#as in short (not really) texts in prose

[ash-and-starlight]

thank you @mafaldinablabla for the tag!! the game is to share 9 of my favourite books from the last 12 months, or 9 books on my tbr list for this year.

Here is what i’m looking forward to read this year! (my hunt for beautiful covers never ends. in this house books Shall be judged by their cover)

tagging uhh @erisenyo, @chitsangenthusiast, @ranilla-bean, @poikilotherm, @kyoshialone and whoever else wants to do it u.u

[rrredgi]

Had to learn how to give injections a week ago, and the first day my hands have been shaking terribly, and on the second I've been panicking for like an hour after, but now it's going quick and quite easy, also we got kids' bandaids with silly faces printed on them and mom giggled when I put them on her :)

[cro-dinoo]

Dreams and memories and desires. They are everywhere in nature in many forms. In the breaths of the alive, asleep alike. In triffles and scars, minds and flesh. In the beams of crystals, and their singing too. They linger, and as sand pushed by the winds, Still are dreams, memories, desires.

[valeriehalla]

I have gotten a lot of messages saying that they really love the presentation of CURSE/KISS/CUTE. Often the commenter in question can’t say what exactly it is about the formatting that they appreciate, but that it just reads well and looks good. Well!!! Allow me to bare my wealth of secret knowledge for you once and for all:

I sorta just did some research into book typography...?

Here’s something you should know about web development, alright: typography on the web is really, really bad. The tools we have at our disposal—HTML and CSS—are incredibly powerful, but they are set up to fight you every step of the way towards Good Typography. When you know what you’re looking for, you can fix all the common issues quickly and easily. But it’s not easy to know what to look for, because

problematic typography is overwhelmingly the norm on the web, and

good typography is invisible.

Here’s a screenshot from CURSE/KISS/CUTE episode 0:

Now, I don’t want this post to come across as prescriptive. It is not my intention to tell you, “This is what good typography looks like, so follow my lead exactly.” I made a lot of choices with the typography of my web novel: many of those choices would not make sense in other contexts. What I want to convey to you is what those choices are, so that you will know they’re available to be made.

I mentioned that the web “fights you” when it comes to good typography. What do I mean by that? Well, check this out:

This is how that passage of text renders “by default.” In other words, this is how a web browser would render that text without any input from me about what styles to apply. It kind of sucks ass! But it also looks pretty familiar, right? This is not that far off from how a lot of websites—even websites full of prose (looking at you, AO3)—render text.

I think the most illustrative thing to do here would be to walk you through my thought process and show you, step by step, what decisions I made to turn this unstyled text into the styled version you see in the novel.

So, first things first:

1. We have got to shrink that text column.

Computer monitors... are wide. They are wider than they are tall. They are so wide, and they have so many pixels. This means you can fit a lot of characters on them. If you wanted, you could just have a wall of characters from the left side of the screen all the way to the right side. Talk about efficient!!

You should never, ever, ever do this.

This is one choice that I actually will make a prescriptive statement about, because it’s supported by quite a lot of research: fairly narrow text columns are more legible. Specifically, research seems to support the idea that a width in the range of 50 to 70 characters per line is the most comfortable for people to read*. Every font is different, so it takes a little doing to turn that “characters” figure into a pixel measurement; I went with 512 CSS pixels for the maximum width of my text column:

Isn’t that just so much nicer to read already?

*A commenter reminds me that I’d be remiss not to point out that the research on column width legibility isn’t completely conclusive. You do want to limit the width of your text columns, but going over the 70 character-per-line recommendation isn’t necessarily the end of the world, and you might have good reasons to do so. I did not: as mentioned, one of my goals was to mimic book-style typography, and books by nature have fairly restrained column widths, on account of they’re books.

2. Picking a font.

I’m not going to give you the blow-by-blow on how I decided what font to use. The short story is that I asked some designers, and one of the recommendations I got was the free font Crimson Pro, which I took a liking to immediately:

It’s just an all-around attractive serif font, but one thing I really like about it for use in a novel is its highly-visible quotation marks. They’re just kinda jumbo! They’re real big! Easy to see! In a novel, those things aren’t just ornamentation. It makes a great deal of practical sense for them to stand out just a bit. It also has a fairly large x-height, unlike a lot of the more traditional options, which is good for legibility on a computer screen.

3. Adjusting the line-height

Web browsers default to a line-height of about 1.2em, which, as you can probably tell, is quite cramped. If you go and Google “optimal line height for legibility”, you’ll get a number of results right off the bat suggesting 1.5em. Sounds good! Let’s do that:

Well... hmm. That’s definitely an improvement, but between you and me, it actually looks a bit too spacey to my eyes. I wonder why?

I’ll cut to the chase: the 1.5em recommendation makes some assumptions about the font you’re using. In Arial, the letter “A” is about 0.6em tall; in Crimson Pro, it’s about 0.5em. That means that there’s no one-size-fits-all solution to spacing your lines, because different fonts have different amounts of empty space baked in. How annoying!

Let me tell you something about the kind of nerd I am. When I had this realization, I grabbed some books off my shelf and pulled out a literal micrometer. I started measuring the line-heights against various font features to see if there were any patterns I could spot in professional typesetting. Here’s what I found:

Almost every book on my shelf spaces lines such that the distance between one baseline and the next is about three times the x-height. How cool is that? I clapped my hands like a seal when I put this together.

Adjusting the line-height to match what I observed in the wild gives us this:

It’s a subtle difference, but to my eyes it feels just right. It’s almost like magic!

4. Paragraph spacing...

Let’s address the elephant in the room. Probably the most controversial choice I made with CURSE/KISS/CUTE’s typography was to opt for book-style paragraph indentation rather than web-style paragraph spacing—like so:

I did this for a few reasons:

It’s what I’m used to. I’ve read a lot of books, and this is just the way that books are formatted. I think for something aspiring to the title of “novel”, there’s value in making it look the way a reader probably expects a novel to look.

A novel has a lot of paragraph breaks in it. A paragraph in, say, an encyclopedia entry might go on for half a page or more; whereas it is unusual for a paragraph in a modern work of narrative prose to run for more than a handful of sentences, especially in any scene with dialogue. Because paragraph breaks are so common, spacing between paragraphs in a novel results in a lot of wasted space. Also, subjectively speaking, the additional space seems to me to lend an undue amount of weight to paragraph breaks. I’m just starting a new thought; there’s no need for a 21-gun salute, you know?

Having said that, here are some good reasons you might decide not to do paragraph indentation anyway:

Doing it right requires a bit of extra legwork. Notice how the very first paragraph in the image above has no indentation. That’s because it’s the start of a new section, and the first paragraph in a section traditionally goes unindented. This is an easy detail to miss, and it can be difficult to wrangle CSS into doing it for you automatically.

Web users don’t expect it. For the first decade of the web’s existence, there was no good way to do paragraph indentation; by the time CSS rolled around and made it easy, paragraph spacing had already become the norm. And while CURSE/KISS/CUTE may be a novel, it is also, specifically, a web novel!

But it’s my house and I get to make the rules, so I went with indentation. Incidentally, there seems to be a dire lack of research into the question of whether indentation or spacing is more legible for readers—but the data that does exist appears inconclusive at best. So, the choice really does come down to vibes.

5. The tragedy of justification.

You’ll note that one way in which I did not make my web novel look like a paper novel is the text alignment. It’s un-justified: the right margin is ripsaw-ragged.

This is because it is not possible to justify text on the web.

Oh, you can try. Look right here: there’s a CSS property for it and everything. Just turn on “text-align: justify” and...

Nightmare! The interword spacing on that first line is almost as wide as the indentation!

Reader, I’m afraid that your web browser is simply too dumb. That’s not the browser’s fault: robust algorithms for justifying text without creating these distractingly huge gaps between words have existed for many decades, and modern computers are powerful enough to run them in real time with little performance impact. It’s just, uh—nobody has ever bothered to implement them into web browsers. It is the damnedest thing.

I tried, I really did. You can mitigate this problem a bit if you enable automatic hyphenation, but browsers are unfortunately also kind of dumb at hyphenating. Firefox, for example, will refuse to hyphenate any word containing a capital letter, so any sentence with a lot of proper nouns in it is a lost cause. I tried manually inserting soft hyphens with a text preprocessor I wrote myself, but still these overjustified lines plagued me: when the text column narrows, for example on a phone, even hyphens can’t save you. The line-breaking algorithm is simply too naïve to optimize for well-justified text, and that’s not something you can fix as a web developer.

As a result, my heavy-hearted recommendation is to never use text justification. It’s just too distracting.

6. And then some extra stuff just for me

I added drop-caps because it looks neat and I made the ellipses spacier because I think it looks good when it, uh, when they are spacier. I think that looks pretty good that’s just my opinion though.

That’s all! Hope you learned something bye!!!

[6okuto]

i write so you know i love you

🧺 #27: "handwritten letters" with akaashi for @shobvrry :D

the first letter akaashi wrote for you was a short, anxious confession slid into your locker, folded neatly with a star sticker to keep it shut.

i just wanted to say i like you, and i’d like to take you on a date sometime if that’s okay with you. please don’t worry if you don’t feel the same way, but also please pretend you didn’t read this if so. thanks for being my friend. i’ll see you tomorrow :)

he didn’t expect to see you waiting for him after practice that day, the familiar paper in hand. with his ending request, among a dozen catastrophizing explanations stood one reasonable for your presence—

“i like you too, ’ji,” you said a little faster than practiced, heart stumbling at the sight of him.

it was sunset as you held the letter in one hand, and for the first time, keiji’s hand in the other on your way home—pink and orange ribbons of light finding a temporary home in interlocked fingers and brushing arms.

the confession is still carefully tucked away in a box of other gifts and letters you’ve received—the first in a section just from him. he could’ve easily texted at least a third of them, you pointed out once, a few days before your first anniversary, but he only shook his head. it was the romanticism of it all, and—

“what if you texted back right away? i wasn’t ready to handle that, i probably would’ve thrown up or ran away or something.”

his feelings after your first date, a request to see you after school a month after, then the letter celebrating your one month anniversary exactly 31 days later.

they built and built—words pulled from an endless well of love and poetic prose in hopes of capturing just how much you meant to him. you still like flipping through them all, on anniversaries or an otherwise insignificant thursday afternoon.

seeing the different decorations and envelopes and letter lengths throughout the years, only keiji’s handwriting remains the same throughout. it’s the same one that writes “i hope these aren’t sour,” “don’t forget your project by the printer,” “i hope you have a good day :),” and i love you, i love you, i love you.

so when your four year anniversary nears and he makes a remark about his gift, you ask “another letter for me?”

keiji stills, fingers slowing down as they flip the next page in his novel—dostoevsky, you think. his index and thumb start to pull the corner (not enough to fold, but reminiscent of what he does to the hem of his shirt when he’s nervous anyway.) “maybe?”

he fixes his posture, sitting up straighter on the couch. “is that…i know i write them a lot, huh? would you like—”

“no!” you shake your head. “no, i like the letters a lot, keiji, i promise. i just,”—you move next to him and frown—“i hope you don’t feel like you have to write them, you know? i don’t know how your hands don’t hurt a lot after. you could type them out and i’d be just as happy.”

but keiji shakes his head, and it feels a little similar to three years ago. “no, that’s not the same at all. i want to write them for you,”—he closes his book with his thumb as a bookmark, the other hand moving to hold yours—“that’s what makes them special.”

“plus formatting them digitally wouldn’t be any easier than my double-sided tape—do you want to take the joy of tape and stickers away from me?” he raises a brow and squeezes your hand in his.

you snort. “okay, you know what? fair enough.”

and keiji pours a lot of honesty, of himself, into his letters, but maybe one thing he’ll keep a secret is how often his hand cramps and red indents and cuts form on his fingers. because it’s inconsequential in the end, really nothing in comparison to the bright smile and hug you give him when he hands you the next letter a couple of weeks later, carefully folded in an envelope with a star sticker on the front.

[maxwell-grant]

So is Worm good from what you have read

"Yes" doesn't begin to cover it but yes. Worm is a brain-rewiring mobius strip disguised as a bible disguised as a superhero web serial that either cured your cancer or shot your dog or both depending on who you ask, and it has many extremely dedicated, brilliant scholar priest surgeons publicly dissecting it on this platform on the regular to the point I don't think I have much to add to the conversations surrounding it, even if I do have some The Thoughts about it. I had never even really seriously thought about superhero prose before and Worm isn't a thing I go back and reread frequently but it did a complete and total 180 on the way I think about superheroes and even fiction, and I've never stopped thinking about it since I've read it.

It is a monumentally impressive story with completely absolutely incredible characters that I cannot stop thinking about. No matter where it was going, even past stretches that were less interesting or more of a slog to read or worse, I could not put the story of Taylor Hebert down for one minute. Tattletale fascinated me every step of the way, I had to keep up with her. Rachel Lindt was a character I feel like I'd been waiting my whole life for. What was I gonna do, not see them through? I feel like Worm easily loses you if you don't particularly connect with the characters enough to justify to yourself the amount of time you'll spend with them, but man, I could not unglue my eyeballs from these people enough (I love all the core Undersiders, to be clear, I'd say it's Rachel > Taylor > Tattletale > Aisha and Alec and Brian, there are very small gaps between these, I just don't go berserk for the last three like I do for the first three, I'm taking Bitch and Skitter to the grave I'm dead serious)

Everybody who read it has one or several gripes with it with some major dealbreakers in the mix. Tumblr's kinda the only place online where you can really talk about them at length without the spectre of John Wildbow hanging over the discussion, which enables discussion to the point where yes, maybe it does look like to outsiders that nobody can agree on whether Worm is good or what is it even about or whether it even has worms in it (it has at least one, although it's a very big one).

And it is good, it has the Undersiders in it and the Undersiders are one of the greatest groups of characters ever put together, but everyone has at least one major point of contention with Worm whether it's the timeskip or the length or the racism or the gross fatphobia or aspects surrounding the Dallon-Pelham Torment Nexus and etc. I'd say it has maybe the most racist vision of Latin America I've ever seen in a superhero text a hair short of pro-colonial tracts in Golden Age comics and that is a tall fucking order by any metric (part of why I started WEON4 as a project was motivated by spite, to try and make my own stories about non-American superheroes even if just as practice). It is Complicated, and that winds up making it so fascinating to talk about.

Worm has self-sustaining ecological systems of posts up here, far away from the Spacebattles and Reddit battlegrounds where it has different ones and that's not getting into Weaverdice or the sequel or Wildbow's larger body of work, which I haven't gotten to and probably will not any time soon because Worm was enough of a commitment as is. Do I recommend Worm to everyone? It is certainly not to everyone's tastes and I personally find it difficult to describe it simply enough to make it sound appealing or not like a pyramid scheme. But yes I do think it's good, in fact great, in fact, amazing, except when it isn't, and except it Plainly Sucks, but then something like Taylor vs Mannequin or Kevin Norton's interlude or "You needed worthy opponents" happens and it fucks harder than anything has ever fucked before and you don't walk away from it the same, so yes I guess "good" will have to do now.

It's certainly a lot but I definitely found it worth my time to read and then read the texts written about it here. You'll have to take my endorsement of Worm as proof of it's quality and proof of how deranged it makes it's readerbase, they're not mutually exclusive. If you can make it, Worm and the wormosphere has layers and layers to wade through and talk about and enjoy, despite how we're all so very small in the end *gunshot*.

[thewebcomicsreview]

I'm hardly the first person to notice this, but good god webcomics are the least time-efficient possible way of telling a story, aren't they?

I've been trying to figure out a better method of telling a story so that I could finish it before I die of old age (or, perhaps more relevantly, before everyone loses interest). It seems like no one really wants to read prose on the internet, but also people don't really like a comic that takes a year to go anywhere.

The main bottleneck is dialogue. You can only get 2-3 lines in a standard comic panel, so even a short conversation of character texture can take several pages. It makes me wonder if the Single Panel With Text Beneath It style (like ForEach) isn't just the Objectively Correct™ way to tell a comic on the internet. It's very efficient on the art, you can include narration if that's your jam, and it's very easy to make it work on mobile. (Also the art being separate is a boon if you want to make marketing materials). But everyone will correctly call you a Homestuck rip off.

Though the other thing Homestuck did was make these sprites of the characters that could be used to crank out a bunch of panels for scenes where nothing visually interesting was happening. You don't really see that copied as much

Not openly, anyway. There's a stigma. I've thought about rebooting Legend of the Hare as a visual novel, where that kind of thing is arbitrarily more accepted, but it does start raising the question of why you're bothering with the visuals at all. I don't think the kind of person who makes webcomics is usually looking for an excuse to get out of drawing, even if it lets them increase their page output dramatically. Making sprites that don't look like absolute ass is also really hard. Homestuck sprites have a really specific janky charm to them that I've never really seen any other comic pull off.

And, yeah, you could always just use a simpler art style, like Order of the Stick does, but it's super hard to get anyone to read a webcomic with great art, let alone simple art designed to maintain a high page output. And, again, why are you making a comic if you don't want to draw, unless you just naturally happen to draw that way and be really fucking good at it like Rich Burlew is?

It seems like the only really good way to tell a story in a reasonable amount of time as a webcomic artist is to make enough money off it that you can work full time, and, um, that's not really feasible either.

I don't have an answer I like. I guess just kill yourself in the content mines working webcomics as a second job that doesn't pay you anything.

I don't have a conclusion, capitalism is a nightmare.

[mswyrr]

I really like Rachel Zegler's headcanon: Lucy Gray was long gone (why would she stick around?) and everything we see at the end is a hallucination. In the book he asks the doctor on base why the snake bite made him so ill, if it wasn't poisonous, and the doctor says extreme stress can do that:

The quote is on page 508. "Couldn't think straight" is massively understating it, given how disconnected from reality his pov prose becomes in the forest. I think it fits as one of several supportable readings in both film and book texts. And it has the benefit of meaning that Lucy Gray lives! ❤️

It's certainly not a required reading, though. There's multiple ways to interpret it that are all plausible; it's meant to be a mystery. But the idea that she ran and didn't stop seems very in character to me. She trusts her read on people and she gets the hell out when things go weird and he'd just clearly (a) lied to her, violating trust which is the most important thing to her, and (b) he was acting super weird/creepy.

It also makes sense to me that--after two incredibly stressful & traumatic months--Coriolanus had a full on breakdown in that forest, complete with visual/auditory hallucinations. On my first read-through of the book, I was frustrated with the ableism of people calling him "crazy"/ "sociopath" and therefore "born evil" (that is NOT how neurodivergence works!), so I pushed back on that and wrote pointing out all the ways his brain wiring seems pretty normal and he works as an example of an "ordinary" person acculturated in this dystopia - but as i've re-read and thought over it... it's kind of difficult to see the forest as anything but a breakdown to me.

Literally anyone--including otherwise neurotypical people--can have breakdowns if they experience enough trauma and stress in a short period of time, so one can still interpret him as having pretty standard brain wiring in that case. Or not! My real objection, at base, is to the idea that different wiring = inevitably evil.

[Big thank you to @kpchrs for pointing this panel interview out a couple days ago! I had no idea that Rachel liked this interpretation of the scene and it makes me really happy because that interp. also inspired my fic]

[celestie0]

ellie's writing tips

hellooo this is just a lil masterpost for the writing tips i have collected over my time writing since it's a question i get often!! this way it's all in one place <3 this is also for my own reference to look back on when i forget them lol

tips for specifically writing long fics

on coming up with a main storyline.

planning out a general idea & premise at the beginning of the fic that helps two characters get closer to one another, such as a forced proximity, some sort of mutual agreement, a mission to complete, etc. is a great way to get the ball rolling on a fic and can create environments between characters that feels connected and necessary rather than forced

on coming up with secondary storylines.

after laying down the main groundwork, building some side storylines adjacent to the main one that will give you options down the line to play with narratively (you don't need to figure out exactly what you want to do with secondary plotlines up front, but having them in place can create flexibility in your story to pivot towards some ideas if you'd like to later in the story)

on planning chapters & scenes.

it's wise to have a general idea for your series, but it's also okay to scrap those ideas if ultimately they don't work. there will be scenes that do not make sense or fit in the way you thought they would've, and making last minute decisions is okay and totally normal. sometimes better answers will find you along the way, and it's only a testament to how well you're getting to know your own story and also your own characters. it's also okay to plan multiple path ideas for your story, and choose whichever one fits best once you get to that point. it's not necessary to have a scene-by-scene in order to start writing! planning is useful, but writing is more important

on finding motivation to continue long fics.

having certain "key" scenes planned out in the very early stages of writing that you know you will look forward to writing can help with finding motivation. it will also help you find momentum to write during points where you might have some writer's block. also, one of the best tips i have seen for writing chaptered fics, is to end your chapters when you still have a little bit left planned. so cutting it like 10% short so that you have an immediate jumping off of point that you can start with for the next chapter

my general writing tips

inspiration. starting off w a concept or idea that you already know you like from a tv show or book works really well for fanfiction! for example if you like spiderman, then you can write a canon-adjacent spiderman au w your fave character from an anime or something. and then maybe once you start writing, your own original ideas start to come into play and you go off of those. i think in the fanfic community, people adore spin-offs & mainstream concept ideas

dialogue. my biggest tip for dialogue would be to just write all of your dialogue for a scene completely stripped down. none of the “he says” & “she says” or action verbs in between, just write it all out like it was a simple text convo w quotation marks. that way the words will sound realistic because you’re only picturing a convo in your head, rather than also trying to juggle all the descriptive prose. then, you can go back in to fluff things up. if it’s meant to be comedic or a fast-paced argument, keeping it relatively stripped down is the way to go, but if it’s something intense or suspenseful then fluffing it up may be the better choice. also, i find dialogue becomes easier the more you write for a specific character, so if it’s not flowing right away, don’t worry!! their words will find you eventually once you get to know the character better :)

on choosing conflicts. characters won’t always act perfect, but i think a great way to make conflict seem realistic is for them to act in character but with flaws, rather than out of character with flaws. maybe make a list of what that character’s good qualities and how those qualities could also work against them, and use the latter to brainstorm realistic conflict that those qualities could put them in (ex: a character is self-sufficient, but that causes them to rely on ppl less when they need it -> they fail to reach out for help in timely manners and leads to mistakes/regrets)

pacing. when starting off a story, don’t be afraid to just jump straight into it! or jump straight into the dialogue and then build the scene gradually as it progresses, rather than [big block of text in beginning of scene that reader must drag their eyes through] and then get to the dialogue. make sure the pacing fits the scene (romantic -> longer paragraphs more focused on subtle details, comical -> short paragraphs n dialogue heavy w simple n relatable diction, etc)

for tone and mood. to get words flowing for different scenes, it can be really useful to get into the environment of those scenes while you’re writing, such as listening to a song that fits the vibe of the scene prior to/during writing, or if its a scene at night, write it w the lights off, or watch a youtube vid w scenery that matches. may sound silly, but it could help!

read more. this is sort of a miscellaneous one but a good way to subconsciously get better at writing is to just read more! your brain kinda learns how to write on its own when you read. also, when i’m reading, if i see words i really like i jot them down in my notes app so i have my own lil vocabulary of words that i know i would like to use in my writing

on writing insecurities. be proud of your writing!! your first draft does NOT have to be perfect. some days the words will flow, but on some they won’t, and that’s okay. don’t get too into your head about “i wonder what readers will think of this plot point or this character action” etc, i think having faith in your own process but also in your readers will bring you a lot of peace as you write :) create what you want to create and the rest will follow!! at the end of the day it’s just a hobby and you should be writing what YOU want to write!! and just get started! ☺️ that’s the easiest way to write—is to just write 🫶🏼💕

use chatgpt. looool ai can be useful in writing too! i usually only use it after i'm completed with a draft, and i just plug select paragraphs into it to see if it can come up with some better words for me to use. it's also useful to come up with logistical details for aspects of your stories for world-building etc

[squarebracket-trickster]

Okay, this started as a rant on another post but then i figured it wasn't fair to inflict that on OP. I don't even know OP. So uhhh...

I am, at this point, completely convinced that the people who advise against headhopping, beige prose, purple prose, and infodumping, and the people who love headhopping, beige prose, purple prose, and infodumping are using two different definitions of the words.

Because do you really enjoy reading published novels where you can't tell whose thoughts belong to whom? Do you really enjoy prose that is choppy, vague, awkward, and lacks enough detail to actually follow the story? Do you really enjoy prose that keeps using big, fancy words but it is clear the author doesn't actually know what they mean, or uses run-on sentences that are dizzying to try and make sense of? Do you really enjoy having your high-paced action scene interrupted by 6 pages straight of technical jargon with absolutely no attempt to incorporate it naturally into the story (and like two paragraph breaks across the whole 6 pages)?

On the other hand...

Do you really hate every single case of Omniscient POV you have ever read - did you hate Narnia, A Series of Unfortunate Events, Pride and Prejudice because of the POV? Do you really find sparse, accessible, "quick and snappy" prose that off-putting? Do you hate poetry - can you seriously not think of any examples of vivid, flowing prose chalk-full of literary devices (metaphor, zeugma etc.) that spoke to you? Have you really never enjoyed a paragraph here and there where a scifi writer explains exactly how their weird alien is biologically possible? Have you? Do you?

(Okay, okay. I know this is Tumblr. If anyone actually bothers to read this rant (hahaha) some little edgy contrarian is going to appear in the notes eventually but IN GENERAL)...

Long story short I think we have two different definitions of all these terms running around.

Headhopping

When the narrator describes the thoughts of more than one character per paragraph (or scene).

When the narrator describes the thoughts of more than one character per paragraph (or scene) in a way that makes it difficult to tell who is thinking and experiences what. It is confusing to the reader.

Beige prose

Simple, sparse, accessible, to the point, only conveying the tip of the iceberg.

Choppy, awkward, vague, missing critical information, sacrificing clarity for the sake of simplicity.

Purple prose

Poetic, flowery and/or vivid language, long complex sentences, a tendency toward the dramatic.

Language that is "too flowery" - fancy, rare words used incorrectly, or which don't make sense given the tone, mood, atmosphere, genre, style etc, or which make it hard to follow what is happening. Run-ons and sentences that are dizzying to make sense of. Melodrama, aka dramatic without adequate build up.

Infodumping

Explaining details that aren't necessary for the story. Taking a few paragraphs, maybe a page or two, at an appropriate moment in the story (even a whole chapter if it is built-up to correctly). This can be in the text itself or it can be in an appendix or prologue (à la Concerning Hobbits)

Explaining details that aren't necessary for the story. Taking a few paragraphs, maybe even several pages, at an inappropriate moment in the story. It interrupts the flow and pacing. There is no effort to weave or incorporate the information into the story. It is just dumped there.

And yeah, I just think we could solve so much discourse if we acknowledged that we aren't all using the same definitions.

[familyabolisher]

haphazard assortment of thoughts on the unwanted guest:

firstly, it really does have to be said—crazy good, probably my favourite of all the tlt short pieces, and i say that as someone who lost my mind over as yet unsent for like a week. excellent conceit and excellent execution, just a really gorgeous piece of writing. the play format of course reminds me of what abigail says to harrow in htn—that the river bubble is a ‘play [she’s] directing’—the inside of one’s head as a stage in which other actors can intervene & whereby mileage can be gotten out of Symbolism as immediately “real,” tangible presences that the kind of realist baggage that a more quotidian prose form would usher in would probably falter in accomplishing. it’s a lot!! i think even if i wasn’t already a tazmuir writing style defender (contra the insistence that she’s yknow homestuck fanfiction serial numbers filed off hack) then this would have had me floored anyway. 

the play format also works in the way that muir’s general dexterity in form and willingness to really make use of craft as a technical space where discourse can be generated always works—i’m talking about the ‘fanfictiony’ voice in gtn which manages to say something both about fanfiction and about the text itself, the use of the dramatis personae as a space where atmosphere can be established and plot points hinted towards (thus blurring the lines between what is and is not diegesis), the drastic shifts in style between different close thirds, the shifting from third- to second- to epistolary first-person, the use of poetry both diegetic and not (the noniad, the epigraph poems…), the mimicry of the ‘voice’ of the king james bible in the nona epilogue—she never stays in one place for too long and she never seems to stick to one central style or form, and it really works in her favour. insofar as tlt as a whole is a very ‘patchwork’ kind of work, building itself up from its big big index of references and intertexts and memes with hugely variant levels of ‘prestige’ or legitimacy attached to them, the ‘patchwork’ use of form really works in muir’s favour. however i am also fuming because i was right in the middle of writing a tlt fic which jumps into a play format two-thirds of the way through and now my idea doesn’t look ORIGINAL but ANYWAY—

& i really do need to flag my good friend vee’s mercy/augustine fic, which makes use of a similar conceit and pulls it off masterfully—i am deeply jealous of vee’s talent and i think the unwanted guest makes this piece (from 2021!) shine even more, if anything.

i am DYING to see where muir is going with the use of hamlet, of all things—dulcie quoting it to palamedes immediately catapulted my mind back to abigail’s reference to ‘that undiscovered country’ in htn. obviously muir likes to drop contemporary (or contemporarily canonical) references and turns of phrase all over the place, but the attention drawn to the quote as diegetically referential (“I like that. Is it from something?” / “Yes. It’s complicated.”) has me wondering about a) the survival of ‘pre-res’ literatures ~over the river and like WHY and b) what a thematic interlocking of tlt and hamlet can do, here…….real aveheads remember cytherea ophelia theory where i tried to use ophelia as a point of reference for teasing out some arguments about cytherea and death and aesthetics and white femininity and whatnot. all of which is to say i need to sit with this hamlet reading a lot more but i love it, i am so here for it.

of course ‘kissing or feeding, we can’t be sure’ calls to mind ‘how meat loves meat,’ alecto biting harrow’s mouth by way of a kiss…and the general thematic throughline of, you know, certain practices of love as practices of consumption, naberius later being figured as the ‘meat’ in question contains echoes of this eroticism which ofc guides the contours of the necromancer/cavalier dynamic, eroticism as a currency of power, we know all of this stuff because it’s all over the text but i am just thumbs-upping it from the sidelines

the coffins had me thinking of utena’s black rose arc, which is a fun link to make considering the equivalent moment in the main body of nona is also referencing utena, ie. with the ‘rules’ of the duel being that cam has to get the handkerchief out of ianthe’s pocket as kind of an equivalent to skewering the rose. i feel like the tlt/utena overlap is pretty self-explanatory but it’s just fun to see the fingerprints all over lol

i think a lot of this was treading old ground thematically (erotics of consumption, dog motifs, we’ve seen it already!) but i will say that i did Yell Out Loud over ‘who's she got dawdling behind her but that creature—tugging visibly at her leash like an overeager dog.’ reminded of the other memorable use of ‘leash’—’even the devil bent for god to put a leash around her neck’—and, of course, the endless parade of commonalities between gideon & alecto. anyway there’s not really anything in this line that we didn’t already know about gid as a character, thematically speaking, but i point it out because it inflicted +100 psychic damage when i read it. gideon as a ‘creature’ is particularly slimy, & sort of puts me in mind of ianthe's tendency to talk about what appears to us as 'butch masculinity' (as opposed to the more effete masculinity of augustine or even babs) with a notably derogatory slant (the 'hurtful threats of sexual violence' line comes to mind); i don't know that i have much to say about it here specifically but it's an interesting one that i think informs the kirianthe dynamic pretty heavily (especially when held up against, like, harrianthe ... ianthe has a kind of respect for whatever harrow's gay and stupid gender is Doing (at least insofar as she can mould it to her own desires; i'm thinking of the dios apate forcefemme scene lol) in ways that i don't think she has for kiriona? but this is v off-topic, lol).

i have never been especially taken by dulcie as a character but i think this may finally have forced me to fold and admit that she’s great. her haters!!! her agonies!!! camilla would have to cook!! the balance between levity and sincerity was really well-managed. & i love the double meaning of “unwanted guest” as both palamedes intruding on ianthe’s mind palace and naberius setting up shop inside of her.

i need a week to sit with where this idea of the consumed soul as being literally ‘digested’ such that it can begin to ‘inhabit,’ however immaterially, the host body, or like to alter the characteristics of the host body such that to carry out such a consumption is to kind of kill yourself as well, slots in with lolita theory. or like, i need alecto right now. i am however reminded of chew, a short story that muir wrote in 2013, which also plays with these ideas of sexual assault as a forcing of a part of yourself meaningfully ‘into’ another person, and cannibalism as the reenactment of such a process, figured in the story as kind of a reclamation or at least an assertion of permanence—“I was always going to be in the ground with him in me,” she said. “I just wanted to make sure, that’s all. I just wanted to make sure.”—which the unwanted guest seems to kind of, play with in reverse? i don’t know, but i’m interested—as ever—in where muir wants to take these ideas of rape and consumption and absorption that she’s got in her hands.

i keep returning to…i hesitate to say ‘parallels’ because i think that imposes a narrative onus that i’m not actually that convinced by, but these, like, commonalities between babs and gideon. gideon is played off against so many people (cristabel, loveday, alecto being the big ones) that it feels kind of inane to add another person to the pile, but like…they’re the two who get got in canaan house, they’re both ironically ‘false’ cavaliers and expressions of the ‘truest’ or most paradigmatic form that cavalierhood ‘can’/’should’ take, they both have unconventionally gendered names (‘babs’ is a shortened form of ‘barbara,’ it is a typically feminine name imo) and (by our standards) somewhat unconventional genders (gideon is butch, babs effete)—and of course the unwanted guest places a lot of emphasis on the coercive ‘making’ of cavalierhood (the reference to babs being ‘fixed’ were he to have a disability! ianthe’s glib ‘society really is to blame’ comment—ironic, obviously, but not wholly untrue) not dissimilar to the emphasis that gtn puts on cytherea moulding gideon into the state she comes to be in at the end. babs and gideon as the two possessed corpses in nona, obviously. two wildly diverse but ultimately converging trajectories! a dialectical tension between their fundamental ‘opposition’ (as by-the-book cavalier vs whatever gideon is doing) and their fundamental ‘sameness’ whereby the dialectic is resolved in their mutual deaths. also just, of course, continuing the throughline that muir has had going for a while now, of gender/gendering as a set of coercive enforcements loyal to a hegemonic structuring of the world.

that’s all i’ve got, i think. just. really good everyone say thank you tazmuir

[metamatar]

After World War II, as the USA consolidated its position as the leading capitalist power in the world, so immense was the right-wing national consensus, so pathological the anti-communist phobia, that those lonely figures, such as Kenneth Burke, who continued to do serious radical work in literary and cultural theory were thoroughly marginalized.

The cumulative weight of this cultural configuration has been such that when ‘New Criticism’ appeared on the horizon – with its fetishistic notions of the utter autonomy of each single literary work, and its post-Romantic idea of ‘Literature’ as a special kind of language which yields a special kind of knowledge – its practice of reified reading proved altogether hegemonic in American literary studies for a quarter-century or more, and it proved extremely useful as a pedagogical tool in the American classroom precisely because it required of the student little knowledge of anything not strictly ‘literary’ – no history which was not predominantly literary history, no science of the social, no philosophy – except the procedures and precepts of literary formalism, which, too, it could not entirely accept in full objectivist rigour thanks to its prior commitment to squeezing a particular ideological meaning out of each literary text. The favourite New Critical text was the short lyric, precisely because the lyric could be detached with comparatively greater ease from the larger body of texts, and indeed from the world itself, to become the ground for analysis of compositional minutiae; the pedagogical advantage was, of course, that such analyses of short lyrics could fit rather neatly into one hour in the undergraduate classroom. This pedagogical advantage, and the attendant detachment of ‘Literature’ from the crises and combats of real life, served also to conceal the ideology of some of the leading lights of ‘New Criticism’ who were quaintly called ‘Agrarian Populist’ but were really bourgeois gentlemen of the New South, the cultural heirs of the old slaveowning class. What is even more significant, however, is that ‘New Criticism’reached its greatest power in the late 1940s, as the USA launched the Cold War and entered the period of McCarthyism, and that its definitive decline from hegemony began in the late 1950s as McCarthyism, in the strict sense, also receded and the Eisenhower doctrine began to give way to those more contradictory trends which eventually flowered during the Kennedy era – those golden years of US liberalism which gave us the Vietnam War. The peculiar blend of formalist detachment and deliberate distancing from forms of the prose narrative, with their inescapable locations in social life, into reified readings of short lyrics was, so to speak, the objective correlative of other kinds of distancing and reifications required by the larger culture.

Aijaz Ahmed, In Theory: Nations, Classes, Literatures

[sasuhinamonth]

Beginnings and Ends - SasuHina Recs

It's the 21st! That means it's fic writer appreciation day!

In celebration, I'd like to share some SH recs, but in a fun way!!! I'll be posting the first and last line of the fic, along with name, author, and brief description as to why I'm rec-ing it!

Good work, writers!

p.s. - Most of the links will be to FFNet, but if you see purple text, that means it's posted on AO3 as well~ I'm just doing this to save a little time on my end, but I understand some prefer reading on AO3!

~-~-~-~-~-~-~-~-~-~-~

A Miracle by Eleanor Rigby 000

"A field trip!?" The class repeated. After that, several voices chirped, each of them commenting on how psyched they are for the class field trip.

"Forever," she assured

This is a angsty, passionate story of hurt, comfort, love, and meeting an old love. The story is Modern AU where Sasuke's a model and comes back to visit his childhood town, where he meets Hinata. Honestly, this is the first and only fic that has made me actively cry, and I cannot praise it enough! Please check it out!!!

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Okaeri by The Penumbra

She felt his fist connect with her stomach and went crashing down to the ground, barely having time to register what was happening.

"Okaeri, Sasuke. Welcome home."

This is sort of a prequel to the author's other fic "Snapshots: Black and White", which is also a stellar fic. It's set in canonverse, where Sasuke and Hinata slowly develop a friendship/relationship. You'll get your fair amount of angst, but really, you can hardly avoid such things in SH fics xD.

~-~-~

Ichinen by Cinderella Starsend

Hyuuga Hinata stifled a yawn as she stepped out of the door and shut it behind her.

"And I love you."

I LOVE this fic! It's split into 12 chapters, each corresponding with a month. Hinata works at Ichiraku's in an attempt to get closer to Naruto, but she bonds with Sasuke more. I really enjoy fics set in the narutoverse that change things like this, mixing around dynamics so it's not always ninja stuff and war and training. It's a cute story, and the author's prose is beautiful!

~-~-~

Neji Hyuuga: Matchmaker by emilyjm

Hyuuga Neji prided himself on seeing things other people never noticed.

Mission: matchmaker must be completed within five years.. Good luck, Neji!

UGHHHHH! Where do I start????? It's set in narutoverse where Neji's not only alive, but in charge of matchmaking everyone in Konoha so that he can get Sasuke and Hinata together. It's incredible sweet and incredibly moving and incredibly moving, and I love SH fics with a heavy focus on Neji. Please read it, and please read Another Story (sequel) which is JUST as good!!!

~-~-~

When Will I Lose You by @elreinodelpurgatorio

Hinata, Lady of the Underworld, stands in her peach orchard and watches the Doom God and the Messenger God speak to each other.

One of these days, Sasuke, seated on a throne next to Hinata, is the one to look at a wretched soul and say: "Request denied."

This is a really fun HadesxPersephone AU where Hinata is Hades and Sasuke is Persephone! It's a short, magical read that is always a breath of fresh air! The author is really good at coming up with pretty sentences. Highly rec!

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What's Mine To Give by WritingHyuHin

After the massacre of his clan, Sasuke had one goal in his life at that young age. Revenge.

The things I do for you... Only you.... Hinata.

This is a rewriting of The Last movie, but SasuHina style! I think it's very believable and a fun thing to read, since I've watched The Last quite a few times. Seeing things that should be Naruto but are instead replaced with Sasuke warm my little, shipper heart. Give this one a chance!

~-~-~

Nyctophilia by Sommernacht

For as long as he could remember, the night had offered him comfort.

"Indeed," he whispered against her skin. His fingers found their way under her fishnet top, making her shiver under the touch. "The most beautiful night."

Sommer hits it out of the park once again! This was their 2022 SHMonth one-shot in which Sasuke and Hinata secretly meet each other when 'borrowing' meds at night. They grow close and confide in one another, and I think it's a loving, deep connection that is impressive to make in just one chapter!

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A Study of Mannerisms and Other Alterations by MissLe

Sasuke Uchiha, as it was well known, was in possession of some very, very gorgeous eyes.

She decided, however, that the regal Uchiha nose would always hold a special place in her heart.

Ahhhh, this is probably one of my all time favorite fics! It's fluffy, it's cute, it's funny! I absolutely adore it! This fic is set in a Modern AU, where Hinata is a waitress at a cafe and Sasuke, a member of the firefighter team that comes by almost daily, has a pretty obvious crush on her. These two dweebs are adorable, and I read this fic so much!!!

~-~-~

Uprooted by @kiljoius

Today, Hinata is 20.

“Maybe I can live with that.” Maybe she can, too, she thinks.

Arranged Marriage? Check. Fluff and Humor in a SH FIC of all things???? Check. Witty dialogue and amazing chemistry? Check check check! Without giving too many spoilers, this Modern AU fic follows Hinata and Sasuke, who plan to act 'over the top' in their arranged relationship in order to get out of it. Lets just say it doesn't work as planned for them huhu. This is a really fun fic, so if you're in the mood, give it a read!

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This is what I've got for now, but please feel free to comment or reblog with your own favorite fics (either your own or others) with their first and last lines.

@kiljoius @elreinodelpurgatorio @daifukumochiin @catruru @fher43 @gardenatsuntime @lavendereyedassassin @cariata @naoko-ichigo @lavender-long-stories @p-crowds @queenfox352 - You guys, too! Show off fics you like (or your own)!

Good work to all authors/writers out there! We love you!!!

Mod: PC

[pilferingapples]

Les Miserables is so funny and so much of it is from Hugo's narrative voice and I think that's probably the most consistent thing lost in adaptations? and I can't even be annoyed about it because that's something that's really really really hard to translate across mediums! Some of it can be kept, of course, in some dialogues or interactions, (and there ARE adaptations that lean into the humor between characters and I love them) but so much of what lightens the whole book is just the in-text asides and commentary , and short of doing like 72 and fully reading out chunks of the text, or having a Narrator Character (this is a common joke in fandom but I REALLY wanna see some version try it) it's really hard to fold into a standard film/tv prose drama adaptation!

All of which is why I need someone to hear my pitch for Les Mis: the Musical Comedy--- *dragged offstage*

[lungfishpoem]

Woah huge IMSCARED text/analysis I made...

Tbh this is like, a mix of many many texts and analyses I made. Because Eh. Have fun!

I feel like people have a tendency, when it comes to indie horror games, to be really interested in a story, in a narrative. When you search for videos about these games, you may sometimes see something different, but they are mostly "what happened". This obsession with a narrative, with a prose, isn't necessarily bad.

IMSCARED is a game that doesn't fit in a proper narrative. It has themes, and ideas, and traces of a small sequence of events. But is it like prose? No. It isn’t even a narrative poem. IMSCARED is a free verse, non-narrative piece of poetry made out of mixed media.

It may seem odd, to call a videogame poetry. And it is! It doesn’t have the structure of a poem... And it does seem a little bit exaggerated, pretentious to call it that. And it is! But isn’t a little bit of pretentiousness-filled analyses good for your mind? I think it is.

The text files, the little bits of dialogue. They're all compressed in small, cut, separated phrases.

Take the first parts of White Face's breakdown in consideration:

"I begged You and You ignored my request

What do You think will happen next?

You made this game unplayable

I made this game unplayable

I don't want You to kill me

I will live here forever

I will look at You forever

I don't want to die

I'm scared"

This specific little quirk of short spasms of text present in IMSCARED only helps in the classification of it as poetry, like, at the very least in some bits of it. And isn’t that cool?

It isn’t a narrative (although, as I mentioned, poetry can, well, narrate things)... so, well, of course IMSCARED videos and such tend to be... poor.

There isn’t much to talk about in the sense of story. And people want stories. So they tell, well, stories. But IMSCARED isn’t a story, it's, as the complete name suggests, "a pixelated nightmare".

And, a pixelated nightmare. But whose? It definitely is the player's, and it is not groundbreaking to say it is White Face's too. But what is it so scared about?

White Face has nothing. Not its room, not its own program. It, itself, is all there is. Everything is White Face and nothing is outside of it. This is the absolute state of loneliness. The infinite "I". Even the player, who has a consciousness of their own, used the entity's digital body. However, even if You possesses a fragment of White Face's (un)body, the situation is too new. It has never seen that, the "other" with a consciousness of their own, and if it has, it has been a long time since that happened, a long, long, digital and uncontable time. White Face is NOT used to this. It doesn't know how to interact with this "other". So, You becomes everything to it. It doesn't NEED to feel LOVE. It isn't NECESSARILY love. It's a mixture of obsession, curiosity, surprise and happiness, but most important of all: fear. I can't see love in White Face's relationship with You, it's strong, strong fear. Horror. It's a nightmare. It is so scared. So scared.

It's not only the strangeness of interaction, but the fear of abandonment. The game is filled of desperate attempts to catch You's attention. The fear is so great that White Face morphs itself into something else, Her, trying to hook You with a story, a beautiful figure, a different personality. Her is an attempt to be stronger, she is stronger, she is bolder (chases You and feels no fear in telling You to kill her). But this act of morphing is agonizing, because the lack of fear creates agony in the fear entity's heart. So it screams. It screams so loudly you can't tell if it's laughing, crying, happy, sad... angry? It's full of anger. Having a body it deems ideal and real (flesh, bleeding. Closer to You) is too much. So she wants to die. And White Face has no word in it, because it created too much, and so it became (almost) completely separated from it. But how?

White Face divides itself to fill the void of the cold, lonely digital world. Everything is White Face and White Face is everything. Because... well... IMSCARED is a program that holds White Face. It's an entity turned into data, and the data is the game and the game is the data. That's why when You kill it... the world is different. The world becomes a cadaver, a huge, huge cadaver. It doesn't hold fear anymore, it holds nothing, which is why it is brighter (fearless) but empty (nothingness). But White Face doesn't have that much control over the world, the things it creates. They become organs that you can't really control, but they are a part of you, they're still there, still in you. This is Her. She was created and then slowly split herself from White Face, although she was still it and it was still her. She couldn't handle the agony as an immitation of flesh and blood, and begged to die (but not without a fight). But then... the gun which (who) killed her... is also White Face (exemplified by the player having White Face's face)...

This is very scary, to be holding the gun but not the (Your) nerve of the finger that pulls the trigger. But this other... the "other" is great! White Face has never been happier! But it has never been more scared. It is, again, a horrifying mixture of feelings.

"Play with me forever. I love you" doesn't contradict White Face's fear. It proves its confusion and need to stay with You. Stay with it. Please don't make the fear stop, being scared seems so much better than being lonely.

[booksandabeer]

A Man Takes His Sadness Down to the River (The Consolation of Philosophy) (E | 150 K)

To celebrate the completion of the fourth & final part Lost Vocabularies that Might Express (The Memory of These Broken Impressions) in this wonderful series by dorian_burberrycanary.

Author's summary: The worst of times, like the best, are always passing away. How’s that for some consolation on the road? A post-The Falcon and The Winter Soldier Stucky fix-it as part of the all-American road trip, detours included.

Follow Steve and Bucky on their Great American Road Trip as they drive and eat their way across the country and beyond. From the beaches of the Jersey Shore to the graveyards of Savannah, from the cragged horizons of Mexico to deserts with (small) volcanoes, from college campuses to earthship settlements, from the mountains of Colorado to the monumental emptiness of the Great Plains and on and on and on…there is always more road ahead.

A Man Takes... is a miracle of a series that works with what should be an unworkable premise: Steve really did leave to go live in the past. He returned a few months later, yes, but he still made that choice. Knowingly. So, how can any author, any story, rectify such a colossal mistake, and how can it be reconciled with a believable, satisfying romance that short-changes neither Steve nor Bucky? Like this. With patience, and care, and often painful honesty. Just like Steve, this story slowly digs itself out from under the burden of that terrible decision.

I know that some people are very reluctant or even outright refuse to read EG-compliant fics and I understand why this might be a tough sell for them. Believe me, I do. But this series manages to neither let Steve off the hook for his choices nor does it punish him excessively. Instead, Steve and the readers are repeatedly confronted with the fact that there are no magical solutions here, no take-backs—it’s a fix-it, yes, and very much a Stucky fic through and through, but it’s not a fix-it fantasy where in the end everything turns out to have been an unfortunate misunderstanding after all. What's done is done and the only way out is through. But. even if you usually prefer to ignore anything that happened post-[insert preferred point of canon divergence here], please, please try to give this absolute marvel of a series a chance. It is genuinely one of the most rewarding and satisfying works I've ever read in this fandom. It's catharsis in slow motion.

You will find descriptive writing here that is so incredibly beautiful that it will bring you to your knees in awe. This series transcends fanfiction in many ways, as it stands out for the remarkable quality of the prose and the nuance, subtlety, and precision with which it explores both the emotional landscapes of its protagonists and a fictionalized, yet very recognizable post-Snap America. At the same time, it could only ever work as fanfiction because it stays so close to the characters and is so deeply rooted in and filtered through Steve’s inner life and perspective. Just like the real Steve Rogers, this story is smart and curious, and deeply empathetic towards its characters and the world they inhabit.

Every detail is imbued with meaning. The food Steve and Bucky eat. The clothes they wear. The art they look at. The books they read. The music they listen to. The places they stay at. The landscapes they drive through and the objects they carry with them or acquire along the way. One doesn't need to understand or even notice all of the references, allusions, or ambiguities to enjoy the series, but it makes for such a rewarding reading experience to really dig deep into the many, many layers the author has so expertly assembled into this phenomenally rich text. More often than not in this fic, the curtains aren’t just blue. Or rather, Bucky’s sweatpants aren’t just gray.

At some point amidst this sprawling, reflective journey, a bittersweet realization sets in: There simply is no compensation for the time and life lost, for the pain suffered. No money, no medals or statues, no hagiographies, and certainly no delusional pipe dreams forcibly made real, will ever make up for all that loss. You can't outrun your past, but that doesn't mean you should bury yourself in it. And maybe, solace can be found in mutual understanding, not just between these two men, but in interactions, in shared community—however fleeting—with ordinary people doing ordinary things in their ordinary lives. And in the beauty of the mundane and the relief that there still is a world in which such beauty can exist, even though it is so often a cruel and unjust place. Steve Rogers finally allows himself to feel his feelings: his grief and his shame, but also his joy and—even though he’s already so very tired—his hunger for more. More time, more life, more Bucky.

This series is a wonderful tribute to Steven Grant Rogers—an honest and affectionate portrayal of this compelling and lovable, if at times difficult, character. It is also a gorgeous, intricate love letter to the miracle of a man that is James Buchanan Barnes. As you can probably tell by now, I love it a totally not normal amount.

A most heartfelt thank you to @burberrycanary for taking us all along on Steve and Bucky's long journey across America and (back) to each other. Thank you for letting us sit in the back seat and watch as they learn to love and live with each other in old and new ways, finally find some measure of well-deserved rest and peace, and, together, face their greatest challenge, their longest fight, the eternal question:

How to live with all this survival?