Current mood:	nerdy
Current music:	*** 8. The Flaming Lips - The Magician vs. The Headache

Am rereading Good Omens.  Right.  This is the fault of muffinbutt who favored me with a rundown on the A/C action in milliwaysbar and then recced me fics, gah, and then had me beta her own lovely A/C milli-verse fic. 

I am therefore officially on a kick, I think, and would like Aziraphale/Crowley recs. I've asked for these before, from like a year ago, and am hoping there are more of a crop of good fics in this fandom out there now than there were last time I asked. So! Please! rec me a fic you love and I will be insanely grateful!  To that end, here are 2 A/C fics I read last night and enjoyed very much:

• The Last Temptation of Crowley and its sequel by irisbleu


• The Greatest of These by vivien529.


• And as a bonus, in case there are those of you who haven't seen this, A/C art by linnpuzzle. ♥♥♥  Gah, Linn, more of this pretty pretty please???

Is Johnny Depp still the top contender for Crowley in the movie version? Please tell me yes, because I'm having too much fun picturing him hissing in Crowley's voice as I reread this to have my fantasy brutally crushed at this stage.  ♥

I was thinking just now, as I reread Good Omens, about angels, which got me thinking about androgyny, which got me thinking about men in drag, which got me thinking about Twelfth Night.  Twelfth Night is my favorite play, and I was thinking about how Twelfth Night is truly a depiction of postmodern sexuality, not in the sense that it is postmodern, but that Shakespeare in Twelfth Night, moreso in any other play he wrote, is stating obliquely that same-gender and love are not exclusive.  In fact, when I reread Twelfth Night lately I find it going along something like this:
Orsino: *loves Olivia from afar the way I would love Sondheim if Sondheim were my age and gorgeous and living in the castle next door*
Cesario: *appears*
Orsino:  *falls instantly in love with Cesario*
Viola: But I'm really a girl!
Orsino: Oh! Well, nobody's perfect *snogs*

Orsino, were he alive today, would be totally metro--and I think Twelfth Night is the essence of pomo-sexuality in that it advances the notion that men and women's bodies are themselves irrelevant in the face of what love is.  Most female crossdressing stories are traditionally read as though the circumstance of their having to remain in drag to perpetuate their disguise is a hindrance to whatever love is developing between them and their male counterpart; but in Shakespeare, I think an equally valid and far richer reading of this play and also of As You Like It (and arguably even Portia's turn as a man in Merchant of Venice) is that sexual orientation, extrapolated from all the circumstances which allowed men of the time period to take one another more seriously than men took women, was quite simply irrelevant to the process of falling in love.  Orsino doesn't fall in love with Viola because she's a woman trapped in a man's disguise: Orsino falls in love with Cesario as a man, and continues to love Viola after discovering her gender.  The ending of Twelfth Night is as satisfying as it is not because it straightens everyone out, literally!!!--but because it affirms Orsino's love for Viola for who she is--not as a woman or as a man.  And that, I believe, is a really important facet of pomosexuality.

Right. Back to Good Omens again.