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Janus is cautiously looking forward to the day's activities. He and Remus will be taking Delia to town to spend a day together bonding.
It will be very nice to have his close friend back, but he is excited to reminisce with his daughter.
Remus has gone to grab coffees, and Delia is supposed to be at the door any moment.
Janus is ready to analyze everything to get to know his little girl better.
He opens the door to see Delia standing there, and his mind is already cataloging information.
High-waisted flare leg jeans, converse, a light tank top with a dark plaid button up. She has a sense of fashion that Janus can appreciate.
"Good morning, Janus."
Patton appears by Janus, and Delia seems to turn more polite, Janus smiles, “Patton?”
“Hello kiddo!” PAtton smiles, “Jay, say hi!”
“Good morning, Patton.” Delai says simply.
“Alright, let’s get this show on the road!” Remus cries, slinging an arm about Delia, “C’mon little mistake, to the mall!”
Janus sighs, “Remus, please, the boys are sleeping.”
“Sorry.”
Dalie leans into Remus, “Cephy, are we going to Spencers and hot topic?”
“Uh- do I hate society?”
Delia chuckles softly, then, “Are you ready Janus?”
“Yes, just a moment, let me bid the others fare well.”
“Of course,” SHe nods.
Janus moves back into the hotel room, bidding his beloved's farewell before he exits the hotel room.
Delia is smaller than Remus, most people are smaller than Remus really. She sits at a comfortable height of Remus’ chin, but he is about six foot eight so it isn’t a surprise. Delia’s uncle is bulky, muscular, he always has been, it’s how he’s worked to combat his own issues. Delia is smaller, fit of course but not muscled, just slightly toned.
Janus follows the two out, thanking Remus when he hands a coffee to the man.
“I really am sorry about Patton, I can't believe he said that.” Janus says, “He’s sorry too. But still, that was out of line.”
Remus snorts, “You don’t say.”
Delia just blinks, walking forwards, her arm hooked through Remus’, she seems content in the silence. Remus watches everything much closer than Janus remembers, his eyes flitting to his niece every few seconds.
“So, Delia, do you enjoy reading?” Janus asks.
She turns her gaze to him, calculating then, “Some, when I have the time.”
Remus scoffs, “Please, who are you fooling?”
` “What do you like to read?” Janus asks gently.
“Oh, anything.”
“I see.”
“She likes poetry,” Remus says, “And she enjoys Stephen King.”
“Excellent,” Janus says, and he sounds so pleased, Delia’s lips quirk up just a little.
“There’s almost a smile, c’mon kitty, don’t smile!” Remus teases, making Delia laugh.
Janus listens, fond of course, her laugh is breathy and wheezing, but it’s happy and he recognizes it as his mother’s laugh. His baby has her grandmother’s laugh, and that is almost enough to stop him there and then.
“Shut up Cephy,” Delia smack Remus’ arm quickly, “Awful.”
He laughs at his niece, pulling her closer by the shoulders, “Aw, c’mon Delia, don’t smile, don’t smile!”
She just snorts, rolling her eyes at him, then, “Shut it Cephalopod. So-... Janus, what do you like?”
“I enjoy reading, I am a lawyer actually.”
“A lawyer?”
“I am, yes.”
She nods then, “Remus says you and Logan are my biological parents?”
“We are.” Janus says, “And you have his hair.”
“Logan’s?”
Janus nods, “Yeah, the wavy black hair, that’s his.”
“Oh.”
“You got double D’s eyes,” Remus chimes, sounding happy.
Janus nods, Delia does have his eyes, strikingly gold, and wonderful for intimidation. And isn’t he just so proud of her, she lived through what must have been hell, and she’s still alive!
His baby is alive, and she’s here!
“You’re not- what I expected.” Delia admits softly, “None of you are.”
“I still can’t believe Patton said that,” Remus grunts.
Janus’ eyes widened because- oh god, Patton did say that.
“It isn’t important, he’s proven who he is,” Delia says softly, but Janus hears it.
Oh god, Janus swallows, his baby hates his beloved Patton, hates one of her fathers.
“Ok, little trah,” Remus coos, “Don’t you worry about him, you got me, and daddy Janus!”
“I know I have you Ree.”
“You have me too,” Janus says finally, “If you want. Or whatever.”
“Gave up the double talk?” Remus cackles.
“No, definitely not,” Janus scoffs, rolling his eyes.
Delia chuckles softly then tucks her hair behind her ear, giving Janus a side glance, before she looks into the distance. She turns, whispering something Remus, seemingly clamming back up.
Remus snorts, “So, janny Bananie, tell us about your sons?”
“My sons? Oh, yeah, sure.” Janus nods, “Brian and Pryce are twins, they’re about six, we adopted them, their mother died in the hospital and their father wasn’t around no one from their family took them.”
Delia nods.
“The third?” Remus asks.
“Harley, also adopted, he’s eight, we got him when he was four, his original home was- bad.”
“That's awful.” Remus sighs, “So are they all american or what?”
“No, Harley’s French, he spoke french at home, we all learned that for him. The twins are hispanic so we have a very language mixed home.”
“French?” Delia asks.
“Yes, darling, it’s a nice language to hear, sometimes.” Janus explains gently.
“No Hawaian?” She asks softly before her eyes widen, “I’m sorry-”
“No, it’s okay.” Remus says firmly, “Janus isn’t going to hurt you baby trash.”
“I wouldn’t.” Janus says, “No, Roman was better with Spanish than Hawaii, Remus is the one who’s good with Hawain.”
She nods then, “I don’t- Remus taught me spanish, hawain, and the french he knows. He uhm,” She pauses, brows knitting, “como se dice, -Oh! He doesn't know much french.”
“That, yes.” Delia nods.
Janus just nods, seemingly used to the shenanigans.
“Es muy rápido, si?” Remus teases as Delia falls a few steps behind.
“Oh shut it cephy.”
Janus sighs then, “Can we stop here,” He nods to the Barnes and Nobles, “I’ve been meaning to pick up the newest book series by Riordan, the boys love his work.”
“Sure,” Remus shrugs, and Delia follows as the men lead her into the bookshop, eyes looking around the large, and homey store.
#delia sanders and the case of having family#Cordelia sanders#delia sanders#oc#sanders sides oc#sanders sides#human au#family au#implied abuse#logan sanders#patton sanders#virgil sanders#remus sanders#roman sanders#ssb writes
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Mercury Prize 2021 – Ranking The Contenders
It is that time of year again – the season of the Mercury Music Prize. In the last few weeks, the albums nominated for the 2021 Mercury Music Prize have been revealed and, as ever, it is a highly diverse and eclectic list of some of the best British and Irish music released over the last 12 months – some familiar, some not so familiar. Each of these nominated records is now vying for the prestigious title of Album of the Year, the overriding criteria for which has greatly deviated throughout the award’s history.
Traditionally the eventual prize winner would tend to be a lesser-known record rather than what was necessarily the best album out of the 12, with the judges choosing to highlight the artist and record that may have been overlooked and needed the most attention. However, this has changed in recent years, with the judges choosing what has been widely regarded amongst music critics as the best album in most cases.
So, with the likes of James Blake, Michael Kiwanuka, Dave, Sampha, Alt-J and The XX being just some of the acclaimed artists that have taken the top prize home over the last decade, the big question is - who is in with the best shout this year of being named the overall winner?
In recent years a strong favourite has often emerged from the pack, but I must say I find the 2021 prize to be the most open and hardest to predict in years. There is no clear favourite this time around for me, which makes for an exciting and intriguing build to the September awards show.
Despite the unpredictability, as I do each year I’ve listened to all 12 albums and tried to rank them based on what I think are their chances of winning. To be clear, this is not a “Worst-to-Best” countdown – this ranking is based solely on how likely I think they are to win the overall prize.
To determine this, I’ve considered the front-to-back listening experience and the artistic achievement attained by the album, the popularity of the artist, how critically acclaimed the album is and how similar albums have fared in recent years too. So without further ado, here’s my final thoughts and analysis on this year’s nominees.
12. Promises by Floating Points, Pharoah Sanders & The London Symphony Orchestra
This collaborative release from electronic artist Floating Points, American jazz saxophonist Pharoah Sanders and the London Symphony Orchestra was one of the albums I hadn’t heard prior to the nominees being announced, so was pleasantly surprised by what turned out to be quite an interesting listen. Built mainly around a twinkly harpsichord and Sanders’ saxophone, the music builds to a swell at various stages before gently disappearing in the same subtle way in which it arrived.
That said, I would be very surprised if this album took home the overall prize and title of “Album of the Year” for several reasons. Firstly, this feels primarily like a Pharoah Sanders project, who is of course American and not British. Secondly, although split into nine movements this is ultimately one single piece of music and the Mercury Prize has always been about celebrating artistic achievement in the traditional album format. Based on this, I’m surprised it has even been nominated and I think this cancels this one out for me.
Of course, there is always a chance this could prevail on the night, but I think it would be too controversial and therefore highly unlikely to get the overall nod.
11. SOURCE by Nubya Garcia
This debut album from London-born jazz musician Nubya Garcia was another record I hadn’t heard before her Mercury Prize nomination, which sees Nubya take the listener on a journey throughout musical history. As she describes the record herself, this is “a collection of thoughts and feelings about identity, family history, connections, collectivism and grief.”
Now jazz records have always found a spot on the Mercury Prize shortlist with at least one record from the genre getting a nomination each year. However, the reality is that none have ever actually won the overall prize - even in recent years with promising efforts from the likes of Moses Boyd, Sons of Kemet and The Comet Is Coming in contention. So as impressive as Nubya’s debut is in parts, I don’t think it is the album to buck the trend.
10. Pink Noise by Laura Mvula
Singer-songwriter Laura Mvula is certainly a favourite with the Mercury Prize judges, with her third album Pink Noise representing the third nomination of her career, making her an impressive 3-for-3 so far. That said, Pink Noise is a very different record to her first two outings, with Mvula lacing these tracks with synths to give them a wonderful 80s aesthetic and neon glow. When combined with her traditional soul style, it does make for an enjoyable and fun front-to-back listen.
However, my biggest reservation with the record is that it’s not particularly ground-breaking – this is a sound that a lot of other artists have employed recently and had similar or greater success to what Mvula achieves here. With this being the case, I’m also putting this one down as unlikely.
9. Not Your Muse by Celeste
Brighton-born singer-songwriter Celeste has already proved herself a hit with critics, having been named as the BBC’s Sound of 2020 prying to releasing this debut album. Across the 12 tracks on Not Your Muse, Celeste’s powerful, beautifully toned voice takes centre stage, simply soaring amongst the glossy musical arrangements.
From the instantly recognisable groove of Stop This Flame that has been everywhere in the last 12 months, to the string-drenched majesty of A Kiss, Celeste shows off her full range with plenty of style and flair. This is an impressive debut outing to say the least, drawing natural comparisons to the late-great Amy Winehouse for her soulful voice and cinematic presentation.
Although I wouldn’t be completely shocked if Celeste was to walk away the overall Mercury Prize winner, I think the success Not Your Muse has brought her already goes against her case. With its release, she became the first British female to have a No.1 debut album in the last five years and she even already has an Oscar nomination to her name for Best Original Song. She’s also been featured on Sky Sports coverage all year, as well as high profile John Lewis and SuperBowl adverts.
Therefore, I think it’s safe to say Celeste’s career is already flourishing, so a Mercury Prize win for her would simply be another accolade rather than the career-defining moment it has been for other artists in the past, and would be for other artists on this year’s shortlist.
8. Fir Wave by Hannah Peel
Northern Irish composer, producer and electronic musician Hannah Peel makes for a fascinating entry in the Mercury Prize shortlist for me. This was another record that I hadn’t heard previously and took me by surprise, with Peel essentially reinterpreting 1972 album Electrosonic by Delia Derbyshire (famous for creating the original Doctor Who theme) and the Radiophonic Workshop.
Although this is based on source material, this is an entirely fresh composition with Peel’s style of electronica drawing comparisons to that of Mercury Prize alumni Jon Hopkins. Peel herself best describes the record as “The cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music – it's always an organic discovery of old and new.”
It is an impressive record, and I was quite torn as to where to place this one on the list. If the Mercury Prize decide to return to their old habit of giving a lesser-known record the overall nod, then Hannah Peel could well be the artist to benefit - but that hasn’t really been the trend in recent years. Additionally, Peel herself is a very successful composer who continues to score many TV programmes and films, as well as putting together orchestral arrangements for the likes of Paul Weller.
For me, the nomination for Fir Wave has already granted it additional attention, which I think makes it a winner already in that sense. It’s certainly got an outside chance for the overall prize itself but based on recent history I don’t see it being named as the winner.
7. As the Love Continues by Mogwai
At this point, ten albums and 26 years into their career, people just about know what to expect from Scottish post-rockers Mogwai, and that is soaring, grandiose instrumentals. Yet somehow with each new release, the band continue to astonish, taking their instrumentals into unchartered territory and leaving listeners in wonder with their colourful, breathtaking soundscapes.
Amazingly, As the Love Continues is the band’s first ever Mercury Prize nomination, which is quite incredible given the high standard of their output over the course of their career. That said, it is not surprising this is the one for which they have finally been nominated, as it is for my money one of their best releases.
From cathartic opener To the Bin My Friend, Tonight We Vacate The Earth, the acid-drenched industrial sounds of Here We, Here We, Here We Go Forever, and the dreamy, looping guitar riff and euphoric crescendo of Pat Stains, Mogwai’s touch for forging fascinating sonic textures hasn’t missed a beat. That said, it is the one track that contains clean vocals that stands out amongst the pack here, and that is the emotional gut punch of Ritchie Sacramento which sees frontman Stuart Braithwaite paying a beautiful tribute to all his musician friends that have passed away over the years.
This is still one of my favourite releases by anybody so far this year and my second favourite album overall out of the 12 shortlisted. So why only at No.7 you ask? Well, because sadly I just don’t see Mogwai taking away the overall prize.
Firstly, as well as their first Mercury Prize nomination this was also the album that saw Mogwai land their first ever UK No.1 album, so they are arguably more popular than they ever have been. Secondly and most importantly, the Mercury Prize has mostly favoured debut albums and younger artists throughout its long history, and I think Mogwai are simply too established and verging on legendary status at this point to get the win. So as much as I love this album, I think it’s likely to get overlooked in the same way Radiohead have been every time they’ve been nominated. Here’s hoping I’m wrong and left pleasantly surprised!
6. Conflict of Interest by Ghetts
Here’s another record where it’s quite puzzling as to which way the judges will sway on this one. On the surface, this third album from Grime MC Ghetts has all the credentials to be a Mercury Prize winner. With the likes of Dave, Skepta and Dizzee Rascal all amongst previous winners, Ghetts comes from a genre that has a winning track record, certainly in recent years as well.
The album itself is also mightily ambitious and grand in its scope, with each autobiographical, astutely written track seamlessly segueing into the next one. There are also plenty of moments throughout of stunning, cinematic orchestration that help to elevate Ghetts’ bold vision at various key points. Perhaps most importantly though, it is also one of the most critically acclaimed albums on this year’s shortlist, holding an impressive 95/100 on Metacritic at the time of writing.
However, as many reasons as there are for Ghetts to be a contender, there’s also some things working against him, which is probably why he’s landed at the midway point on the rankings. Firstly, I found the album was about 10 minutes too long and didn’t quite strike the same chord that Dave’s Psychodrama, or even Kano’s two recently nominated albums, Made In The Manor and Hoodies All Summer, have done previously. It’s certainly an impressive outing, but for me lacks the emotional punch of those records.
Also, as I said about Stormzy’s record last year and still rings true today - no album that has Ed Sheeran on it deserves to win the Mercury Prize.
5. Collapsed in Sunbeams by Arlo Parks
Into the top five now and I think here is the point where we finally arrive at what are the genuine contenders for this year’s prize. Kicking us off is young singer-songwriter Arlo Parks for her beautifully understated debut album, Collapsed In Sunbeams.
Parks said of the album recording process that she trusted her “gut feeling” a lot of the time, with most tracks “taking an hour or less from conception to end.” This is very evident across this raw, no-frills debut, where her wonderful soulful voice and honest songwriting are often the main attraction across the album’s 12 tracks.
Now, there is a lot working in Arlo’s favour when it comes to acts that historically win the Mercury Prize – it’s a debut album, she has her fans on the Mercury judging panel, and her success has been modest so far in comparison to some of the other nominees. That said though, the vital ingredient this album is missing for me is that grand ambition that recent winners Michael Kiwanuka, Dave and Sampha have all had – this is certainly a well-crafted record, but not necessarily one that will set the world alight and be talked about for years to come. For that reason, my gut says Arlo will be one of the names in the mix on awards night but will ultimately come up short.
4. DEMOTAPE/VEGA by BERWYN
For me, Trinidad-born rapper, producer, and songwriter Berwyn is the real dark horse amongst this year’s nominees. At just 27 minutes long, DEMOTAPE/VEGA is by far the shortest album on this year’s list, but nevertheless still manages to leave one of the biggest impacts.
Ultra-raw, brutally honest and charmingly homemade on his laptop, this debut is the perfect showcase for Berwyn’s talent. Across the album’s concise runtime, he carves out piano-driven R&B and Soul elements to backdrop his spoken-word style of rapping. To draw comparisons to other Mercury Prize alumni with multiple nominations, think James Blake meets Ghostpoet and you’re not a million miles away from Berwyn’s sound. For me personally, this album left a bigger impact in less than half the time of Ghetts’ whole album, thanks to cuts like the mesmerising and passionate 017 FREESTYLE.
Berwyn is certainly one of the artists on the shortlist that will greatly benefit from the extra exposure that winning the Mercury Prize brings so if you want to take a punt on an outsider, this would be the album I’d recommend backing.
3. For the First Time by Black Country, New Road
Much like Arlo Parks, experimental London rockers Black Country, New Road are another artist that have a lot pulling in their favour.
Another critically acclaimed debut and one that blends multiple elements from favoured Mercury Prize genres – post-punk, jazz, alt-rock, math-rock, amongst many others - to make a truly unique and bold sound. With razor-sharp guitar riffs, cutting lyrics and moments of seismic, horn-backed musical swells, this is a record that you can see easily winning over the judges on awards night. Although at times this is a record that’s easier to admire than it is to love, there are moments in which you can’t help but get enraptured, such as the wonderfully erratic Instrumental opening, the epic and meandering Sunglasses and the melancholic, romantic groove of the stunning Track X.
For me, this one is a genuine contender that I could easily see being named as the overall winner. In terms of things going against it, I would say it’s simply down to the fact that these next two albums are on the shortlist.
2. Blue Weekend by Wolf Alice
For me, the album that presents the biggest intrigue on this year’s shortlist is Wolf Alice’s Blue Weekend. This is because as much as there are factors working in this album’s favour, there is almost an equal measure working against this record winning the top prize.
Having released their debut My Love Is Cool in 2015 to much acclaim and their first Mercury Prize nomination, there was a lot of talk at the time as to whether the rock quartet could deliver with their eventual follow-up. With their sophomore effort, Visions of a Life, they actually went one better and won the 2018 Mercury Music Prize, achieving further critical and commercial success.
Now with Blue Weekend, the four of them have produced a record that has managed to exceed the high expectations set by the predecessors. At the time of writing, the record is currently sat on a 91/100 on Metacritic, with a 9.2 user score, suggesting widespread universal acclaim amongst both fans and critics alike – so it would certainly be a very popular winner. It also suggests that by all accounts, this record is a more significant achievement than the 2018 album for which they won the Mercury Prize.
So as the only previous winners on the shortlist who’ve also just created their best work to date, they’re a certainty to win the prize again, right? Well not quite.
You see the thing is with Wolf Alice, they have Mercury Prize history working both for and against them. On one hand, if Wolf Alice were to win, they would become only the second artist after PJ Harvey to win the Mercury Prize twice, and also become the first artist ever to win back-to-back prizes for consecutive albums. If they were to achieve this, I don’t think there would be any outcry from the public, as the consensus with Blue Weekend is that it is a very special album and would be fully deserving of such an accolade. However, to achieve this it would mean the judges doing something they have never done before, and something they have only ever done once previously.
Therefore, you must feel on the night of the awards ceremony, it will ultimately boil down to one big debate - Deserve Vs Need. With this album, it feels like Wolf Alice have finally evolved from Britain’s most promising young band, into Britain’s best band working today. They are at the height of their powers right now, with Blue Weekend landing them their first ever UK No.1 album, helping them to instantly sell out tours and catapulting them to festival headline slots. So ultimately, they don’t need the win like they did several years ago to take them to that next level.
That said, this is the best album on the list and feels like a generational record in the same way Dave’s and Michael Kiwanuka’s did the last two years. Just take a track like The Last Man On Earth for example - a haunting piano ballad built around Ellie Rowsell’s powerful vocals, that begins gently before eventually erupting into a glorious haze of soaring guitars and Beatles-like riffs. It is barely six months old and already this song feels like a timeless classic, and you can argue the rest of the album is the same. So, if any album really deserves to be named “Album of the Year” and make a bit of Mercury Prize history in the process, it is very much this one.
Which way the judges lean on this Deserve Vs Need debate I feel will ultimately decide this year’s prize, whether Wolf Alice triumph and make history or whether this next album pips it to the post instead. My gut says that the latter is more likely, but it makes for an exciting conundrum around this year’s winner and will have me rooting on the night for Wolf Alice to prevail.
1. Untitled (Rise) by SAULT
So here we are then, the album I think is most likely to take home the 2021 Mercury Prize…. and kind of predictably it’s the current favourite. Although it may be the boring choice to put this album first, analysing the chances of mysterious musical collective SAULT against the rest of the nominees, it is clear as to why they are looking the most likely at this moment in time.
Interestingly much like Burial when he was nominated back in 2008, no-one really knows much about SAULT other than the fact they make eclectic and vital music, with their identity still very much a mystery. However, despite their anonymity, the last 12 months have seen them create shockwaves throughout the music world, releasing three highly acclaimed and topically urgent albums for which they could’ve been nominated for any one of them. In fact, on Metacritic’s compilation of all critics’ Best of 2020 year-end lists, both Untitled (Black Is) and Untitled (Rise) landed in the overall Top 10, with the latter for which they are nominated holding an impressive critic score on the site of 93/100.
Whereas Untitled (Black Is) feels like the rallying cry, Untitled (Rise) is a record that celebrates black excellence, arriving in a year where the voice for racial equality has never been louder. Bringing together various elements of House, Soul, Disco, R&B and Afrobeats, SAULT have crafted a powerful statement through the pure majesty of their diverse sound. This is a thought-provoking and engaging album that will have you dancing one minute, then contemplating the state of the world around you the next.
Although it would be easy to say they have the benefit of collaborator and last year’s winner Michael Kiwanuka being on the judging panel, I think the real reason this SAULT album seems the most likely candidate is because it makes for essential listening that also perfectly fits with the Mercury Prize ethos. It is a musical collective still in their infancy, making important music that takes inspiration from a vast array of genres, as well as the current social and political climate around them.
Having listened to this record several times now, it is no surprise that many music outlets had this as their Album of the Year for 2020, and I would not be surprised at all to see the Mercury Prize give it that same accolade come September - if music really can change the world, then SAULT are leading the way.
#mercury prize#hyundai mercury prize#mercury music prize#wolf alice#sault#ghetts#celeste#arlo parks#laura mvula#black country new road#berwyn#mogwai#hannah peel#floating points#pharoah sanders#nubya garcia#best new music#albums of the year#album of the year
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Delia sanders and the case of having family
Chapter one, what's sixteen years between family? A disaster.
Word count - 1,613
Pairing - LAMPD
Warnings - implied/referenced child abuse, cursing, threats. Tell me if I missed any
Patton messes up in this one. A lot.
Patton stands beside his partners and children, eyes wide and searching as he looks about the airport for his boyfriend’s brother- Patton’s pseudo brother and unofficial brother-in-law- and someone who’s supposed to be his daughter.
He’s shaky, worried, and of course scared.
What will their daughter think of them? What will she think of her siblings? What if she hates them?
What if-
���Roman! Boys!” Thomas smiles kindly, “You’re here! I sent Remus and Delia to the hotel, I know you wanted to see them here but- They needed to get out of the airport.”
“Same.” Virgil grunts, “Meet you there?”
“Of course! See you soon, oh- I’m so glad you get to see her.”
Time seems frozen and simultaneously fast as they drive to the hotel, Roman and Patton talk, to fill the silence, trying to guess what Remus has been up to, what their daughter likes, if she likes poems and such.
Janus, Logan, and Virgil listen to a murder podcast or other using headphone splitter, Janus and Logan sharing a set of earbuds.
The boys talk happily, excited to meet their sister, the girl in the pictures.
Nico greets them when they arrive, going to Thomas and Nico’s room first, and as if fate does not want them to see Remus and Delia again, the duo have disappeared to get dinner.
Patton wants to scream.
Thomas sits leaning against his husband, Nico’s, side, he speaks of Remus and Cordelia, though he’s said he’ll let them hear most of everything from them, “Remus is okay, he’s protective, of course, he always was. But- this is different. And Delia, she’s charming, but she gets the same look Janus does when she meet people, watch her.”
Logan snorts, “I doubt we wouldn’t.”
Patton feels rather numb to the world, but then the hotel door is opened- Nico answered it- and all heads turn to look.
Remus, tall, wild as ever, and mustached like old times, stands beside a teenage girl. His hair has streaks of grey, Patton suspects that they aren’t dye like they used to be, and his clothes are paint splattered, manic grin in place.
The girl looks foreign, Patton wants so badly to feel some parental tug to her, but he just doesn't, this isn’t his baby. His baby was taken when she was three, here is this strange teenager.
Her brows knit slightly, barely noticeable, then she tilts her head, “Thomas, Nico?”
“Delia!” Thomas grins, “Come on, these are your parents, and brothers I told you about.”
Delia turns her gaze to her parents and brothers, “Nice to meet you,” She looks at her siblings lips quirking upwards, “You three are adorable, you know that?”
“YEs!” Harley and Brian declare together, Pryce giggles outright in lue of response.
“Cordy?” Janus asks, eyes meeting hers.
“I prefer Delia,” She says, “If you don’t mind?”
“Of course, yes! Delia!” PAtton says, and even he winces internally at the jarring peppiness to his voice, “We’re so glad to meet you- I mean- See you again!”
She chuckles, soft, polite- Patton can’t help but think it’s an act, a dirty dirty trick- and she smiles sweetly, eyes almost sparkling, “It’s been a long time, I hate to upset you but I don’t remember you, so it is like a first meeting.”
A dirty trick indeed, Patton thinks to himself. She would make an excellent actor, too bad she has the same tell Janus does, the slight over blinking, though she seems to have learned how to hide even that fairly well.
No one seems particularly inclined to speak, they all stare at her and Remus.
Delia stands fairly tall for a woman, Patton would put money that she is about six foot tall, hair that’s not wavy but not quite curly either in a dark shade, and startlingly gold eyes.
Remus stands about a head taller than Delia, watching over his shoulder, he never used to do that. It’s starling to see him so jumpy after knowing him to be the reason other people are jumpy.
“I’m Logan,” Logan says, finally shifting a little, “It’s very good to see you home again.”
“Thank you, Logan,” Delia smiles.
Patton just can’t say that this- woman is his daughter. It can’t be the same person. His Cordy had been a vibrant, wild, cheery little toddler with big blue eyes like Logan’s and blonde hair like Janus’. She had been a gleeful singing monster, she’d called her parents variations of dad, not by first name.
This Delia- this teenager was not his daughter, surly the others knew it too. He wouldn’t kick her out, he would try to love her, but this woman is not the same person his daughter is, they can’t be the same.
Remus growls lowly, and everyone stares at Patton in varying states of shock, Patton realizes weakly and too late he had said that out loud.
How on god’s earth did he manage to say that outloud.
“Kiddo I-”
“It’s okay,” Delia says, though the way her tone is falsely happy really dosen’t assure Patton, she stares him down, charming on the outside but her gaze is as cold as he’s ever seen, “I didn’t recognize you as my father either.”
Even if Patton doesn't feel a parental pull towards Delia, the words still hurt.
“Patton,” Logan says sternly, “You owe Delia an apology.”
“I’m so sorry kiddo! I didn’t mean to say that I just- It’s so much and- goodness, you must be overwhelmed too.”
Delai looks at PAtton, then “It’s fine, Patton.”
The others must have done interactions while he zoned out.
“Patt,” Logan gentles, “I know it’s hard, and you’re entitled to being upset but this is a scared child, she needs adults.”
Patton misses the way Delia bristles at the words, but Janus sees the way she does, the settles serenely.
“Patt,” Virgil sighs, “I get that, okay? But you need to do better.”
“Delia,” Remus says finally, “Let’s go shower, I know you’re tired.”
“But,” Logan protests, “We just-
“Good night, I’ll talk to you later.” Remus says firmly, placing food down for them before stalking out, Delia at his side.
Nico and Thomas sigh, sharing a look.
Delia and Remus shower in relative silence then Remus asks finally, “So, what do you think?”
Delia shrugs, “The boys are cute, they seem like good kids.”
“Yeah.”
“Logan and Patton seem- pretentious and I don’t like them at all.” Delia says after a moment, knowing Remus will always be there, he’s proven it time and time again, “I can’t believe Patton was rude enough to say that. I mean- I know I’m not what they wanted.”
“That’s not true, they just wanted you, you’re you!”
“They wanted me when I was three, which fine, I don’t mind that. But then Logan backs Patton up?!”
“Oh little trash baby,” Remus coles gently, “It’ll be okay.”
“I know.”
“Good. Now, little mistake, get some sleep.”
“Go talk to them,” Delia says.
“What?”
She sighs then, “I know you missed them, go talk to them, they’re your family.”
“But-”
“You’ll be next door. I can protect myself for a few hours, even if I hate them, I want you to be happy. Go on.”
“I’ll check on you every half hour.”
“I know.”
Remus sighs, moving to his niece and ruffling her hair, “We’ll be alright kid.”
“Good night, cephy.”
“Good night, kitty.”
Remus slips out of the hotel room, and Delia is left alone to reflect. An awful decision, really.
She stares ta the ceiling, and her mind wanders over her day, focusing on the set of boys that supposedly are her brothers.
Her uncle always told her that most people are useless and should be used for her own gain, to keep her ahead of the game.
But he also said she should never ever use children, or those she cares for.
Remus also told her that there are good people, and she should protect them, not use or harm them.
Her brothers, she thinks they're adorable, she'd like to try to be there for them at least, like only Remus was for her. Those three boys deserve better than Logan and God forbid Patton.
Delia hums letting her eyes slip closed, letting the silence soothe her troubled mind.
---
Remus sits himself by his parents, glare leveled on Patton, "How dare you, how fuxking- I'll rip your fucking tounge-"
"Remus!" Virgil hisses looking completely scandalized.
"Screw off," Remus snaps, "You heard what he said to my sweet little trash baby!"
Everyone pauses at the endearment, a weird and very Remus sentiment.
"We're not saying he's right," Roman sighs.
"You weren't saying he was wrong!" Remus snaps.
"Remus," Thomas soothes gently, "we are all very glad to see you and Delia safe and alive. But it was a shock for us, imagine being her parent-"
"I am!" Remus snaps, "I raised her as best I could! I am he dad, even if she calls me uncle or cephy, I bandaged her wounds, I tied her tourniquet, hell I preformed half of her abortions!"
He freezes, realizing the others are quiet.
"Abortions?" Janus asks.
Remus scoffs, "Nothing. If you ask her i will destroy you."
"Remus, I-" Patton winces then, "I didn't-"
"You're not her father, you were right, Delia isn't your daughter." Remus sneers, a growl rumbling from his chest.
"Remus," Nico soothes, "Please."
Remus scoffs, "You don't know what this pike bag did to Delia. I ought to-"
"Remus," Roman says gently, "Patton was out of line, but please, can't we just have a calmer conversation? For the boys? They're next door with Logan, just please don't wake them."
Remus scoffs, but he resigns to crossing his arms and glaring at Patton.
Just like old times.
TAGLIST (let me know if you want to be added or removed)
@battlebunnyteardropsinthesun @fanficloverinthesun
#sanders sides#logan sanders#roman sanders#ssb writes#patton sanders#virgil sanders#janus sanders#sympathetic! remus#remus sanders#SSB writes#Delia Danders#angst#Delia and family corp#Prince (Thomas sanders shorts)#Brain (Thomas Sanders shorts)#Heart (Thomas Sanders shorts)#original character#character!thomas#Character! Nico
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