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❀I stand by that sandwitch❀

@peanutbutterandbananasandwichs / peanutbutterandbananasandwichs.tumblr.com

Vic: They/she. "bitter Sam girl" (gn) 36. Mobile header: me. PFP: me. Sidebar image: Semirahrose

Fic master post

Here's a little master post of all (most of) my existing fic. I'm writing again so I'll update with new ones as I go along :)

On Ao3:

-Long fic:

Words: 16,161 (5 chapters)

Case fic, set early S11 (but written before S11 came out so canon divergence).

Winter has come early bringing with it the biting chill of the years first frost, there is the hum of electricity in the air and people are going missing. Sam dreams of Jess and faces in the ice. When a young woman named Liz disappears Sam is certain there’s more to the case than first appears. Meanwhile Dean is drawn in by tales of people vanishing on the shores of Coldwater lake, strange wordless songs and a woman standing out on the frozen water. It will take all of Sam’s cleverness, bravery, and perhaps just a smidgen of psychic ability, for him to be able to piece together the cases and bring a lost soul to rest.

----

-One shots:

Word count: 1099

Sam/Ruby, rape/noncon, demon blood, ruby's belief that she is in some way Sam's mother

“It’s ok, Sammy.” Her voice is breathless too, exultant. The “Sammy” sliding off her tongue like a prayer. “It’ll help,” she rubs soothing circles on his back. Her eyelids flutter closed before opening again, slowly. Seductive. Sam finds himself fixated on her parted lips. “You told me that, remember? You told me that it helps.”

Word count: 1,797

Sam/Amelia, Dean Junior, post-series, disabled sam, chronic fatigue, just Sam quietly living his life as best he can x

my biggest pet peeve with spn fanfiction is when people have sam dean and john pre series hunting tons of werewolves vampires and demons etc. it feels pretty clear to me their main beat was ghosts considering they 1) hadn’t seen a werewolf since sam was 13 2) thought vampires were extinct and 3) demons were super rare prior to 2x22. also i just like the idea of hunters having their own niches. like half the hunts in s1 are hauntings i just think that’s their bag.

"This is Ankh-Morpork, you know. We've got extra pronouns here."

GNU Terry Pratchett

The full quote is fascinating though, and adds an interesting context as it's Angua (a werewolf) and Carrot (human, but raised by dwarves) discussing a dwarf colleague, Cheery.

"Female? He told you he was female?" "She," Angua corrected. "This is Ankh-Morpork, you know. We've got extra pronouns here." She could smell his bewilderment... "Well, I would have though she'd have the decency to keep it to herself," Carrot said finally. "I don't think it's very clever, you know, to go around drawing attention to the fact." "Carrot, I think you might have something wrong with your head," said Angua. "What?" "I think you might have it stuck up your bum."

Sir Terry Pratchett - "Feet of Clay"

This is CARROT being the asshole. Carrot who has, throughout all the prior books, been depicted as basically the best of all possible people. He is noble, brave, considerate, kind. He is the good guy in the entire City...

... and yet, he grew up dwarf, and has picked up their more conservative views on gender identity.

Discworld dwarves start out in the books as basically a people without visible gender differences (thanks to the woman growing beards just like the men) and using "he/him" pronouns as their default. Anything else is seen as breaking the most basic of social conventions. (Dwarf dating is described early on as being two dwarves who like each other spending an inordinately long time trying to find out, as tactfully as possible, what gender the other dwarf is)

Carrot does immediately adopt the "she" pronoun for Cheery, which is but wishes she didn't make such a fuss about it. He's prepared to tolerate her choices, but he doesn't APPROVE of them, and thinks that that is enough.

Carrot, because he IS Carrot, does learn to open his mind on this subject, perhaps his final frontier of bias, but I do love that it's addressed as something he has to work on, and succeed.

And to Terry Pratchett's credit what started out as a throwaway joke about dwarf sex, gradually becomes a multi-volume subplot which is a fascinating exploration of gender and social identity as more dwarves start to "come out" as being female, and not just identifying as female, but changing their form of dress to something which matches who they are (they keep their beards though, because to a dwarf, that has nothing to do with gender, and everything to do with being a dwarf) and how their society has to adjust, with differing levels of comfort, to this new reality.

Carrot was also prejudiced against the undead early on as well. And the fact that he unlearns these views is a good example of a common theme in Pratchett's work

The overwhelming theme of Pratchett's work is change. Not good vs evil but progress vs stasis/going backwards. The protagonists of Pratchett's stories are people who can take on board new ideas and change and grow and adapt. Some of them start out as very stupid people with very stupid views in fact until they learn and grow and improve. The villains on the other hand are people who desperately want things to either stay the same or regress back to some imagined "Good old days" that they prefer.

While we're talking about Terry Pratchett gender, there's also golems, who are basically lumps of clay that have been brought to life but don't actually have any gender or secondary sexual characteristics so everyone defaults to male and he/him. As the books story goes on some of them decide to try being women just because.

Feet of Clay came out in 1996. I cannot overstate how pronoun discourse wasn't anywhere on the radar then. I'm fairly terminally online, active in fandom, and the first I can remember is some timid discussion of neopronouns in the mid-2000s, where "how could you tell other people to use them for you" was a major puzzle. (I still love neopronouns - zie/hir appeals to me in a way they distinctly doesn't, genderfluid though I am.)

ALSO also also

1) I don't have the book to hand, but when Cheery comes out she changes her name to Cheri, because "sometimes, when you shout who you are to the whole world, you need to do it quietly." It's such a beautiful expression of coming out being a process, and one that needn't be undertaken all at once.

2) Pterry had the best goyische take I've ever seen on golems, and I will die on that hill. It's not perfect, but it is really well-done, and it was done with respect, and to me that might be even more important than perfection.

I had the book to hand because I reread it recently. The quote goes:

When you've made up your mind to shout out who you are to the world, it's a relief to know that you can do it in a whisper.

THERE we go.

November 2nd

It’s the only date that’s repeated every year.

Some years, the boys’ birthdays are missed - sometimes with something scribbled in the margin, a footnote, a day or two late.

“Dean says Sammy bought them tickets to see a movie. I don’t remember what. But he said it was ‘awesome.’”
“I should have been there. I’m sorry, Mary, I know I should have. But this is more important. Lives were at stake. They’ll understand. You’ll understand.”

Would she? The presumption makes her nose wrinkle.

“Sammy said he didn’t want to do anything for his birthday anyway.”

But November 2nd - always there.

Some years, there’s nothing but the date. Sometimes she catches a faint scrawl, hesitant, as if he started to write and faltered at the last second. Ghostly yellow-brown stains mark the page - crusted edges tinged with salt.

It’s like staring into a chasm - the yawning abyss of your own absence. She feels hollowed out.

Some years are perfunctory.

“Mary’s been dead six years.”

Followed seamlessly by a note about the efficacy of iron versus salt in slowing ghosts, a sneering aside about some other hunter he’d argued with at a bar (those seemed to happen a lot), a reminder to pick up more cans of soup before he leaves again.

“Note: Sammy doesn’t like cream of chicken; he says the texture makes him feel sick. Hopefully it’s not the only thing left.”

Part of her likes these entries best. Somehow, they make her feel the most real. That’s what happens, right? People die, and life - life just keeps marching on, whether you like it or not. The relentless mundanity of existence has no care for grief.

“Sammy doesn’t like cream of chicken.”

She traces the words: a fleeting, boring, beautiful little snapshot of a boy she never knew. Would never know.

November 2nd, Year 11

“Sam ran away. Again. Third time this week. He didn’t get far before Dean found him - dragged him home by the ear. I chewed him out. Of all the nights, he chose this one? And he just stood there, unflinching, unrepentant. Dean, I think, wanted to hit him. And I almost let him. Nearly did it myself. But I saw you in his face, Mary - that stubborn set to your jaw. You’d drive me crazy when you wouldn’t back down, you know that? You just always had to be right. I couldn’t do it. Sammy took himself off to his room, calm, infuriatingly calm - didn’t even slam the door. Dean and I split a bottle of Jack.”

Bitter rage flares in the pit of her chest.

“You just always had to be right.”

He wrote it like she was supposed to smile wryly - smooth his cheek, be thankful that their child had pissed him off in the same way she had. Thankful that was enough to stop him.

It hadn’t stopped him in any way that really mattered.

“Fuck you. Fuck you. FUCK YOU!”

The words tear out of her throat. They should reverberate off the sterile concrete, but instead they’re swallowed, dying impotent. God, this place is like a prison. A tomb. Maybe she’s still dead after all - buried deep in the earth. Maybe she’s still a girl, property of her father, chained to the legacy. Maybe she never got away.

“Sam ran away. Again.”

Sam never got away.

She slams the journal shut.

It takes her three days to resume.

Some years, he waxes poetic - pours out flowery tributes to a perfect wife, a perfect mother. A goddess. An angel.

To anybody but her.

Mary was a myth.

Mary made meatloaf.

No, the Columbia. A great river of thorns and when this stranger stood up and muttered something about a cigarette,  the Hazmat team  in my chest begins to cordon  off my heart, glowing a toxic yellow,  and all I could think about was the punch line "sexy kids," that was it, "sexy kids," and all the children I've cared for, wiping their noses, rocking them to sleep, all the nieces and nephews I love,  and how no one ever  opened me up like a can of soup in the second grade, the man now standing on the sidewalk, smoke smothering his body, a ghost unable  to hold his wrists down  or make a sound like a large knee in between  two small knees, but terrifying and horrible all the same.

- Ghost Story, Matthew Dickman.

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