I Yern For It

Leonid gets it

Leonid Pasternak  (Ukrainian, 1862–1945) - The Torments of Creative Work

some attempts at vintage pulp covers style

“What if I write it and it’s bad-”

WHAT IF YOU WRITE IT AND ITS GOOD? WHAT IF YOU WRITE IT AND ITS EXACTLY WHAT YOU WANTED? WHAT THEN????

Dudddde what if we were foils and you were beautiful and i was ugly and you have revolution in your eyes and i believe in nothing and you chastely drop your eyes at all things that were not the republic and i stare fixedly at all women and you were absolute in your ideas and i was shapeless and you pitied me and i venerated you and you scorned me and i admired you and you disdained me and i loved you. What if in the presence of you i became someone once more, what if i was charmed by your chaste, healthy, firm, upright, hard, candid nature without me being clearly aware of it and without the idea of explaining it to myself occurring, what if i had need of you, what if i were your unaccepted pylades what if bro can you hear me

When oomf gets convinced by your yapping (propaganda) and starts getting into your current obsession

home alone but in lesmis

Hey @aroseinmisery1248 heres your eponine! Color palette from this list if you'd like to send an ask ^^

A word on Benedetto’s father figures

Because I’ve been thinking about it all week. Have some parallels and contrasts, my friends:

Villefort:

Starts off Benedetto’s story extremely strongly by literally burying him alive within minutes of his birth. No one has ever failed their son harder.

Might have been onto something when he said crime spread around him and from him like a disease. Seriously, look at this family! It’s so dysfunctional in so many ways!!! If you’re a nature-over-nurture person, it’s not that far-fetched to suppose Benedetto got the Criminal Gene™ from him.

Literally changed his name to hide his compromising origins (as much as humanly possible in the spheres he frequents).

Burnt Edmond’s denunciation letter. Guess who else likes to burn things?

Is brought down by the literal unearthing of his biggest secret, which in turn concludes Benedetto’s arc.

Bertuccio:

Is, literally, the one who gave Benedetto life, and the emissary of Providence™ who shows up to bestow blessings upon him at semi-regular intervals.

Unfortunately, those gifts are always cursed. Surprise salvation from the grave in the garden? Only happens because Bertuccio tried to murder the kid’s father first, and results in what is functionally a kidnapping. Surprise adoption? Results in Benedetto being raised by a literal criminal, who is #shocked when his protege starts hanging out with ill-intentioned older boys and disciplines him with what we can reasonably assume from the unreliable narration is the good old belt. Surprise life-changing information about his origins that Bertuccio held onto all these years? Only revealed to cement Benedetto’s status as Monte-Cristo’s puppet.

Crumbled the second Benedetto questioned his ascendance, therefore drawing a clear link between authority and paternity and reinforcing the kid’s desire to defy both.

“Major Cavalcanti”:

Is just Some Guy™.

And yet, they have so much in common: both are impostors trapped in Monte-Cristo’s web, both are passionate about scamming rich people. There’s a quasi-instantaneous recognition between the two and, because they share the same goal, they develop a strangely wholesome understanding…? It’s forced coexistence as much as it is respect, but it’s not deprived of a weird sort of warmth, and Monte-Cristo himself comments on how much it looks like actual familial love. The contrast with Caderousse could not be harsher.

In virtue of his fake wealth and fake fatherhood, the Major becomes the Ultimate Authority™ ‘Andrea’ name-drops every time he wants to advance in society.

Caderousse:

Outwardly, he adopts all the attributes of a good father. He taught Benedetto most of his tricks! He feeds him! He talks of all the hardships they’ve been through together, like a family would!

But, of course, what he’s really doing is blackmailing Benedetto. Caderousse wants money, and it’s taken him a while to actually get his hands dirty, but he’s finally graduating to murder! And his silly young friend should help him if he doesn’t want his blood spilled on Place de Grève.

Anyway Benedetto stabs that guy real bad. I thought it was hilarious of him.

Danglars:

As Andrea’s future father-in-law, Danglars is his ticket towards the life of luxury without effort he has always wanted.

Of course, Danglars is using Andrea for the same reason Caderousse uses Benedetto: for money. Both of them lie about what they own, ergo about who they are, to get their hands on what they think the other has. This is especially interesting when put in perspective with the brutal honesty Danglars employs when talking to Eugénie, who he treats like a son and almost business partner rather than like a daughter (Transmasc Eugénie Truthers, rise up!).

… But of course, he still wants people to think of he and Andrea as family to strengthen his own nobility: if his son (in-law) is a prince, a title Danglars repeats ad nauseam, doesn’t that make him a king?

All things considered, despite losing their freedom (temporarily in Danglars’ case), money and status, both of them get a relatively happy ending compared to most of the cast.

Monte-Cristo:

BUCKLE UP THIS IS THE MOST INTERESTING.

Twice Benedetto raises the possibility of Monte-Cristo being his biological father, a perfectly logical conclusion in light of what he has done for him; in turn, Monte-Cristo recognises Benedetto as one of God’s punishers, a title he otherwise only attributes to himself.

Both of them went through a symbolic rebirth after being buried alive.

Both of them were wrongly accused of being evil incarnate, but eventually graduated to Full-On Criminals. Talk about self-fulfilling prophecies.

Escape Artists™

Both had to completely reinvent themselves, down to their names and origins, to achieve their ambitions.

Ruined engagement ceremony!!! This also draws parallels to Villefort and, interestingly, to Valentine and Franz.

THIS:

🇫🇷 « Ce calme, cette parfaite aisance firent comprendre à Andrea qu’il était pour le moment étreint par une main plus musculeuse que la sienne, et que l’étreinte n’en pouvait être facilement brisée. »

🇬🇧 « This calm, this perfect poise told Andrea that he was presently held by a hand far stronger than his, whose grip could not be escaped easily. »

Both Edmond and Benedetto know they are prisoners of people more powerful than they are, of the narrative, of a superior power that wields them like knives; both Monte-Cristo and Andrea accept their role as knives in the hope of eventually slicing through their ties. Whether or not they succeeded in the end is up to the reader’s interpretation.

Is this anything