For years, most of the other nations have believed Alfred went through a split-personality disorder during the Civil War. That is simply not true: the two sides were split from the beginning. And this is their story.
Call Me Connie is an Hetalia: Axis Powers fanfic written by VenomousButterfly, set in an Alternate Universe of sorts where America had a twin female counterpart. It mainly follows a young girl who befriends a certain Alfred F. Jones...a girl who also claims to be America. In time, they are separated by distance and time until fate (and history) drove both North and South into a conflict that would decide the future of the Union. The story though covers a swath of American history from the 18th Century onwards, though much of it is set in the backdrop of the Civil War itself.
The fic is still a work-in-progress and can be found here.
This Fanfic contains examples of:
- America Saves the Day: Even as a young colony of England, he tries living up to being a "knight" and hero. Subverted, though, later on when "saving the day" eventually translates to "winning the Civil War", not to mention Alfred considering an independent South a threat to the Union's survival.
- Boisterous Bruiser: While more subdued than Alfred, she has the same strength, tenacity and determination.
- Deliberate Values Dissonance: This is the Antebellum-era South, so there's a considerable amount of this. Especially evident with the whole slavery thing, but also shown more subtly with social norms in relation to women.
- Dude, Where's My Respect?: Part of Emily's dillemma, and thus the American South is the relative lack of respect or recognition she gets compared the North, and thus Alfred.
- Expy: Emily is essentially Nyotalia!America as a Southern Belle.
- Fish out of Temporal Water: Emily goes through this every time she "wakes up," often having to find new clothes and go through recent papers before (trying) to blend in to the new era. She does express surprise, however, upon finding out that America's no longer British, said Brits and Canadians torched the nation's capital in 1812 and that America intends to crush the Southern "secessionists."
- Foregone Conclusion: Those more-or-less familiar with how the Civil War played out in history have some clue as to how Emily's story ends.
- Go-Go Enslavement: Slavery is treated in-context to the era, though also done carefully.
- Grey-and-Grey Morality: Neither Alfred nor Emily are painted as evil; both North and South are treated sympathetically, even in light of the controversies, issues, and shortcomings on both sides. That said, Alfred tends to see himself as A Lighter Shade of Gray.
- Historical Domain Character: CSA President Jefferson Davis, his family, famous Confederate spy Rose O'Neal Greenhow, and a couple of South-sympathizers play a major role in the story.
- I Have Many Names: Emily originally went by "Carolina Jones," a human name given to her by Alfred. Her "present" one however became permanent upon becoming the CSA.
- Left for Dead: It's revealed that part of the reason behind Alfred's uncharacteristically cold reaction to Emily's initial letters during the Civil War era is because he thinks she died a long time ago.
- Obfuscating Stupidity: While Alfred is a bit of a Bunny-Ears Lawyer and Keet, he does play the part of a naive 19-year-old gentleman convincingly. There are times however especially during a dinner staged to make him meet Emily when that particular mask slides to reveal someone who's not to be trifled with.
- OOC Is Serious Business: Alfred's cold and seemingly out-of-character spite is stemmed from his conviction "Carolina Jones" died long ago, with Emily, aka the CSA being an impostor.
- Jumped at the Call: While Emily was quick to take up her nation-ness as "Carolina Jones" and was already in a sense an embodiment of the South, she was particularly quick and certain taking up the mantle of being the Confederacy.
- The Masquerade: There are hints of this, similarly to Hetalia. This here, though, is in part because in Emily's eyes, telling most regular people she's a nation would sound plain crazy.
- Original Character: Emily Brown/Jones aka the Confederate States of America. Also, it's strongly implied that the friends Alfred brings to a staged dinner are the embodiments of various States in the Union.
- Ragnarök Proofing: Averted. Emily's belongings and clothing wind up grimy and rotted after her decades-long moments of slumber.
- Rip Van Winkle: Early on, Emily fell into uncontrollable bouts of cold slumber lasting several decades at a time, waking up physically older if still young with each successive one. As a result of this, she slept through The American Revolution, the War of 1812 and other events until the immediate times before the Civil War. This also plays into the strained relationship between her and Alfred.
- Self-Mutilation Demonstration: How Emily convinces Jefferson Davis of her true identity: by deliberately provoking a Confederate guard into shooting her in cold blood...only to get up and toss said guard aside.
- She's All Grown Up: By the time the Civil War rolls around, Emily is shown as a beautiful 16-year-old. Only that she's utterly unaware of how attractive she is until someone else brings it up.
- Shown Their Work: The author clearly had done some reading and research into American history and the Civil War in general. She also points out certain bits of Victorian formal etiquette that were violated during the staged Washington dinner scenes for plot or character-related reasons.
- Southern Belle: Emily at the very least can pass herself off as a proper one.
- Sweet Home Alabama: Played fairly straight in how the South is portrayed although it doesn't distract from the more controversial and darker issues.
- Time Skip: Tied to Rip Van Winkle mentioned above.
- Villain Protagonist: Emily if you consider the CSA the bad guys.
- Writer on Board: The annotations at the end of each chapter include snippets from the author's views on approaching the sensitive issue that is the Civil War, whether it's slavery (along with her insistence of not supporting it), the "written by the victors" nature of the war, or the conflict's continuing legacy in modern America.