#distant reading

[mergist]

There is no reason to believe that cognitive maps are like iconic maps except, rather than being inscribed in the dirt, or on a rock, or imprinted on paper, they are somehow inscribed in neural tissue. They seem to be more like lists of significant places intertwined with bearings and headings between one place and another. The vital significance of these places is part and parcel of the map; the "map" is not a neutral spatial substrate to which vital significance is later attached. The space of cognitive maps is not merely about physical position; it is about needs and satisfiers, vantage points and opportunities for action.

-William Benzon, Reading Graphs Maps and Trees: Responses to Franco Moretti, pg. 57

[ciltilladeltilla]

Cosma Shalizi, quoting and discussing Franco Moretti in Reading Graphs, Maps and Trees: Responses to Franco Moretti.

[kauzekapp]

idea

I want to take the opportunity of this first blog post to portray a bit who I am and what my research is about. Additionally, I want to talk about my inspirations and be, to a certain degree, as transparent as I can be. 

Much inspired by the blogs of many institutes (especially those on hypotheses.org), I felt like it would be wasteful to not document my PhD progress. Perhaps, this blog inspires peers to do the same. Networking is one of the primary functions of this blog. Much of academia is, is it not? What institute are you affiliated with?  At what university are you working? Who is your advisor, what summer school have you done, how many articles have you published, what are they about, and so on and so forth. This is something I have to get used to, and, frankly, not much to my liking. I want to read, research, teach, and write. 

Research and teach especially. In the upcoming winter semester, I will hold an introductory class on literary theory. A vast field, I know. That’s what makes it interesting. Every time I think I know my way around the theory ocean, I find something that pulls me back to the shore. Documenting that process is thus also a function of this blog.

Speaking of functions, I am currently learning how to code. Python, to be precise. My thesis’ methodology is distant reading, a term coined by literary scholar Franco Moretti. As the name suggests, it is an antagonism to close reading. Essentially, my corpus (contemporary Luxembourgish novels) are analyzed with the help of computational methods. In the distance then I might find new information during analysis. 

Here, let me create a metaphor: imagine a beetle. Good, let’s call him Gregor. Gregor looks at a tree. Of course, because Gregor is close to the floor, Gregor can recognize and study the trunk and roots and fallen leaves in detail. However, Gregor only sees part of the trunk and roots. He does not know what the other side of the tree looks like. Let’s imagine a jackdaw. Its name is Kavka. Kavka is flying above the tree. Kavka sees the leaves, the branches, the fruits, and he also sees every side of the trunk and roots, even Gregor. Sure, Kavka can’t decipher everything in detail either, but Kavka sees a lot more. Gregor does close reading. Kavka does distant reading. It is qualitative research vs quantitative research. Although both are not mutually exclusive.

The Kafka references too are part of my thesis. Distant reading is, technically, part of the comparative field of world literature. Luxembourgish literature, on the other hand, is a small literature. I therefore must work out a sound argument why the intersection of both would benefit my research, as well as add to both fields of study. Kafka is involved here because of his concept of minor literature. I have yet to figure out what my opinion about minor literature is. What I know at the moment, is that I have to kill Kafka, in a Barthian sense, naturally. Don’t worry, I admire Kafka.

I also admire Mark Fisher. Mark Fisher is mostly known for his book Capitalist Realism (2009). But Fisher also had an undeniable, prominent presence in the blog-o-sphere with his influential blog K-Punk. This blog is much inspired by his writing style and his illustrative way of giving examples, as well as reading society – be it culturally, socially, or politically. I am not saying I have his talent. On the contrary, my lack thereof suggests a goal which I have to strive for. 

Well, enough for today.

[fumifooms]

do you happen to have that page that talks about the beauty standards of each race?

Yeah sure. While scavenging pics for this I found this neat reddit compilation & chart & theory talk too. I had um, way more to say than I anticipated (I know you only wanted the one page. I have nothing to say for myself. Like most topics in Dunmeshi things snowball because they’re so interconnected. Mercy…) so, many races and observations are only mentioned near the bottom.

Beauty standards and race in Dungeon Meshi

Not pictured there’s also how elven society is harsh on visibly disabled people, and how the demon took away Mithrun’s silver eyes and ears to take away his pride. There’s also how Senshi might have fit in with the orcs more easily because of the dwarven wide body shape, and how they tend to have more body hair too I suppose. In the extra on orcs we see Senshi living with the orcs and he gets judged because of the hierarchy rather than his looks.

What is fashionable also differs from culture to culture, and there’s how tattoos only seem common with elves, though dwarves and others do also sometimes have some. They seem to not raise much brows, which makes sense since for many essentially they’re for professional (magical) purposes especially with elves. Gender roles also differ in type and importance, but generally they are similar to irl ones for the races we see. Elven society seems to be the least gendered, which would be an unsurprising logical outcome of having lesser sexual dimorphism aka they look more androgynous. Comparing fashions and gender roles and how they affect beauty standards would be a whole other compilation and conversation. Kui has great worldbuilding partially because she’s got such a good grasp on sociopolitics and geopolitics. History affects cultures and beauty standards greatly. Kui’s oneshot Distant Utopia was very eye opening on her way to worldbuild and the consideration she gives these things, I do really recommend reading it.

Out of the big 5, we know the least about gnomes, but their sheet does say both culture and region are similar to dwarves’ and they end up being confused together often, so we can imagine the beauty standards are similar to dwarves’ as well.

I wanted to touch on this in a post eventually, but how one daydream hour page said half-foots tended to be curvaceous like in the artwork below puzzled me for a long time, all the half-foot characters we see during canon are rather slender and lanky after all, Chil’s succubi also being more curvy than plump. Economics are for sure a factor in that I imagine, the half-foots characters we see are all implied to be some flavor of poor or malnourished, as are half-foots depicted as empoverished oppressed minorities in general. Even comparing the artwork with the half-foot sheet’s depicted average half-foot, the ones on the left seem bigger. Wouldn’t it make sense though, if unlike dwarves half-foots don’t have similar naturally wide bodies, yet due to idolizing dwarves they work towards having a similar body shape/type to emulate them?

It’s said half-foots tend to stick to pretty ethnically homogeneous regions (aka half-foots-only communities) unless they move to the big city with ambition to try and make it big (like Chilchuck and his wife & kids did), and that’s interesting imo because then that would mean that in a ton of half-foot communities, they rarely see or interact with dwarves whom they try to emulate. Of course, one thing about beauty standards is that when they get adopted, at one point it stops being "this is how dwarves look and so this is how half-foots should look" and just becomes "this is how half-foots should look", most people feel as though beauty standards aren’t learned but innate, so I figure the half-foots wouldn’t have any problem still seeking dwarvish traits when there are no dwarves around.

There’s also stuff you can glean here and there if you want to extrapolate more. Like how in the race swap artworks, Mickbell is only smiling in the dwarf portrait, and Rin’s elven portrait looks very close to her elven one- Rin who is stated to be beautiful in her profile blurb. Benichidori’s extra does teach us tallmen can definitely have harsh beauty standards, but also since the text portrays her as very dysmorphic that’s likely reflected in her thoughts to a much more intense degree than is common, not an accurate strict baseline to go off. Ah, Kabru’s blue eyes are also why he and his mother lived a rough life in Kabru’s hometown, but that seems to be regional. Good post here on the topic of Kabru’s blue eyes and ties to irl history. There’s a lot to be said about Kabru being a man that in many ways is close to elven beauty standards, and how that might have affected or been affected by his upbringing with elves + his persona as someone that can effortlessly charm most people. Marcille’s section here in this essay also goes into Marcille’s struggles to fit in with the ideal image of an elf.

Looking human

Also notable are beastkins and demihumans: Demihumans are all dehumanized which makes people treat them worse. So if you differ from the visual idea of "human" (an in-world subjective categorization just as much as demihuman is) most people do judge you negatively. Elves and dwarves get to fight about which type of human is considered the prettiest, but demihumans are below tallmen and half-foots, they are considered as simply below the beauty contest, incompatible with it.

Onis are perhaps the demihuman people we know of with the least cultural influence on the dunmeshi world, and with the least intensely different appearance than other demihumans—they seem to be technically categorized as human to people not from the eastern archipelago?— but even them are treated as lesser than human, treated as beasts to slain for reputation points or useful strength to have around and command. It’s said their "magnificient horns" and fangs are often shaven off when the oni lives in tallman towns, so you could easily make the argument that onis are denied the right to have their own beauty standards, having to conform to other people’s and going through mutilation to take away features they might otherwise have taken pride in. Inutade was bought by the Nakamotos from a dangerous sumo fighting ring that got one of Inutade’s tooth broken on her first and only fight, and kept as a low ranking servant ever since. Remember when I said different fashions existed in dunmeshi and how those could also affect beauty standards? Like the elves, if you look at the portraits pages which include a lot of characters that aren’t in the story you can see distinct cultures within the same races, for example one young elf is bald which is in sharp contrast with the usual elven long luscious hairstyles, and that’s especially true for onis I think. Maybe not only from different regions but different eras as well… They have a bit of population in the very north of the western continent, so I like to think some of the ogres live in very cold, maybe even subarctic or arctic conditions. The point I’m getting at here is that within a race, culture/ethnicity like with Kabru will also influence them it isn’t just tallmen as a whole, different communities will have differing beauty standards. The oni history blurb and third row first collumn portrait remind me of Mongolia (which historically was a lot of different nomadic communities with different cultural identities as well. Something something, the oni empire experienced a decline and then tallmen overpowered them, and now they’re governed and split apart by stronger social classes & slavers and the richness of culture was hurt for it especially if they have no real community left of their own), but obviously many of them are dressed and look rather japanese, makes sense considering living in/close to Wa, and first row second collumn portrait reminds me of ainus which again would be logical considering geographical placement, though I’m far from an expert. Interestingly, ainus are indigenous people both in Japan and Russia- Perhaps the northern western continent ogres are meant to be closer to Russia than Canada like I imagined? Ok tangent over.

The kobold sheet says they’re especially sought after as slaves because they’re "adorable", but locally in the western continent they’re repeatedly said to be seen more as ferocious and dangerous. The dehumanization is most apparent in the first comic below. The language barrier and conflicts no doubt worsen this by a lot, but I think it’d be hard to deny that their canine appearance makes the dehumanization worse. "They’re ferocious beasts, they’re demihumans, they can’t be communicated with". Most characters in Dungeon Meshi’s world are desensitized to slavery and most characters are prejudiced one way or another. Point being, kobolds are fully removed from human beauty standards, but no doubt for kobolds, other kobolds are more beautiful than humans are. They’re assumed to be an uncivilized bunch, but just like any other people they like to adorn themselves with nice clothes and jewelry and keep themselves clean and groomed; they too take care of their appearance and take pride in it.

And the orcs! This one we have the most contact with in canon, with not only there being foreigner characters from the ethnicity or hearsay of their homelands and culture but full on contact with a community. We get to see up close what they’re like and what they think, and of course in turn they’re our introduction to how demihumans are harshly looked down upon and seen as inferior, less human and thus less worth valuing and less dignified. It’s text that orcs are ugly to most humans and humans are ugly to most orcs. Since I judged they didn’t need accompanying explanation the pictures showing this are in the pictures dump at the top.

God forbid you sell vegetables to orcs my god- but then again they do basically mandate adventurers to kill any orcs they come across so yeah the world isn’t above that even a little bit.

So yes, my main point here is simply that orcs are yet another evidence of the physical ideal of "human" being an important beauty standard for human societies globally.

Izutsumi is our glimpse at how beastkins are treated in the world, and in Wa at least that’s ending up being caged and mistreated as part of a freak show. Izutsumi hates her appearance and wishes she could leave the feline part of herself behind to only be human. Interestingly, not that we have a lot of info on them so this is very much a take with a grain of salt situation, but there seems to be less stigma around artificial beastmen, those who can shapeshift at will. The main difference is of course appearance, that most of the time they simply look like average tattooed humans. Artificially creating humans is an illegal practice, and no doubt it’s not well regarded, but being able to hide that makes them less likely to be discriminated at any moment, or even just discriminated less intensely. Again, looking human is important, not only for belonging but for safety’s sake. Beauty standards rule the world with harsh hands.

Mermaids and fishmen

Ok we’re done now right? Right-! But wait… Wait…! Mermaids and fishmen are said to be demihumans too, special separate cases to the main three demihuman species however, which is also represented by how mermaids and fishmen both are in the Adventurer’s Bible chapter Monsters meanwhile ogres, kobolds and orcs are in the chapter World. They’re an interesting topic because they directly tackle this topic, not only in a meta way for the readers but also making characters themselves struggle to quantify their humanity with the goal of knowing wether they should be eaten or not, especially Chilchuck. Chilchuck’s "is it really just a matter of feelings?" mini arc.

The party asking themselves "Should we eat this?" is very common, and often they end up playing a little loose on morality, like eating the red dragon’s meat despite it having digested Falin. Not unsimilarly Marcille freaks out a little over the vegetables they harvested having been grown with fertilizer, aka largely human poo. Half of the motivation of "should we eat this perhaps sentient creature" is out of consideration and compassion, but more strongly and more often, the characters struggle with a sense of taboo at eating something too closely related to humans. Even, feel uncomfortable because of the deepseated impression that eating it would dirty them in some way. Cannibalism is an interesting and relevant topic in many ways, but what I want to mention is how there’s the more or less universal belief that committing cannibalism inherently taints you as a person and turns you more monstrous, morally but also literally depending on some myths such as w*ndigos and onis in some cases, like in Touge Oni. Marcille and Izutsumi both express a fear of eating monsters turning them monstrous. Maybe this is part of what Laios was hoping for, honestly. There are two fears here, if eating a demihuman monster constitutes as cannibalism or not, and so, will eating it taint you because it’s a human, or will eating it taint you because it’s a monster? You are what you eat, until it’s a little too literal. You morally are the means by which you get your food, and you physically are the result of your nutrition. Dungeon meshi manages to mix an exploration of humanity with the theme of food because our relationship to food is very deep and complex, psychological as much as physiological.

In the end, the characters sort of shrug and accept that they’ll never quite understand the world of mermaids and fishmen and how they operate, and what that means about them. Laios is the one always challenging these notions other characters take for granted, it’s not obvious to Laios why people are softer on mammals than other animals and plants, it’s not obvious to Laios why people would be afraid of eating a monster just because it’s a monster, it’s not obvious to Laios why some food is gross to Marcille but not fish testicles, it’s not obvious to Laios why you should immediately regard orcs and kobolds badly.

"Cows are probably closer to humans [aka closer to being human] than fishmen, though they’re clearly intelligent", dehumanization to lessen empathy towards them to be able to eat them. Meanwhile, mermaids seemingly have a less noticeable "civilization" or intelligence, they hunt in groups like fishmen, but they don’t use tools and such, they feel more primal and similarly instinct driven, and yet… Do they attract sympathy more? Mammals, humans, is it because of their nature or because of their appearance?

Both the nature and appearance of fish are ones people don’t typically sympathize with. "Fish don’t feel pain", "goldfish only have 5 seconds of memory", "it’s okay to keep fish in completely empty bowls too small for them until they die from it", so many lies and misconceptions exist that make people less considerate of them. The average lifespan of a goldfish is 10-15 years, the record is 43, but they’re not seen as lives that really matter, so a lot of goldfish die in a few weeks of bad aquarium conditions. There’s a lot of research on animals evolving to look cute and appealing to make some predators want to kill them less and parents want to care for them more, including humans. First good google research result gave me this credible short article on the topic. In Chilchuck’s weighing wether a fishman is far enough from being human or not to eat, "face is 100% fish" is his biggest argument for it being more acceptable. The face, the most important thing for empathy and recognition. The face, the decapitated fishman one that falls into his hands next chapter.

To quote @room-surprise: "Chilchuck can't explain why it's wrong to eat the merpeople, even though it's NOT complicated. But the problem is Chilchuck would have to accept and acknowledge that the merpeople might be people? And that's outside of the worldview he passively believes, so he can't just say that, because he doesn't think that's true. But that IS why he "feels" it's wrong. And it's all you'd need to say for Laios to understand! But it would require acknowledging that maybe the way they're treating and talking about the merpeople is wrong."

The idea of Chil not being able to grapple with how maybe some monsters are more humans than they seem, him who had been an advocate of half-foots rights, half-foots who get undermined and treated as inconsequential sacrifices… Grappling with how he could relate to the merpeople’s situation almost, and pulling away because it’s so existentially horrifying. I do not want to see myself into an hostile fish-faced warrior I can’t communicate with. In a way this also relates to Chilchuck being the only party member who doesn’t see Izutsumi as a cat in the relationship chart, the only one to treat her with full human dignity. He knows the struggle to be taken seriously, he knows being infantilized and he knows what it’s like to be treated as less than human.

Below, you will see Chilchuck draws the line of where they become not okay to eat as when "they already look like mermaids". Above, there’s speculation that the algae hair is partly to mimic "the mermaids’ beautiful female form". Is it because mermaids are their enemies and the ambiguity might give them extra seconds to attack or flee? Is it to trick adventurers instead? It’s striking to me that this is what works, with the adventurers. Sure the fishmen are intelligent, but explicitly here, what makes them no longer acceptable prey to Chilchuck is that they look close enough to a mermaid, close enough to human. Mermaids who of course themselves have this form to entice and seduce and charm the adventurers they prey on. Chilchuck considers the intelligence due to the tridents, but most of his internal debate centers around their appearance, and the image of a fishman skewered sickens him. The power of mimicry… Mimic being a beautiful human woman. Mimic being cute, babies being wired to make us feel protective and softened. Half-foots, sometimes pretending to be children for scams or help or avoiding trouble.

The mermaids are only concerned by their differences and not their similarities, and have no trouble treating the fishmen as food rather than peers. To an outside perspective like us, the audience, all these categorization of "more human" and "less human" between onis and orcs and elves and tallmen etc seem stupid and unfounded, but to the people living in Dungeon Meshi’s world, elves may as well be mermaids while onis are fishmen, not alike at all, unworthy of empathy and thus fine to eat.

Ultimately, Dungeon Meshi promotes unity. It’s about seeking to understand the unknown and the misunderstood, the dehumanized and the inhuman. It shows the good that comes from seeking to understand what you do not, even when that’s one another.

[expectiations]

I love that - thanks to one small line - their first kiss gives us a huge look at what kind of partner (and then later husband) the Eleventh Doctor is.

'What, that's it?'

First of all bear in mind from his perspective, yes they've gotten closer, but he's still suspecting that River might kill him sooner rather than later. It's understandable that some trust issues linger and thus he's still a bit quick with the casually dark (and cruel) demeanour.

River knows that. She knows where he is in his timeline. She knows that, despite how much he flirts with her (and he flirts with her A LOT), he is not her husband, not yet the man that loves her and he's not even the man that knows her. So why does his short goodbye confuse her?

Because this small line tells us that not only have they been dating (from his perspective) between DOTM and AGMGTW but they've been dating physically. To River, this short-fuzed ball of trust-issues is essentially not only her husband but also her actual boyfriend.

Meaning that the Doctor, before he became the doting idiot husband we saw in TATM/TNOTD and even before he knew who she was, never dropped her off after a date without at least (!) kissing her goodbye.

And I'm really putting the emphasis on never because River would otherwise not risk asking for a kiss, if there had been any doubt in her mind that this Doctor isn't a Doctor she had been dating. So what does that tell us?

Despite how much this fandom likes to paint the picture of the evil River who forced herself on the Doctor, she is never the one to initiate (physical) intimacy. She expected to be kissed, she expected the Doctor to kiss her because that's what the Doctor does. Husband or not.

And it's so ingrained in their relationship that even when he showed his honest confusion, River assumed he must be acting coy on purpose to get *her* to kiss *him* for once. And well it worked, intentionally or not, River complied because why wouldn't she? It's what they do.

Until of course she is forced to realise that it might not be what they do for much longer. This was his first kiss; so she might not see the boyfriend version of her Doctor very often from now on, if at all.

But ignoring all the insanely depressing angst of how that scene ended, yes we saw an end for River but we also saw where the Doctor's pre-AGMGTW dating spree and thus the affectionate idiot began because he makes it quite clear that he's up for more. (pun intended)

I wish we could've seen more of their time together. Unfortunately 98% of it happens off-screen but the point of this thread is to show that, even if most of it is off-screen, the show has made the nature of their relationship and the nature of the Doctor's feelings very clear. Moffat's writing style is quick-paced and certainly assumes that the audience isn't too stupid to keep up. (wonder how that worked out) And small lines like these contain so much vital information that, for some people, it's easy to overlook. But all we need to know is right there. The Eleventh Doctor dated River prior to AGMGTW, definitely prior to TWORS; they've been intimate for two hundred (!!!!) years from his perspective before he married her and he is the one to initiate that intimacy. That's all. 🥰

original post on X by @/eIevenriver (who writes the bestest Doctor x River threads ever)

[canisalbus]

I imagine Vasco and Ludovica have a big painting (portrait but with two people) in Vasco's house (probably his father insisted of getting one of these, people used to do it in the old days, especially wealthy ones). While it's very serious and formal, in the way all these portraits were, it is also very intimate (at least it's implications). I imagine Machete just staring at it sometimes, feeling small while looking at the big painting. And sad, maybe jealous but I don't think he'd resent Ludovica. He, most of all, understands.

.

[doccywhomst]

start a summer book club w your friends. doctor who book club, comic book club, nonfiction book club: make silly powerpoints. only have online friends? start a discord. if you have a library card, you’ll probably be able to access databases like libby and hoopla with your card # (in the US, but i can’t guarantee that globally). hoopla is amazing, it has hundreds of doctor who comics (wtf😭🙏) and free audiobooks like gideon the ninth, which ive been listening to (bc my branch was out of copies) - anyways. humans are the storytelling animal, and reading is praxis. this ad has been brought to you by your local public library

[distant-screaming]

thinking about telemachus and penelope.... after he was born did penelope raise him herself, or leave him to the nursemaids? how long did telemachus get to see his mother before she disappeared into her room to protect herself? did she ever comb his hair? does she miss him - even though he's right there, a few rooms away? does telemachus have memories of penelope's laugh, soft and pretty and so so sweet? does penelope know what telemachus' favorite color is?

did telemachus get a mother, or did he lose both his parents to the war?

[homolobotomized]

so there's this manhwa... 😁

[outgleaned]

summary of that one letter to high blade jordan in the toll

[sade-alicious]

details in stranger things are so cool to me and honestly validating whenever i think im reaching

bc these are the boardgames in mikes basement (from top-down)

the happy little train game - referring to the train tracks in the woods

score four - the main party

family feud - the wheeler “nuclear and unstable” family

upwords - theyre in the right-side-up (sounds like upwards)

[vynnyal]

This is a pretty good point in the wip to share this, methinks :]

Map part for the hole dwelling map, starring... Not my ocs! I wanted to use ocs, but I don't have any-- so I just used the characters from a fic I was reading at the time 😂

Turns out, the symbolism was so much fun to twist into the 11 seconds I had to work with, I ended up going way more complex than I meant to. If you wanna read the fic this was based on, please do!! And tell the author I said hi! :D

[shorthaltsjester]

what if i said imogen is a better metaphor for generational trauma than she is for chronic pain or queerness

[mj-llama]

Guys, we've deviated from the timeline, 2024 escaped the Juggalo Presidents

[suddencolds]

Atypical Occurrence [1/?]

Happy birthday to my dear friend, @caughtintherain!! I wanted to give you some Vincent suffering to chew on for the occasion, so please take this fic (or, first part of a fic) as a gift <3

this is an OC fic - here is a list of everything I’ve written for these two! chronologically, this fic takes place a month or so after the last installment leaves off :)

Summary: Vincent shows up late to a meeting. It just goes downhill from there. (ft. fake dating, the flu, a house visit)

—

Vincent is late.

Yves tries not to stare at the empty seat across from him. The meeting—their first meeting of the day—started five minutes ago. If there’s anything Yves knows, it’s that Vincent always comes in early. 

In stumbles Cara, handling a morning coffee with probably more espresso shots than anyone should have at 8am. Then Laurent, briefcase in one hand, paging through a folder of files in his other. Then Angelie, Isaac, Garrett, Ray, Sienna. Then they get started, and Yves turns his attention towards the graphs projected onscreen at the front of the room, and tries very hard not to think about Vincent.

It’s five minutes later that the door swings open, near-silent.

Sienna—who’s presenting—stops, for a moment, to look back at Vincent from where he’s standing in the doorway, which means that of course, everyone looks.

Cara turns around in her seat, raising an eyebrow. Angelie frowns at him. 

“Sorry I’m late,” Vincent says, quietly. “It won’t happen again.”

Isaac shrugs. Angelie looks a little concerned, but she turns back to her work, anyways. Sienna resumes her presentation. All in all, it’s nothing—or it should be nothing. Probably traffic, on the way here; a particularly unlucky commute. An unlikely occurrence, but—to anyone else—not anything worth dwelling over.

It might be a sufficient explanation, if Yves didn’t know better.

Vincent takes care to close the door quietly behind him, then heads over to the only open seat, across from Yves. He unzips his briefcase, quietly, unobtrusively, and takes out his laptop. Yves tries to focus on what Sienna is saying—she’s giving a review of a client’s current investment strategies; he’d reviewed her work on this just a couple days ago.

Vincent asks good questions throughout—he always has a good sense of what areas still lack clarity, Yves has found. Today is no exception. He takes part in the meeting with such calculated precision that Yves almost misses it.

Almost misses: the slight stiffness to his shoulders, as if it’s taking more than the usual amount of effort to keep himself upright. The way in which he clears his throat before speaking, like it might actually hurt. The way he rests his head on one hand, halfway into the meeting—as if even now, barely forty minutes into the workday, he’s already exhausted.

It’s subtle enough to go unnoticed, subtle enough that Yves wonders if he’s just reading too much into it—if, perhaps, Vincent is fine, after all.

—

He doesn’t see Vincent again until lunch.

Or, more accurately, he doesn’t see Vincent again until he’s headed down for lunch with Cara and Laurent. Vincent is already on his way out of the cafeteria, a takeout container in hand.

“You’re not going to eat here?” Yves asks.

Vincent doesn’t look at him. “I have some work to get done at my desk,” he says. He clears his throat again, like it’s irritating him.

“Okay,” Yves says. Vincent turns to leave, and Yves thinks of a hundred ways in which he could possibly prolong this conversation, and then decides against it. Vincent is already so busy.

“You look tired,” he settles on, instead.

He expects Vincent to dismiss this, to reassure him that it isn’t true. But Vincent looks up at him at last, blinking, as if he’s surprised that Yves noticed at all. His eyes are a little dark-rimmed underneath his glasses.

He doesn’t deny it, which is as much of a confirmation as Yves needs.

“The sooner I can get this work done, the sooner I can go home,” he says. Yves supposes he can’t argue with that.

“I guess I’ll see you around, then,” Yves says, even though he wants to say more, even though he feels like there’s more that he should be saying. “Don’t work too hard.”

Vincent nods, at this, and resumes walking.

—

Yves is probably overthinking it. There isn’t anything concrete, really, to justify his concern.

Vincent’s lateness to the meeting could just as easily be the consequence of an alarm he’d forgotten to set, his exhaustion just as easily a side effect—of recent late nights in the office, of arbitrary changes to the projects he’s on, of last-minute demands from clients.

The next time he sees Vincent is at the end of the work day. Yves always takes the elevators on the north end of the building—they’re ones that lead directly out into the parking garage. When he gets out to the hallway, Vincent is already standing there, waiting for the elevator.

Yves watches Vincent stiffen, slightly. Watches him raise one hand up to his face to shudder into it with a harsh, “HHihH’iKKTSh-hUH!”

A thin tremor runs through the line of his shoulders, as if he’s too cold, even though the office air conditioning is no colder than usual. His hand, cupped to his face, remains there for a moment more before he lowers it.

He sniffles, then, rummaging through his pocket for—something. When he doesn’t find it, he just frowns a little, sniffling again. 

“Bless you,” Yves says.

“Yves,” Vincent says, his shoulders stiffening a little. He clears his throat, turning around so that he can address Yves properly.

It’s only a few seconds later that he’s turning sharply away, tenting both hands over his nose and mouth for—

“Hh-! hHiH—HIHh’DZSSschh-uhh! snf-!”

“Bless you again.” 

Vincent sighs. “Don’t bother.” He really looks exhausted, Yves realizes. During their brief interaction at lunch, he’d already sensed as much, but the harsh white glare of the bright corporate lighting only makes it more evident.

Vincent looks a little paler than usual, if only slightly, and there’s a slight flush that spreads itself over his cheekbones. He looks—well, nearly as put together as always, distilled only by the slight crookedness of his tie, as if it’s been on too tight; the near-invisible sheen of sweat over his forehead. The slight redness to the bridge of his nose, the slight shiver to his hand as he reaches up to adjust his collar.

Yves frowns, taking this all in. “You look kind of…”

“Terrible?” Vincent finishes for him.

Yves winces. “...Well, terrible is a strong word. I was going to say, you look like you could use some sleep.”

“I’m… feeling a little off,” Vincent says, staring straight ahead, as if it’s not an admission at all. But Yves suspects, from the way he avoids eye contact, that perhaps it was something he was intending on keeping private. “You should keep your distance.”

The elevator dings. The sliding doors part, and he steps inside. 

“First floor?” Yves asks, hesitating next to the panel of buttons.

“Yes,” Vincent says. Then, quietly: “Thanks.”

“You know, now that busy season is over, the world is not going to end if you take a sick day,” Yves tells him. “Even if you do like, twice the amount of work as everyone else on the team, if you needed to call out, I’m sure something could be arranged.”

Vincent smiles at him, a little wryly. “I must look pretty bad if you’re saying this to me.”

“Yes, I was lying,” Yves says. “Clearly, you look terrible.”

It isn’t true at all—even here, even like this, Vincent doesn’t look terrible, not even in the least. But Vincent still smiles, at this—a tired smile.

The elevator doors slide open.

“Text me if you need anything,” Yves says, impulsively. “Seriously. Tissues, soup, medicine—whatever. It’s not far of a drive.”

“That’s very considerate of you,” Vincent says. “I will see you tomorrow.” And then he steps out of the elevator, and Yves is left with an inexplicable sinking feeling in his stomach. As far as he knows, it has no place there. Obviously, Vincent can take care of himself. Obviously, Vincent can handle a cold. Yves has nothing to be concerned about.

—

The next day is rainy—a constant, torrential downpour, which makes his commute to work take almost twice as long as it usually does. It wouldn’t be spring here, Yves supposes, without dreary weather like this.

Back in uni, when he rowed crew, they’d practice out for hours out in the rain. Now that he spends the majority of his day inside, he supposes he can’t complain. The shelter of the office building is a reprieve.

Vincent doesn’t show up.

“I think he’s out sick,” Cara says, when Yves asks. “You know, it’s funny. I don’t think I’ve actually seen him take a sick day before.”

“For how hard he works, he definitely deserves one,” Garrett says.

“He seemed fine yesterday, when I saw him,” Cara says, with a shrug. “Probably came on quickly.” Yves nods.

But that isn’t quite right, is it? Vincent hadn’t seemed fine, had he? Yves thinks back to the things he’d noticed—Vincent, uncharacteristically exhausted during the meeting, though it was clear he’d been just as engaged as usual. Vincent, shivering in the elevator, telling Yves to keep his distance. How poorly had he been feeling already, yesterday? How poorly does he have to be feeling today to have called off of work for it?

He finds some time just before lunch to text.

Y: how are you holding up? Y: yesterday’s offer stands if you need me to bring you anything!

He doesn’t get a response from Vincent, which is a little concerning. He checks his phone halfway through lunch, and then twice more, in between his afternoon meetings, just in case he’s missed a notification.

“Are you expecting a text from someone?” Cara says, looking a little curious.

“Just a friend,” Yves says, which is and isn’t true.

To make a point—to Cara, and possibly to himself—he shuts his phone off. He very pointedly does not look at it again for the remainder of the hour.

It’s not until mid-afternoon that he finally gets a response.

V: Sorry to get back to you so late.

Yves sits upright, fumbling with his phone to get it unlocked. The text bubble pops up again, somewhat intermittently, to show that Vincent is typing.

V: If it’s not too much trouble, there’s a blue folder on my desk labeled 2-A.

Yves blinks at this, a little disbelieving.

Y: you’re asking me to bring you work files? Y: arent you supposed to be resting 🤨 Y: paid sick leave, remember? as in, leave your work at work??

V: I meant to pack them yesterday.

Y: that’s like a genie grants you 3 wishes and you ask for an extra day of assignments Y: terrible waste of a wish if you ask me

V: As a genie, you’re quite judgmental

Y: ok ok Y: as your loyal lamp dweller i’ll be over around 8pm with folder 2-A  Y: you need anything else? 

V: Nothing else V: You can just leave them outside my door 

A beat. Then Vincent sends:

V: Sorry to trouble you

Yves thinks of twenty responses he wants to send to that text. Then, thinking better of himself, he shuts his phone off and gets back to work.

—

It’s a little past seven when he finally checks out of the office.

Outside, the rain hasn’t even begun to let up—it falls, straight and heavy, in large, globular droplets. The streets gleam with water. Yves leaves his umbrella in the trunk, tunes out everything but the static of the rainfall, and drives.

Yves has only ever been to Vincent’s apartment once—to pick him up for the New Years’ party Margot hosted—and even then, Vincent had met him at the door. But he recognizes the unit, nonetheless.

For a moment, he considers leaving the folder of files outside of Vincent’s door and taking his leave.

But it’s windy, and he’s afraid the papers might fly away, torn up by the biting wind, and get lost face down in a puddle somewhere, which would defeat the purpose of him coming here in the first place, and would probably also breach some employee confidentiality policy. So instead, he knocks.

It’s silent for a moment. Rain beats down on the slanted rooftops, a constant thrum. 

Yves is about to reach out to knock again, when the door swings open.

There stands Vincent, in a pale blue hoodie and loose-fitting pajama pants, with neat rectangular cuffs.

He looks tired. It’s the first thing Yves registers—the unusual fatigue to his expression, which he can’t quite seem to blink away; the flush high on his cheekbones. The way he holds himself, his shoulders stiff, carefully, defensively; as if despite his exhaustion, there’s a part of him which wishes to appear presentable still.

It’s only a moment later that he’s taking a halting step back, ducking into a hoodie sleeve. Yves catches the shiver of his expression, his eyebrows pulling together, before it crumples, and his head jerks forward with a harsh—

“hHihh’GKkTT—! Hh-!! iHH-’DZZSCHh-uuUh!”

The second sneeze sounds louder and harsher than usual, even muffled into the fabric of his sleeve. It betrays his congestion all at once. 

“Bless you,” Yves says.

Vincent emerges, sniffling a little. When he speaks, he sounds a little hoarser than he did yesterday. “I thought I said you - snf-! - could leave them on the front step.”

“You did,” Yves says, glancing down at the folder in his hands. “But it’s windy, and it’s raining. I figured you’d prefer to have your files intact. How are you feeling?”

Vincent blinks at him. He’s leaning heavily against the doorframe, Yves realizes, one hand gripped tightly around the frame, his knuckles white from the pressure, as if it would take him too much effort to stay upright otherwise. 

“Alright,” he answers. “Thanks for making the trip here. I… it must’ve taken longer, in the rain.” He squeezes his eyes shut, as if his head hurts, as if the light coming from outside is exacerbating his headache. “If you ever need me to pick something up for you, I owe you.”

“You don’t owe me anything,” Yves says. Despite himself, he reaches up to press his hand against Vincent’s forehead.

The heat under his fingertips is alarming, to say the least. Yves blinks, lowering his hand, and tries to keep the worry out of his voice. “Have you taken your temperature?”

Vincent shakes his head. “I don’t think I have a thermometer.”

“Have you eaten, then?”

Vincent averts his glance, looking sheepish. “I… was planning to stop for groceries, yesterday,” he says. Planning to.

Yves thinks back to the elevator ride yesterday. Vincent had probably already been feeling very unwell, then. And yet, he’d talked with Yves as if nothing was out of the ordinary. I’m feeling a little off, he’d said, as if anything about his current affliction could possibly be characterized as “little.” I will see you tomorrow—as if he had really, genuinely been intending on showing up at work. 

“So I take it that there’s nothing in the fridge, either,” Yves says.

“If it’s any consolation, you’ll be pleased to know that I slept,” Vincent says, in lieu of answering.

Then he shivers—the sort of concerning, full-body shiver that is a little concerning, coming from someone who is usually unaffected by the cold—and Yves is immediately reminded that the door they’re speaking through is open.

“Can I come in?” he asks.

“You probably shouldn’t,” Vincent says, before his expression scrunches up, and he’s ducking away with a— “hh—! hHih-II—TSSCHHh-UH! snf-!”, smothered hurriedly into the palm of his hand. He sniffles, emerging with a slight wince. “This came on pretty quickly. It might be the flu.”

“It’s fine,” Yves says. “I got my flu shot in the winter. And anyways, I’ll be careful.”

Vincent is quiet, for a moment. Then, frowning, he says, “I’d feel terrible if you caught this.”

That’s the least of Yves’s worries—he doubts he’s going to catch this. Even if he does, it will just mean a few days off of work. Not the end of the world, by any means. Nothing to warrant the expression on Vincent’s face—Vincent looks upset, as if he’ll really can’t think of anything worse than Yves catching this. Like even the thought of it is worth being upset over.

Yves shakes his head. “Don’t worry about it, seriously.” He pushes past Vincent to step inside and shuts the door behind him. “Here, I’ll set these down on your desk. Where is it?”

“Down the hallway, to the left,” Vincent says.

Yves takes the folder, leaves his shoes at the door, and heads inside. 

Vincent’s bedroom is small and organized—it’s the kind of bedroom that’s tastefully minimal, in the sort of unified manner that implies that everything in it has been carefully arranged. There’s a small white desk in the corner, a stack of files arranged neatly next to Vincent’s laptop, its lid halfway to shut. There’s a bookshelf, leaned up against the wall far; the bottom shelf looks to be filled with textbooks; the top shelf lined with books, both in Korean and in English. The walls are painted slate gray, the carpets lining the floorboards picked out to match, and there are pale blue curtains hanging from the windows, pulled tightly shut.

There are signs here, too, of his illness, but they are subtle. A tissue box, nestled between his pillow and the headboard, half empty. A waste bin at the foot of the bed, conveniently in reach. A small bottle of aspirin on the bedside counter; an empty packet of cough drops sitting at the edge of his nightstand.

Yves sets the folder at the end of Vincent’s desk, next to the rest of his files, and turns to face him.

“You’re not going to work on these until you’re feeling better, right?” he asks.

“Only if I can’t sleep,” Vincent says, which Yves supposes is a satisfactory answer. Then he twists away, his eyebrows furrowing, lifting a loosely clenched fist to his face to cough, and cough. 

The cough is harsh and grating—his entire frame shudders with the force of it, his breaths shallow and raspy. He really sounds awful. This must have come on quickly, Yves thinks.

If it’s upsetting, seeing Vincent like this, it’s even worse to be standing here, in his room, doing nothing. So—if only to make himself useful, if only to convince himself that there’s something he can do—Yves ducks out into the kitchen.

The pantry is meticulously organized—glasses lined up in neat rows; stacks of bowls sorted by size. He fills a glass with water, shuts the cabinets, and takes it back to the bedroom. 

By the time he gets back, Vincent is sitting at the edge of his bed. His glasses are folded neatly, left at the very edge of the countertop.

“Here,” Yves says, crossing the room, holding out the glass for him to take. 

“Thanks,” Vincent says, taking it gingerly from him. He takes a small, tentative sip, and then another—his hands are a little shaky, Yves notices. “You - snf-! - should really go.”

“I’m not entirely convinced you’ll be fine on your own,” Yves says.

“Of course I will be,” Vincent says, with all of his usual certainty. He lays down, pulling the covers over his body. “I have been fine on my own for years.”

It’s meant to be reassuring, Yves supposes. But he doesn’t feel reassured in the least.

“Thank you again for bringing me the files,” Vincent says, at last, shutting his eyes.

“You could’ve asked me to get you groceries,” Yves says. “There’s a supermarket not far from here, right? And you’re out of cough drops.” He takes a few steps over, towards the desk in the corner of the room. “These—” He examines the bottle of ibuprofen on the table. “—are expired.”

“Just because you’ve extended this kindness to me,” Vincent tells him, “doesn’t mean I should take advantage of it.”

Yves blinks, a little taken aback. “It’s only groceries. I wouldn’t have minded, really.”

“See,” Vincent says, with a note of—something in his voice. It sounds a bit like resignation. “That’s just the kind of person you are.”

Yves doesn’t know what to say, to that. 

Before he can think up a fitting response, Vincent’s breathing evens out. Yves lets himself listen to the shallow, steady cadence of it. Lets himself acknowledge the heavy, painful feeling in his chest for just a moment. Then he shuts the lights off and heads back out into the hallway.

[ Part 2 ]

[khuuxu]

ODYSSEUS OF ITHACA 🗣🗣

... do you know who I am?