Well, anon. I don’t know how much of my blog you’ve seen, but I do make Sansan gif sets, I post Sansan quotes, and I reblog Sansan stuff all the time! If you follow the links to my fic, especially to AO3, you can see I’ve also written significant amounts of Sansan fic. So I love them. A lot :)
In fact, Sansa’s relationship with Sandor and the feelings she develops for him after she reconstructs the time they spent together in her head was by far my favourite part of the ASOIAF books, mostly because Sansa is my favourite character and I loved how she was characterized so brilliantly through her story with Sandor. I think the way Sansa romanticizes her relationship with Sandor, and makes him and his feelings for her conform to the matter of a song is really brilliant, because from that moment on—once Sandor is out of her life and his terrible conflicting cruel-words-but-gentle-hands reality cannot interfere with Sansa’s own aesthetized reconstruction of life—Sansa actually transforms what really happened between them into this romantic, increasingly sexual (as she grows up) fantasy that she can take refuge in when she finds herself in a real-life romantic/sexual situation that she cannot really understand or control. So we see Sansa thinking of Sandor and remaking what happened between them when she interacts with Petyr/Lysa/thesinger/Mya/Lothor/Sweetrobin/Myranda and in my opinion, it is really brilliant how she’s basically replacing reality with her own version of it every time she does it—
—and it’s all kind of beautiful and gorgeous that when she tries to do this (check my latest gif set) she thinks of Loras—the ideal knight out of a song—first, but immediately her thoughts go to Sandor and they stay there. Because in a way, Sansa’s fake memories of Sandor are a lot more manageable for Sansa than any other ideal set role from a song or a story. Because Loras was always the most gallant knight—Sansa did not make him into one. But the Sandor who lives in Sansa’s head? That one she made for herself, and thus it operates as the perfect fantasy Sansa dives into every time that reality threatens to overwhelm her.
And there are other parts of it, I love, too:
- Blackwater and the animal bridegroom trope that articulates rites of passage into mature sexuality for girls (see Little Red Riding Hood, ob origine): white cloak, check; sex codified as death, check; blood stains on a white cloak, check; sexual awakening, check;. etc.
- How the above point actually closes off their symbolic wedding: the cloak, the symbolic bedding, Tyrion’s failure to cloak Sansa, and, finally, Sansa’s dreams of having Sandor in her bed during her wedding bed, and her thoughts of Sandor when Myranda asks her if she knows what happens in the marriage bed.
- Sandor’s relationship with Arya and how that actually manages to perpetuate the Sansa/Sandor storyline from Sandor’s perspective, by allowing us to see the other side of the coin without needing to give Sandor a pov.