crowned eagle






Instead of getting one of those shitty little plastic self defense cat keychains, get one of these. It’s made of metal and can do a lot more damage, will not break or bend or snap like the plastic ones will, and lasts longer. its a hefty weight in your hands and makes you feel a lot safer. be safe, ladies.

where you can get them

Will fucking do.

I need to say though that I showed a police acquaintance of mine my plastic one and he said it’s considered a concealed weapon and were you to use it, could also get you in trouble with the law, EVEN if it were in pure self defense.

They said because that’s you anticipating assault and the use of a weapon, or something along those lines. They also said that if you honestly had to use it for protection and get caught and questioned about the keychain, to say someone gave it to you and you just thought it was just a keychain, that you used what you had readily available to you for your defense. When I see them again I’ll get more info.

Stay safe ladies.

The term I should’ve used was “anticipating using deadly force” or “force with a deadly weapon”

But, reblogging again because we need to be in the know.

Not blog related but since we have a massive following and I’m sure almost everyone’s seen the posts that go around for this keychain, I need to make this known so women can stay protected on all levels.

allieinarden: You want a question? YOU WANT A QUESTION? All right, Susan Pevensie. Go.


First let us establish the sequence in which I will address Susan as Lewis wrote her. Lewis of course developed Susan as he developed the series, and it is in the order in which he wrote the series I will operate from. 

This is, for those unaware:

The Lion, the Witch, and the Wardrobe (1948) [LWW]

Prince Caspian (1949) [PC]

The Voyage of the Dawn Treader (1950) [VDT]

The Horse and His Boy (1950) [HHB]

The Silver Chair (1951) [SC]

The Last Battle (1953) [LB]

The Magician’s Nephew (1954)* [MN]

In LWW, the reader is introduced to the Pevensies, of whom Susan is the second eldest, after her brother Peter. 

The first time one encounters Susan, the following scene ensues:

"We’ve fallen on our feet and no mistake," said Peter. "This is going to be perfectly splendid. That old chap will let us do anything we like." 

"I think he’s an old dear," said Susan.

"Oh, come off it!" said Edmund, who was tired and pretending not to be tired, which always made him bad-tempered. "Don’t go on talking like that."

"Like what?" said Susan; "and anyway, it’s time you were in bed."

Trying to talk like Mother,” said Edmund. 

One must not discredit Edmund’s observation because of his upcoming betrayal. 

In the beginning of Ch. 3 it is Susan who is “It” in the children’s game of Hide and Seek. This is a small, but potent detail. Is not it normally the duty of the adult to entertain the children in such an indulgence? Would not a mother play “Peek-a-boo” with her child? This tells us more about Susan than anything else so far. It is not only Edmund’s opinion that Susan plays the role she believes to be of an adult, it is portrayed in Susan’s actions. 

Lewis feels quite strongly about the desire for Adulthood for its own sake. 

The modern view seems to me to involve a false conception of growth. They accuse us of arrested development because we have not lost a taste we had in childhood. But surely arrested development consists not in refusing to lose old things but in failing to add new things? I now like hock, which I am sure I should not have liked as a child. But I still like lemon-squash. I call this growth or development because I have been enriched: where I formerly had only one pleasure, I now have two. But if I had to lose the taste for lemon-squash before I acquired the taste for hock, that would not be growth but simple change.

Susan views the transition to adulthood as what Lewis would call Change, and not Growth. 

"Critics who treat ‘adult’ as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence. And in childhood and adolescence they are, in moderation, healthy symptoms. Young things ought to want to grow. But to carry on into middle life or even into early manhood this concern about being adult is a mark of really arrested development. When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.

The Professor startles Susan in his openness towards Lucy’s story of the Wardrobe. 

"How do you know," he asked, "that your sister’s story is not true?"

"Oh, but—" began Susan, and then stopped. Anyone could see from the old man’s face that he was perfectly serious. Then Susan pulled herself together and said, “But Edmund said they had only been pretending.”

Susan pulled herself together. How could an adult behave this way? 

"But then," said Susan, and stoppedShe had never dreamed that a grown-up would talk like the professor and didn’t know what to think.

Now, let’s take a peak at part of that now infamous passage in LB.

"Oh, Susan!" said Jill. "She’s interested in nothing nowadays except nylons and lipstick and invitations. She always was a jolly sight too keen on being grown-up.

Grown-up, indeed,” said the Lady Polly. “I wish she would grow up. She wasted all he school time wanting to be the age she is now, and she’ll waste all the rest of her life trying to stay that age. Her whole idea is to race on to the silliest time of one’s life as quick as she can and then stop theres as long as she can.”

Susan has a seriously warped view of what it means to be an adult. She has mistaken change for growth. 

But more on that later. Let us now examine her behaviour in PC

First, when the Pevensies are in the train station, Susan is the last to feel the pull/pinch of Narnia. One can conclude from this instance, and others to be mentioned, that Susan’s destination in LB was not a sudden turning, but a gradual progression.

"Indeed the safest road to Hell is the gradual one—the gentle slope, soft underfoot, without sudden turnings, without milestones, without signposts,…Your affectionate uncle, Screwtape.” 

The children all respond to the pull of Narnia verbally; let us note Susan’s reaction:

"Look sharp!" shouted Edmund. "all catch hands and keep together. This is magic - I can tell by the feeling. Quick!" 

"Yes," said Susan. "Hold hands. Oh, I do wish it would stop - oh!"

Susan says “Yes,” not to the pull being magic, but to the idea of holding hands. She wants the feeling to stop, not caring if it is magic or not. The other children express no such thought.

Once the children arrive in Narnia, Susan’s primary concern is purely practical:

"This is better than being in a stuffy train on the way back to Latin and French and Algebra!" said Edmund. And then for quite a long time there was no more talking, only splashing and looking for shrimps and crabs.

"All the same," said Susan presently, "I suppose we’ll have to make some plans. We shall want something to eat before long."

Hmm, an intensely practical woman whose sister’s unwavering faith and its consequences sometimes bother her. Seems familiar

"It’s like being shipwrecked," remarked Edmund. "In the books they always find springs of clear, fresh water on the island. We’d better go and look for them."

"Does that mean we have to go back into all that thick wood?" said Susan.

"Not a bit of it," said Peter. "if there are streams they’re bound to come down to the sea, and if we walk along the beach we’re bound to come to them." 

They all now waded back and went first across the smooth, wet sand and then up to the dry, crumbly sand that sticks to one’s toes, and began putting on their shoes and socks. Edmund and Lucy wanted to leave them behind and do their exploring with bare feet, but Susan said this would be a mad thing to do. “We might never find them again,” she pointed out, “and we shall want them if we’re still here when night comes and it begins to be cold.”

Proverbs 14:15

"The simple believes everything,
  but the prudent gives thought to his steps.”

It is not bad that Susan is practical. It is bad that she is practical at the expense of belief. Martha’s household work needed to be done, but she did it at the expense of losing time with Christ. 

"We must clear this ivy away," said Peter. 

"Oh, do let’s leave it alone," said Susan. "We can try it in the morning. If we’ve got to spend the whole night here I don’t want an open door at my back and a great big black hole that anything might come out of, besides the draught and the damp. And it’ll soon be dark."

"Susan! How can you?" said Lucy with a reproachful glance. But both the boys were too much excited to take any notice of Susan’s advice.

Susan was not the only one who felt a slight shudder as the boys stood above the pile of splintered wood, rubbing the dirt off their hands and staring into the cold, dark opening they had made.

"Now for a torch," said Peter.

"Oh, what is the good?” said Susan. “And Edmund said-“

"I’m not saying it now," Edmund interrupted. "I still don’t understand, but we can settle that later. I suppose you’re coming down, Peter?”

"We must," said Peter. "Cheer up, Susan. It’s no good behaving like kids now that we are back in Narnia. You’re a Queen here. And anyways no one could go to sleep with a mystery like this on their minds.”

Susan behaves in the manner she believes an adult would. She refuses herself the exquisite joy of a discovery such as the one just made (the siblings’ treasure chamber from when they reigned as kings and queens LWW).

She is not the only one to be disturbed by the opening of the treasure chamber, but she is the only one Lewis mentions by name. Lewis is a very careful writer, and each of his words are chosen meticulously. He specifically says Susan because it gives the reader an image of Susan as the central disturbed person. If this sentence were a painting, the artist would portray Susan as the focus. 

Susan’s attempts to be grown-up result in childish behaviour. We see now what Polly meant: ”Grown-up, indeed,” said the Lady Polly. “I wish she would grow up.” 

Susan believes that wearing stockings and lipstick and receiving/sending invitations are all signs of adulthood. They are really dress-up play things with which she fools about. 

"Anyway," said Susan, "there may be currents. Father says it’s never wise to bathe in a place you don’t know.”

Susan reminds the others of what their Father might think, which tells us the place from which she operates. She tries to think like an adult and her decisions are weighed by what an adult might think. When if an adult was actually there, they wouldn’t give two pence what an adult thought. It is very childlike to rely upon adults, but Susan believes it to be the most adult thing in the world. 

 ”To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence.”

When Trumpkin and Edmund have their broadsword fight in Ch.8:

"…and Susan (who never could learn to like this sort of thing) shouted out, "Oh, do be careful.”

Susan’s destination in LB isn’t sudden, and it should not be unexpected. She never could learn to appreciate the match which Lewis writes “was well worth it [to watch]” 

Susan is not a bad person. Lewis makes a point to make the reader sympathetic to her and her faults.

She was not enjoying her match half so much as Edmund had enjoyed his; not because she had any doubt about hitting the apple but because Susan was so tender-hearted that she almost hated to beat someone who had been beaten already. The Dwarf watched her keenly as she drew the shaft to her ear. A moment later, with a little soft thump which they could all hear in that quiet place, the apple fell to the grass with Susan’s arrow in it.

"Oh, well done, Su," shouted the other children.

"It wasn’t really any better than yours," said Susan to the Dwarf. "I think there was a tiny breath of wind as you shot."

"No, there wasn’t," said Trumpkin.

Susan means well by making an excuse for her success, but while this is kindly intended, it is an immature thing to do. It tells Trumpkin that he is not expected to respond well to his defeat. Perhaps Susan says this because she would’ve wanted it said to her had she lost. This is similar to telling a child golfing that he missed Par because the grass needs cutting. Even if it did need cutting, if the child was a better golfer, he could have made Par. Trumpkin’s internal monologue is not given to the reader, but perhaps he even finds Susan’s comment condescending. 

Susan also has a bad attitude, to be frank. 

"I suppose your Majesties know the way all right?" said the Dwarf.

"I don’t," said Susan. "I’ve never seen these woods in my life before. In fact I thought all along that we ought to have gone by the river."

"Then I think you might have said so at the time," answered Peter, with pardonable sharpness.

"Oh, don’t take any notice of her," said Edmund. "She always is a wet blanket. You’ve got that pocket compass of yours, Peter, haven’t you?…”

I’m sorry, did EDMUND just call somebody a wet blanket? This Edmund?:

But when the next morning came there was a steady rain falling, so thick that when you looked out of the window you could see neither the mountains nor the woods nor even the stream in the garden.

"Of course it would be raining!" said Edmund.


( I exclude some of his behaviour post-turkish delight because of the magic influence over him at the time)

By the by, I’m not just assuming Susan is practical. Look at this, from Ch. 9 of PC

Lucy shuddered and nodded. When they had sat down she said: “Such a horrible idea has come into my head, Su.”

"What’s that?"

"Wouldn’t it be dreadful if some day, in our world, at home, men started going wild inside, like these animals here, and still looked like men, so that you’d never know which were which?" 

"We’ve got enough to bother about here and now in Narnia," said the practical Susan, “without imagining things like that.”

You’re welcome.

Now then, let’s continue establishing Susan’s main problem (her mistaken idea of adulthood).

"Look! Look! Look!" cried Lucy.

"Where? What?" said everyone.

"The Lion," said Lucy. "Aslan himself. Didn’t you see?" Her face had changed completely and her eyes shone.

"Do you really mean—?" began Peter.

"Where did you think you saw him?" asked Susan.

"Don’t talk like a grown-up," said Lucy, stamping her foot. "I didn’t think I saw him. I saw him.”

"What do you say, Susan?"

"Don’t be angry, Lu," said Susan, "but I do think we should go down. I’m dead tired. Do let’s get out of this wretched wood into the open as quick as we can. And none of us except you saw anything.”

"And now it’s your turn, Peter," said Susan, "and I do hope—"

"Oh, shut up, shut up and let a chap think," interrupted Peter…

Susan, once again, is attempting to be a grown-up at the expense of others and their welfare or emotions.

By telling Lucy “Don’t be angry,” she invalidates Lucy’s frustration and minimizes her own actions against Lucy. It’s like saying “No offense, but…” If the person to whom the phrase is spoken becomes upset, it is made out to be their own fault. In reality, the person saying this uses it as a way of getting what they want (to say what they want to say) without the consequences that logically would follow. It is tolerated by Lucy because Susan is her sister and she loves her.

Susan attempts to sway Peter towards agreeing with her. He sees this and stops her short. It’s not quite manipulative, but her words are not exactly impartial either. She was likely just about to appeal to Peter’s logic and ask him to consider things practically. (Ahem, PRACTICALly)

Lucy is instructed by Aslan later in PC to wake up her siblings so they can all follow Aslan. Examine Susan’s response:

Then she tried Susan. Susan did really wake up, but only to say in her most annoying grown-up voice, “You’ve been dreaming, Lucy. Go to sleep again.”

When Susan wants her way, she falls back upon her talk-like-a-grown-up-and-hope-they-buy-it routine. She is condescending and proud. 

(Please note: This doesn’t mean anyone need harbor hard feelings towards Susan. Eustace Scrubb is my favourite character in the Chronicles, and he obviously has major flaws)

Aslan is waiting for the Pevensies nearby in the following scene, and Lucy has just told her story for the 4th time.

"I can’t see anything," said Peter after ha had stared his eyes sore. "can you, Susan?"

"No, of course I can’t," snapped Susan. "Because there isn’t anything to see. She’s been dreaming. Do lie down and got to sleep, Lucy."

Susan “snapped” at Lucy. She has a serious attitude problem.

"And I do hope," said Lucy in a tremulous voice, "that you will all come with me. Because — because I’ll have to go with him whether anyone else does or not."

"Don’t talk nonsense, Lucy," said Susan. "Of course you can’t go off on your own. Don’t let her, Peter. She’s being downright naughty."

"Downright naughty" are two words which one very easily might hear from a "grown-up’s" mouth, but not from a child’s.

Susan also appeals to Peter. When she sees Lucy will not listen, she looks to an authority above herself to make Lucy listen. At home, is there any doubt she would’ve appealed to their parents?

Ch.11 of PC is where we learn a great deal about Susan. One must consider the followings excerpts to form a full understanding of Susan Pevensie:

"On the march, then," said Peter, wearily fitting his arm into his shield strap and putting his helmet on. At any other time he would have said something nice to Lucy, who was his favourite sister, for he knew how wretched she must be feeling, and he knew that, whatever had happened it was not her fault. But he couldn’t help being a little annoyed with her all the same.

Susan was the worst. “Supposing I started behaving like Lucy,” she said. “I might threaten to stay here whether the rest of you went on or not. I jolly well think I shall.

Do I need to point out how immature Susan is being here? I mean I will, but really? 

This is pure spite; born from selfish pride. 

"Get on, Kind Edmund, get on," came Trumpkin;s voice from behind and above: and then, farther behind and still nearly at the top, Peter’s voice saying, “Oh, buck up, Susan. Give me your hand. Why, a baby could get down here. And do stop grousing.

It is worth noting that Susan is behind everybody else, including Trumpkin who has had no experience Aslan whatsoever. Susan saw Aslan killed on the Stone Table. She was there when he came alive again. And she is the very last person in the line following what Lucy says is Aslan. Lucy who was with Susan when Aslan died and rose again.

Everyone except Susan and the Dwarf could see him now.

Lewis proposes the idea that Believing is Seeing rather than that Seeing is Believing. Remember when Jesus said this: “Didn’t I tell you that you would see God’s glory if you believe?” Now then, who did he say that to again? Oh, yeah. 

(I’m just that good, y’all)

Back to Marth-I mean Susan:

"Lucy," said Susan in a very small voice.

"Yes?" said Lucy.

"I see him now. I’m sorry."

"That’s all right."


"But I’ve been far worse than you know. I really believed it was him — he, I mean — yesterday. When he warned us not to go down to the fir wood. And I really believed it was him tonight, when you woke us up. I mean, deep down inside. Or I could have, if I’d let myself. But I just wanted to get out of the woods and — and — oh, I don’t know. And whatever am I to say to him?”

"Perhaps you won’t need to say much," suggested Lucy.

Re-read that right now.

"I really believed it was him tonight, when you woke us up. I mean, deep down inside. Or I could have, if I’d let myself." I believe this is the state of Susan at the end of the Series. She could believe all about Aslan, if she let herself. 

But I’m not done yet.

…Aslan had stopped and turned ans stood facing them, looking so majestic that hey felt as glad as anyone can who feels afraid, and as afraid as anyone can who feels glad. The boys strode forward: Lucy made way for them: and Susan and the Dwarf shrank back.

Then, after an awful pause, the deep voice said, ”Susan”. Susan made no answer but the others thought she was crying. “You have listened to fears, child,” said Aslan. “Come, let me breathe on you. Forget them. Are you brave again?”

"A little, Aslan," said Susan.

Susan barely speaks for the rest of PC, she mentions to Lucy how frightened of Bacchus she would be if Aslan was not there, agrees to run instead of ride on Aslan’s back, and then:

"Come on," said Peter suddenly to Edmund and Lucy. "Our time’s up." 

"What do you mean?" said Edmund.

"This way," said Susan, who seemed to know all about it. "Back into the trees. We’ve got to change."

"Change what?" asked Lucy.

"Our clothes, of course," said Susan. "Nice fools we’d look in the platform of an English station in these.

Susan is still quite practical by the end of PC. She is also already thinking of what people think of her and how she is dressed. 

In the last few paragraphs of PC, Peter tells Lucy and Edmund about how he and Susan won’t be coming back to Narnia.Lewis mentions that Peter’s face is very solemn. He makes no mention of Susan’s face. Lucy asks if Peter if he can bear it, and he tells her, hesitantly, that he believes he can. Lewis makes no mention of Susan regretting being unable to return to Narnia. Hmm.

In VDT, Susan is only mentioned, and only in the first chapter. 

It would have cost too much money to take the other three all to America, and so only Susan had gone.

Grown-ups thought her the pretty one of the family and she was no good at school work (though otherwise very old for her age) and Mother said she “would get more out of a trip to America than the youngsters”. Edmund and Lucy tried not to grudge Susan her luck, but it was dreadful having to spend the summer holidays at their Aunt’s.

Susan is poor at schoolwork and old for her age, which prompts author Devin Brown (Inside The Voyage of the Dawn Treader) to suggest Susan’s arrested development. He claims that these attributes “hint at a lack of a proper focus.”

The last mention of Susan in the Chronicles, is, of course, the infamous passage in Ch. 12 of LB.

"Sire," said Tirian, when he had greeted all these, "if I have read the chronicles aright, there should be another. Has not your Majesty two sisters? Where is Queen Susan?"

My sister Susan,” answered Peter shortly and gravely, “is no longer a friend of Narnia.

"Yes," said Eustace, "and whenever you’ve tried to get her to come and talk about Narnia or do anything about Narnia, she says ‘What wonderful memories you have! Fancy your still thinking about all those funny games we used to play when we were children.’

"Oh, Susan!" said Jill. “She’s interested in nothing nowadays except nylons and lipstick and invitations. She always was a jolly sight too keen on being grown-up.

Grown-up, indeed,” said the Lady Polly. “I wish she would grow up. She wasted all he school time wanting to be the age she is now, and she’ll waste all the rest of her life trying to stay that age. Her whole idea is to race on to the silliest time of one’s life as quick as she can and then stop theres as long as she can.”

In Alan Jacobs’ The Narnian he suggests that Lewis is not “demonizing Susan for her emerging female sexuality but because, like Mark Studdock in That Hideous Strength, she has become so eager for social acceptance, for becoming part of an exclusive Inner Ring, that she ignores her siblings and her earlier friends. Like the willing inhabitants of hell in Lewis’s The Great Divorce, she has—at least for now—locked herself out of heaven.” (pg.51 A Sword Between the Sexes)

Lewis was not without inquiry as to Susan’s fate:

These are his responses

Susan isn’t kept out of Narnia by anyone but herself. 

If it seems I didn’t write much out of what you read-good. Form your own opinion, but make sure it is an informed opinion.

*MN is sometimes dated as written before LB because of the Lefay Fragment, but there are really too many drastic plot differences to consider it MN (Lewis, at the time, called it Digory and Polly) Learn more about the Lefay Fragment

There you are, Allie, with the exclusion of this sentence, 4,235 words on Susan Pevensie. 


Can you re-enact your reaction to hearing you had been cast on a marvel movie?






i wanna die but maybe something cool will happen so ill stay alive for now


I’ve decided that otp should mean one true priority because they takeover my life




It is not easy for Enjolras to look, yet it is easy to let her go. The knowledge of what would await should he give in to his heart and body freezes every desire he has.

He knows he is synonymous to pain and destruction, things he will not and cannot let her experience. 

So he watches her and stays silent, content in knowing that if he looks away, Eponine can enjoy one day more. 


And of course all y’all have to go and reblog it with Sophie’s comment.

Track: “Should Be’s” by Juliette Lea
Artist: Benedict Cumberbatch


Benedict Cumberbatch reading “Should Be’s” by Juliette Lea [x]

Bronze Winner 9 and under for BBC Radio2 500 Words 2014

The crackling of the fire startled me. It was a cold winter’s morning when the snowflakes danced around you and the crocuses fluttered in the stormy wind. My grandmother smiled sadly at me again. It was the 11th of November. Her white apron was patched with mud and she still had soil beneath her fingernails. Some wet petals were stuck to her black dress. She had been to the Memorial to plant more flowers. I didn’t know what was wrong: maybe it was because she had lost a button on one of her boots.

She always said: “We have to remember those that died for us; without them, we wouldn’t be here.” But strangely, she did not say that today. There was something else bothering her. She was telling me a story about snowdrops popping out of the ground like messengers going around telling everyone that spring was back. I don’t know why she doesn’t tell me stories about winter anymore. But somehow winter seemed more real to me. I could feel the cold of winter but I could barely remember the warmth of the first summer day.

My grand-mother was still upset the next morning when she finally came out of her office. She was a historian and always spent a lot of time there amongst her books. For breakfast, she put some fig jam on my toast instead of honey. I would have liked some of the apricot jam she had described in one of her stories. When she stood up, a piece of scrunched-up paper fell from her pocket. I picked it up for her and saw a word written on it : “Should-be’s”. I asked her what the strange word meant but she just walked out of the house crumpling the paper at the bottom of her pocket.

I knew it wasn’t right. I knew she would be cross with me again but I had to find out what “Should-be’s” were and why she was so secretive this particular morning. So I crept into her office. The smell of lavender reassured me. It smelled like the handkerchief that she uses to wipe honey off my face. The office had piles of history books but they were no longer neatly put on the shelves; she had spread them on the floor and, on each of them, had crossed out the word “history” and replaced it with “fiction”.

On her desk, wide open, was a volume about the First World War; she had scored out 1918 and replaced it by 1919 on every page. In the margin with her thin handwriting I read with growing horror: “For the war did not end in 1918. My father never came back from France. We are Should-be’s; we are the souls of the ones who should have been born when the war was over and November is our only month. We have never seen the golden daffodils bloom, nor has the warmth of the sun ever tanned our skin…”



Susan Pevensie- Natasha Tabatchikova on Behance


Susan Pevensie- Natasha Tabatchikova on Behance

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