goldlyboing
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Cultural Reciprocity (n.)
The dynamic or material exchange of knowledge, values, and perspectives between two or more different cultures.“In the Southern Water Tribe,” Sokka begins in a scholarly tone—like he’s about to recite an oral history, “warriors wear wolf-tails, and keep the hair on the crown of their heads pulled back.”
“Kids and bachelors keep the sides of their hair short. Since Bato witnessed my ice-dodging ceremony when I was sixteen, I’ve been considered an adult for a while now. Growing my hair out is symbolic of maturity,” And this is where Sokka breaks eye contact with Zuko for the first time, looking back down at the table and picking up his cup of tea (iced, which he insists is a Tribe thing but still makes Zuko cringe) to cradle between his wide palms. And then he opens his mouth, and in six words freezes Zuko’s heart and rattles him down to the core—
“And of my intent to marry.”
“Marry,” Zuko repeats dumbly.A/N: This fic spends a lot of time exploring the lore of the world of A:TLA, particularly its ties to real-world Asian and Indigenous cultures. It also happens to be a love story, too.
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"My Breath—that is what I call this song," says Bato, "for it is as necessary to me to sing as it is to breathe."
When Hakoda exhales, his breath crystallizes in the frozen antarctic air, shimmering and beautifully mesmerizing. The Water Tribe word for poetry is the same as its word for to breathe. Both come from the root anerca—the soul.
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meditations on grief (i will love again) by goldlyboing
Fandoms: Avatar: The Last Airbender
28 Jul 2020
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Hakoda stops then, his eyes widening. His whole body stills.
"Oh." Hakoda thinks. "Bato is courting me."
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In the throes of combat during Spock"s blood fever, a spontaneous t"hy"la bond is created between him and his Captain. Despite this, Jim continues to rectify mental shields between them.
Rejection, Spock thinks, is a painful emotion.
(Jim is undoubtedly Spock"s t"hy"la and the love of his life, but both of them are wounded idiots and it takes them awhile to tell each other their feelings.)
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Dean takes a really, really long drive to kick fear in the ass. It might just be the best thing he ever decides to do.
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The seat squeaks, and Dean follows the sound, his gaze trailing down. There—where Jack sat moments ago—is a much tinier version of him. He looks mostly the same, just...smaller and more dimply and cuter, if that"s possible. His clothes have shrunk to fit him, so he"s casually sitting in a t-shirt, jeans, and scuffed tennis shoes. He swings his feet from side-to-side over the edge of Baby"s seat the same way Sam used to in the back, and he stares up at Dean with clear eyes.
"Oh," Dean blurts out, eyes bulging, "Cas is going to fucking kill me."
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Cas comes back. It"s not exactly the reunion that Dean is expecting.
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Dean stares at him, flummoxed. Cas quite literally poured his heart out to Dean, gave a truly sappy and distressingly romantic speech and everything, then proceeded to give his life so that Dean could live his. And he wants to act like he doesn"t want to see Dean, be around him, touch him?
Actually, Dean"s ninety-nine percent sure that Cas probably wants to fuck him, and while he has no clue how he feels about that, he"s pretty goddamn sure that means Cas doesn"t get to act like this and make it authentic.
It feels strangely real, though, as if Cas wants nothing more than to get as far away from him as possible. This is a blatant contradiction. Even someone as weird as Cas doesn"t want to get away from the person they have the desire to fuck five ways to Sunday, that they"re in love with. That"s not how these things work, so Dean isn"t buying it.
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- Part 1 of Cursed Metaphors
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Castiel Novak is an inmate at a labour camp. Life is brutal and no one ever gets out. Castiel’s only goal is to go unnoticed by the barbaric guards, and the violent inmates. Dean Winchester is a soldier without a purpose since the civil war ended. Dean accepts an assignment at a labour-camp, under the mentorship of Alistair, the Commander. From the start, Dean and Castiel are drawn to each other, and their relationship develops in a way that changes their lives. But Alistair has his own plans for Dean, and Castiel is a complication. When Alistair fails to separate them through threats and violence, he turns to manipulation; feeding Dean’s confusion about his feelings for Castiel, and goading him into a terrible act in order to break him. As Dean and Castiel try to fight back, they uncover secrets that are more far-reaching than they ever imagined. In such a dangerous world, can they ever be together? Can they even survive?
A dystopian, alternate-history (diverging after the Great Depression in 1933) AU, set in America in 1950.
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Brittle and battle-worn, Cas looks at him over coffee one morning and says, "I need to go," and Dean instantly knows that he"s not coming back.
He"s not really sure how he knows it, but he does. It settles into the pit of his stomach, curling hot and tight like something he instinctively wants to tear out with his bare hands. He takes a breath, and it gets stuck in his throat, hitching there. It hurts, hurts, hurts when he finally exhales.
"Yeah," Dean says, "of course you do," and he nods jerkily as he looks down at his phone. He doesn"t say goodbye. He doesn"t look up from the screen when Cas gets up and leaves the room. He doesn"t finish his coffee, or move for a long time.
By nightfall, Cas is gone.
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Cas is back from the Empty, and Dean knows how to be grateful.