under the cut, forgive the grammar, just straight off the dome this evening.
——-//———
George Hodgson sat by the window, looking out as the lamplighters began to fill the street with a soft glow in the spring twilight. The petals from the first budding trees drifted on the slight breeze onto the caped shoulders of passing women and the fine hair of the children they held by the hand. Solemn colors pervaded amidst the fresh blush of April as churchgoers hurried past to Maundy Thursday mass.
George’s mind could not help but drift back through incense laden memory to a small boy, dressed in white robes, a torchbearer standing nervously beside the altar.
He stands, transfixed as the deacon, his father, kneels before three parishioners and, with a gentle reverence, washes their feet beneath the shadow of the lectern, an echo through the ages of that Last Supper.
George thinks of how softly a cloth lay upon his own feet in the sickbay of the Enterprise, so much kinder than the blade that cleaved the heel of the healer upturned in the Arctic sun. The blood and dirt washed away, but sin lingered upon George like a wine dark stain from blood spilt on the altar of a god none of them could understand. The Last Supper of the damned, the flesh of His flesh, of the lamb who slaughtered himself for their sins as they ate at the simple wooden table in the Wilderness on the Day of Judgement.
The young boy’s hands dart quickly now, doing as he is told, striping blood red silk and snow white cotton from the altar, the plates and chalices, leaving only exposed dark wood timber and grey marble – clean, stark, both natural and unnatural in this stripped ornamented tribute to Christ’s sacrifice.
The candles are lit. The solemn candelabras of the Tenebrae light the stone with a sallow hue, casting shadows under the eyes of the choir and congregation. The illuminated conflagration of skulls begin to recede as the Psalms continue into the encroaching darkness as each candle is extinguished in turn.
Oh how like wraiths they were at the end, the shadows never leaving their eyes even with the dawn, and in the darkness one could not tell the quick from the dead.
Christ was afraid to die, George reasoned. Did He not also wish to live?
Only the Christ Candle, standing alone betwixt the two candelabras remains guttering against the pitch-black maw of the sanctuary.
The congregation and choir are but shades now.
The young boy lifts the brass bell aloft on its pole to snuff the last light.
The last light of the year.
Another winter.
Christ died for our sins, George reasoned. Was his sin living?
“…He descended into Hell.”
The young boy closes his eyes, and he plunges the world into darkness.
A soprano shrieks, the organ blares, a hymnal is dropped to the floor, echoing deafeningly in his ears. He raises his hands to cover them, the sound so sudden and so horrifying the young boy shrinks upon himself, and screams.
For the longest time, George Hodgson believed that Hell would sound something like that first Maundy Thursday night service.
He now knows that it sounds like supper.
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I was tagged by @n0ahph0bic to share a WIP; thank you! I shall in turn tag (no pressure!): @hangingfire, @ferylcheryl, @creatureprofessor, @consultingzoologist, @lhurluberlu-hululant, @crustaceousfaggot, @theyonagoda, @orlopsexdungeon, @jirving, and @arcticshanties!
This version of the Nuliajuk legend that is told to Silna is primarily adapted from the sea spirit story and the story of the one who married a dog as told by Nakasuk (via Knud Rasmussen); Nuliajuk as described by Peter Irniq; and the dog husband arc from Alexina Kublu’s retellings.
When she stays over, Silna’s maternal aunt tells her the unipkaaq of the one who never wanted to marry. That one’s father lost his temper when she refused marriage to any man and so he married her to his big white dog.
“Hu’mat?” Silna can’t keep from asking: Why? Although her cousin Kappianaq hushes her for interrupting.
“His anger made him foolish, and cruel,” her aunt says, shaking her head. “When his daughter became pregnant by his dog, he felt ashamed, and he took her and her dog husband away from Qi’miqtuuq so that she might be confined to a small island where none would see. But he was also resentful of providing meat to them because the dog could not hunt for itself like a proper husband. He stopped going over in his qajaq.
“As the daughter’s belly swelled, her husband would swim over, and carry back their share of the meat in its packs. And one day, when the father was angry, he filled its packs not with meat but stones.
“Then it started to swim back. It reached the middle of the channel, but the stones were so heavy, the current so strong, the water deep and cold.
“It drowned.”
Silna’s aunt pauses somberly, tending to the flickering lamp flame so that it burns steady. The rain patters softly upon the tent, blending with her aunt’s soft voice as she clears her throat and resumes.
“As the father feared, the daughter gave birth to a whole litter. And they were Itqilliit, and qaplunaat, and some, even, were others.
“His daughter loved her babies, but she grieved the murder of her dog husband, and still felt that it was wrong she had been married to it. So, one day, she told her children:—
“‘Your grandfather was wrong to make you fatherless. When he comes to give us the meat, because he took your father from you, you should kill him.’
“And the children met him at his qajaq, licking the blood from the grandfather’s qajaq skin and fawning over him as they always did when he brought them their food, and then they tore apart the skin and fell upon him, and they mauled him to death.”
Silna can see the old man in her mind’s eye, crumpled bloody in the surf from the children tearing at him with their hands and mouths. The pieces of the broken qajaq bobbing about him.
“Now, because they were on an island without anyone else, they would have gone hungry. And so the mother sent her children out into the world that they might live; she sent the Itqilliit off via the water, in her inner boot slippers, and the qaplunaat she sent off in her outer boots, the footwear becoming their watercraft.”
The pinnak and kammak plopped into the water transform as if through a trick of the light into Indian canoes and qaplunaat ships as the children step aboard. Their mother watches them till they disappear in their new watercraft past the shivering horizon, the sky bright and her eyes filling with tears.
“All alone, the woman was griefstricken, and maddened with guilt for having murdered her father. So she waded out into the sea and cut off her fingers, the severed digits becoming the sea mammals—the ringed seal, the bearded seal, the harp seal, the walrus, the beluga and narwhal, even the orca and the bowhead. Then she threw herself into the sea after her husband, sinking to the bottom, and down there She established Her household from which She rules over the whole ocean.
“Her dog guards the iglu, and Her father lives down there with Her, but is relegated to sleeping out in the tuqšuk wherein he traps wrongdoers beneath the smothering weight of his polar bear blanket.
“It is with gratitude to the mother of the sea mammals that they might sustain us. When She is angry because people are breaking Her prohibitions and not abiding by Her laws, She withdraws, and Her hair grows tangled and filthy, and She traps the sea mammals under Her lamp’s drip basin, so that from time to time the most skilled aŋatkut must go down and comb Her hair and convince Her to release them.
“We must abide by the laws so that She does not keep the animals from giving themselves. And for this reason, because of what happened to Her, because She has dominion over the sea and all its life, we know Nuliajuk, and we propitiate Her.”
Silna comes out of the reverie which the story casts over her slowly, awed at now understanding how the principle sea spirit whom Silna has known all her life came to be as She is. Around herself are her maternal aunt and uncle and her parallel cousins Kappianaq and Qapuk, and in the time that her aunt has told the story, the evening light has darkened, the tupiq now dim but for the banked qulliq. The waves of the ocean roll hissing over and again onto the shore outwith.
The legend has left a quiet in its wake; Silna settles into it, reflecting deeply on the story of Nuliajuk and Her anger that her arnarvik has shared.
An Archive of Our Own, a project of the Organization for Transformative Works
Terror fic | Fitzier | 25k, posts weekly
Summary: James has a bookshop. Francis also has a bookshop. Neither is pleased about the situation.
In which - Sir John Franklin has given it all up to write bodice rippers, Blanky has a trench coat full of Stephen Kings, and there's a turf war concerning fairy erotica.
Relationships: James Fitzjames & Henry T. D. Le Vesconte, Henry T. D. Le Vesconte/Edward Little, minor James Fitjames/Francis Crozier
Characters: James Fitzjames (1813-c.1848), Henry T. D. Le Vesconte, Edward Little (1811-c.1848), Francis Crozier, Graham Gore, George Henry Hodgson, James Fairholme, Thomas Jopson
Additional Tags: Alternate Universe - Modern Setting, Alternate Universe - Everyone Lives/Nobody Dies, Implied/Referenced Alcohol Abuse/Alcoholism, Past Alcohol Abuse/Alcoholism, Implied/Referenced Drug Use, Trans James Fitzjames (1813-c.1848), nonbinary george hodgson, band au?, Sort Of, Getting Together, Implied Unrequited Love, nedconte gets the romcom treatment, Mental Health Issues, Injury Recovery, Head Injury, Physical Disability
Summary:
Given Jim Fairholme’s calm, even description of what occurred at the Sons of Chaos show last night, Jamie was expecting perhaps a small bandage on Dundy’s head, possibly an ankle brace for a sprain, and definitely a wild grin along with an increasingly embellished story he’ll tell for years to come. What she wasn’t expecting was the state he’s in when she first arrives at his hospital room.
Dundy goes to rehab and finds love along the way. Told from the point of view of his best friend, Jamie Fitzjames