(Note I have not read any of these, I am just PLOPPING THEM HERE SO THAT WHEN I NEED A NOTTING HILL AU, I CAN HAVE ONE.)
Notting Hill AUs in Every Fandom Ever:
- Mighty Boosh - Howard/Vince
- SPN - Jared/Jensen (by pandarus)
- TSN - Jesse/Andrew (by ifeelbetter)!
- Generation Kill - Brad/Nate
- XMFC, Charles/Erik
- ST:Reboot - Kirk/McCoy
- Merlin - Arthur/Merlin
- SPN - Jared/Jensen again :)
- XMFC, Hank/Alex
- TSN - Jesse/Andrew again :)
- NSYNC - Lance/J.C. :) :) :)
- Pundit RPF - Keith/Anderson
- SG1 - Daniel/Vala (at last! het!!!!)
- Twilight - Edward/Bella (yes, I did it, I went to FF.net.)
- HP - Ron/Hermione
- HP - Harry/Draco (finally)
- HP - Percy/Oliver (FF.NET, I KNEW I COULD COUNT ON YOU TO HAVE THE HARRY POTTER GOODS)
- HP - Harry/Ginny
- Gundam Wing - Heero / Relena
(you guys, ff.net is seriously readable these days, btw. If you haven't been there lately, check it out. They've dragged themselves out of the late 90's and into the Oughts quite nicely. :) )
Surely, surely there is an Inception fandom Notting Hill AU! Why haven't I read it! :( :( :( Oh, and FEMSLASH? ANYONE? There has to be a Devil Wears Prada Notting Hill AU out there somewhere. Or a Blair/Serena Notting Hill AU. what am i missinggggggg omg. Notting Hill AUs. :( Where are you. :(
okay, enough standing before you asking you to love me.
My friends, I have a poem for you. This is, apart from being a long poem that I am going to transcribe for you because I am insane, is one of the most fabulous literary examples of RPF I've read in a while.
The poet Amy Lowell, in addition to being a Pulitzer Prize winner (oooh, I totally need to add her to my list), a beautiful, brilliant, proud lesbian who wrote gorgeous erotic poetry to her partner Ada Dwyer Russell, and radical feminist who pissed Ezra Pound off for being too uppity, was a writer of fanfic.
Specifically, RPF about three prominent women who came before the emergence of 20th century female poets: Sappho, Elizabeth Barrett Browning, and Emily Dickinson. Amy imagines herself in dialogue with the three of them in turn, allowing them to speak, envisioning how they would adapt to the present day, and what they would have to say to modern female poets. She regards Sappho with a reverent, semi-erotic gaze, and laments the distance of time and social contexts that stand between her and Browning, while subtly undermining that distance by reminding us that Browning was still "very woman," with all the sexuality and empowerment that implies after the fact. She spends the most time on Emily Dickinson, because like everyone she is a litle in love with Emily.
She also reveals a lot about herself, her outspokenness, her skepticism, and ultimately her refusal to rely on the past to provide answers for what poetry should be and how it should answer to the concerns of the 20th century.
Most thrilling of all, she knows that the narrative will continue well after she is gone, and hopes at the poem's conclusion that she will one day continue the cycle and spark the same kind of dialogue through poetry between herself and female poets to come.
It's a wonderful, vibrant, snarky, affectionate poem, and I am transcribing it here for you all.
It is called "The Sisters." (1925)
Taking us by and large, we're a queer lot
We women who write poetry. And when you think
How few of us there've been, it's queerer still.
I wonder what it is that makes us do it,
Singles us out to scribble down, man-wise,
The fragments of ourselves. Why are we
Already mother-creatures, double-bearing,
With matrices in body and in brain?
I rather think that there is just the reason
We are so sparse a kind of human being:
The strength of forty thousand Atlases
Is needed for our every-day concerns.
There's Sapho, now I wonder what was Sapho.
I know a single slender thing about her:
That, loving, she was like a burning birch tree
All tall and glittering fire, and that she wrote
Like the same fire caught up to Heaven and held there.
A frozen blaze before it broke and fell.
Ah, me! I wish I could have talked to Sapho,
Surprised her reticences by flinging mine
Into the wind. This tossing off of garments
Which cloud the soul is none too easy doing
With us to-day. But still I think with Sapho
One might accomplish it, were she in the mood
To bare her loveliness of words and tell
The reasons, as she possibly conceived them,
Of why they are so lovely. Just to know
How she came at them, just to watch
The crisp sea sunshine playing on her hair,
And listen, thinking all the while 'twas she
Who spoke, and that we two were sisters
Of a strange, isolated little family.
And she is Sapho--Sapho--not Miss or Mrs.,
A leaping fire we call so for convenience;
But Mrs. Browning--who would ever think
Of such presumption as to call her "Ba."
Which draws the perfect line between sea-cliffs
And a close-shuttered room in Wimpole Street.
Sapho could fly her impulses like bright
Balloons tip-tiliting to a morning air
And write about it. Mrs. Browning's heart
Was squeezed in stiff conventions. So she lay
Stretched out upon a sofa, reading Greek
And speculating, as I must suppose,
In just this way on Sapho; all the need,
The huge, imperious need of loving, crushed
Within the body she believed so sick.
And it was sick, poor lady, because words
Are merely simulacra after deeds
Have wrought a pattern; when they take the place
Of actions they breed a poisonous miasma
Which, though it leave the brain, eats up the body.
So Mrs. Browning, aloof and delicate,
Lay still upon her sofa, all her strength
Going to uphold her over-topping brain.
It seems miraculous, but she escaped
To freedom and another motherhood
Than that of poems. She was a very woman
And needed both.
If I had gone to call,
Would Wimpole Street have been the kindlier place,
Or Casa Guidi in which to have met her?
I am a little doubtful of that meeting,
For Queen Victoria was very young and strong
And all-pervading in her apogee
At just that time. If we had stuck to poetry,
Sternly refusing to be drawn off by mesmerism
Or Roman revolutions, it might have done.
For, after all, she is another sister,
But always, I rather think, an older sister
And not herself so curious a technician
As to admit newfangled modes of writing--
"Except of course, in Robert, and that is neither
Here nor there for Robert is a genius."
I do not like the turn this dream is taking,
Since I am very fond of Mrs. Browning
And very much indeed should like to hear her
Graciously asking me to call her "Ba."
But then the Devil of Verisimilitude
Creeps in and forces me to know she wouldn't.
Convention again, and how it chafes my nerves,
For we are such a little family
Of singing sisters, and as if I didn't know
What those years felt like tied down to the sofa.
Confounded Victoriana, and the slimy inhibitions
She loosed on all us Anglo-Saxon creatures!
Suppose there hadn't been a Robert Browning.
No "Sonnets from the Portuguese" would have been written.
They are the first of all her poems to be,
One might say, fertilized. For, after all,
A poet is flesh and blood as well as brain
And Mrs. Browning, as I said before,
Was very, very woman. Well, there are two
Of us, and vastly unlike that's for certain.
Unlike at least until we tear the veils
Away which commonly gird souls. I scarcely think
Mrs. Browning would have approved the process
In spite of what had surely been relief;
For speaking souls must always want to speak
Even when bat-eyed, narrow-minded Queens
Set prudishness to keep the keys of impulse.
Then do the frowning Gods invent new banes
And make the need of sofas. But Sapho was dead
And I, and others, not yet peeped above
The edge of possibility. So that's an end
To speculating over tea-time talks
Beyond the movement of pentameters
With Mrs. Browning.
But I go dreaming on,
In love with these my spiritual relations.
I rather think I see myself walk up
A flight of wooden steps and ring a bell
And send a card in to Miss Dickinson.
Yet that's a very silly way to do.
I should have taken the dream twist-ends about
And climbed over the fence and found her deep
Engrossed in the doing of a humming bird
Among nasturtiums. Not having expected strangers,
She might forget to think me one, and holding up
A finger quite casually: "Take care.
Don't frighten him, he's only just begun."
"Now this," I well believe I should have thought,
"Is even better than Sapho. With Emily
You're really here, or never anywhere at all
In range of mind." Wherefore, having begun
In the strict center, we could slowly progress
To various circumferences, as we pleased.
We could, but should we? That would quite depend
On Emily. I think she'd be exacting,
Without intention possibly, and ask
A thousand tight-rope tricks of understanding.
But, bless you, I would somersault all day
If by so doing I might stay with her.
I hardly think that we should mention souls
Althouth they might just round the corner from us
In some half-quizzical, half-wistful metaphor.
I'm very sure that I should never seek
To turn her parables to stated fact.
Sapho would speak, I think, quite openly,
And Mrs. Browning guard a careful silence,
But Emily would set doors ajar and slam them
And love you for your speed of observation.
Strange trio of my sisters, most diverse,
And how extraordinarily unalike
Each is to me, and which way shall I go?
Sapho spent and gained; and Mrs. Browning,
After a miser girlhood, cut the strings
Which tied her money-bags and let them run;
But Emily hoarded--hoarded--only giving
Herself to cold, white paper. Starved and tortured,
She cheated her despair with games of patience
And fooled herself by winning. Frail little elf,
The lonely brain-child of a gaunt maturity,
She hung her womanhood upon a bough
And played ball with the stars--too long--too long--
The garment of herself hung on a tree
Until at last she lost even the desire
To take it down. Whose fault? Why let us say,
To be consistent, Queen Victoria's.
But really, not to over-rate the queen,
I feel obliged to mention Martin Luther,
And behind him the long line of Church Fathers
Who draped their prurience like a dirty cloth
About the naked majesty of God.
Good-bye, my sisters, all of you are great,
And all of you are marvellously strange,
And none of you has any word for me.
I cannot write like you, I cannot think
In terms of Pagan or of Christian now.
I only hope that possibly some day
Some other woman with an itch for writing
May turn to me as I have turned to you
And chat with me a brief few minutes. How
We lie, we poets! It is three good hours
I have been dreaming. Has it seemed so long
To you? And yet I thank you for the time
Although you leave me sad and self-distrustful.
For older sisters are very sobering things.
Put on your cloaks, my dears, the motor's waiting.
No, you have not seemed strange to me, but near,
Frightfully near, and rather terrifying.
I understand you all, for in myself--
Is that presumption? Yet indeed it's true--
We are one family. And still my answer
Will not be any one of yours, I see.
Well, never mind that now. Good night! Good night!
- Amy Lowell, 1925
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