#wcam

Lets consider the meta level first: - despite stereotypes, Great Britain does not consist of aristocracy and royals alone. What are 600 arstocratic families to 60 million of the rest of the population? - the Industrial Revolution started in Great Britain - factory work, steel mills, textile and most prominently, coal mines in the North of England were all operated by the workers. I feel like in Britain, social classes matter way more than on continental Europe, and also to me personally the working class seemed like a particularly important one, historically speaking. Okay, enough history for now, so lets get into the human AU: - Arthur, who grows up in a large family with four brothers (Alasdair & Dylan who are older. And Sean & Peter who are younger) - his parents had Alasdair very early on and you know how it is. With a baby on the way, you got to make the best out of it and take the first stable job you get. (Which was in Glasgow at the time). - but unforntunately high unemployment rates hit the country, especially the working class (thanks Maggie T</3) and what to do if you lose your job and no new work is to be found? Well, you just go and look somewhere else. In the Kirklands’ case, that somewhere else is Cardiff, Wales where Dylan is born. - So they end up sort of moving quite a lot, practically in every part of the UK, in hopes of finding stable jobs for a bit. - Eventually they settle in a suburb of Manchester, England at long last.

- And life goes on

- They recycle so much clothes between the brothers. A good 40% if not more of Arthur’s clothes used to be either Alasdair’s or Dylan’s. - In turn, Sean and Peter also get Arthur’s old school uniforms. Theyre not particularly nice after all these years, but look, they have five kids. They simply don’t have the money for new ones. ( “Says much about the efficiency of a system when it forces you to wear school uniforms in order to avoid social stigmatisation and yet makes you buy the uniforms yourself, as if richer people couldn’t afford the better ones anyway.” Arthur would say darkly) - lots and lots of second hand shopping. (this is where Arthur got is first leather jacket and Doc Martens from, and yes, this is also when his punk phase has started) - thus his outfits tend to look quite ...interesting. A various mix of old jumpers from the 90s, Dylan’s old plaid shirts and some band t-shirt he got for £5. - one year, he and his brothers were looking for a gift for their mum’s birthday. Arthur didn’t have any cash anymore (yes, it was after he bought the Doc Martens, sacrifies had to be made), so he suggested he tried to bake her a cake. Much cheeper than any other gift. Obviously his brothers mocked him for it (until they actually tried the cake and found out that it actually tasted quite good). Since then Arthur took up baking here and there, and his brothers while not encouraging, do not mock him anymore. They do hope he makes the lemon cake again for Ma’s next birthday though

- SCHOOL ho boy... so the thing is, Arthur is rather clever.

- Academically, he was above average. Acing it in subjects like English and History, being quite good in French (no, he does not bring this fact up often...or...at all), and getting decently by in the rest. Except that one time in PE when he got rowdy with the other boys during a football match (no, not our boy’s brightest moment). - He is intelligent, he even understands subject that he doesn’t particular like, like chemistry. He is quick-witted and sharp tongued and has a natural talent for words and writing. Even rather sophisticated articles and topics do not resent a challenge for him. - Naturally, Arthur toys with the thought of going to university and immediately wants to slap himself for that ridiculous idea. - The thing is, nobody in his family has gone to university so far. Like, he has no, absolute no frame of reference what it entails. - Being from a working class family and then going to university is a scary thing, man. - also, being £30,000 in dept by age 18 is a terror of its own kind - Eventually, he contemplates applying maybe perhaps for the local university and that information seeps through to Alasdair who found it to be a rather ridiculous endeavour. - “Look, you’re shitting your pants about this application one way or another, so why not just go immediately for the top universities instead. If you get rejected, well, at least you got rejected by one of the top universities in the world. But if you get accepted....” “Aw, are you saying you think I could get accepted by one of the best universities in the world?” “I’m not saying anything, you wee little shit. Don’t put words in my mouth. But......being the overachieving know-it-all that you are, you might have a chance.” - For as long as he lives, Arthur’s never gonna admit it but this conversation might have really been the most meaningful thing Alasdair has ever said to him. - And yes, he does apply and yes he does get accepted.

FURTHER HEADCANONS:

- he toned it down by now but the punk never died in him. lots of LGBT+ pins on his jackets too. - that being said, he hates it when people think punk is an aesthetic rather than a political stance (”You cannot be bloody punk and right wing. You just cannot!”) - genuinely likes the taste of beer. Or it might be that it was the cheepest alcoholic beverage he could manage to buy. Situation unclear. - is so prone to get into bar fights oh dear lord when he says “fight me”, he genuinely is 100% down to throw hands even if you beat him bloody - obviously, always votes Labour - will call you a cunt if you’re a Tory - unrelated to anything, but I think he’d wear earrings regularly and they’d be cute - also, has a tendency to dye his hair in crazy colours when he is under pressure - one last thing: oftentimes, Arthur strikes people as incredibly cynic or gloomy or ‘overly engaged in politics’, but growing up the way he grew up, facing so many hardships through the years of which many were directly caused by careless conservative politics...its just hard not to be cynic. My final words here are: this is most definitely not what you were looking for when you sent that ask, anon, but I seriously needed to get this out of my system. If anyone wants to ever talk about my favourite boy Arthur, my ask box is always open.

alright, here's the deal on hymns: i am not going to fight to get duets to post correctly. there's a 0% chance i can in tumblr's wonky ass new editor with no markdown, not to mention how difficult it would have been in the old editor. so i'm going to talk a lil about what i've got, and post some stanzas that i think don't get explored a lot in ibtwicm.

we're discussing these in the order that they go in. a reminder that these are all sections of one epic poem. that said, i don't know where the gaps are. like, i don't know what's between these, if that makes sense.

the wind

the wind, the very first hymn. this is an ode to, well, windclan. it's a song about everything that makes them them. it's filled with poetry about the wind, about the seasons, and it's just...well, it's a bit of a genesis, in a way.

The wind — like the rain, like the river — calls the name of each star in its breath. The wind — like the earth, like the stone — anchors us to our home. The wind — like the sun, like the sky — is knowable only by name.

i wanted to share this stanza because the last line doesn't show up in ibtwicm (at least so far, i cut the reference), and it really, really, makes a difference imo.

anyway, windclan is basically tying the wind in with every other fundamental part of their life here.

they are the wind, and that's that.

the hare

okay, this one has a line that comes up a lot in ch1, but i already talked about that, so instead, i'm going to talk about this stanza

Speak of the earth and the dens, and you will be answered: By the call of the howling gales, the open earth singing in response. But speak of that which grows above, of the grass and field, And you will be answered by the softness of the buds and the roots.

okay, we get deadfoot thinking about this when he's talking to yellowfang.

i like this stanza because it really tells us what the hare is about. now, hares are not something windclan catches. hares are huge, y'all, there's no way they take one down. i take liberties with ecology, but not that many.

(i.e., a team of cats definitely could take one down, but i know too much, and would prefer letting team hunting stay a plot thing, and not fundamentally alter the environment in the way it would.)

now anyway, all of these hymns come from the time of the tunnelers. and the point of this is, even though the work of tunnelers and moor runners is disconnected, they fundamentally affect each other.

a moor runner must trust the hollows of the earth beneath them won't collapse, and a tunneler must trust that the prey they chase up will be caught.

it's all very symbiotic and is, well, in a way, a love poem. plus i really like the line "the open earth singing in response"

of the warrens

so this has one line, one you might not even know is a hymn, in ch1, but i'll share the whole stanza.

And as for the subject of fallow fields: Fallowed fields make for hungry prey, Yet hungry prey makes desperate rabbits, Who leap into our claws.

and ig my big point is, the hymns are a cultural artifact. just like many of the rules in the old testament have to do with hygiene things being codified into religion, this whole hymn is about hunting advice.

the moon on the river

okay, out of all the hymns, this is the most complete, and because ashfoot and deadfoot sing it together, and deadfoot discusses it, i only have one stanza to share.

Under the coldness, you shine back at me, And I do everything to keep the clouds from threatening you.

now, this poem is about love, grief, and being separated. it's a particular kind of grief, and windclan discourages grief, so this is one of only a few ways to really, fully express it.

and this section, in particular, is about love in times of hardship.

i don't have. a lot to say here. but the way hardship changes how you love someone can be particular and intense.

(temporarily, this happens sometime before "Spare for my chosen few / All I have is given towards the distant ground.")

the gorse in the wind

oh shit! i have so fucking much to say okay first.

the series title does not come from this hymn.

second, this is a challenging hymn okay. fuck. i have so much to say. where to start so! moors are actually relatively wet. think british countryside, not, like, a cool desert.

this is something i always knew? i read the secret garden a lot as a kid. but. i've seen stuff about moors being dry, and it's just one of those things that really...starts to eat under your skin. anyway.

okay, so. gorse is a dry plant. it does not like rain. it grows in sandy soil, etc etc, and yet. aside from everything we know about gorse and warriors, it also grows in this moor. because i say so.

okay, so. so so so. the lines quotes here are really deceptive, and i bet no one understood why, and that makes me just a little sad, but i couldn't find a good way to explain it in text, so uh, yeah, anyway. there's an exchange between ashfoot and deadfoot: "THE GORSE: You called me the heather and I grew stronger. / THE WIND: I called you the heather and brought rain for you to grow."

so...so do you see? do you see the point? it's about communication, needs, challenging each other. fadskj;l i love this. okay, so. the point is that heather is fragile, soft, pretty, and gorse is the opposite. the part of the wind is trying to be kind and complimentary, but the gorse is saying, fuck that, you are not being kind to me by undercutting my strength.

anyway, this passage is sung by the gorse:

In what good company have I set down roots, That even through snow fall I flower. You called me the heather and yet I've weathered, Far more than your sweet-named love.

so uh, yeah, this adds context. gorse! gorse is a hardy plant that continues to flower basically all season round. it's cool. it's cool. gorse is super cool. fuuuck y'all it's such a small thing and i've contained talking about it until now, but now it's too much. the floodgates are open, and i thought about this small detail too much.

okay. deep breath. gorse is a really easy plant to grow, but it's still adapted for dry environments. so the "even through snow fall I flower" part is a little tongue in cheek: gorse itself will flower in the cold, but snow is a type of precipitation, which as we've covered, is not gorse friendly.

then we have some rhyming and puns in the next line, and finally, "yet I've weathered, / Far more than your sweet-named love." like. yes. love as a form of softness is not necessarily helpful.

i mean, consider the damaging "soft trans boi" problem. same energy.

right. okay. so we've got all that? now if you remember, this is sung when deadfoot thinks ashpaw doesn't respect him, and ashpaw says she'll sing with him if she can sing the gorse, so in essence, she's telling him...not to back off, per se, but that...she is the "hard part" of the relationship. like, okay, i refuse to even bring up gender roles in human relationships, but uh, her point is very much, "i am the gorse, and you are the wind," and it's a very monumental moment.

it's anchored, i believe, in the other scenes, but this is a small thing that matters a lot to me.

like a lot.

okay, now that i've talked about like four lines for the length of this entire post, moving on.

the heather and earth

okay, this is the last hymn i have in concrete terms, and i cut a bit of it from the latest chapter, so yeah. it's also, uh, okay everything i have for it is only a line or two, but i wanted to share this closing line (sung together):

Sing a song of forgiveness, of growing together, and we will make madness, And madness from hence will everything beautiful grow.

and i just like these lines. they got cut, it was initially part of an exchange between ashfoot and deadfoot, but i can't share the part of it they talk about, because i'm reusing it for a later chapter and i'll 100% spoil shit if i try to talk about it.

but these lines? mmm they speak to me.

i don't have a ton to say about them, but i just. i like it.

if we apply the same ecology discussion from the gorse and the wind, we see heather is a plant that grows in acidic, infertile soil, and heath (which is not the same as a heather, but also kind of is) is a defining quality of heathland, which is...i'm not kidding, it's hot discourse about the difference between moorland and heathland.

i'm not getting involved, but my point is, if the gorse in the wind is a hymn about finding a working relationship, about mutual respect, etc., then the heather and earth is a hymn about working well together in a terrible situation.

god.

uh, wow! can you tell i like plants? because while parts of my ecology are dubious (see: everything regarding the rabbits in ch1), the plants part are well thought out. this shit is carefully detailed metaphor.

and that's why i won't be releasing a full hymnal. it's hard to as on top of this as i want to be. i'm not kidding, writing even four lines of a hymn usually takes me about twenty minutes, because i pull up a lot of research about how things work, how they interact with each other, etc., and then there's wordsmithing, cat worldview filter, etc.