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exhaslo · 1 year ago

Note

Hiii！I love your stories!!But can you write about Miguel × hybridbunny！reader？that Miguel was a rich mafia or ceo and he bought reader from a black market or an auction.（ps：make reader sit on Miguel’s desk while he works and he ended up eating her out and fcking her hehehehehhehe）🐇🐇🐇🐇

Hehehehehehehehehehe

Warning: MINORS DNI, Smut, oral, rough sex, dirty talk, creampie

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There were many pros and cons that came with being the CEO. Unfortunally, claiming ownership of Alchemax carried far more cons than the alternative. It did not help that Miguel took over the company from his corrupt father.

There were a lot of problems that needed to be fixed. Many were within the company itself; the associates to say the least. Miguel had to fire and clean up a lot of the corrupted associates' messes. This included having Miguel silently attend a black auction market.

Turned out, one of his former coworkers who worked in genetic splicing decided to test various animals on different people. While Miguel was so focused on Spiders that created Spiderman, his stupid coworker created hybrids and sold them on the black market.

Miguel just hoped that he could save as many people as he could. The work of tracking the others down was going to be a lot harder for him.

As Miguel sat in his VIP seat with a hood on, he watched the scum below him cheer with anticipation. None of these people cared. They just wanted new trophies. Miguel was going to buy as many hybrids were auctions and try to revert them back to regular humans.

-------

Miguel was about to lose faith. The auction was at the last bid and there had not been a single hybrid. Miguel did check and this was the only black market auction in the city. It was too dangerous for there to be anymore.

"Now! What you've all been waiting for, the most popular item during our shows! A hybrid!!" The announcer cheered.

Miguel nearly gasped, leaning forward as he watched the curtains unveil, revealing you.

"We got ourselves an adorable hybrid bunny!!! You know what they say about rabbits."

Miguel ignored the sea of laughter. You were standing on stand, shaking like a leaf. Before the announcer could even start the bid, Miguel yelled out an insane number. There were gasps in the crowd and barely anyone had the guts to go higher.

And just like that, you were bought by Miguel.

--------

You were hesitant as you followed your new 'owner' to his vehicle. The chain and collar still tight around your neck. Once you were seated in the back seat, you flinched as your tail got caught in the belt. You had to lower your ears, not wanting to hit the roof of the car.

"My apologizes, I'll get a bigger car." Miguel apologized as he entered the vehicle. You gave him a slight glare, "I'm not going to hurt you."

"Just fuck me," You whispered.

"No," Miguel sighed as he took the collar off once the car started moving, "I'm trying to right the wrongs that the former CEO of my company did."

You touched your neck, watching Miguel very carefully. You had an inkling of where this conversation was going, and it started to make your heart and body shake.

"My name is Miguel. I have no intention of using you for any purpose, but to try and undo what Alchemax did to you, if you would let me."

"Hah, so am I the lucky test subject?"

"No. I want to find all those who were experimented on. You were the first one I saved." Miguel noticed your hesitation and offered you a bottled water, "I have a room set up for you. Anything you want or need, just let me know and I'll get it for you."

"I suppose freedom isn't an option?"

"You and I both know what will happen if I let you go."

"Yeah, I know. Just wanted to hear your answer." You scoffed and leaned forward slightly, "I actually worked at Alchemax as an assistant. I don't think it will be easy to undo my DNA now that its been changed."

"I can try."

---------

It had been a few months since you were bought by Miguel. It came as a surprise, but he did mean what he said. You were living comfortably and Miguel was trying his absolute best to cure you. As you guessed, nothing worked.

That didn't stop you from wanting to help Miguel with his endeavor. Miguel had even rescued a few more hybrids during your stay with him. You couldn't help but feel a little jealous that you weren't his only one now. There was a simple reason as to why you felt like that.

You fell in love with Miguel.

You wanted to believe that Miguel liked you too, but you weren't sure what was holding him back. Perhaps guilt? Needing to see him, you started to hurry to his office. Thanks to your rabbit DNA, you were a fast runner.

"Miguel? Can I come in?" You asked with a knock at his office door.

"Of course, (Y/N)." He said with a smile, opening the door for you.

Before entering, your nose caught whiff of something delicious. Sniffing around, you ended up next to Miguel. You gently gripped his jacket, sniffing against his collar.

"(Y-Y/N), are you alright? Do I smell?" Miguel cleared his throat, careful to hold you back.

"Hm? O-Oh, sorry. You just smelled really good." You laughed nervously, wondering what was coming over you.

Miguel patted your head, assuring you that it was okay. You could only feel embarrassed again. This wasn't the first time your rabbit DNA caused you to do something silly or embarrassing. You were still having a hard time getting over making a 'secret room' in the building when winter was coming.

"Want to help me with something?" Miguel offered, motioning towards his desk.

You hurried over, taking a seat on his desk as Miguel pulled out some paperwork. Since it was hard for you to sit in regular chairs due to your tail, Miguel allowed you to have a spot on his personal desk. It felt like you were a trophy for him. One you didn't mind.

"So, what are you working on?" You asked. Miguel chuckled towards you as he leaned back in his seat,

"Company business."

"So how can I help?"

"You already are," Miguel chuckled again and leaned closer towards you, "I feel better having you next to me. I'm not as stressed."

Your cheeks started to burn up at his confession. Your heart was racing and you could feel yourself getting hot. This was bad. Lately, whenever you thought about Miguel you would get into a small frenzy, needing to relieve yourself. It had to be because of your rabbit DNA.

"(Y/N), are you alright?" Miguel asked, his hand against your forehead.

"Mhm," You winced slightly, shaking from his touch alone, "M-Miguel, I should...g-go," You stuttered, finding it hard to keep yourself together.

Miguel furrowed his brows as he gave you a quick check up. He checked your eyes, noticing the glossy lustful look, then your heart rate. Miguel inhaled deeply once he finally noticed you rub your legs together and your nipples perk.

"You're in heat?" Miguel muttered lowly, glancing at your once more, "Let me take-"

"N-No, let me stay," You whined, holding onto Miguel, nibbling against his shoulder, "I-I'm only...like this because of...of you,"

"Oh," Miguel resisted a groan, gently pushing you back, "Then, I suppose I need to take responsibility for you, huh?"

Oh, how those words turned you on even more. You whimpered and moaned against his touch as Miguel took off your pants. Your panties were soaked. You swore Miguel mumbled something under his breathe, but you were so zoned out that you couldn't hear him.

Next thing you knew, Miguel had taken your panties off and laid you back against his desk. He brought your legs around his head, making sure your tail wasn't crushed under you. His head directly in front of your vagina,

"My, my (Y/N), you should have told me sooner about your little problem. I could have helped you happily,"

"B-But-Ah~ M-Miguel~" You cried out as his tongue started to swirl against your folds.

Your eyes widen and your body arched as Miguel feasted. His tongue touching you in ways that your fingers could not. His aggressive licks and swirls against your clit causing that knot inside you to grow tighter.

"Ah~ R-Right...t-there~" You moaned, crying out your orgasm.

Miguel cleaned up your mess, his tongue now threatening to enter your drenched hole. Your whimpers and moans were delicious. He wanted to hear more, but he also didn't want to take advantage of your state. Licking your insides, Miguel hummed at your sweet taste. Your legs wrapping around his head.

'Miguel~" You whined, grinding your hips slightly.

"Now, now my little bunny, if you don't behave I won't be able to control myself," He hummed, sucking against your clit.

"P-Please...f-fuck me...I need you~" You whimpered.

Miguel felt his restraints snap. He flipped you on your stomach and inserted a finger inside your cunt. Your body shock as you moaned louder than before. Miguel groaned at how your cunt sucked his fingers in.

"Does my little bunny want to be fucked that bad? Even using your tail to seduce me." Miguel huffed, using his free hand to play with your tail.

Unable to take the pleasure, you cried out another orgasm the moment Miguel touched your tail. It was so sensitive. Pressing your face against his desk, you whimpered, begging for Miguel to fuck you. You needed him. You wanted him to make you feel good.

"Alright, I'll give my bunny what she wants."

"Mhm~ Y-Yesh," You babbled.

A sharp gasp escaped your throat as you felt Miguel's dick push through your folds. His cock stretched you out and filling you so perfectly. Your body felt so hot as his tip threaten to push your cervix. You could feel his shape every time your pussy clenched around him.

"A perfect fit. My little horny bunny likes this right?" Miguel chuckled as he started to thrust his hips into you at a rough pace, "My little horny bunny going into heat because of me."

"Ah~ Mhm~ M-Miguel~"

You swore you started to lose your common sense. Miguel was pounding the life out of your cunt and the air out of your lungs. Your vision kept blurring as you just focused on the feeling of him filling you.

You gasped as Miguel lifted your hips ever so slightly. His dick hitting your g-spot with each thrust while his free hand was playing with your tail. You were losing count how many times this man was making you cum.

"Does my little bunny want me to fill her up?" Miguel leaned over you, whispering your ear,

"Mphm~"

"I can't hear you, are you too fucked out to answer?" Miguel nibbled against your ear.

You pressed your ass up, "Inside~" You begged.

Miguel complied as proceeded to fill you with his cum. He moaned lowly, giving you a few more pumps before coming to a stop. Miguel started to pull out, but heard you whine in protest. A chuckle escaped his throat as he continued to slap his hips into you.

Miguel continued to fuck you until your heat finally died out. By the end of what seemed like endless fucking, both you and Miguel were out of breathe. Miguel had you seated against his lap, resting your body against his.

You whimpered tiredly, cum pouring out of your cunt. Miguel rubbed your back, his hand nudging against your tail slightly.

"Mhm,"

"Shh, it was an accident, baby." Miguel whispered, rubbing your upper back, "You should have told me when these heats started. I can make some medicine to help you."

"You're fine," You whispered lowly. Miguel chuckled, kissing your head,

"If that's the case, then it would be easier for you to stay at my place. I have been looking for a wife,"

"Mhm...I'll gladly...take that role," You muttered tiredly.

Miguel resisted a chuckle. He waited for you to fall asleep before dressing the two of you. He had one of his assistants bring your stuff to his place as Miguel took you home. He was going to make you as comfortable as possible.

But first, you both needed a shower.

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Hope you enjoyed!!!!

#miguel o'hara x reader #miguel spiderverse #spiderman 2099 #miguel o'hara #miguel o’hara x reader #miguel o'hara smut #miguel spiderman #atsv miguel #across the spiderverse #miguel x reader #miguel x y/n #miguel x you

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literaryvein-reblogs · 2 months ago

Text

Some Editorial Vocabulary

definitions of terms during the writing, editing and publishing process

Acknowledgements: Text in which the author thanks those who’ve supported them.

Action beat: Short description that comes before, between or just after dialogue.

Adjective: A word that describes a noun.

Adverb: A word that describes a verb.

Adverbial phrase: A group of words that describe a verb.

Afterword: A concluding section, often reflecting on the book’s creation or providing additional context.

Anaphora: The deliberate repetition of words or phrases at the beginning of successive clauses for artistic effect.

Antagonist: An adversary. The character who creates obstacles and challenges for the protagonist, or behaves in a hostile fashion towards the protagonist.

Anti-protagonist: A protagonist whose own actions create opposition and conflict, often within themselves or against their own goals.

Apostrophe: A punctuation mark used to indicate possession, omission and, occasionally, a plural.

Appendix: Space in a book for material that doesn’t fit comfortably in the main text.

Asyndeton: Literary device through which a sentence’s structure follows the following pattern: A, B, C.

B-C

Back matter: Also end matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Beta reader: Test-reader who provides feedback on book.

Bibliography: List of all works cited in book, and any other work of interest to the reader.

Chapter drop: The space above and below the chapter title.

Character arc: Narrative that shows how a character changes and develops.

Characterization: The process of revealing a character's personality, traits and motives through actions and dialogue.

Colon: Punctuation mark that introduces additional/qualifying information about the clause it follows.

Comma splice: Two independent clauses joined by a comma rather than a conjunction or an alternative punctuation mark.

Conjunction: A word that connects clauses or sentences (e.g. ‘and’, ‘but’, ‘if’, ‘then’)

Copyediting: A review of grammar, punctuation, and spelling, ensuring consistency and accuracy in the manuscript's language.

Critique: Also manuscript evaluation. Report analysing a book’s strengths and weaknesses.

Denouement: The final part of the book in which all the plot strands are brought together and resolved.

Deuteragonist: A sidekick or confidante character who has the most influence on the protagonist, often helping them solve problems and overcome obstacles. Can be critical to driving the plot.

Developmental editing: Also structural editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Dialogue tag: Also speech tag. Words that indicate which character is speaking (e.g. John said).

Dialogue: The lines characters speak in a book.

Diversity reader: Also sensitivity reader. Test-reader who checks for misrepresentation in books.

Double-page spread: Also DPS. The view of a printed book or PDF when opened so that the left- and right-hand pages are both visible.

Drama: The conflicts, emotional intensity, and impactful events that drive the plot and engage readers emotionally. The focus is on character relationships, motivations, and the consequences of their actions.

Dropped capital: Decorative first letter of the first word on the first line in a chapter. Larger than the rest of the text and drops down two lines or more.

E-F

Ellipsis: Punctuation mark that indicates a trailing-off or a pause.

End matter: Also back matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Endnote: Additional useful information at the end of a chapter or book.

Filter word: Verb that tells rather than shows (e.g. ‘noticed’, ‘seemed’, ‘spotted’, ‘saw’).

Folio: Somewhat old-fashioned term for page number. Also used to refer to a page.

Footnote: Additional useful information at the bottom of a page.

Foreword: A recommendation of the work written by someone other than the author.

Fourth wall: In books, the conceptual space between the characters and the readers.

Free indirect speech: Also free indirect style and free indirect discourse. Third-person narrative that holds the essence of first person thought or dialogue.

Front matter: Also prelims. Includes part title and title pages, foreword, preface and acknowledgements.

Full point: Period or full stop.

Full stop: Period or full point.

G-L

Glossary: Alphabetical list of important terms with explanations or definitions.

Habitual past tense: Uses ‘would’ or ‘used to’ with a verb to indicate events that happened routinely in a time past.

Half-title page: The first page of a book with any text on it; in a printed book, always a right-hand page. Contains only the main title of the book.

Head-hopping: Jumping from one character’s thoughts and internal experiences to another’s. Indicates viewpoint has been dropped.

Imprint: Publisher’s name.

Independent clause: A group of words that contains a subject and a predicate.

Index: Alphabetical list of all topics, themes, key terms and cited author names covered in the book, and the corresponding page numbers.

Information dump: Also word dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Line editing: Also stylistic editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

M-O

Maid-and-butler dialogue: Dialogue in which one character tells another something they already know so the reader can access backstory.

Manuscript evaluation: Also critique. Report analysing a book’s strengths and weaknesses.

Narrative arc: Also story arc. The structure and shape of a story.

Narrative authenticity: The believability and truthfulness of a story so that the characters and events feel real within the framework of the novel’s world.

Narrative distance: Also psychic distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Narrative: Story. The part of the book that’s narrated, excluding the dialogue.

Narrative style: The author's unique manner of storytelling, encompassing language, tone, viewpoint and other structural choices.

Narrative voice: The style, tone, and personality through which a narrator or character tells a story to readers.

Numerals, Arabic: 1, 2, 3 etc.

Numerals, Roman: i, ii, iii etc.

Omniscient: All-knowing. Refers to a viewpoint style in fiction writing.

Overwriting: Using too many words on the page. Often characterized by repetition and redundancy.

Page proofs: A file that’s reached a stage in the publishing process where the text and images of a manuscript have been laid out in their final format.

Pantser: A writer who doesn’t outline or plan story structure, but flies by the seat of their pants.

Period: Full stop or full point.

Perspective character: Also viewpoint character. The character through whose eyes the story is primarily told. The narrative lens through which readers experience events, thoughts, and emotions within the story.

Plot: The sequence of events in a novel.

Point of view: Also viewpoint and POV. Describes whose head we’re in when we read a book, or whose perspective we experience the story from.

Polysyndeton: Literary device through which a sentence’s structure follows the following pattern: A and B and C.

Predicate: The part of a sentence that contains a verb and that tells us something about what the subject’s doing or what they are.

Preface: An explanation of the purpose, scope and content of a book, and written by the author.

Prelims: Also front matter. Includes part title and title pages, foreword, preface and acknowledgements.

Pronoun: A word that replaces a noun (e.g. I, you, he, she, we, me, it, this, that, them those, myself, who, whom). Pronouns can act and be acted upon like any noun.

Proofreading: The final pre-publication quality-control stage of editing where any final literal errors and layout problems are flagged up. Comes after developmental editing, stylistic line editing and copyediting.

Proper noun: A named person, place or organization. Always takes an initial capital letter.

Protagonist: The leading character in a novel, often facing central conflicts and driving action.

Psychic distance: Also narrative distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Purple prose: Overblown, poorly structured writing with strings of extraneous and often multisyllabic adjectives and adverbs.

Q-R

Quotation mark: Also speech mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Recto: The right-hand page of a book.

References: List of all the works cited in your book.

Roman typeface: Not italic.

Running head: Text that runs across the top of a page (e.g. title of the book, chapter title, author’s name).

Scene: a distinct segment or building block where specific actions and events unfold in a setting.

Scene technique: The use of dialogue, action, setting, and tension to craft compelling moments in the story.

Semi-colon: A punctuation mark that indicates a stronger pause than a comma between two main clauses.

Sensitivity reader: Also diversity reader. Test-reader who checks for misrepresentation in books.

Speech mark: Also quotation mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Speech tag: Also dialogue tag. Words that indicate which character is speaking (e.g. John said).

Story arc: Also narrative arc. The structure and shape of a story.

Structural editing: Also developmental editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Style sheet: In which an author or editor records stylistic and language preferences, and tracks who’s who, what’s where, and when X, Y and Z happens.

Stylistic editing: Also line editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

Subject: The thing in a sentence that’s doing or being something.

Subplot: A secondary storyline that supports and enhances the main plot of a narrative.

Suspense: The tension, uncertainty and anticipation created by withholding information, raising stakes or placing characters in imminent danger. Readers are kept guessing or forced to ask questions.

Syndeton: Literary device through which a sentence’s structure follows the following pattern: A, B and C (or A, B, and C).

Talking-heads syndrome: Dialogue that isn’t grounded in the environment or the characters’ responses to that environment.

Tense: The form a verb takes to indicate when an action happened in relation to the telling of it.

Tension: The emotional strain or suspense created by unresolved conflicts, stakes or uncertainties that keep readers engaged.

Tertiary character: A functional character who gives the story realism and depth, but doesn’t significantly impact on or influence the plot or the development of the other characters.

Theme: The novel’s central idea or message about life, society, or human nature.

Title page: Includes full title (and subtitle if there is one), author’s name, publisher’s name, logo, volume number, and edition.

Transgressor: A character who commits morally, socially, or legally questionable acts.

Tritagonist: Third most important character, who often provide regular emotional or physical support, but don’t determine how the story develops.

U-W

Unreliable dialogue: Dialogue that doesn’t match a character’s true voice, mood or intent.

Unreliable narrator: A character whose telling of the story cannot be taken at face value. They may be naïve, confused, or deliberately manipulative.

Verb, intransitive: A verb that doesn’t have a direct object (e.g. ‘I giggled’).

Verb, transitive: A verb that has a direct object (e.g. ‘wrote’ in ‘I wrote a book’).

Verb: A word that describes doing. Can refer to a physical action (e.g. to dig), a mental action (e.g. to wonder) or a state of being (e.g. to be).

Verso: The left-hand page of a book.

Viewpoint: Also point of view or POV. Describes whose head we’re in when we read a book.

Viewpoint character: Also perspective character. The character through whose eyes the story is primarily told, and the narrative lens through which readers experience events, thoughts, and emotions within the story.

Vocative: The form of address for a character directly referred to in dialogue.

Word dump: Also information dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Source More: On Editing ⚜ Word Lists

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pparacxosm · 1 month ago

Text

sigh like a chime

(postcanon!patrick zweig x infant halfsister’s au pair!reader; idk either man; came to me in a dream; title from the sound of music let’s all act shocked; major tw for suicide talk; tw depressive behaviour; tw disordered thoughts about eating; tw vague implication of alcoholic dependency; patrick zweig is generally not doing so hot; like at all; tw strained father son dynamics; tw grown adults projecting childhood trauma onto a baby; warning you now: this is a long one !! ; make a day of it; atp coexisting; lily donaldson being a weird little girl ™; tw airports during holiday season; whoever came up with the headcanon that patrick was late for his circumcision and it got cancelled i owe you a kidney; so cw smut obviously; cw religious ((Christianity, specifically Catholicism + Judaism briefly)) motifs; tw splicing of said motifs with the aforementioned smut; tw vomit)

“It’s not that I’m not happy for him,” Patrick tells Tashi, “I really am, you know I mean that.”

He paces her kitchen impatiently, running fingers through dark, dishevelled hair.

At such times, he still looks like the boy wonder sprinting carelessly across electric blue asphalt, eyes shimmering, as if he were part of that riot of colour. Some of his athletic maturity is replaced with the facetious, callow mannerisms of a hungry novice who wants to skip the necessary steps. Who wants to swallow experience and spit out the bones.

Tashi straddles a stool at the vast marbletop island. She’s pattering away like bulletquick rainfall on her MacBook. She doesn’t even spare him a glance.

Patrick makes an effort to rein in his temper. He drops into one of the stools. He swivels left and right and cranes his neck, staring up at the coffered ceiling moulding.

“It’s almost Christmas, Patrick. Go home.”

I am home, he wants to say, but that would be revolting and stupid and he doesn’t even really mean it. Art and Tashi aren’t home for him. Nothing is. And he likes that, he likes being a nomad.

Lily clicks in like a pony. Lily—well, Lili, Lieselotte—is also the name of his little sister. He likes the coincidence. The trick of the mind he can perform, imagining an alternative family.

Family is just being nomads together.

“Hey, I told you no tap shoes inside,” Tashi says, eyes still swimming through the pixelmire of her computer screen.

Perhaps Patrick ought to feel flattered by her attention at all. His familial woes are just as perturbing to Tashi as Lily fucking up the flooring with her ball changes.

Patrick’s still quashing his irritation. She doesn’t even fuck him, anymore. He actually doesn’t fuck much of anything at all, of late. What with how tired he is all the time, how his flesh and bones deplete with each exertion. In a way, that’s her fucking him. But it’s also just the scorn of getting older.

It gets harder to shoulder things. His patience corrodes quicker. He should lean forward, take that laptop, and lob it across the room. She’s not even wearing those stupid bluelight glasses she’s supposed to be wearing.

“Do you just not care about anything?” It’s a petulant attempt at stoking her, but it’s too meandering and abstract to really matter, let alone take effect.

She doesn’t respond for a whole five seconds, still typing, and when she does, it’s a distracted whisper of, “What?”

Her power over him is such that she can afford to be so blindly condescending. But it still stings.

He groans into the air, and it’s such a thundering sort of noise that Lily spares him a weirded out scowl on her way to the pantry. “Do you really want me in Germany? I’ll sit on my ass and start drinking beer again all day, Coach.”

Three years into their partnership, he often uses her title to signal his annoyance.

Tashi sighs like she’s disappointed. Not disappointed that he’s trying, but the fact that he’s making such meaningless, childish stabs at it. Instead of just going for it. As in, yes, smashing her MacBook over his knee and yelling pay attention to me! She’d respect that more and he knows it.

But, anyway, she lowers the screen halfmast and looks at him. “Are you jeal—”

“I’m not jealous of the baby.”

“Okay…”

“But he’s sixtyfive, Tashi! It’s ridiculous.”

Tashi does something between a scoff and a laugh, shaking her head. She rolls up the sleeves of her sweater and narrows her eyes at him. “And how old did you say the new wife was?”

“Thirtytwo, Tashi.”

Tashi laughs properly now, dropping her head and dragging her thumb and forefinger over her lashes. Patrick smiles at her amusement, albeit at his expense.

“That is pretty ridiculous.” She looks up at him again, clearing her throat, “Don’t try to bullshit me and pretend you don’t still drink beer.”

He wants to contradict her, but he decides he wants to make her laugh more. “He met her because she was his masseuse for a hot stone treatment.”

Tashi sputters, her giggles spilling everywhere, and she’s waving her hands like she’s calling timeout.

“And then he calls me,” Patrick continues, before miming a phone to his ear and straightening and dragging his voice down like an anchor with an affected distinguished rumble, “And goes, Son, I am moving back to Germany. I have love again.”

“I have love again!” Tashi wheezes, her elbows thunking on the marble and her face falling into her hands. Her shoulders are shaking with laughter.

“Like it’s a fucking disease.”

“It is.” Art’s voice still manages to quaver delivering a glib oneliner. Maybe because he doesn’t mean it. Patrick’s willing to chalk it up to his brisk stride as he enters the kitchen. Always a fucking pep in his step these days, the fucking asshole.

Patrick doesn’t turn his head. He feels a sharp instance of vertigo when Art’s hand lands on his shoulder. But both the touch and nausea are gone as soon as they arrive, and he passes off the motion of his own hand going to grab Art’s fingers as a scratch to his nose. Tashi’s too busy wiping her tears away to have noticed that, thank God.

“Oh my God, please tell him,” Tashi cackles, still gathering lost breath as Art slides her bluelight eyeglasses onto her face and enswathes her body with his, caressing her arms with his knuckles.

“He knows,” Patrick says dismissively, even though that’s a lie. He hasn’t told him.

“What do I know?”

Tashi recounts the story with the engaging enthusiasm of what Patrick is beginning to recognise as schadenfreude. But even that is still a salve, and he feels a little foolish for forgetting its effect. Not just the laughter, but all of this. He wishes they would just throw him a bone and let him stay for Christmas. He feels like a dying dog made to live too long. He offered to dress up as Santa, but Lily herself informed him that she’s far outgrown such folly and resents his assumption otherwise. She’d kicked him in the shin with the metal plate of her tap shoe. He’d let her.

Art’s smile quirks up at the image. Mean old Mr Zweig laid nude across a spa bed, cock jumping for the meek masseuse.

“Bet he slipped her eight grand to fold the towel a little lower,” Art mumbles into Tashi’s hair, the strands buttery against his lips.

She makes a face at this. She raises her hand to swat his arm reproachfully.

But Patrick only chuckles. Spares a glance over his shoulder to where Lily is sprawled on the couch, gripping the handles of her shockproof iPad case with the focus of a pilot at the yoke of a plane, her little head swallowed by a pair of AirPod maxes. Turns back and looks up at Art with a conspiratorial smirk.

“Probably had her stroke his dick with two hot stones,” he murmurs.

Tashi thinks that’s even less funny. But Art thinks it’s even more funny.

He laughs very loudly and does a less than polite impression of an old German bastard wincing and coming.

“Ah—” he hisses, “The next one up my bumhole, yes?”

It sounds like a botched Hitler lampoon, and it’s ostensibly a caricature he’s done many times before. Sometimes, they spend whole days just wading through their ancient morass of shared memories and inside references and running gags. Sometimes, even now, it's just easier that way.

Patrick laughs so hard he falls out of his chair.

They do let him stay for dinner.

It feels like they’re mocking him, but he’s hungry. So he stares into the middle distance and listens to Lily spiritedly declaim facts about deep sea turtles. She keeps surreptitiously slipping Brussels sprouts from her plate onto his. It wouldn’t be his place to mention it. And, for her part, she quaffs down her mashed potatoes like an endurance test. He tells her they’re not going anywhere. She kicks his shin again and he’s pretty sure she should have taken those shoes off by now.

He watches every gentle graze of Art and Tashi’s limbs and shoulders.

He sighs and chews his sprouts until his jaw aches.

There are worse things in his head to beat himself up with than wishful thinking.

“What’d Sassy say?” Art asks as he uncorks a Montrachet.

The corner of Patrick’s mouth quirks up almost imperceptibly. Like the reflexive twitch of a bad muscle. But he can tell Art discerns it by the way he starts to chuckle preemptively. That grin that spreads across his face like fire on dry grass.

Patrick huffs. “She said she hopes the baby chokes and dies.”

“You’re killing me, Sas.”

It’s December eighteenth at JFK. Patrick feels like a fucking sardine. Everyone is everywhere. The emetic odour of tarmac and jet fuel embues him. His fingers are red and stiff and so tightly coiled around the stainless steel handrail of the escalator that he thinks they may just pop off like caps. There’s an acetous chill to the nighttime air, and he probably should’ve worn more layers, but the sweat on his back is already soaking through the thin fabric of his shirt. He doesn’t mind. It’s better than being late.

Patrick’s dad used to enforce punctuality like a jailhouse warden. Saskia knows that.

He has his phone tucked to his ear against one shoulder.

His sister’s voice across the receiver sounds warped and liminal. His stomach is grumbling.

“You’re fucking me, Sas, you’re fucking me right over,” Patrick says. “What’s in Brazil?”

“Well, warmth, for one.”

“What about me?”

Saskia laughs. That loud, tocsin laugh she used to do when he’d wet the bed. “You boycotted the christening, Brutus.”

“Why would I fly to Germany to watch a baby take a bath?”

“Why are you flying to Germany now?”

Patrick’s teeth are on edge as he schleps his weighty duffel toward the terminal. He fishes a cigarette out of his windbreaker pocket and shoves it through his lips. He wants to spark it, even though Tashi’s psychologically tortured him into quitting, and he’d get thrown out for sure. There’s a line of security guards at every corner, and he’s seen the German Shepherd sniffer dogs.

He chews on the cigarette instead. Grinds the tip between his molars to get that stark jounce of nicotine even if it’s mostly tobacco and paper.

Saskia is saying something in his ear, and he’s only halfpretending to listen. His eyes are fastened straight ahead, singeing holes into the back of a woman’s head. Her hair is pulled into an absurdly tight ponytail. And he is so taken by the movement of the strands as it bobs with each step that he is only dragged back to reality when Saskia says his name loud enough to stab his eardrums.

He blinks. “What, bitch?”

“Paddy, I’m sorry, but I can’t do it. I don’t wanna throttle the little shit. I’m pushing forty and I cried because he bought it a fucking babysize tiara.”

Patrick closes his eyes, inhaling deeply through his nose. He swallows a bit of that tobacco wad on his tongue. He nearly gags. He belatedly catches that a couple of security guards are looking at him with some suspicion. He holds up a finger as if to say, sorry, and turns around to walk away.

Saskia’s still on the line, and she starts singing something, though he doesn’t understand why. He has to hold the phone a good foot away until she shuts up.

“Wh—” he scoffs, pinching the bridge of his nose. “What am I supposed to do?”

“Hey, maybe you’ll get along with it.”

“Unlikely.”

“Maybe you’ll get along with dad.”

“Un—fucking—likely,” he retorts.

He ducks into a corner of the empty terminal and drops inelegantly onto a hard plastic seat. He is hyperaware of the sweat fumes under his arms, the way his track pants cling too snugly to his thighs.

“Actually, hey,” Saskia says, and he can hear her perking up. He imagines her in a hammock in Rio. She’ll burn so bad. No earthly SPF could ever keep her from shedding like a crimson serpent. “She has this au pair.”

Patrick glances up at the TV monitor over his head.

Departures to Berlin 23 30, it reads, flashing jarringly in red LED lettering, accompanied by a blinking graphic of an airplane taking off.

He makes a noncommittal grunt. “That tracks,” he mumbles.

“I’m saying you don’t have to be lonely,” says Sassy, “Make friends! She’s nice. Bit young.”

“Reckon dad’ll try to knock her up next?”

Saskia laughs herself to piggish snorting. The bigeared little boy within him, tugging at the pantleg of his sister’s pyjamas for attention, is vaguely mollified by that laughter. Albeit at his expense.

He should spend the flight feeling guilty for not getting a gift for the baby, but he listens to a true crime podcast instead.

They’re talking about a young girl who was found unconscious by the side of a road. The truck driver who spotted her was a little drunk at the time, and he was afraid that if he called the cops he’d lose his job, so he just moved her body further up the road where someone else could find her.

Apparently, she was still alive, but the truck driver thought she was already dead.

It’s not certain if she would have made it, had he done The Right Thing, but maybe it would've made a difference.

“He should've just called the cops and driven away,” one of the hosts says.

“If you’re reporting an accident, you can’t just remove yourself from the premises,” the other one replies.

“Well no, but if you report a homicide—“

“Same thing. Also, how can you just leave a person bleeding by the side of the road?”

“Was she visibly bleeding?”

“It doesn’t matter.”

Patrick closes his eyes and leans his head back. The clouds roll by like lambhide.

He can picture it clearly, driving away from this fucking mess, leaving a body by the side of the road. He’d do it if he could. But he thinks he’s the body.

He shudders with a pang of cold. He doesn’t know why this image sticks. It’s like ghosts, floating in between the clouds.

Saskia texts him. Suffocate the baby with a pillow. Also delete that text. And that one.

And he, the body by the side of the road, doesn't say anything.

The plane jostles a little in a patch of turbulence. They descend into Berlin at eight in the morning.

His knees hurt from keeping them bent at an angle for so long, his ass is going numb. He should feel sorry for himself, being alone like this.

As he deplanes, a few fellow passengers glance in his direction, their noses wrinkling. He can’t tell if it’s the bitter rot of cigarette between his teeth or his sudor stench or his mouldering heart.

People converge in the baggageclaim like a throng of cattle. Patrick shoulders through. Swallowed up and spat out and alone again.

No one pays anyone any attention. Everyone is hurrying to make this flight or get to the next. When Patrick finds a men’s room, he realises he should be glad for that. In the reflection of the large mirror above a long stretch of white porcelain sinks, he can see shadows like cosmic abysses under his eyes. Some of the veins in his arms—which are sticking out from under his sleeves like pythons—are slightly swollen and purple.

His duffle bag bangs against his hip as he shuffles onto the tarmac and joins the taxi queue.

Berlin greets him with an onslaught of sleet.

His bones rattle like clicking spoons in the cold. He’s cursing under his breath and trying to remember the last time he was sincerely back in Germany.

Not just a brief cut across for a match, a layover, a hamfisted excuse to see his sister.

He was probably nine.

Patrick lumbers up the walkway to his father’s home. It looks like it’s been shoveled already today but has endured several hours of snowfall since. That and—well—he guesses his dad’s playing humble now.

Sas had dubbed it a latelife crisis. But it’s not shabby. In fact, it’s nice. It’s no limestone portico. Far cry from the august Georgian Revival mausoleum he and Sas gleaned their nascent wounds in.

Lili gets a Hallmark ass two story colonial, strung with Christmas lights. Deep green door, ornate bronze knocker, festooned with a wreath. The doorbell echoes through his empty bones like a deathknell.

His teeth chinkle like coins as he waits.

When the door opens, he releases a protracted, puerile whine. “Fuck.”

You’ve never been cause of such overt disappointment.

It’s almost flattering.

But your smile quickly metamorphoses into a grimace.

His shoulders are drooping and he looks liable to topple facefirst to the snowswathed gravel at any moment. His eyelids keep fluttering, like he’s fighting a losing battle against the urge to just shut down.

“Is this the right house?” he groans, pained and shivering.

You’re marginally certain this is your boss’ son and not a homeless vagrant.

Either way, you’re nodding emphatically. “Of course it is.”

In the kitchen, he stands in the corner like a newly housed stray. Hands tucked into his armpits and chin touching his chest as he watches you spark up the cooktop through snowdappled lashes.

The powdered creamer, as you pour it into the teacup, reminds him, too, of snowfall. You keep flicking him conspicuously concerned glances.

“So you’re Patrick…” you say, spooning sugar.

He clears his throat and hums in a way that says, yeah, I’m not too thrilled about it either. His head is bowed, his eyes fallen shut, and he’s swaying vaguely on his feet. He looks like he’s making devotions. The kettle sings.

His fingers are bonetight around the cup and saucer. He lifts the cup and presses it to his cheek, like leaching the warmth from the ceramic. When he sips, you’re reminded of cats lapping milk.

There’s a moment of silence, and it’s awkward. And then he sneezes—once, twice. His throat clicks.

“Uh… tennis,” you try, folding closed the box of Five Roses.

The steam plumes up and curls around Patrick’s face, flushed and sallow. He clears his throat again, his eyes unfocused. He glances toward you and knows he should reply, but the only thing that comes out is a damp, congested sniff.

He wipes his nose on his sleeve. “Tennis,” he repeats, the word muffled by the cup still pressed to his lips.

You nod slowly, rapping your knuckles rhythmically against the counter. “Wimbledon,” you say then.

Patrick scrunches up his face as if he’s in pain. He’s trying to force some simulacrum of synapse action in the conversational skills faculty of his brain.

“Yeah,” he manages. He takes another gulp of tea and tries to clear his throat again. It hurts. Everything hurts. He hurts.

You nod some more. You can’t help but think that this feels a bit like a tennis game. You and he, volleying oneword utterances back and forth. “Impressive,” you offer, cocking your brows at him.

“Thanks,” Patrick mutters.

He does actually want to be witty. And he does actually want to be charming. And he wants to make a good first impression. But right now he wants to sleep, preferably through a few decades. Certainly, the last few of his father’s life. Which, speaking of,

“Hey, where is the bastard?”

He glances around, as if to see his father lurking in a crevice somewhere. You raise a brow. Could it be an affectionate nickname? Perhaps. But you’re starting to connect some dots.

You smile like you’re trying not to provoke a sabertoothed creature. But Patrick can see in your eyes that he’s amusing you, which he doesn’t mind. Of course he doesn’t mind.

There’s a vast window above the counter, pictureframing an expansive, snowshrouded back garden that, knowing his dad, is probably a rigorously manicured viridescent green in the warmer months. How warm do things get in Germany these days?

He squints against the luminous white splay as you point beyond the glass. There’s a distant brown pinprick that lets him know this property is larger than it seems. Larger than it needs to be. But the kid needs frolicking room, he guesses.

“He’s in the den,” you say.

Patrick throws the rest of his tea back like a shot, placing his cup and saucer onto the counter with a twinkling thunk.

“Alright, then let’s go.”

“My balls are gonna freeze off before we even get there,” Patrick hisses.

Every step forward sends his feet an inch deeper into the snow, and you watch him shake out his running shoes with displeasedness. You laugh at him, and he turns back to face you, and he makes this face that could either be a smirk or an indication of great turmoil. You are struck by his ability to wear that lopsided grin in his current circumstances, to look at you like that. Well, like what? You don’t know.

It’s just that the scarf and wool peacoat you’re wearing make you look like a well-loved heirloom doll. He can see the faintest wisps of your breath in the bitter air. Your smile is so kind and so warm, he thinks, smiling wider.

He appreciates you joining him on his doormat pilgrimage. A better guy would tell you that, but he just turns around and keeps footslogging.

Together, you trudge forward across the sprawling, sleety landscape.

The door to the den is unlocked.

Patrick casts a glance back at you before he pushes it all the way open, hitting the opposite wall with a hollow bang.

It creaks a little on its hinges as it opens into a long corridor. He takes a step in first.

“Hello?” Patrick yells, his voice lilting. “Armed robbery. I have guns and knives and… bombs. Got your pretty nanny.”

You feel the little smile on your face quavering with amusement as you close the door shut behind you.

The floors are clad in dark oak panels. The walls are lined with copper sconces. There’s an ostensibly hideous and probably hilariously expensive rug in the middle of the floor and Patrick makes a show of wiping his shoes clean on it.

“Sure as fuck not taking this thing,” he mumbles, digging his hands into his pant pockets.

He glances toward a long sideboard on the side of the corridor. It’s laden with antique trinkets and mahoganyframed pictures, and he reaches out to prod at an ivory figurine sitting at the edge.

You stay in silence for a few moments, looking at him.

Then, the faint creak of footsteps comes from upstairs, and you both look up at the ceiling. Seconds later, it fades to your right, and, soon enough, there appears Rupert Zweig. Cashmere jumper, tapered joggers.

There is no denying the family resemblance. And if the way Patrick’s eyes narrow as his father descends the staircase is anything to go by, he is not gonna wanna meet—

“There you are,” says Rupert, corners of his eyes crinkling. He stops at the end of the hall, hands in his pockets. The two regard each other like snipers. You have the sharp sensation you shouldn’t be here, but where would you go?

Patrick clicks his teeth wryly. “Here I am.” His hands are also in his pockets. Their deportments are uncannily kindred.

You think Patrick shouldn’t be so putout by that. Rupert Zweig is a handsome sixtyfive. Tall and broad and still in trim, despite most his days being ornamented by cognac and cigars. His silvery hair sheens like tinsel, and has not thinned much to speak of, if at all.

You figure maybe they’ll hug, as Rupert approaches. You know Rupert to be a hugger. But he only claps Patrick’s shoulder, and Patrick’s bones look like they’ve been swapped for concrete, and he watches his father give him a once over, like surveying an old car.

“I hope things are well with you,” Rupert says. Which isn’t strange paternal commentary. But his voice is tinctured with a concerned edge at the overall impression that his only son has been dragged along the pavement by the tail of a motorbike and then beaten with sticks to boot. I thought things were better, now, he’s really saying.

You think it’s concern, anyway. You, too, know Rupert to be quite concerned, and caring. But Patrick takes it as scorn.

He wears a bitter smile. “Things are peachy, Pa.”

His nostrils flare, he shifts his shoulders. Like he wants to shrug his father's hand off, but is keeping still for the sake of seeming mature.

And then it happens. A pule from the ether like the resounding stroke of a viola.

You perk up. “Oh! I’ll go—“

“Yes, dear, she’s with Giselle in the drawing room.” Rupert’s eyes crinkle, a kind brush of his fingers to your elbow.

Patrick—you glimpse, as you shuffle past him and out the passage—looks furious. And a bit queasy.

In the drawing room, Patrick stares at Giselle’s hands. She’s twisting her emerald engagement ring around her finger. The stone is big as a pebble, its facets winking.

He doesn’t let himself look to where you are. On an ivorycoloured foam playmat on the ground, doing something that is causing the baby to squeal and giggle like a strident string of bells and clap her pudgy hands together. He can hear the yarn of drool gurgling from her gummy mouth.

An angeltopped pine tree scintillates with fairy lights in the corner.

Giselle is slender porcelain. White sweater, skinny jeans, milkblonde hair. She crosses her legs at the ankles, knees to the side, like she’s the fucking queen of England. She is polite to varying degrees of genuineness.

“Lili’s so happy to see her big brother.”

Patrick’s knee shudders violently. Cut the shit, Giselle, he wants to spit.

But he knows he won’t. He doesn’t feel he can. Maybe it’d be easier, if she really was just some nympho naif. Then he could call his dad a perv and move on.

But no. Giselle is three years his junior but tenfold his put-togetherness. There are two infants in the room, and neither are her.

The room is so warm and well lit. There are bookshelves teeming with hardcover tomes whose rapiersharp corners look ostensibly untouched. A globe of the world, a framed Picasso original. Baroque vases and potted ivies and the permeating waft of jasmine and rose and leather.

It’s an intimate microcosm of his father and Giselle’s interwoven lives. Their very fumes amalgamate. And then there’s that puny thing, gossamer flesh, babbling like a brook. He doesn’t look. He can’t.

When his dad walks back in, Patrick is on his feet like a springing coil.

“You’re welcome to stay here,” says his dad, handing Patrick a set of keys.

Patrick shakes his head and feigns remorse. “Nah, Sas asked me to water her plants, so.”

Rupert looks like he’s going to say something, but decides against it.

“Right,” he nods and reaches into his pocket, retrieving a slim silver case. He flips open the lid, revealing a neat row of hand rolls. He plucks one between his long fingers. Patrick would say no, if he offered, but resents his father’s lack thereof enough to head for the door.

You think he’ll say bye to you, or maybe offer just a parting wave, but he doesn’t.

You hear him and his dad at odds like a cobra and a mongoose in the hall. You daub tender kisses onto the fleshy pink soles of Lili’s feet. You discern misty fragments of Patrick’s scathing whispers.

“... newage, hippie bullshit... nice guy act... fucking sweatpants... —christen the baby! What the fuck are you doing christening the baby? You never even took us to temple!”

However Rupert responds, on the other hand, is vaguely inaudible. It’s just a deep, cautiously placating rumble of syllables.

You hear a bit more mumbled venom before the door creaks open and slams shut.

“He thinks he’s got everyone fooled, but I’m fucking onto hi— where is your alcohol?”

Patrick’s disembowelling every cabinet in his sister’s kitchen. On all fours like a hound rooting in the snow. He can hear the hot waft of tropical winds from Saskia’s end of the receiver. Crash of surf. Squawking birds. The staticky tempo of Brazilian phonk in the background.

“Ugh, Paddy,” Saskia mumbles like she’s disappointed.

He tears the fridge door open so fervently, the cord comes loose from the socket. There’s nothing there but bottled water, yoghurt, and salad dressing. He makes a strangled noise of agony into the ear piece.

“Saskia May,” Patrick groans with a sonnet’s desperation, resting his head against the icy fridgeshelf, between the organic grassfed butter and the handcrafted balsamic glaze, “I know you may be in a fucking beachside cabana right now, dipping Portuguese cock into your piña colada with the little umbrella in it and then sucking it off, but it is late here, and it is winter, and I am dying.”

“What do you mean you didn’t see the baby?” she asks.

“No, well, I saw her, just…” Patrick’s withdrawing all her earthenware now, “I just didn’t look.”

“What, like the fucking Basilisk?”

“Sassy, for the love of God, tell me you’ve left even a drop of liquor in your home.”

Saskia laughs, and he can hear the chime of ice. “Did you meet the au pair?”

Patrick stumbles back to the stillopen, halfway gutted fridge. He identifies with it. He sticks his head back in. “She thinks I’m a mess.”

“Wow, what a stupid whore,” his sister laughs. As everything, it is at his expense. He’s in emotional arrears, but it’s okay. It’s all okay.

He hears Saskia’s inbreathe. Marijuana? Probably. He doesn’t mind her lungs. He doesn’t mind that she’s always been more beautiful than him. He doesn’t mind that she’s warm in Rio. He knows it’s harder for her. She never got to be Rupert’s little princess. He wants to protect her in that asinine way baby brothers think they can protect their sisters. In that asinine way Patrick Zweig thinks he can protect everyone.

“Have pity on me, Sas.”

She directs him blindly like a game of Marco Polo. He wades through the ransacked bombsite he’s made of her kitchen. Avocados rolling across the slate floor. Spilled milk, which feels symbolic.

He unearths the bottle of Gordon’s dry gin from under the sink. Holds it aloft like a holy grail.

Patrick can’t remember the last time he set foot in a church, if such a time has ever occurred. Part of him expects the parishioners to take one look at him and know he doesn’t belong, for them to demand he leave.

For the things he has done, the things he has felt, the things he has wanted. Certainly for the things he cannot bring himself to believe.

He is struck by the towering stonework of the cathedral. The wooden cross in the apse is immense. Behind it, stained glass windows paint the icedover morning in vivisected coloursplays. Soft motes of sunlight waft in shafts from the ceiling.

He never thought he’d see the day—the Zweigs done up in their Sunday best. His mother would laugh herself to tears.

Rupert’s broad shoulders are ramrod straight, his argent hair slicked back handsomely. Giselle is wearing a ribbed knit dress in eggshell. Princess Lieselotte—finally, a worthy heir—is wearing a knit tunic dress embroidered with blooms, a scallopcollared ivory shirt underneath, and a crocheted woollen baby bonnet.

They look like an affiche for Norman Rockwell.

At first, he’s still trying not to meet the Basilisk’s gaze, but then he gets this disarming glimpse. The peonypink hue of her. Her comically outjutting little ears. Gibbous blue eyes, lapping up the world through cornyellow lashes. Those are Giselle’s. But the rest…

Unlucky little shit, Patrick tells her telepathically. And now he is looking straight at her, like the spell has been broken. He needs to let her know he’s onto her, and her bullshit doting father. You look like dad.

But what that means is she looks like Patrick, too.

He watches you hold her in your arms, rubbing your nose against hers.

Giselle had had you press Patrick’s shirt—his father’s shirt; of course he didn’t pack a buttonup—for him this morning. He was only kind of embarrassed. But he sat carefully in the car, leery of creasing your hard work.

The linen of your skirt reaches your ankles. You’re wearing this creamcoloured slouchy knit turtleneck, and you’ve got a little lacy chiffon infinity veil halfway canopying your hair. Patrick is pleasantly amused by all this fabric. All the things he cannot see. Because of God, or the cold, or God and the cold.

The Zweigs find their pews, stopping frequently to greet their fellow churchgoers, and whisper inquiries after names Patrick doesn’t know. He shakes half a dozen hands if he shakes one, introduces himself as ‘Rupert’s son’ more times than he can count.

You, too, are pleasantly amused. Because Patrick is notably discomfited. You fish your little pewter cross necklace from beneath your collar. You hold it between your fingers and out toward him like an exorcist.

“He can smell your fear,” you whispergrowl, fauxominous. Lili giggles all saliva in your arms. That’s the voice you use when you pretend to be the babyeating ogre. She takes the cross between her tiny teeth. Patrick watches. You smile. “And so can she.”

Patrick looks at you for a moment, feigning indifference. “They’re both smelling how little they matter to me.”

Your smile widens.

Patrick—who has never endured a mass—takes his cues from the brush of your shoulder on when to stand, when to sit, and when to supplicate himself. The priest oscillates from English to Latin and back again. Seemingly on a whim. When Patrick fumbles trying to find the right page for the hymn, you tilt your book slightly so he can read along.

He thinks the rosary looks good where it dangles from your lithe, supple fingers. Looping and weaving through your pretty knuckles like drops of blood.

You are flawless in your devotion.

You slip to your knees with a fluidity that makes his tummy fasten.

You sing quietly and sweetly and when you turn to Patrick to wish peace upon him, your grin is so sweet and earnest it takes a moment for him to contend with that blessing.

Everyone falls down to the hassock again and Patrick is beginning to find the rhythm of the whole affair. At least enough to let his thoughts maunder and his body be at mercy to the motions.

It’s soothing, in its way. He can almost understand it. What blessed relief in lifting your human pains to be scoured clean.

The priest closes out the sermon with a few nice words about Jesus. Guy’s birthday’s coming up, after all.

Patrick leans forward a bit to glance at his father’s fingers, tapping on the dry leather of the psalmbook.

In the photo, little Lili is wearing a white linen nightgown that mantles her whole, like a tiny tarp. His dad cradles her, and everyone’s standing around a marble pool. He can see Saskia off to the side, hosting a very conspicuous hangover behind her mask. You’re in the picture, too. Apparently, you had been Giselle’s doula, in the beginning, and you just ended up sticking around. Which he finds more than a little strange. Patrick often sees life as a series of measures to get further away from his family.

On the edge of the photo, he can see the broad back of a becloaked man, plashing his fingers the water.

Patrick feels an inkling of discomfort at the sight of that man.

“She still sleeps in that dress, actually,” you say, rocking the babe.

The wallpaper of Lili’s room is printed with pale pink linework of woodland creatures. He’s straddling the vintage nursery rocker—a plush weathered lamb; it used to be his and Saskia’s—and his knees are hiked comically high on either side of him, his slacks riding up his ankles.

Patrick stares at the baby girl in this framed photograph. She looks too small—almost tenuous—underneath the white shift. Her eyes are flushed and still wombswollen.

“What’s the point?” he asks, trying to imagine that man softly slooshing water over her boneless head.

You smile. “It’s to protect her.”

“Protect her from what?”

You lower Lili into her French Provençal style woodcarved bassinet.

You look up at him, eyes flitting over his face. “Shame, I guess.”

It doesn’t quite make sense. A fullimmersion baptism means commitment. You have pledged yourself to God. You are bound to follow His laws. Shame is essential to these laws. Isn’t it?

You don’t know why he’s still here. Giselle is taking her Sunday nap, and Rupert’s playing solitaire or reading Guy Sajer or something in the den. Lili, too, is dead to the world. You need to do the laundry. The laundry room is too strait for him to be lingering, leaning against the doorframe, interrogating you. He likes watching the linen of your skirt gather at your feet as you crouch to the floor, depositing the armfuls of bedding into the mouth of the washing machine. All that fabric.

“It’s a different kind of shame,” you try to explain. “I can be ashamed of myself, of my body.”

“Why are you ashamed?”

You roll your eyes. “I don’t know. I’m alive.”

“Alright. And this helps?”

“A little, yeah. It takes you out of your body. Then returns you to it. And you feel brand new. Like you belong to Jesus.”

You laugh a little at the concept, but he can tell you treasure this belonging, deep down.

He walks toward you, taking the empty wicker hamper from your hands and setting it aside. “You shouldn’t feel ashamed in the first place.”

You shrug, noting his proximity. “It’s probably good to feel shame from time to time.”

He doesn’t say anything to that.

He doesn’t ask you if you feel ashamed right now. Face smushed against the top of the palpitating washing machine. If you said yes, he’d be unhappy. If you said no, he’d be unhappy.

He’s happy, now, hiking your skirt up around your waist, shucking your gauzy tights halfway down your thighs. Best not to ruin it.

So he doesn’t ask if you’re ashamed. He doesn’t ask if you’re a virgin. He does ask if you’re on birth control, and furrows his brows as his strong hands caress the flesh of your ass.

“Why not?” he laughs, dragging the beige skin down his rigid cock, rubbing the deep blush head against your hirsute pussy and bending over you. “Isn’t that shit free here?”

He burrows his head beneath your sweater, kissing your back through the cotton of your longsleeve. He doesn’t search for more bare skin, just keeps a good grip on that which he has, fingertips digging into the flesh of your hips.

He fucks into you and feels your body shudder around him with the jostle of the machine.

He doesn’t ask of shame or chastity or how long Giselle and Lili usually nap for, how far his dad is into The Forgotten Soldier. He does, however, feel it necessary to ask,

“Feels good, right?” Even though you’re drooling against the zinc and your hoarse groans are rivalling the churning noises. You roll your eyes but they stay there, your lashes fluttering.

“Yes,” you pant, clutching the edge of the machine. “It feels good.”

He bends over you, pinning you, elbow to elbow, his chin resting on your clothed shoulder. Your veil slips off your head and drapes around your neck. He quickens his pace. “It’s fucking big, isn’t it?”

You turn your head to look at him. His eyes look like they want to fuck your eyes. His mouth hovers over your drooling mouth as if to kiss you. The shaggy hair of his crotch abrades your tailbone.

“Verdict’s still out,” you say, voice quavering, and you let him lave your tongue sloppily with his.

His sister has a guestroom, but he sleeps in her bed. Reads her Audre Lorde and Laurie Colwin. Uses her toothbrush. God, she’d kill him. But he likes the transgression of violating her space. He doesn’t use her vibrator, or anything. He finds it, but he doesn’t use it.

He has his few ways of having people. So he’s always taking what he can get.

That’s why he fucks the nanny in the laundry room, and lets Art’s kid bruise him with her tap shoe, and sits on the kitchen tile drinking Saskia’s gin.

He has to hold on to the granite countertop, as he straightens from his haunches. His back is a wreck, but the ache is nothing compared to the relief and vindication and victory he feels. He can’t say for sure what the prize is. Maybe it really was just your pussy, and that’s where this all starts and ends, which is fine. The feeling of winning is so rare and precious and precious and rare and, as he unscrews the cap and raises the bottle to his lips, it’s as if he’s just slain a mighty monster.

He places the little tiara he’d filched from Lili’s room on Saskia’s mantel.

He’s less than compos mentis come Christmas Eve.

He lays in Saskia's bed for a bit, inhaling lime and ambergris, trying to figure out what to do with himself. He checks his phone: No Service.

He sighs and tumbles out the sheets like a rockslide. He figures he might as well go for a run before the blizzard clocks in since there’s nothing else to do. His feet already feel numb and damp. Everything has felt numb and damp the whole time he’s been here.

Running buzzed probably isn’t his smartest idea, but it doesn’t feel like his worst one either.

Patrick frenetically tugs two pairs of thermal leggings on. The radiotor whirrs but the house is still arrestingly gelid. He pulls on his sister’s comically inflated neon orange down jacket.

He looks at himself in the mirror.

“Oh, fuck yeah,” he whispers.

He loots and pilfers some mittens, goggles, and a neck gaiter from Saskia’s closet. She could never take to professional athleticism, but she’s a reasonably devout runner, and is partial to a halfmarathon or two most years. Which means free activegear for Paddy. He walks to the front door and slips on his dank shoes.

He steps outside once he feels decently covered head to toe, a skill he’s found refining itself as the week has shouldered past him.

Patrick strides the roadside briskly for almost a mile. His legs feel halfway atrophied, so he gives them time to warm up. The neighborhood seeps into copses of snowdusted forestry. He feels the beauty of the landscape flicker through him like a spark.

He starts jogging.

He has no mapped course, no mile time to hit. He just wants to move forward. For once. His goggles fog up with entrapped bodyheat crowning the cold air but he doesn’t fix them. The compressed insulation of his clothes, the whirring thump of his shoes to the tar—it engenders a strangely hypnotic effect. He realises, only after miles have elapsed, that he's forgotten to turn any music on. He doesn’t need it now.

He comes upon a clearing in the trees that discloses a river he hadn’t recalled.

He abates to a walk before stopping completely and removing his goggles.

He knows a breathtaking scene when he sees one. That was never his problem, the discernment of the good thing. It was never even the obtaining of it. It’s that—well—if Sas actually had left plants for him to nurture, they’d be dead by now.

But anyway. The river.

Snowfall has burgeoned somewhat, but light is still breaking through. The sun reflects tenderly off the surface of the frozen water as if it’s all being illuminated from beneath the ice.

Patrick swears he can see evidence of a current still rushing below, but he can’t be sure that’s all too possible at these temperatures.

He tries to take a picture for posterity (or Lily; she’s ‘into vistas’ lately), but all the light is so strange and coruscating. Hardly anything can be captured in earnest.

Patrick takes a deep breath and closes his eyes.

He pulls his gaiter down and doffs his hat. Allows his florid skin a few moments to feel the glacial squall, the moist sting of melting snow. He thinks he’s missed this weather, harsh as it may be.

He takes the opportunity to check his watch, vaguely hoping the GPS tracker’s been running. And hope seems to count for something here.

4.7 MILES

A surge of accomplishment and anticipation shimmers through him. He grins, breathless, at the thought of being able to tell Tashi that he’d done a cool ten miles. And the prospect of being able to eat a guiltless meal is emerging as an actual possibility.

Patrick gears back up and begins to walk again in the direction he came. He takes advantage—always taking advantage, always taking what he can get—of the trodden path he’d made in the road. The surer grip of his shoes.

His head starts feeling strange as he’s walking. As though it’s sloshy inside, like the dirty snow he sees on the curb. But he pushes forward and chalks it up to temperature. Picks up the pace again.

He finds himself less mesmerised by his own footfalls now and slips his AirPods in. Slips inside the eye of his mind. His sister used to have a ‘(What's The Story) Morning Glory?’ CD. Patrick’d scratched it, probably. He hopes Oasis can get back together some day. It's not so hard to reconcile. Mostly, anyway.

About a mile into the returning trek, Patrick feels his legs suddenly get heavier. He’s felt as much before. He assumes he’s just hitting the wall. It’s a little early for him, at such moderate mileage, but he knows inclemency and altitude can do things to a body.

He’s deliberate with his strides as he proceeds. He wants to be sure that his torpid legs are parting with the ground.

It’s around the two mile mark that his spine rattles with an odd enough sensation—sharp, like an incision down the length of it—to bring him to a stumbling halt.

Patrick’s clumsily reaching around and groping at his neck and back the best he can through his layers. It feels almost like someone has poured water on his skin. Soused him like a baptism.

He tells himself he needs a second to breathe. Starts walking again. Eventually feels very marginally centred enough to pick up the pace. His knees feel like cinderbricks. Dense and angular. But he should be capable of making it home. Or at least determined enough to do so. He’s seeing houses again. He can’t be more than a mile out.

He’s thinking of raiding Saskia’s toiletries and snorting her cornucopia of bathsalts when a billow of abject nausea rolls through him. He’s stumbling again.

He moans vaguely with turnsickness. The trees are blurring together.

He sways.

Sidesteps jerkily over the curb into a stark white alloy of fresh and shoveled snow.

Doubles over.

Dissolves to his knees, bracing himself on his palms. All fours again.

He maintains this position for several minutes. He’s heaving in and out forcefully with his eyes screwed shut. It feels a bit prayerful. He’s praying to be made to vomit. Just wants to feel better and move on and he’ll never touch his dick again, he prays. Which isn’t true, but need it be?

Things go sloshy again, and warm, this time. Overwhelmingly warm, actually. He flounders in the wet, rips off his gear, and uses his bare hands to grab handfuls of snow off the ground and push it onto his face. The heat feels like bloodshed.

Patrick tears off his jacket. Patrick lays his entire body facedown in the snow. Everything is numb and damp.

“Oh my goodness, Patrick?”

One imagines the voice of God to be a little less frantic.

He’s confused by how weak his muscles feel when he tries to push himself up. How he only sees lucent whiteness when his eyes flicker open. Shit, is this it? He thought for sure he’d end up at the other place.

“Jesus Christ, I thought you were dead!”

Oh, alright. So not yet. Not yet, and certainly not Heaven. Close, though, with how relieved you sound. He is the body on the side of the road, and you’ve stopped to triage him instead of driving off. He squints up at you. Floral puffer. Scarf and muffs. You look like a fairytale illustration.

His blood’s gone cold in his extremities, and he’s mumbling, “Sorry.”

“You’re a mess.”

There it is.

For your part, you don’t sound malicious, or anything. You say it like a forgone conclusion, a fact of the matter. The way a person in an Ionesco absurdist play would say, oh, it looks like I’m wearing pants right now.

He tries to make a stab at indignity. Like maybe if he denies that he’s a mess, that should suddenly make him clean. What blessed relief. But all he manages is a whimpered grunt of protest.

“What happened? Were you attacked?”

Patrick shakes his head, suddenly aware of just how wet he is.

“Patrick, tell me.” You sound concerned, but not in pieces. He knows this is all coincidence. That you simply happened to be driving by. But the fact that you’ve found him prone in the snow, the fact that you knew to call his name, knew it was him who’d ambled to the woods and buried himself in the ground like a coldblooded mountain climber, like a defiant zealot, staring into Earth, his back to God, taunting you with his dickish solipsism—he thinks all this should terrify you. He isn’t dead. Not yet. But maybe he’d already made up his mind. Perhaps you’re just picturing him as another baby. Something small and soothable. “What happened? Do you need to go to the hospital?”

Patrick shakes his head again and takes your assistance in getting up. All his things are gathered in your arms.

“You’re soaked, Patrick. What were you doing in the snow?”

He looks around and feebly brushes some of the debris off of his leggings and thermal pullover.

“I... I don’t know? I’m pretty sure I started feeling sick, and then I got hot, so I took all my shit off,” he explains. He’s all nonchalant about it, too.

At first, he won’t tell you where his sister’s house is. You’re going all Nuremberg on him, like he really is a baby who will drop the knife if you tell him no sternly enough. But he soaks through the polyester of your passenger seat and grins and defies you. It’s like he’s challenging you to take him back to his dad’s. Like he’s a kid acting up in school for attention.

It takes a while. You circle the block twice. Then he sees the way his fingernails tinge cobalt, and thinks of how disappointed his father’d be. Concerned, you allege, but he doesn’t buy that.

Still, he confesses like a sinner.

He asks you—as you stand on the concrete steps to the quaint, Tudorstyle home, and he holds his cap in his teeth and fishes the keys from his pocket—not to hold the state of the place against Saskia. He says there’s a lot of damage he can do in a week. He’s always making a mess. Messing things up. Has he messed you up? He doesn’t ask, but has he?

He’s even sorry for fucking you. He doesn’t tell you that, either. And he’s about to do it again. But he is sorry. That has to count for something.

You stink. Not in a really bad way, not in a noticeable way, but the stale perfume and deodorant have turned into a cool film against your skin, trapping your sweat and guilt and other gross things which you’re too tired to name. You’ve been out buying gifts all day. You’re always so last minute. You feel like you might fall asleep on Saskia’s couch.

News says blizzard’s on its way. News is all choppy static pixel kaleidoscope, too. Even if you left right now, you wouldn’t make it home before the roads got dangerous.

You’ve heard enough hypothermia horror stories to know he should be taking a shower right now, warming himself up in increments. And you’ve heard enough suicide horror stories to know you’d be wrong to leave him anyway, after how you’ve just discovered him.

Was she visibly bleeding?

He doesn’t look like he’s about to call it quits.

On the contrary, he looks relaxed, calm, selfpossessed, sitting on the arm of the couch, one knee drawn up, cigarette dangling between fingers. Also his cock is out. He’s naked.

Has he already made up his mind?

How many times has he lain like that, in the snow, lucid about his slide into the abyss?

He finishes his cig and takes a knee by your feet. Your bare feet. You shouldn’t have taken off your shoes. They stink.

You try to tuck your feet under you, but he reaches out and grabs your ankle and tugs like you’re the baby.

“What happened to your leg?” you croak, your voice a little fraught.

His thumb keeps brushing up and down the arch of your foot, like trying to ease your tension. He leans back and looks down, past the leavening weight of his dick, to the navy bruise bloomed through the hairs just below his knee.

You watch that Cheshire cat smirk spread his mouth apart. “Violent tap dancer.”

You do kind of wish he wouldn’t do the whole slapping your pussy and calling you a good girl thing. It feels weird and Freudian and it even makes you feel kind of guilty.

Not because of his stupid uncut Jewish cock all swollen against his thigh, nor the virgin’s innards mangled in a manger at this very moment two thousand years ago. You know that’s not how you measure innocence. There’s something idiotic about that, something primeval and pathetic, something no one should be proud or ashamed of.

It’s just that he doesn’t seem fully committed to the pastiche.

He spits a thin globe of saliva right onto your clit. His fingers sweep through your coarsehaired folds. Slow, methodical, like a cartographer mapping the world with his compass and pen.

Then, he raises his fingers and strikes them down against you. You flinch, you whimper. He groans straight into you.

“Good girl. Good girl.”

And it's hot, sure, but he could stand to be crueler.

You’re this nice twentysomething with no real bearing on his life. You pray. You care. You wipe his sister's shit. He suspects he didn’t take your virginity, but he could easily imagine he did, if he wanted to. That he’s teaching you something. This could all be a lot more plastic and pornographic.

But it isn’t. Not really.

He climbs over you, all over you. He’s all over you like the flu. He wants to crawl inside of you, burrow and fester. His knee is pressed between your thighs and he’s breathing into your neck, his head tucked under your chin. His nose is the colour of raspberry syrup and he drags the cold tip of it up the column of your neck.

He smells like smoke and snow. Like sweat and musk and something stale and dry.

You crane your neck with a piercing cry when he bottoms out. He cracks your hips open like a lobster claw. You feel his fevered heartbeat thumping through your body. He seems to think the heat of your flesh is enough to warm and cure him.

“You’re going to catch a cold,” you slaver into his hair.

“I don’t get sick,” he assures you, puffing throatily. “I never get sick.”

He licks Saskia’s bathsalts from the swollen underside of your tits. You gather palmfuls of warm water and pour them over his freckled skin, watching it bloom florid. Are you clean now? Are you shameless? Has the stink gone? Sort of.

Maybe, for a second there.

But Christmas day seeps in like another reek. You feel bad when you catch whiff. You feel the stroke of midnight in your bones, and you think you can hear Carol of the Bells. You feel especially bad, because you’re holding onto his shoulders and fucking yourself on his unhewn cock, the bathwater swashing tepid around you. And he licks the silver crucifix in the dewy valley of your breasts into his mouth, and sucks on it, and looks at you like he’s trying to make a point. He sees you frown.

The pendant glints between his teeth as he says, “Don’t worry, He’s not paying attention. It’s His birthday.”

And you duck your head to laugh.

The water ripples. He wraps his arms around you in a halfway embrace, halfway detainment. You can tell he is worried you will find your morals and leave him cold.

But you won’t.

He’s big enough that he won’t just slip out of you, even in the water. You’re all steamdizzy, eyes halfmast. You watch rivulets of condensation dance down the tiling.

Are you really about to fall asleep on this man’s cock in his sister’s bathtub? Perhaps. There is something grounding about his heavy presence in all four corners of you. You feel that mollifying pressure in your head. Your hands scrabble and slip all over the skin of his shoulders. You kiss all these droplets off his skin.

“I think I’m about to throw up,” he whispers in your ear.

You pull back and sigh. He does look quite waxen and wheyfaced. You feel bad. You were starting to think that you alone could break the fever.

Your knee knocks against the tub. He has to tug himself out of you. He clambers out of the water, puddles splashing everywhere. He slumps to the ground like marmalade, his arms drape the toiletseat, his head in the bowl. Runnels drip off him and sop the bathmat. He spits and heaves. Then he retches. There is nothing solid to the bile. When was the last time he ate something? His viscera slops out of him and into the water. The gin scalds twice as sore on the way up. He sounds horrifying. His lips drip with mucus.

He feels your soft, moist flesh against his back. Your arms around his toned middle. You feel his ribcage tremble against you.

He feels the bone of your chin against the crown of his head.

Patrick knows this is all very repulsive. He's not sure why you're holding him. Maybe you're picturing a baby again.

“What would you get me for Christmas?” he murmurs, his heavy breath echoing around the toilet bowl.

You can smell his puke.

“Um— well... you know, Giselle actually—”

“No,” he grunts stubbornly. “I mean, if you could get me anything, what would you get me?”

“I don’t know,” you say, pressing your wet breasts against his wet back. The humidity is starting to disperse, the trickles cooling off. You do get sick. You get sick quite frequently, actually. This will definitely make you sick. He’ll be gone soon enough, and that’s probably for the best, but who will hold you in your ailing?

“Come on, babe.”

You drag your fingertips down the hair on his abs until you reach the thatch between his legs. “I don’t know… A hot stone massage?”

And it’s cruel and stupid and funny—it’s something only a few people would ever understand. He and Art and Sas and Tash and you. Maybe Lili, one day.

You and Patrick burst into laughter at the same time. He chuckles until he’s wheezing. The sound of it catches in his throat like a fishbone. This is what constitutes a happy moment for him.

“That’s perfect,” he mumbles into the shitter.

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