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pixieliciousnippletassles · 2 days

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author reclist: wolfpants

over the last few months, i've been devouring @wolfpants' works. ever since reading pages of you in two days, their rendering of harry, draco and a vast array of incredibly compelling side characters have irrevocably hooked me.

wolf is an author in enthralling motion. their fics often feature places, temporalities and contexts far removed from where canon holds & leaves us, while simultaneously being tenderly familiar, like coming home. wolf's sense of & grasp over setting leaves me breathless and dumbstruck. their different spatialities inform & infuse character in admirable ways, at various levels of craft, enjoyment and inspiration. this fandom knows and loves the draco and harry they give us, but we delight in discovering new dimensions & aspects of these characters. it's always done brilliantly believably, especially in the framework of the worlds they construct— a breath of fresh air in a forest where the trees still know your name.

wolf's works also demonstrate, sometimes explicitly, sometimes implicitly, a really significant political sensibility. most of their fics are set against backdrops tight with political tension bleeding into the characters' circumstances and interpersonal dynamics. whether through a spectrality haunting the narrative or the crucial central diegetic thread, wolf's works are layered, interrogating and collapsing delineations among private, public and political, between history and contemporaneity and between narrative and commentary.

in the interests of length & theme of this list, i've specifically selected some fics that, for me, showcase wolf's mastery & playfulness with setting, understood as deviations in place, time and universe. the broader recommendation is, of course, to check out everything wolf has ever written!

nightcall (E, 1k) ft. a long distance phone call

On a top secret Unspeakable misson, Harry calls Draco from a remote phone booth on the Isle of Skye.

a stunning portrait of desire, longing and familiarity that uses distance as a device to intensify every element. it's unbelievable how much character & context 1k words of (mostly) smut can pack in. the slivers of backstory demand your investment, inform the dynamic in crucial ways and set up some delicious stakes and tension. and some absolutely fantastic dirty talk. see also: @getawayfox's gorgeous art for this fic!

long haul (E, 8.6k) ft. plane rides, mile high club, nyc

The last person Harry expects to run into on a long haul flight to New York City is Draco Malfoy.

the way wolf writes movement— between places, between people— strokes its way up your spine, warms you, walks with you. draco and harry, buoyed in the air, let preconceived notions fall away, to be replaced by startlingly rapid and exquisite intimacy. the liminal settings, specifically, allow mature, open-minded, desirous characterisation & some of the most glorious, soft, tender sex to fall into like a warm bed.

look for me in the sun (M, 8.7k) ft. americana, roadtrip/on-the-run vibes

Harry and Draco are on the run in America after a mysterious string of werewolf-like attacks in the Muggle community causes the Ministry to impose new and harsh anti-werewolf legislation.

atmospheric writing dialled up to eleven, like the smell of ozone in the air before a thunderstorm. the sense of limbo— transience, out of place and time, the complication of home— that afflicts the circumstances of draco & harry here is heart-wrenching. a taut rumination on otherness in a variety of ways, rendered through some of the most tense and subtle writing i've encountered.

under giant mountains (E, 33.7k) ft. norwegian dragon reserves & rampant escapist tendencies

Harry doesn't know where he's going. Everyone else has their life paths figured out; he doesn't even know where his map is. Who'd have thought Draco Malfoy bathing in a Norwegian forest would be the guidepost Harry needed?

opens with harry, stuck in the same place for far too long, and draco, avoiding fixity like the plague. this fic looks at both stagnation and escapism as iterations of each other & treats them with the gentlest empathy. the norwegian dragon reserve setting, whose visuality wolf's writing captures beautifully, becomes the canvas to explore both. desire, here, was simultaneously so evident from the outset and took its time to build— longing tinged every interaction & payoff, in the form of a sequence of some of the most emotionally fraught sex scenes i've ever read, was that much sweeter.

romp and circumstance (E, 35k) ft. a historical au set in the 1800s, regency era england

Since the war, Harry Potter has gone from Saviour to Scoundrel—not that he’s complaining. With a schedule full of gorgeous men, alcohol, and late nights, why would he want to change? Enter Draco Malfoy: beautiful, sharp, and completely untouchable. When Draco comes to Harry with a proposition to help him attract an engagement, Harry’s up for it—after all, how hard can it be not falling for his former nemesis? Very hard, apparently.

the very first wolf fic i read, in a brief little fandom interlude back in 2022. i remember thinking, then, what an author, i'm really missing out these days. one of my favourite post-war harry characterisations— raucous, promiscuous, messy and at heart, a hopeless romantic. also one of my favourite draco characterisations— pristine, a little uptight, cool and distant and untouchable, except what he really wants is to be unbuttoned, messed up. the transforming sentiments of their relationship were so compelling, the build of harry's feelings was perfectly achey and tender and this draco was a complex, nuanced, frightfully sexy version that i just couldn't turn away from.

pages of you (E, 101k) ft. a 1980s non-magical au

Summer, 1980. Harry is floating between university and becoming a Real Certified Adult. He's not ready. He really isn't. In a desperate attempt to have the Best Last Summer ever, he takes a casual job at his godfather's bookshop in London, starts an illicit pen pal affair with a wordy posh boy that he's catching feelings for, all while dealing with the son of Sirius's business rival, one Draco Malfoy, insufferable know-it-all extraordinaire.

gosh, what a fic. sensitive and sprawling, this work brings the spatialities of london, sirius and remus' queer comfort of a bookshop and harry's room at the residence halls to pulsing, colourful, splendid life. i can still close my eyes and imagine the spaces this fic occurs in, how important they are to the push and pull, ups and downs of the dynamic between harry and draco. a coming-of-age/sexual awakening & exploration story, summer romance and queer political fiction rolled into one, this is a fic that's hard to summarise and easy to obsess over. perfect characterisations, writing that burrows into your soul and a plot that unfolds with the slow and steady depth of gentle lake.

and lastly, a fic that's on my tbr:

terrible people (E, 52.7k) ft. cruises, beach holidays and more of @getawayfox's masterpieces

What happens when Harry and Draco end up on the same Muggle gay cruise? They certainly didn't plan for it to happen (but their friends might have). They're stuck with each other for a week, they might as well make the most of it, right?

in conclusion: vivid, descriptive, immersive storytelling from an author who understands the intricacies of different narrative elements and leverages them masterfully. can't wait to read the works i haven't, and for everything wolf writes in the future!

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pixieliciousnippletassles · 3 days

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What parts of canon do you find the most frustrating/that you are dissatisfied with/wished that was handled better/explored more? Mine is the inconsistency of Voldemort as a character. How he is described as being perhaps the most talented student that Hogwarts has ever seen and so powerful and intelligent but regularly made such dumb decisions e.g. in the final battle where he still uses Avada Kedavra despite seeing it not work before. I like the explanation that Horcruxes rotted his brain

thank you very much for the ask, @sarafina-sincerity!

the parts of canon which i find the least satisfying all have the same thing in common: their morality is individualist.

the harry potter series has - at its core - a really profound and very black-and-white belief that good and evil not only exist but are rooted in the individual. and while i understand why this is the case - the later books in the series are governed by the genre conventions of folkloric epic and, especially, of christian folkloric epic, which means that the whole seven-book narrative arc ending in a battle between christ and satan after which all is well is only to be expected - i don't like it.

so here we are... ten things i hate about canon, for fanfic writers to win my heart by interrogating in their work...

i hate the series' insistence that everything is fine once voldemort is dead

the middle books in the series - especially goblet of fire - do a really interesting job at hinting at the endemic rot in the ministry of magic, and the ways that the state and its enforcers perpetuated harm during the first war that was indistinct from that perpetuated by the death eaters - above all the use of internment without trial for suspected death eaters [which is a reference to something the british state actually did in the 1970s!].

they show how widespread blood-supremacy and magic-supremacy is, even among people who don't openly support voldemort; how the wizarding population is kept deliberately ignorant by what appears to be state-controlled media; and how no serious efforts have been made to eradicated the conditions which enabled voldemort to attain such power.

this is then forgotten completely in deathly hallows, where the fact that almost the entire civil service keeps working for a government which is committing genocide is hand-waved away with "oh, people are scared", and both the epilogue and jkr's post-series writing take the view that kingsley manages, as minister, to preside over a government which easily sheds all its old prejudices and starts working properly.

i don't like this! i think it's just much more interesting for corruption to be impossible to fully eradicate from the government, for blood-supremacy to have long-standing causes which actually take a lot of very hard work to untangled [especially the fact that the wizarding world not appearing to have a welfare state means that those whose lives are poor or unstable are prime targets for radicalisation], and for kingsley to have the same capacity for leaning on the prophet and worrying about his polling numbers as any other politician...

i hate that the series changes how the death eaters are written between half-blood prince and deathly hallows

connected to this shift from the series hinting at the broader issues in the wizarding world to a flat battle between good and evil is that the death eaters, their aims, and their modus operandi are written very different between half-blood prince and deathly hallows. in the former, the death eaters can be situated very easily as anti-state sectarian terrorists who have all sorts of complex analogies within british history and politics. in the latter, they're just caricatures of pure evil - which is why the death eaters introduced from the latter stages of half-blood prince onwards, especially the carrows, are considerably less interesting as characters than those, such as lucius malfoy, barty crouch jr. and bellatrix lestrange, who are introduced earlier.

it's also why the voldemort of deathly hallows feels so uninteresting. i don't like the fanon that the horcruxes render him insane at all - when he's shown outside of the epic battle between good and evil in that book, he's shown to be as lucid and cunning as always - but he ends up having to flop because his only purpose in the overarching narrative is to be killed. in the earlier books, in which he's a paramilitary kingpin poisoning and corrupting a society which was designed to exclude him because of the fact of his birth in revenge for its treatment of him, rather than satan and hitler's lovechild, he is so much more interesting.

i hate the series' belief that slavery is fine

obviously, one of the biggest examples of state malevolence in the series is that wizards own slaves. like many readers, i loathe that the house elf plotline ends up being reduced from its potential for radicalism in chamber of secrets - in which dobby mentions whisper-networks of elves who decry their treatment at wizards' hands - to what we see from goblet of fire onwards - in which elves love being enslaved and think that any attempts to free them from their subjugation is cruel.

i also hate that elves' freedom is then hand-waved away as part of the general race towards "all was well" with the implication that hermione found it easy to undo what appears to be centuries of state-sanctioned oppression without any pushback at all.

the house elf plotline is one of the clearest distillations of the series' individualistic morality. harry abhors the treatment of dobby at the malfoys' hands entirely and only because he doesn't like the malfoys. he abhors voldemort's treatment of kreacher, but sees absolutely no issue with sirius' because he likes sirius - and he clearly sees no issue at all with his own legal mastery of kreacher, seeing as, literally minutes after the end of a war in which the good guys fought for the rights of muggles and muggleborns to be seen as fully human... he is considering ordering his slave to make him a sandwich.

i hate that the series doesn't show the realities of resistance

the reason i think the whole "why does voldemort keep using avada kedavra, isn't he supposed to be clever?" question arises is because the series is incredibly resistant to the idea that the good guys must have to kill as well, which makes it look like it's only the death eaters using it while the order use lots of clever magic that the stupid terrorists are too thick to think of.

this is idiotic - not only because the killing curse is canonically flawless unless the thing you're blasting is your own horcrux and so the order would use it for efficiency's sake alone, but because the reality of being a resistance fighter is that, even if you're on the "right" side, you are going to have kill people or they will kill you.

lupin is completely right in deathly hallows that harry is breathtakingly naive to avoid shooting to kill and that - without the protection of genre conventions allowing him to be preternaturally merciful - his resistance to killing is going to result in him being destroyed by the enemy. it is inconceivable that the rest of the order don't using the killing curse - and the question of what this does to their souls [is it murder if you believe yourself to be justified in your actions?] and their senses of self post-war is so interesting to think about - and i wish we were shown this in the text.

especially because molly absolutely blasted bellatrix with it.

but i also hate that the series thinks that violence is fine when the good guys do it

this is primarily another example of the black-and-white "this is fine because harry's good" theme which runs through the series, which we see in things like harry using sectumsempra on draco malfoy in half-blood prince or the cruciatus curse on amycus carrow in deathly hallows. harry's overarching response to committing attempted murder is to sulk that the incredibly minor punishment he receives is reducing the time he could spend hitting on ginny, and his response to torturing amycus is "lol. lmao."

the series thinks - again and again - that cruelty and violence are completely fine when the person they are perpetuated against "deserves" it, and it does not bang.

and that the series allows the good guys more complexity in characterisation

the role played by the house system in the story - and, above all, the fact that our heroes are all connected to one particular house with straightforwardly admirable associated characteristics - means that the villains receive less opportunity to also have positive traits intermingled with their negative ones - and, therefore, complex and interesting personalities.

i also dislike that when non-gryffindor characters - especially slytherins - do reveal themselves to be brave and loyal etc., instead of recognising that this is because bravery can be multi-faceted the series suggests that they should be recategorised as "belonging" to a "good" house.

or, in other words, me and dumbledore's "i think we sort too soon" line in deathly hallows are enemies for life.

i hate that the series blames merope gaunt for dying

and - of course - the main way a villain isn't allowed as much complexity as a hero is that the series never examines the impact of voldemort's childhood on his adult self. while we see hints throughout canon of just how profoundly affected he is by his institutionalised childhood and the weight of his grief over his parents [his mother especially] - such as him learning as a baby never to cry for attention because it's futile - this is hand-waved away throughout the series by dumbledore-as-the-voice-of-god as irrelevant. the eleven-year-old tom riddle is straightforwardly evil, that he grows up in an orphanage is used as nothing more than narrative colour to underline how creepy he is, and dumbledore's spectacular mishandling of their relationship is viewed by the series as undeniably correct right up to the very last moment [when harry imitates dumbledore by - and we should call it what it is - deadnaming voldemort in their final confrontation].

but the most egregious thing that dumbledore does when discussing the course voldemort's life takes is blame merope gaunt for her own death in childbirth, by implying that witches are immune to one of the most common causes of death throughout human history if they just try hard enough and then saying that a nineteen-year-old girl whose life appears to have been nothing more than unrelenting abuse and misery [perpetuated both against her and by her] lacked the moral fibre to try hard enough.

and this infuriates me.

i hate how the series treats female characters who don't fit its narrow spectrum of "correct" womanhood

merope is but one victim of the series' general issues with treating women who aren't its heroes - all of whom are exactly feminine and beautiful and clever and talented enough that we know they're good people, but not any of these things in an extreme which could make them vapid or arrogant or defiant of social norms or so on.

the series takes a very low view of women who exist outside of narrow boxes - whether they are interested in a hyper-feminine aesthetic [lavender brown, rita skeeter] or a more masculine one [marge dursley]; conform to stereotypes about being bitchy, flighty, or vapid [pansy parkinson, romilda vane] or refuse to adhere to social expectations to be polite, meek, and demure [fleur delacour]; are unmarried, are not inherently maternal, and/or are cruel to children [bellatrix lestrange; petunia dursley; dolores umbridge]; are unrestrained emotionally [cho chang; moaning myrtle] and so on. and i don't like it.

and i also hate that - connected to this - the series uses physical appearance - especially weight - as a shorthand for [female] characters we're supposed to dislike.

what it says on the tin, really - if the series doesn't like a character, especially if the character is a woman, you can almost guarantee that they will either be fat or be unusually thin.

and finally...

i hate that the series prioritises one form of love - love as suffering and as sacrifice - over all others

part of the series' march towards the epic two-person showdown between good and evil is that harry is made to endure trial after trial - including his death for the salvation of mankind - in the name of love. obviously this is because he becomes, by the end of deathly hallows an allegory for christ, but it also fits into the series' view - articulated most frequently by dumbledore - that love, suffering, and sacrifice are all synonyms.

the acts of love the series foregrounds - snape's willingness to endure anything because of his love for lily; sirius' willingness to rot in azkaban and caves and grimmauld place because of his love for james and harry; harry giving up a love that's like "someone else's life" with ginny so he can go die - are all sacrificial, and the series generally takes a dull view of love that is fluffy, silly, carnal, selfish, soothing, transformational and so on. lavender and bellatrix's open adoration of their lovers is mocked; dumbledore's sexual desire for grindelwald is punished by his sister's death; tonks and lupin's uncomplicated happiness in the birth of their son is not to last.

but happy endings and silly jokes and forehead kisses are love too. and the hill i will die on is that they have even more potential to bring about the salvation of the world than constant suffering and abiding.

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pixieliciousnippletassles · 3 days

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If you're fifteen or older an still sleep with a stuffed animal please reblog this.

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pixieliciousnippletassles · 3 days

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the older i get and the closer i am to reaching 30, the more the people around me try to deny me my age. it’s a constant ‘oh you’re just turning 29 again teehee 🤭’ or ‘dont tell your SO that, he’ll leave you for a younger model 😉’ and i just???? hate it?????????

i spent my entire teenaged years fighting for my life. i crawled through the deepest pits of my depression to cling to the promise of a life beyond that pain. i was so convinced that i was going to die young, that i would never see the grace of my age starting with a 2, let alone 3.

so im going to turn 30, and there’s not a damn thing anyone can do to stop me from loving it.

#Are you ready for your Give A Fuck Switch to just #Go off?#HOORAY #30s #Amazing time to be yourself

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pixieliciousnippletassles · 5 days

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are u ever sick w longing. and i don't just mean romantic longing. i mean longing for a place you barely get to see, longing for friends you no longer have, longing for feelings you might have left behind in your childhood, longing for creativity, longing for a rich and more expansive life, longing for less inhibition. longing for more passion. longing for ur life to be so incandescent w something it thaws all the frost in ur bones. are u ever so consumed w it it rends ur heart in two. do u understand me

#Yeah for sugar-infested things i can never have again #Pineape squash #Pink yoghurt with sprinkles #My childhood #I loved you

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pixieliciousnippletassles · 5 days

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(RE)WATCHED IN 2023: —Why are you killing everybody? Why are you making everybody die? —It's my story. —Mine too.

THE FALL (2006) DIR. TARSEM SINGH

#Oh magpie #It's one of the best BEST films #I recommend it from the bottom of my soul

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pixieliciousnippletassles · 5 days

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Puppy Punch Love

“Hermione, over here!”

The unexpected call came just as she was about to settle in next to Harry, and she peered over the sea of heads to clock one very excited Fred Weasley. Nothing good could come of the twinkle in his eyes, nor from how his grin spread from ear to ear the longer she stared at him.

”What’s he want?” Harry asked, also having noticed the call. Surprising, really, given how he’d been totally absorbed in his conversation just moments prior.

”I’m sure it’s nothing,” Ginny piped, leaning around the wizard to nudge Hermione. “Go on, then.”

In hindsight, it should have been obvious to Hermione that Ginny was in on the plan. Not only was she a Weasley, but she also happened to be particularly close with Fred. There was no reason why she’d normally steer Hermione towards certain doom.

”Let me scoot over for you,” Fred said as she approached, practically shoving Lee into Parvati’s lap to make room.

Hermione nodded and gingerly sat, leaving a sliver of space between the two of them which he immediately closed as he slung an arm conspiratorially around her shoulders.

”What’s this about, then?” She knew better than to listen to the butterflies erupting from his warm embrace.

”I couldn’t help but hear about a certain witch’s birthday that I missed.”

Her breath caught at the comment, but she corralled it into place. “Yes. What of it?”

A box materialised in front of her wrapped in pretty gold paper and crème ribbons. Her name adorned the label in a flowing script.

”I’d be remiss to ignore my favourite witch’s special day.” He winked as he pushed the box closer. Hermione’s chest absolutely did not seize at the adorable way his cheeks bunched up when he smiled at her.

”It’s already past, though,” she said, her voice weak.

“Consider this a gift as well as an apology and accept it?” Now he pouted at her, his lip jutting out dramatically.

”Fine.” She didn’t even try to hide her smile from him.

Because as much as she tried to put on a competent face for everyone else, Fred could always pick out her true feelings. It’d been like that nearly from the start of their unlikely friendship, started as early as third year when Harry and Ron had ignored her over another surprise gift. Then, like now, Fred had hailed her down and made it his personal mission to get Hermione Granger to laugh and forget about her troubles, even if only for a short while.

When she pulled the ribbon loose and carefully peeled back the paper, a nondescript box with a red ‘W’ gave her little indication of what lay inside. Fred continued to stare at her, his closed lips turned upwards in a gentle curve.

It wasn’t until she’d started to pull open the lid that his eyes flickered over and widened in realisation. “Wait, Hermione—“

The warning came too late to save her from the gloved fist that popped her right in the nose, followed by a brief flash of light. She’d later have to stop herself from socking Colin in a similar fashion when he shared the photo he captured of the moment, complete with her eyes crossing at the moment of impact. But that would be in the future, and this was the present. Leaning forward in excitement as she was, the punch struck her with particular force, resulting in a popping sound and a wet sensation.

”Oh, shite! Hermione, I’m so sorry. Are you okay? This wasn’t supposed to happen; the boxes must have somehow gotten mixed up.”

She lifted her eyes to take in Fred’s panicked expression. His hands fluttered in the air, first gently gripping her chin to lift her face, then moving to push her hair back behind an ear. Any irritation she might have felt faded away in the warmth of his concern.

”It’s okay, Fred.”

”No, let me make it right,” he said firmly, pulling out his wand.

It was a testament to her level of trust in him that Hermione didn’t flinch away. This was one of the infamous Weasley twins, after all, where a flash and a bang were natural assumptions when magic was in the mix. Except, Fred had never done so to her prior to this mishap, and she had a feeling he never had the intention to in the future.

She closed her eyes as his wand twirled, only biting her lip as the broken bone snapped back into place. Another tingle of magic later, and she felt the blood coating her lower face vanish.

“There we are!”

Fred’s eyes swam into view as she opened her own, the clear blue sky of his irises searching–for what, she didn’t know. As she gazed back at him, she couldn’t help but trace the freckles across his nose and cheeks.

“What’s so funny?” he asked, head tilting to the side.

She hadn’t even realised she was smirking until his question. “If you connect the dots just so,” she traced a finger against his cheek, feeling the change of soft to rough as she crossed stubble, “I can just make out Centaurus.” She punctuated the constellation name with a tap against the tip of his nose, nearly giggling as his eyes crossed to track the movement.

Before she could fully pull her hand back, she found it wrapped up in both of his own. Warm, callused, and secure, he pressed them against his chest.

“Fred, what are you–”

“Not only did I miss your birthday, but I somehow swapped your gift for a boxing telescope and got told I have Firenze on my face.” Gone was the smile, in its place something far more frightening: a serious Fred Weasley. His brow furrowed as he looked down on her, and his hands tightened as he cradled hers against his chest.

“That’s not what I sai–”

“What do you say to going on a date with me to Hogsmeade this weekend, Hermione?”

She gaped at him. Those weren’t exactly the words she’d expected to fall from his lips. Far from it, actually. She’d thought he’d tease her back in kind over her own freckles.

Then she nearly choked as Lee leaned around Fred and lobbed a spoonful of something into her open mouth. The twin swivelled around to pummel his friend as Hermione coughed and scrambled to get a drink.

“Aw, c’mon! You can’t tell me that wasn’t funny–hey!” Any further protests from their fellow Gryffindor were lost to Fred’s whispered threats and the sound of gurgling as he held the other boy in a chokehold.

“Fred, that’s enough. I’m okay now.”

She found her face held once again in the palm of his hands as he forgot about his friend to check on her, eyes scanning until they focused on her lips.

“Are you sure? I’ve got some prototypes I can make him swallow in apology.”

“No,” she laughed, already picturing Lee in a variety of embarrassing transformations, as she continued, “how about you take me to my real birthday present instead? We can talk about Hogsmeade along the way.”

His hands spasmed against her face before he leapt up from the table. He held an elbow out to her in a convincing display of the extraordinary gentleman that he was. “My lady?”

She stood to take his arm, making sure to swing her bag around with enough force to shove Lee face first into his plate of mashed taters. “Thank you, good sir.”

With a skip to their steps and twin grins on their faces, Hermione and Fred set off through the Great Hall. They didn’t know it yet wrapped up in excellent company as they were, but the cheers that followed were for them. Some clapped thinking the witch would distract the prankster from future mayhem. Others clapped in hopes the wizard would soften up the no-nonsense Prefect. The few who didn’t approve knew what they were witnessing was the birth of an unstoppable force far too clever and powerful for one castle, or even one country, to contain.

None of that mattered, however. For now, they were just him and her and a bubbling cauldron of possibilities.

1372 WC

Posted on FB, Tumblr, and AO3

Written for the Facebook group Lauren's Kitchen for Fred and George's birthday month wheel prompts.

Product: Boxing telescope; Trope: Prank gone right; Setting: The great hall; Extra Character: Firenze

Okay, so I might have cheated with the extra character of Firenze...or did I? You can tell me what you think.

I also left the timeframe of this scene ambiguous. It could honestly take place before or after the Battle of Hogwarts. Just know that in my mind Fred lives either way.

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