#i feel like i can't even say much about this book because it goes in such unexpected directions but i LOVEDDDDDD IT

[teasibby]

My thesis idea got approved and so far I am working on it under a wip name of "Storytelling and use of affects in Dungeons and Daddies". My first hypothesis is that Anthony's experience as a writer shines through in the base story and collective storytelling adds to that, with the dice bringing elements of improvisation and humour. That's all good, I am thriving with this section and it is so fun.

The part I am struggling is my second hypothesis is that each family represents some sort of conflict within them and each child represents an emotion. The dads need to face both, the emotion of the child and the conflict of the family before they can move on. The conflicts are handeled with a help of fantasy genre conventions. But this is where I am stuck in!

(The overanalytical drabbles of my ideas under the cut)

The Oaks are like super obviously dealing with a generational trauma that is a physical creature in the fantasy world. Lark and Sparrow are repserenting love and hate, both of them. The thing is that one internalises the hate and gives out love to cover it; one gets consumed by the hatered and aims it outside and is repulsed by the idea of love fixing everything.

The Stamplers on the other hand! The conflict starts out as Terry rejecting the idea of Ron as a "new father". He is grieving, not ready to let go of Terry sr. He goes through literally every step mentioned in Patrick Colm Hogan's book "What Literature Teaches Us about Emotion" (2011) So Terry represent grief, quite clearly. But that conflict is solved by the end of Saving Terry arc! The next conflict starts when we get to Ron's memories and we see how Ron never recieved parental love. It is being spelled out how Ron tries so hard to be something he never got to have; a safe father figure. But Ron doesn't have quite as clear conflict as Henry or say Darryl have, and I am struggling to put this thought out with fewer words.

Aaand The Willsons have such a good conflict and Grant says it out loud, thank you Anthony! They speak, but they never talk. Carol and Darryl's marriage is falling apart because they do not talk about the things that are bothering them. They are stuck to pretending that everything is okay, taxes mean sex and movienights are dates. Very safe, very mundane, very not passionate. Grant has never seen his father cry. When Yeet and Killa are discussing if Grant should kill someone or not, Grant says out loud the problem in their family "If my father has taught me anything, it's that we can always talk about it later." He is just 12, but Darryl forgets that very effectively. He guides Grant by framing close and serious matters to be more distant. ("Hey buddy, I need your help here a bit. Kill that chimera and we can make burgers, you'd like a burger, Yeet would like a burger yes?") Grant therefore represents distance and not being good enough. Darryl is very proud of his son, but never says it to his face in a way that would reach. The silence is also funnily enough incorporated into the fact that Frank's vision can't talk to Darryl.

Finally, The Closes. Where do I even start. So the conflict is the other parent dying. It affects both of these characters but neither of them is willing to face that feeling. They wrap it in a narrative of "We will do. It's fine, I'm cool, doesn't even bother me". Where Terry is allowed to grieve his father, Nick is not (by Nick, I think he denies it himself in order to please or impress or appeal to Glenn). Glenn doesn't do it either, because as we hear in the trials, he felt like Nick needed a strong father who had his shit together. The moment Morgan was gone, Glenn switched to a survival mode. They both describe their relationship to be buddy-like and "tight", they are very laid back. As much as Darryl, Glenn also tends to forget that Nick is like what, 12. I think Nick's need for a father can be found in his saving arc. He's so excited to have found a forest full of drug-flowers, because he knows Glenn likes that. He asks if they can "leave the others behind and stay here". The fantastic isn't scaring Nick, he sees it as an oppoturnity where Glenn isn't going away and he gets to be around him. But where I struggle is to put this in one emotion that Nick would represent. Is it seek of approval? Grief? Safety? Stability?

So... That's quite a lot. If you have any thoughts on the feelings or conflicts feel free to comment or slide into my DMs! I am not in the official discord but just know that if I were this would fly out there so fast. I also might not answer right away, I don't have this app on my phone lol.

I just need to get this out and I figured you might appreciate these more than my poor loved ones who don't even listen the podcast. My three hour yappings about each kid just goes straight through xd

[benevolenterrancy]

Scholarly peak is catching up on recent literature

[kingslionheart]

parents' incapability of apologising to their children should be studied

[phantajam]

my hot take about descendants is that NONE of the core four were ready for a relationship until maybe like, the third movie (rant in tags)

[eastofedean]

8i've been thinking about the last asks i got today. and i think it's better for me to take a step back from this account. i know the anon didn't mean anything by it, but i still feel like i am being a negative presence on here and weirding people out with who i am is nothing i want. so, i am not deleting or anything. i am just gonna be less present with sharing personal things or leaving tags. I'll probably be more active on my second account where i don't have that many followers :)

[leatherbookmark]

hopping around different blogs is fun.

a post on blog 1: i find it a little weird that -- don't get me wrong, the barbie movie looks great with all the doll-like details, i bet the actors had great fun and i'd like to see it myself, but -- people are getting excited about marketing of this movie. they're acting as though mattel's 3985* deals with 837* different companies are something new, exciting and creative instead of... 3985 deals with 837 companies spanning many different areas! this movie is a commercial for a doll! isn't this kinda weird?

*numbers made up

a post on blog 2: i don't think any sane adult doesn't realize that this is a toy commercial! it's rather obvious.

a post on blog 3: boo hoo 'the barbie movie is capitalist propaganda' i don't give a SHIT marx won't fuck you. did you do this for transformers too? do you think only stupid girls who like pink need the reminder?

like, oooooh! things are happening!

[libraryleopard]

Adult fantasy novel (sequel to The Unspoken Name/series conclusion)

After dying Belthandros Sethennai and stealing his magical gauntlets, Csorwe and Shuthmili have struck out to create a life of their own investigating relics from dead civilizations

When they awaken a dormant power, old gods begin stirring and threaten the fate of the worlds themselves

Lesbian main characters; F/F romance; Black, gay main character; nonbinary side character

[teaandspite]

The Great Goodreads Diss List (Part 1)

Context: For many years now, I have been collecting funny lines from Goodreads reviews to share with my coworkers. (I do collection development, reader's advisory, and weeding at a public library, so I read a LOT of reviews)

Are some of these, perhaps, rather mean? Yes, but they are also very funny, and come from a place of honest frustration. In the tradition of Bargepole threads and lists everywhere, names and titles have been censored.

"First, I want to say that I understand how hard it is to write a book and how amazing it is when it is actually published. Congrats to the author for that accomplishment. That said--"

"Warning: This review will be lengthy due to pure hatred."

"I found myself feeling really, really annoyed with the world that this book is allowed to exist. We live in a universe where the passenger pigeon is extinct but this book goes along merrily being read by unsuspecting lovers of words and ideas and stories? It just seems like too much, you know?"

"Don't do it. Don't spring the cash for the hardcover. Instead, eat an entire bag of Twizzlers, spend some money you don't have at a high-end department store, look up on Facebook the shady college boyfriend that made you cry, research the current value of your home or 401K and then read all about how the big hedge fund managers are faring during the economic crisis. You'll feel about the same stomach pain if you waste your time reading this book."

"This wretched novel begins with the mugging of an old lady and it appears I may be in the process of repeating that loathsome crime as [author] was 78 when she wrote it. It is not nice to put the boot into such a poor defenseless old creature lying there with only a damehood, a Booker Prize and a few million quid. It’s a nasty job but somebody has to do it."

"I think this is the way dead people would write, if they could."

"I am considering setting up SPABB: Society for the Protection of Accurate Book Blurb. This blurb appears to have been written by someone from the publishers who met [the author] the night before, got very drunk, lost his notes and then constructed something in a fug of hangover the next morning."

"I congratulate [the author] on the early half of his book, which was thoroughly fun and made me laugh and think. I congratulate [the author] on the second half of his book, for finishing it. It reads like that was difficult."

"…a woman whose taste in contemporary literature has roughly the same batting average as a pitcher in the National League."

"The author is a pompous windbag."

"Recommends it for: No one. Recommended to me by: A friend who apparently wished to cause me great suffering."

"Makes me wonder: is it possible to obtain similes at a volume discount?"

"The repeated phrases made me want to mail a thesaurus to the author."

"I'm disappointed in myself for finishing this book."

"if the author described [character's] eyes as "obsidian" one more time I was tempted to write her and ask if her thesaurus broke."

"They say that an infinite number of monkeys with an infinite number of typewriters would, if given infinite time, eventually produce the complete works of William Shakespeare. [This book], on the other hand, would probably take the average monkey just under two hours."

"I can't imagine what the author had to do to get this nadir of Western literature printed on innocent trees, but he does seem to know a LOT about being well-connected in New York."

"This book is so bad it is almost worth reading just to make you appreciate the other books you are reading."

"Reads like it was written by a brilliant author, the night before it was due."

"raises interesting questions, like: can a book be so bad as to constitute an act of terrorism"

"has this author ever spoken to a human woman"

"This acorn has fallen so far from the tree that it can’t even see the forest."

"I’m guessing they are touted as ‘beach reads’ because no one will care if they get dropped into the ocean."

"This book begins with all the energy of a hand vacuum near the end of its battery life, and the pace doesn't quicken much from there."

"At least everybody’s eyes stayed the same color this time around.”

Part 2

Part 3

[julymusings]

Jason Todd x Single Mom!Reader

I've been plagued for many months now by the idea of jason todd x young single mom!reader. I literally made this blog this morning just to post this

this is so LONG try as i might to shorten it i've been itching to get all this out of me so enjoy this word vomit i might just make a full fic if i'm feeling extra frisky

You got pregnant in college, and now you’re fresh out of grad school moving to a new city with your 3 year old daughter

You got a job at Wayne Enterprises, leading an important new project. You and your colleagues are invited to the latest Wayne Gala, hosted at the billionaire’s own manor. All these years as a young mother and a student, you hadn’t any experience with such extravagance-- how could you say no?

the party lowkey sucks because it's all old rich people so you sneak out to a balcony where you find a young man drinking whiskey and texting on his phone.

he introduces himself as jason, and his hand is rough and calloused when you shake it, but it's warm and sends a tingle up your arm. (😏)

You chat about your work, he complains about the stuffiness of a life at Wayne Enterprises and you laugh when he warns you to get out while you can (he's joking, of course. not because he thinks it's worth staying but because if you leave he'd never be able to hear that adorable laugh again)

when you go off on a tangent about how excited you are for your project, he's not even listening anymore. the sheer passion that lights up your face has his mind going fuzzy and a full orchestra playing in the background

you're pulled back in before he can get your number :( he's so mopey all weekend he doesn't even have it in him to retaliate when damian makes fun of him for having pink pony club as his top song for this month :(

when you get home your email is flooded with warnings from other parents at your daughter's daycare about a lice scare?? okay, you think, she's definitely not going on monday, you can just bring her to work with you, right? what's the worst that could happen?

the following monday he just happens to show up at the office (He can't just stop by to say hi to his brother who he loves?) (tim calls security almost immediately)

you're not at your cubicle (in a meeting, your desk neighbor informs him) so he mills about the floor like a lost puppy just waiting for you to show up so he can "accidentally" run into you

the woman at the front desk has a chair pulled up next to hers where this little girl with pigtails is sitting, trying to console her as tears stream down her face

jason springs into action, kneeling in front of her chair to ask what's wrong

she just sniffles and holds up her stuffed animal, an elephant whose button eye has popped out, the woman watching her trying to get her to hand it over so she can sew it back on but she wont let go

he goes full grey's anatomy, fussing over the toy like it's in mortal peril and complimenting her for being so brave before gently asking if he can try to fix it

she lets him take it and he uses the woman's travel sewing kit to stitch it back on

she's ecstatic, leaping forward into his arms to give him a big hug

but now she won't let him leave because no he has to have a conversation with the elephant first and introduce himself and give it post-surgery care instructions and listen to it talk about how much she it wants a puppy and he feels like such an idiot talking to that thing but anything to make this little girl smile

she pulls a little picture book from the backpack hung on the back of her chair and asks him to read with her and he can't just say no!

so he plops down on the tile floor and starts reading out loud and even though she's standing next to him craning her neck to see the pictures he's a head taller than her

when you finish your meeting and head back to the front desk to thank gretchen for watching your kid the sight you see makes your heart absolutely melt

jason and your daughter are sitting criss-cross applesauce on the floor of Wayne Enterprises as he reads to her, and he's pulling out all the stops, he's doing voices, sound effects, and she's giggling so hard she can't sit up straight

but then they both finally notice you

"mommy!" she yells, running to you and wrapping herself around your leg

you're surprised to see him, but definitely not disappointed, and if what you just walked in on indicated anything, it was that you wanted, nay, needed this man

so now you're flushed and hopeful, mind running with possibilities of why he's here; could it be? he couldn't stop thinking about you either? he came all the way to ask you out?

but jason is also surprised, astounded even, by the miniature carbon copy clinging to your leg saying something about scooby snacks

he's freaking out on the inside

through a tight-lipped greeting he excuses himself with what he hopes is a neutral demeanor (spoiler alert: it's not) and goes home to think

and you obviously know exactly what that was about, one doesn't go through pregnancy at 19 without becoming well-acquainted with the whole catalogue of surprised/judgy reactions

of course you're a mess because the early/mid 20s dating scene is hard enough as it is but with a toddler? forget it, might as well just give up now

you go home to call your best friend and get drunk over face time while she assures you that men aint shit and offers to put a curse on him (you consider it, but how are you supposed to get a lock of his hair?)

he's up all night hating himself for being such an asshole and trying to come up with a scenario in which this works, in which he can have you in his life and also a child and be the red hood because he can't stop thinking about you

so then he just says fuck it and the next morning he shows up at your office with flowers and a puppy stuffed animal and finally asks you out

[wifelinkmtg]

TUMBLR POST EDITOR WON'T LET ME TITLE THIS POST ANYMORE SO I GUESS THIS IS THE TITLE NOW. WEBBED SITE INNIT

So let's say you grew up in the nineties and that The Lion King was an important movie to you. Let's say that the character of Scar - snarling, ambitious, condescending, effeminate Scar - stirred feelings in you which you had no words for as a child. And then let's say, many years later, you're talking about it with a college friend, and you say something like, "oh man, I think Scar was some sort of gay awakening for me," and she fixes you with this level stare and says, "Scar was a fascist. What's the matter with you?"

The immediate feeling is not unlike missing a step: hang on, what's happening, what did I miss? You knew there were goose-stepping hyenas in "Be Prepared," but you didn't think it mattered that much. He's the bad guy, after all, and the movie's just pointing it out. Your friend says it's more than that: the visuals of the song are directly referencing the Nuremberg rallies. They're practically an homage to Riefenstahl. This was your sexual awakening? Is this why you're so into peaked caps and leather, then? Subliminal nazi kink, perhaps?

And then one of your other friends cuts in. "Hold up," he says, "let's think about what Scar actually did in the movie. He organized a group of racialized outcasts and led them against a predatory monarchy. Why are you so keen to defend their hereditary rule? Scar's the good guy here." The conversation immediately descends into a verbal slap fight about who the real bad guy is, whether Scar's regime was actually responsible for the ecological devastation of the Pride Lands, whether the hyenas actually count as "racialized" because James Earl Jones voiced Mufasa after all. Your Catholic friend starts saying some strange and frankly concerning shit about Natural Law. Someone brings The Lion King 2 into it. You leave the conversation feeling a little bit lost and a little bit anxious. What were we even talking about?

INTRODUCING: THE DITCH

There is a way of reading texts which I'm afraid is pervasive, which has as its most classical expression the smug obsession with trivia and minutiae you find in a certain vein of comic book fan. "Who was the first Green Lantern? What was his weakness? Do you even know the Green Lantern Oath?" It eschews the subjective in favor of definitively knowable fact. You can't argue with this guy that, say, Alan Scott shouldn't really count as the first Green Lantern because his whole deal is so radically different from the Hal Jordan/John Stewart/Guy Gardner Corps-era Lanterns, because this guy will simply say "but he's called Green Lantern. Says so right on the cover. Checkmate." This approach to reading a text is fundamentally 1) emotionally detached (there's a reason the joke goes, oh you like X band? name three of their songs - and not, which of their songs means the most to you? which of them came into your life at exactly the right moment to tell you exactly what you needed to hear just then?) and 2) defensive. It's a stance that is designed not to lose arguments. It says so right on the cover. Checkmate.

And then you get the guys who are like "well obviously Bruce Wayne could do far more as a billionaire to solve societal problems by using his tremendous wealth to address systemic issues instead of dressing up as a bat and punching mental patients in the head," and these guys have half a point but they're basically in the same ditch butting heads with the "well, actually" guys, and can we not simply extricate ourselves from the ditch entirely?

So, okay, let's return to our initial example. Scar is portrayed using Nazi iconography - the goose-stepping, the monumentality, the Nuremberg Lichtdom. He is also flamboyant and effete. He unifies and leads a group of downtrodden exiles to overthrow an absolute monarch. He's also a self-serving despot on whose rule Heaven Itself turns its back. You can't reconcile these things from within the ditch - or if you can, the attempt is likely to be ad-hoc supposition and duct tape.

Instead, let's ask ourselves what perspective The Lion King is coming from. What does it say is true about the world? What are its precepts, its axioms?

There is a natural hierarchical order to the world. This is just and righteous and the way of things, and attempts to overthrow this order will be punished severely by the world itself.

Fascism is what happens when evil men attempt to usurp this natural order with the aid of a group or groups of people who refuse to accept their place in the order.

There exists an alternative to defending and adhering to one's place in the natural order - it consists only of selfish spineless apathy.

Manliness is an essential quality of a just ruler. Unmanliness renders a person unfit for rule, and often resentful and dangerous as well.

And isn't that interesting, laid out like that? It renders the entire argument about the movie irrelevant (except for whatever your Catholic friend was on about, since his understanding of the world seems to line up with the above precepts weirdly well.) It's meaningless to argue about whether Scar was a secret hero or a fascist, when the movie doesn't understand fascism and has a damn-near alien view of what good and evil are.

There's always gonna be someone who, having read this far, wants to reply, "so, what? The Lion King is a bad movie and the people who made it were homophobes and also American monarchists, somehow? And anyone who likes it is also some sort of gay-bashing crypto-authoritarian?" To which I have to reply, man, c'mon, get out of the ditch. You're no good to anyone in there. Take my hand. I'm going to pull on three. One... two...

SO PHYREXIA [PAUSE FOR APPLAUSE, GROANS]

We're talking about everyone's favorite ichor-drooling surgery monsters again because there was a bit in my ~*~seminal~*~ essay Transformation, Horror, Eros, Phyrexia which seemed to give a number of readers quite a bit of trouble: namely, the idea that while Phyrexia is textually fascist, their aesthetic is incompatible with real-world fascism, and further, that this aesthetic incompatibility in some way outweighs the ways in which they act like a fascist nation in terms of how we think of them. I'll take responsibility here: I don't think that point is at all clear or well-argued in that essay. What I was trying to articulate was that the text of Magic: the Gathering very much wants Phyrexia to be supremely evil and dangerous fascists, because that makes for effective antagonists, but in the process of constructing that, it's accidentally encoded a whole bunch of fascinating presuppositions that end up working at cross-purposes with its apparent aim. That's... not that much clearer, is it? Hmm. Why don't I just show you what I mean?

Atraxa, Grand Unifier (art by Marta Nael)

In "Beneath Eyes Unblinking," one of the March of the Machine stories by K. Arsenault Rivera, there's a fascinating and I think revealing passage in which Atraxa (big-deal Phyrexianized angel and Elesh Norn's lieutenant) has a run-in with an art museum in New Capenna. The first thing I want to talk about is that, in this passage, Atraxa has no understanding of the concept of "beauty". A great deal of space in such a rushed storyline is devoted to her trying to puzzle out what beauty means and interrogating the minds of her recently-compleated Capennan aesthetes to try and understand it. In the end, she is unable to conceive of beauty except as "wrongness," as anathema.

So my first question is, why doesn't Atraxa have any idea of beauty? This is nonsense, right? We could point to a previous story, "A Garden of Flesh," by Lora Gray, in which Elesh Norn explicitly thinks in terms of beauty, but that's a little bit ditchbound, isn't it? The better argument is to simply look at Phyrexian bodies, at the Phyrexian landscape, all of which looks the way it does on purpose, all of which has been shaped in accordance with the very real aesthetic preferences of Phyrexians. How you could look at the Fair Basilica and not understand that Phyrexians most definitely have an idea of beauty, even if you personally disagree with it, is baffling. This is a lot like the canonical assertion that Phyrexians lack souls, which is both contradicted elsewhere in canon and essentially meaningless, given Magic's unwillingness or inability to articulate what a soul is in its setting, and as with this, it seems the goal is simply to dehumanize Phyrexians, to render them alien, even at the cost of incoherence or internal contradiction.

Atraxa's progress through the museum is fascinating. It evokes the 1937 Nazi exhibit on "degenerate art" in Munich, but not at all cleanly. The first exhibit, which is of representational art, she angrily destroys for being too individualistic (a point of dissonance with the European fascist movements of the 20th century, which formed in direct antagonism to communism.) The second exhibit, filled with abstract paintings and sculptures, she destroys even more angrily for having no conceivable use (this is much more in line with the Nazi idea of "degenerate art", so well done there.) The third exhibit is filled with war trophies and reconstructions from a failed Phyrexian invasion of Capenna many years prior, which she is angriest of all with (and fair enough, I suppose.) But then, after she's done completely trashing the place, she spots a number of angel statues on the cathedral across the plaza, and she goes apeshit. In a fugue of white-hot rage, she pulverizes the angel heads, and here is where I have to ask my second question:

Why angels? If you are trying to invoke fascist attitudes toward art, big statues of angels are precisely the wrong thing for your fascist analogues to hate. Fascists love monumental, heroic representations of superhuman perfection. It's practically their whole aesthetic deal. I understand that we're foreshadowing the imminent defeat of Phyrexia at the hands of legions of angels and a multiversal proliferation of angel juice, but that just leads to the exact same question: why angels? To the best of my knowledge, the Phyrexian weakness to New Capennan angel juice is something invented for this storyline. They have, after all, been happily compleating angels since 1997. We could talk about the in-universe justification for why Halo specifically is so potent, but I don't remember what that justification is, and also don't care. Let's not jump back in the ditch, please. The point is, someone decided that this time, Phyrexia would be defeated by an angelic host, and what does that mean? What is the text trying to say? What are its precepts and axioms?

Let me ask you a question: how many physically disabled angels are there in Magic: the Gathering? How about transsexual angels? How many angels are there, on all of the cards that have ever been printed for Magic: the Gathering, that are even just a bit ugly? Do you get it yet? Or do you need me to spell it out for you?

SPELLING IT OUT FOR YOU

There is a kind of body which is bad. It is bad because it has been significantly altered from its natural state, and it is bad because it is repellent to our aesthetic sensibilities.

The bad kind of body is contagious. It spreads through contact. Sometimes people we love are infected, and then they become the bad kind of body too.

There is a kind of body which is good. It is good because it is pleasing to our aesthetic sensibilities, and it is good because it is unaltered from its (super)natural state.

A happy ending is when all the good bodies destroy or drive into hiding all of the bad bodies. A happy ending is when the bad bodies of the people we love are forcibly returned to being the good kind of body.

Do you get it now?

ENDNOTES

It's worth noting that the ditch is very similar to the white American Evangelical hermeneutics of "the Bible says it. I believe it. That settles it," the defensive chapter-and-verse-or-it-didn't-happen approach to reading a text, what Fred Clark of slacktivist calls "concordance-ism". I don't think that's accidental. We stand underneath centuries of people reading the Bible very poorly - how could that not affect how we read things today? We are participants in history whether we like it or not.

I sincerely hope I haven't come across as condescending in this essay. Close reading is legitimately difficult! They teach college courses on this stuff! And while it is frustrating to have my close readings interrogated by people who... aren't doing that, like. I do get it. I find myself back in the ditch all the time. This stuff is hard. It is also, sorry, crucial if you intend to say something about a text that's worth saying.

I also hope I've communicated clearly here. Magic story is sufficiently incoherent that trying to develop a thesis about it often feels like trying to nail jello to the wall. If anyone has questions, please ask them! And thank you for reading. Next time, we'll probably do the new Eldraine set.

[prael]

Day 5: Comfort

Newjeans Hanni x male reader smut

words: 9,650 12 Days of Praelmas Masterlist

Spotting a face in a crowd is like watching lightning. There's a moment that captivates you and then it disappears. You're not even sure where to look for it. It happens in an instant, but when that instant is over, you're not sure if it ever really happened at all.

That is life with Hanni.

She might well be sitting here now, on your couch, with her knees pressed against her chest and a mug of hot cocoa in her hands, but in another moment she will be gone and you will be alone again. The warmth of her body will linger on the cushions beside you. You will press your hand into it, but it will fade. And then there will only be her image in your mind and the memory of her voice.

She is always so busy, and you are always waiting.

"I need a break," she says, and this time, her voice is not in the past, but in the present.

You blink, pulled from your thoughts, and look up at her. She's watching you, her dark eyes soft. She's smiling. You don't know how long you've been staring into space. "Sorry," you say, "what?"

Hanni laughs softly, reaching out and taking your hand. Her skin is soft, unblemished, and her nails manicured. Her fingers are slim and dainty, but there's a surprising strength in them. "I said I need a break," she says, and then she squeezes your hand. "So let's go somewhere."

You don't have to think about it. "Where do you want to go?"

"I don't know," Hanni says, and her smile grows wider. "Anywhere."

Anywhere.

-

The thing about the coast, the beach, the sea, is that it really goes well with sunshine and especially poorly with the winter. There is something about the ocean and the beach in the winter that is a bit depressing, and yet at the same time, that makes it feel more comfortable, more like you can imagine it as your own. You can walk on the beach without the crowds of summer. The waves are high, the water is cold, the sand is wet and hard, and the wind is sharp and biting, but there's a sense of adventure to it.

"It just doesn't seem to end," Hanni is explaining as you walk side-by-side, wrapped in padded coats and gloves, with thick hats and boots, "It just never seems to stop. It just keeps going. It's the same thing every single day. I wake up. I go to work. I do what I'm supposed to do. I go home. I sleep. I do it again the next day."

You nod, though you can't even pretend to understand it.

"Do you want to know what the worst part is?" she asks.

You nod again. "Of course," you say.

"The worst part is that I'm not even unhappy," Hanni says, looking at you with a smile that bears mixed emotions, "I love it. I just want something more."

"I think that's normal," you say. "It's like how when you finish a book, or a movie, or a TV series, you're sad that it's over, but you're happy that you finished it, and then you start thinking about what to watch next, or what to read next. It's like that."

You wonder if that makes sense.

Hanni nods slowly, and thoughtfully, as though she's taking the time to consider your words. "Yeah," she agrees, and then she laughs, "but sometimes I don't know if I want to finish the book. Sometimes I just want to skip to the end, so I can see what happens, you know?"

You don't. Maybe it's because life is much simpler outside of the spotlight. You don't have to wonder what happens next. What happens next is the same as what always happens. Work. Salary. Bills. Responsibility. It's the same thing, over and over again.

Actually, the only days you get to break the mould, are the days that Hanni is there with you. That is what happens next.

You don't tell her that. You don't think she would be all that impressed with your answer, given what she had said. So you don't say anything at all.

-

Vacationing in temperatures nearing freezing is hard, and the later it gets, the harder it becomes. Yet, the sky is so clear that the stars shine like a million little diamonds, and the moon hangs low and fat in the sky, casting a pale silver light over everything. In that, there's unmatched beauty. On this rooftop cafe, you can almost see the universe in full.

It took a little convincing for the owner downstairs to even open the roof. He called you a few variations of insane for not wanting to cosy up inside the warmth of the cafe. But you, and Hanni, are nothing if not determined. So here you are, on the roof, on the balcony, looking at the sky, at the stars, and the moon. It's a beautiful night, and there's no better place to be on earth.

"I like this," Hanni says, leaning into your side. "You're always good at coming up with ideas."

"I don't know if this is really an idea," you say with a laugh. "It's just sitting on a roof."

"Yeah, but that's the best part. It's just sitting on a roof." Hanni looks at you, her dark eyes glittering in the moonlight. "It's not fancy. It's not expensive. It's just us, on a roof."

"Okay, that's a fair point," you say, and then you laugh again.

You look out over the city, at the twinkling lights, at the stars, at the moon. You take a deep breath of cool air and let it fill your lungs.

"Hey," Hanni says, "I have a question."

You glance back at her. "Shoot."

"Why are we friends?" she asks.

"Wow, deep question," you joke, trying to lighten the mood, but Hanni doesn't laugh. "Um," you say, "Well, I mean, we grew up together, didn't we?"

"Yeah, but we're not kids anymore," she says. "We're adults now. We have lives. Jobs. Responsibilities. I'm an idol and I disappear for months on end. And when I come back, I always just drop in on you and expect you to be there for me, and you are. Every time. Why is that?"

"I don't know," you admit. "I guess I just... I just like you. I always have."

"You don't get sick of me?"

You shrug. "Sometimes, when you do that thing where you hum real loud, I want to strangle you."

It brings about a shared laugh. That right there; if you capture that moment and bottle it, you would present it to her as the reason. Because no matter how long she's gone, and no matter what happens, when she's here and you are laughing together, it feels like home. You don't need to be anywhere or do anything in particular. It's enough just to be.

Hanni shuffles closer, leaning further into your side. "You're my best friend, you know that?"

You nod, your heart swelling. "Yeah," you say, your voice quiet, "I know."

-

You've always been a sucker for romance, but you also recognise that the real world doesn't work that way. Romance is the domain of fiction, of books, of movies, of the stage, of the screen. In the real world, things are messy and complicated and sometimes they don't work out. And that's okay. It's not a tragedy. It's not the end of the world. It's just the way things are.

It's why you can spend time with a girl who's beautiful and talented and smart and funny, without getting caught up in the fantasy that she's going to fall in love with you and sweep you off your feet and carry you into the sunset, or whatever. You've seen enough romantic comedies to know how those stories go, and you know how they end. In the real world, the best you can hope for is friendship, and even that is something to be grateful for. Especially when it's Hanni.

"Which book is that?" Hanni asks as she steps out of the bathroom, wrapped in a towel and followed by a plume of steam. Her hair hangs wet and heavy around her shoulders, dripping onto the floor. The hotel room is nice, but it's nothing too fancy. You're sure Hanni is used to better.

You look at her for a moment, then close the book in your lap. It's in these pages, that those romance stories play out, or so you tell yourself. "It's nothing," you say. "Just some trashy novel."

She sits on the edge of the bed, her eyes on you. "Is it any good?" she asks. You're not sure if she's interested or just making conversation, but you answer anyway.

"I mean, it's not great literature or anything," you say, "but it's entertaining enough."

"I wouldn't have taken you for the type of person to read romance. I remember you being obsessed with... um... Who was that one author? Michael Connely? It was all detectives and crime."

"Guilty pleasure, I guess."

"What's it about?" Hanni asks. "The book."

You glance down at the cover, which shows a young woman in a flowing dress standing on a cliff, overlooking the sea. The title is in a fancy script, and the author's name is printed beneath it. You shrug. "It's about a girl who's an artist, and she meets this guy, and they have this whirlwind romance."

"And then they get married and have kids and live happily ever after?"

You laugh softly. "No, not quite," you say. "They have a lot of sex, but then they fight all the time and it's messy and dramatic."

"Then what?"

"I don't know, I haven't finished it yet."

"I bet they get back together," she says. "That's always how these things end, right? They have a big fight and then they get back together and it's all sunshine and rainbows."

"I don't know," you say. "Maybe. Probably. It's fiction."

Hanni laughs, shaking her head. "You're so cynical."

"I'm not cynical," you protest. "I'm just realistic."

"Right, right, of course." She stands, moving to the bag of clothes at the foot of the bed, and begins to rummage through it. She pulls out a pair of shorts and a top. "I'm going to get dressed," she says, and then she disappears into the bathroom again, closing the door behind her.

When she emerges, she's wearing a pair of tight black shorts that hug her hips and a white tank top that clings to her curves. Her hair is still damp, and it falls around her shoulders in dark waves. She looks good, and you can't help but admire her. She's beautiful.

You can tell she's aware of the attention, but she ignores it, instead flopping onto the bed beside you and letting out a sigh. "What are we going to do tomorrow?" she asks.

"I was thinking we could just drive up the coast," you suggest. "Maybe stop off in some of the little towns along the way, and see if there's anything interesting."

"Sounds good," she says, and then she rolls onto her side, her head propped up on her hand, looking at you. "You know, you're the first person I thought of when I said I needed a break."

"Really?"

"Yeah. I don't know why, but I just knew that if I could get away with anyone, it would be you."

"Thanks," you say. You're not sure how to respond to that, but it makes you feel warm inside. "I'm glad I could help."

-

The small towns are wholly uninteresting, but Hanni seems to find something to enjoy in every one of them. There is something about seeing the world through her eyes that makes even the most mundane things seem magical. A little store selling handmade trinkets and cheap souvenirs becomes a treasure trove of hidden gems. An old man playing guitar in the park becomes a musician worth listening to. An old, crumbling building becomes a palace of mystery and intrigue. The world comes alive when Hanni is around, and you can't help but be swept up in it.

You're on the last leg now, and you agreed to drive her home. It's late in the afternoon, the sun is low in the sky, and the horizon is a watercolour painting of pinks, oranges, and purples. It's a beautiful sight, and it makes you think of the painting that Hanni bought earlier. You're not sure what she saw in it, but she seemed to love it, and that's all that matters. She's asleep beside you, her head resting against the window, her breathing slow and steady. She's exhausted, and you don't blame her. She's been going non-stop for the past few days, and you're glad that she finally has a chance to rest.

You pull up outside her place and gently shake her awake. She stirs and blinks up at you, her eyes still heavy with sleep, and she smiles. "Hey," she murmurs, and her voice is soft and husky.

"Hey," you say. "We're here. You're home."

Hanni sits up, rubbing her eyes and stretching. "Already?" she asks. "I didn't mean to sleep the whole way."

"It's okay," you assure her. "Part of taking a break is getting some rest."

She nods, but she doesn't look happy. "I know, but I feel like I missed out on something." She looks at you. "Thank you for driving me home. I'm sorry for being such a pain in the ass."

"It's okay," you assure her. "You're always a pain in the ass. I'm used to it by now."

She laughs, but there's a tinge of sadness to it. "Yeah," she says, and then she glances away. Her voice is soft and hesitant. "Are you going to come inside?"

"I can help you with your bag."

"I was thinking more than just that." Her eyes meet yours. "Stay for a bit. I don't want to say goodbye just yet."

"I don't want to intrude," you tell her, knowing that there are four other girls in her place and it's their place as much as it is Hanni's. "Besides, it's getting late."

She reaches over and takes your hand, holding it tightly. "Please."

"Okay," you say, and you can't help but smile at her. "I'll stay for a bit."

It's the first time you've seen the inside of this place, but it's a lot nicer than your little apartment. It's spacious and modern, with a large kitchen and a living room that opens onto a balcony with a view of the city. It's the sort of place you would never be able to afford, but Hanni seems to fit in here perfectly.

There's a girl sprawled out on the couch, eyes closed, earbuds in her ears. You recognize her, from posters and interviews and magazine covers, and music videos. Her name is Minji, and she's got long, dark hair that falls in waves down her back. She's tall and pretty, with a slim build and a face that's both elegant and expressive. She looks like a model, but she's also an idol, a singer, and a dancer. It's a little intimidating.

"Better not wake her," Hanni says. "She gets cranky when she's tired."

You nod. "Right."

"Come on, let's go to my room. We can talk there."

You follow her down a hallway and into a bedroom that's big and bright, with a view of the city. It's tastefully decorated, with a bed that's bigger than yours, a dresser that's bigger than yours, and a desk that's bigger than yours. Everything is bigger here, and you can't help but feel a little out of place.

"I like it in here," you say. "It's nice."

"Thanks," she says, dropping a bag in the corner and you follow her by placing the two you were carrying.

There's a faint sound coming through the wall. Music that you can't quite make out, but it sounds upbeat and peppy. You can hear the bass thumping, and the occasional high-pitched voice singing along.

"That's Dani," Hanni says, sitting on the edge of the bed. "She's always playing music. It drives Minji nuts."

You laugh, leaning against the dresser. "It's kind of cute."

"Yeah, it is. She's a sweetheart." Hanni leans back on her hands, looking at you. "I can't believe this is the first time you've seen where I live."

"It's a nice place," you say. "I'm sure you're comfortable here."

"It's not bad." She shrugs. "It's not really mine, though. I mean, it is, but it's also not. You know what I mean?"

You don't, but you nod anyway.

Hanni sighs, running a hand through her hair. "You should visit more," Hanni says while taking off her jacket, reducing her clothing back down to just that tight white tank top now that she's back in the warmth of her room.

You can't help but look at her, admiring the way her body moves, the way her skin glows in the light. You can't help but want to touch her, to feel her warmth. "I don't know," you say. "I would be kind of out of place."

"You wouldn't be," she says, and her voice is firm. "I miss you."

"I miss you too," you say, and it's true. You miss her all the time, even when she's right here in front of you. You miss her smile, her laugh, her scent.

She looks up at you, her eyes wide and searching. "Do you think about me when I'm gone?" she asks.

"Of course," you say, and you can't help but smile. "All the time."

She smiles, and it's like the sun coming out from behind the clouds. "Good." She stands, walking over to you, and you can smell her shampoo, her perfume, her skin. She reaches out, touching your face, running her fingers over your cheek. "I'm glad," she whispers, and then she leans in and presses her lips to yours.

It's a gentle kiss, soft and sweet, and it lingers for a moment before she pulls away. You're frozen in this moment, unable to think, unable to speak, unable to breathe. You're not sure what just happened, or why it happened, or what it means, or what you should do next.

"I'm sorry," she says, stepping back. "I shouldn't have done that."

"It's okay," you say, and it is. It truly is. You don't know why, but it is. You want to kiss her again, to hold her close, to feel her warmth.

"I just... I don't know," she says. "I've been thinking about it for a while, and I just... I don't know."

"It's okay," you say again, and you reach out and take her hand, holding it tight. You look into her eyes. "I'm glad you did."

She looks up at you, and her eyes are wide and searching. "Really?"

"Really." You squeeze her hand. "I'm glad."

"Good," she whispers, and then she leans in again and kisses you. This time, you kiss her back. You wrap your arms around her, pulling her close, holding her tight. You can feel her heart beating against your chest, and it's a steady, reassuring rhythm. She tastes of strawberry lip gloss and you can't get enough of it.

You've known Hanni for years, and you've been friends for years, and you've been best friends for years. But it's never been like this. It's never been this close, this intimate, this real. You've never been able to touch her like this, to kiss her like this, to hold her like this. And it feels amazing.

You're not sure how long you stand there, kissing, holding each other, but eventually you break apart and look at each other, smiling.

"What are we doing?" she asks, her voice low and husky.

"I don't know," you admit. "But I like it."

"Me too." She smiles, and it's the most beautiful thing you've ever seen. "Can I tell you something? It's been on my mind for two days now."

You nod, and she takes a deep breath before continuing.

"I've been thinking about you a lot lately," she says. "A lot. I mean, I've always thought about you, but now it's different. Now it's like I can't stop thinking about you. Well, I can, but not for long."

She's stumbling over her words, and you can't help but find it cute. You reach up and brush a strand of hair out of her face, and she smiles at you.

"I don't know what it means," she says. "I'm not sure if I want it to mean anything. I'm not sure if I'm ready for it to mean anything. I'm not sure if I'm even ready to think about what it might mean." She laughs, and it's a nervous laugh, and you can tell she's struggling to find the right words. "I guess I'm just saying that I'm not sure what I want, but I know that I want to be with you. And I'm not sure if that makes any sense, but it's how I feel."

"It makes perfect sense," you say, and you mean it. You know exactly what she means. You've felt the same way.

"I'm scared," she says. "This feeling is new. It's exciting. But it's scary, too. I'm not sure what to do. I don't want to ruin our friendship. But at the same time, I want more. I want to be with you. And I don't know how to do that."

"It's okay," you tell her. "We'll figure it out together."

She smiles, and it's a shy smile, but it's genuine. "So you're not going to run away?" she asks.

"No," you say. "No, I'm not."

"Good," she says. "Because I don't think I could handle that."

You laugh, and she laughs with you, and it's the most natural thing in the world. You can feel the tension between you start to ease, and you relax into each other, holding each other close. You kiss her again, and this time it's a little less hesitant, a little less unsure. You kiss her, and you let yourself fall into her, and you let yourself forget about everything else, and you let yourself just enjoy the moment. You kiss her, and you feel her arms wrap around you, and you feel her body press against yours, and you feel her warmth, and her softness, and her strength. You kiss her, and you feel your heart race, and you feel your blood rush, and you feel your skin flush, and you feel your head spin.

And when you finally break away, breathless and dizzy, she's looking at you with a mixture of wonder and desire and something else that you can't quite put your finger on. But it's a good look. It's a look that makes you feel happy, and excited, and scared, and alive.

"So what now?" you ask.

"I don't know," she says. "I've never done this before."

"Neither have I," you admit.

"Well, uh..." she trails off, looking away. "I guess we can just keep doing what we're doing, but like, over there." She points to her bed, and you can't help but chuckle.

"I like that idea," you say, before pulling off your jacket.

"Woah, what are you—?"

"It's just my jacket, I'm not..."

You both laugh and Hanni does that thing where she covers her face with her palms and shakes her head.

"Okay, I'm an idiot," she says, before throwing herself backwards onto her bed.

You approach her, but you're still nervous. You place a knee on the bed, move closer to her, and lean over her. She looks up at you, and her eyes are wide and bright, and full of emotion. You lean down and kiss her, and this time, there's no hesitation, no fear, no doubt. This time, it's a kiss of passion.

You sink into her as the kiss deepens, and you feel her hands on your back, pulling you closer, pressing you against her. You feel her tongue slide against yours, and then you taste her mouth, and it's a taste that you want more of. You taste her, and you smell her, and you feel her.

All you can do is what comes naturally, so next you're moving your hand from the bed and onto her hip, and slowly moving it along her waist, sliding it under her top. Her body tenses slightly as the palm of your hand touches her soft, warm skin.

"Are you okay?" you ask between kisses.

"Yes," she says, and the look in her eyes tells you the same. "Don't stop."

So you don't. You keep kissing her, touching her and exploring her. Your hand moves up her side, feeling the curve of her waist, and the rise of her ribcage. You brush the edge of her bra and hesitate, but then her hand reaches for yours and guides it under the fabric. You feel her breast against your palm, soft and warm and firm, and you feel her nipple, hard and erect, and you feel her tremble beneath you.

"You're beautiful," you whisper to her.

She blushes and smiles before you slip your tongue against hers again.

You never allowed yourself to appreciate Hanni for her beauty. It's not like you were blind to it. It's just that you didn't let yourself see it. Maybe deep down you knew that if you did, you wouldn't be able to look at her as just a friend anymore. So you suppressed that part of yourself. But now, with her lying here beneath you, you can't help but appreciate not only how pretty she is, but just how hot her body is, especially as your hands explore her. She's toned, but soft, and you can't get enough of her.

Her own hands are busy, too. They're running up and down your back, and then they're slipping under your shirt, and you can feel her nails scratching lightly against your skin.

"Can we take off our tops?" she asks suddenly, breaking the kiss. The question is kind of awkward, you both feel this, there's this shared twinge of embarrassment that you can sense in each other. It's not romantic, it's not sexy, it's just a bit silly.

"Sure," you say, and you sit up and pull your shirt over your head. You look down at her and suddenly feel so exposed, even if she is the one in tight shorts and her legs on either side of your hips, you're the one that's topless.

Hanni sits up too, and pulls her top off, revealing her light blue bra. She's moving a little erratic as she reaches behind her back, so much so that she fumbles the clasp twice before unfastening it. She lets the straps slide down her arms and throws it aside, quickly crossing her arms over her chest. Her face is a deep red.

She's embarrassed. You've never seen her like this before. You've seen her nervous, shy, even scared, but never embarrassed. And it's adorable. You're sitting just a few inches from each other, yet she's still looking down and to the side.

"Hey," you whisper, and then she looks at you. "You're beautiful."

She smiles and uncrosses her arms, and your eyes move down from her face to her breasts. You've seen her in a bra, but not like this. Never this close, never bare, never with the intention of touching them.

So, you do. You place your hand on one of her tits, and then she's leaning into you and you're kissing again. She fits so perfectly into your hand, and you can't resist gently massaging it. Instinct takes over. You're not thinking anymore, you're just doing what feels right. So you break the kiss and move your head down to her other breast. You start kissing around her nipple, and then you take it in your mouth, and you hear her moan. It's a sound that sends shivers down your spine, and then she's tangling her fingers in your hair, pressing your face into her chest.

You spend some time like this, alternating between her two breasts, licking, sucking, and nibbling on her nipples. It's a little clumsy, and you don't really know what you're doing, so you just follow what her soft little moans tell you. You love the feel of her tits against your face, the taste of her skin, the sound of her breathing.

And then she's pulling you back up and kissing you, and you're lost in the sensation of her lips on yours, her tongue on yours, her body against yours. You can feel her heart beating, and it's beating fast.

"You're so hot," you whisper, and she smiles and blushes.

"So are you," she says, and then she's pushing you down onto the bed, rolling on top of you. She kisses you again, and then she's kissing your neck, your collarbone, your chest. She's kissing her way down your body, and you're not sure what to do, so you just lie there and let her explore. You become more aware of your own body, and the sensation of her wet kisses against your skin. You become more aware of the discomfort between your legs. It's only now, in this moment of respite from kissing her lips and her tits, that you realise she must have felt it. The whole time. Since you started kissing her, and you laid yourself against her. She must have felt the bulge in your pants pressing against her crotch. You're mortified. You can't even look at her, you just stare up at the ceiling with an embarrassed smile on your face.

"Hey," she whispers, and you look down at her. She's kneeling between your legs, looking up at you. Her eyes are wide and bright, and she has a big goofy grin on her face. She looks so cute. "Did I do this?"

She's not looking at you. You follow her gaze down to the bulge in your pants.

"Uhhh..." you're not sure what to say. "Yes. Probably. I think so. I'm sorry."

She giggles, a mischievous grin forming on her lips. "It's okay," she says. "It's nice. I, uh, I like it."

You laugh nervously, and she laughs with you, and then she's unbuttoning your pants, and you're not sure what's happening. You feel like you should say something, but you can't think of anything, so you just lie there and let her do it. You lift your hips so she can pull down your jeans and underwear in one motion. Although you can't bring yourself to look down, the feeling of being exposed is overwhelming. You stare at the white paint on the ceiling as if it's the most interesting thing in the world.

"I've never done this before," she says. "I mean, I've seen one before. On TV, or in a movie, or something. But I've never... I don't really know what to do."

"It's okay," you say, your voice shaky, and you almost don't recognise it. "You don't have to—" Your breath hitches in your throat as you feel her fingers touch you.

"I want to," she whispers, and then she's gripping your shaft in her hand, and you can feel her fingers wrapping around it.

You're hard, and she's touching you, and it feels incredible. It feels incredible and wrong and exciting and scary and confusing and perfect and you can't think straight.

"Is this okay?" she asks, and her voice is soft and hesitant.

"Yes," you reply, and you can't keep the desire out of your voice.

She starts to stroke you slowly, and you can feel her fingers moving up and down your length, and it feels so good. Her touch is so delicate, so gentle, so loving, so careful, and you can't get enough of it.

You can't help but look down at her now. She's staring at you with a mixture of fascination and desire, and you can see the way her eyes move as she takes in every inch of you. That's Hanni, right there, and you can't believe that she's doing this to you.

"I've never seen one this close before," she whispers, and then she's leaning in, and you feel her breath on you. "I didn't realise it would be so warm. Or that it would feel so... alive."

She's still holding you, and you're still looking at her, and then she's looking up at you, and your eyes meet. Her expression is a mix of curiosity and lust. It's an expression that sends a shiver down your spine.

She kisses the tip. It's a gentle kiss, and it sends a jolt of pleasure through you. She looks up at you again, and there's a smile on her lips.

"Do you like that?"

"Yes," you breathe, and you're surprised by the huskiness in your voice.

"Good." She kisses you again, and then she's running her tongue over the tip. "It tastes funny," Hanni laughs gently and smiles. "I don't know if I like it yet, but I think I do."

She licks you again, and then she's kissing you, and then she's licking you, and then suddenly she's doing both. Her lips part in one of her kisses and she takes the head into her mouth so her tongue can work uninterrupted. She's licking around the head, and then she's taking you deeper, and you can feel her tongue exploring your shaft. It's incredible. It's unlike anything you've ever felt before. You've seen this before, on screen, or in magazines, or whatever, but nothing could have prepared you for the sensation of having her mouth around you.

"Oh god," you groan. "Hanni..."

It's all encouragement for her. A signal to her unsure mind that yes, this is exactly what you want and it feels as good as anything that you could have imagined. You're already sensitive, so every little movement of her tongue sends a shockwave of pleasure through you. You can't keep your eyes off her, watching her lips slide down your shaft, her tongue flicking at the head, her cheeks hollowing as she sucks you, her eyes looking up at you, checking that what she's doing is right.

She's breathing heavily from her nose, and the hot hair is kissing your skin. You can't believe you're seeing her like this, that this is the girl you grew up with.

"Hanni..."

She doesn't respond. She's too focused on the task at hand, on making you feel good. And she's doing a good job of it. A very good job of it.

"Hanni..."

Her eyes flick up to meet yours, and she stops moving her head. "Is something wrong?" she asks, her voice muffled by your cock. She pulls her head back, letting you slip out of her mouth, and a string of saliva connects the tip to her lower lip.

"No, no, no," you say quickly, "nothing's wrong. I just... I don't think I'm going to last much longer." You're embarrassed. You've never been in a situation like this before, and you're not sure what to expect, or what you're supposed to do. But you know that you're close to cumming, and you don't want to do it in her mouth.

"That's okay, just don't let the other girls hear us," she says, and then she's smiling at you, and then she's taking you in her mouth again, and then she's moving her head up and down, and then you're watching her cheeks hollow as she sucks you. Tongue running patterns over the underside of your length, you can't take much more.

"Oh god, Hanni, I'm going to—"

She doesn't stop. She doesn't slow down. She doesn't even flinch. She just keeps going, and you can't hold back any longer. You can feel the orgasm building inside you, and you can't stop it, and you don't want to, and you're not sure if you should, and you're not sure what to do, and—

You cum, and it's the most intense orgasm of your life. You can't help but cry out in pleasure, and you feel your hips buck involuntarily, and you feel her tongue continue to lap at the head as your cum spills out of her mouth. She doesn't pull back, she doesn't stop, she doesn't do anything to stop you from cumming in her mouth, she just keeps going, and you can feel her swallowing some of it. Some pools on your skin.

"Oh god," you say, and your voice is a whimper, and you're still trembling with pleasure.

Hanni pulls away and wipes her mouth with the back of her hand. She looks up at you, and there's a mischievous grin on her face.

"Wow," she says, and then she's giggling. "I wasn't expecting that!"

"Are you okay?" you ask, and your voice is shaky.

"I'm good." She smiles and crawls up so she can rest her head on your shoulder, half draping her body over yours, your bare skin touching. She kisses your neck, her breath tickles your skin. You put an arm around her, holding her close. "I didn't know that would be so fun. Can I do it again?"

"Not right now," you say through strained breath. "Maybe later."

"Okay." She's looking up at you, and she has that same goofy grin on her face. "Was that okay? I've never done it before."

"It was more than okay," you say, and you can hear the awe in your own voice. "That was incredible."

"Really?" She sounds pleased with herself. "I wasn't sure what I was doing."

"It was perfect," you say, and then you kiss her forehead, and then you kiss her lips, and then you're lost in the sensation of her body pressed against yours. You can't believe that you're here, that you're doing this, that you're with her.

"I'm glad," she murmurs, and then she's looking at you again. "So, what now?"

"Can I try?" you ask. "With you, I mean. Can I... use my mouth on you?"

"You don't have to," she says quickly, but then her voice trails off. She seems unsure.

"I want to," you say. "If you want me to."

Her smile is wide and her eyes are bright. "I do," she says. She kisses you on the lips, and then she's rolling onto her back.

You lean over her, and your hands are shaking, and your heart is racing, and you're not sure what to do, or where to start, or if you're going to be any good at this, but you want to try. You want to make her feel as good as she made you feel. You want to taste her, to explore her with your tongue, to learn what makes her moan, what makes her gasp, what makes her squirm. You want to make her feel as good as you do.

So you start where you began earlier, at her chest, and you spend some time just appreciating them. Kissing them. Running your tongue over her nipples. Squeezing. Massaging. Listening to her breathing change.

"I love these," you mutter. "They're beautiful. You're beautiful."

Hanni doesn't respond with much more than a pleasured hum, but she doesn't need to. You can tell she's enjoying this, enjoying the attention. And it's a good thing too, because you have no intention of stopping. Not until she tells you to, at least. You keep kissing and licking and sucking her nipples, and you can feel her arching her back, pressing herself into your mouth, and you can hear her breath growing heavier, and her heart races.

Hanni gives a deep, full-bodied moan, the loudest she has so far. You take it as a signal to descend, and you trail kisses over her stomach, which makes her giggle and squirm. You feel the heat radiating off her body. Her scent is strong—intoxicatingly so.

When you reach the waistband of her tight black shorts, you pause for a moment, and then you hook your fingers under the elastic and pull them down. You're not even sure what to expect underneath, but whatever you had in your mind, the reality is so much better. Her black panties are lacy, and they hug her body perfectly, accentuating every curve, every dip, every contour. They're so sexy, so beautiful, that you can't help but stare. Your mouth hangs open and you can feel your dick stirring back to life already. You can't believe that you're here, that you're seeing her like this.

You take time to admire her. Her thighs and her hips and the delicate apex underneath the wet panties. Then you look up her body, taking in the way her wide hips give way to the curve of her waist, the way her breasts rise and fall with each breath, the way her hair frames her face, the way her eyes shine in the dim light, and they stare at you, accompanying her smile.

"What are you thinking?" she asks, and her voice is barely a whisper. "I know that face. You always have that look on your face when you're thinking about something."

"You're the most beautiful girl in the world," you say, and you mean it, and you're not sure why you've never told her before.

Her smile widens and she laughs, covering her face. "You're so cheesy," she says, but you can tell that she likes it, that she appreciates it, that she loves it.

"Can't help it," you say, and then you lean down and kiss her stomach again, the muscles tense under your lips, and her breath catches. You kiss your way down to the edge of her panties, and then you pause.

"Is this okay?" you ask, and you're not sure why, but you feel like you need her permission, even having come this far.

"More than okay," she replies, and her voice is soft and breathy, and full of desire.

You smile, and then you kiss the edge of her panties again, and then you start to pull them down. You can feel the fabric stick to her skin as you peel them off her body, revealing her pussy. The sight of it takes your breath away, and you can't help but stare. It's beautiful, of course, but it's also more than that. It's Hanni. It's the most intimate part of her body, the most vulnerable, the most sensitive, the most private, and it's right there in front of you, and she's permitting you to touch it, to taste it, to explore it. She trusts you.

You place your palms on her thighs and spread her legs. You move your head between them and you plant the most delicate of kisses on her wet skin. Her body twitches. Another kiss, and another, and another, and you can feel her legs tremble. You can feel her body tense.

"You're so wet," you say, and you can't keep the awe out of your voice. You can feel her juices on your lips, and you lick them off, tasting her for the first time. It's sweet yet musky, and it's a taste that you want more of. You lick her now, a few tentative ones over her lips and then one from bottom to top, ending at her clit. She reacts more to that last one. So that's the spot, then. You repeat that pattern a few times.

"Oh god, that feels so good," Hanni moans, her head tilting back and her eyes closing.

"I can do better," you whisper, and then you focus on the peak of your previous licks, pushing your tongue between her lips where she's most sensitive. Hanni gasps, her hips bucking involuntarily, and her thighs tense, her hands gripping the bedsheets, and she's so responsive, so sensitive, so receptive to your touch, that you can't help but smile. You keep licking, flicking your tongue over her clit, teasing it, circling it, and you can feel her thighs tremble, her hips rock, and her breathing grows heavier and heavier.

"Oh, oh, oh," she murmurs, and her voice is a whimper, and it's so cute, and so sexy, that you can't help but moan into her pussy, the vibrations sending shivers through her body, and she whimpers again.

Now it's your turn to lock your lips against her, enclosing around her sensitive nub. You suckle on her clit, running your tongue over it, and she's rocking her hips against every movement of your tongue. It's the sexiest thing you've ever heard. All the gasps, whimpers, and moans. You could listen to it all day.

In a moment of realisation, you worry if the others can hear it. If they're in their own rooms, then probably not, but you know that at least one of them is asleep in the living room. Your head is buried in your best friend's pussy. What if someone knocks on her door? How would you explain this? What if—

"Oh god, oh god, oh god," Hanni cries and her voice is louder than before, and you can hear the desperation in her tone, and you can feel her body tensing, her back arching, and her hands gripping the sheets tighter and tighter. "Don't stop, don't stop," she moans.

Her thighs clasp around your head and all your worries about being caught are washed away with a new fear. You're trapped between her thighs. Your head is being crushed by the muscles you were just admiring. You're going to die here, between her legs. It's a pretty good way to go, though, so you accept it. At least you got to eat her out.

But then, as suddenly as it came, the pressure is released. Her legs go limp, and her body sags, and her breathing slows, and her hands relax, and she's lying there, panting, and trembling, and whimpering.

"Holy shit," she whispers, and her voice is hoarse, and you can't help but feel a sense of pride. You made her cum. You made her cum hard. "That was amazing," she whines. "I didn't know it would feel that good."

You smile, and you kiss her pussy, and then her inner thigh, and then the crease of her hip, and then you move up her body, kissing her stomach, and her breasts, and her neck, and finally you reach her lips. You kiss her, and she kisses you back, and then you're both laughing, giggling, and smiling, and holding each other close.

"That was incredible," she says, and her voice is soft and breathy, and she's looking up at you with wide, sparkling eyes. She kisses you again, and then you're lost in the sensation of her body pressed against yours.

"I didn't know it would be that good," you admit. "I thought it would be nice, but not like that."

"Me neither," she whispers, and she's looking at you with a mixture of awe and adoration. "I've never felt anything like that before."

You smile, and you kiss her again, and then you're both lying there, holding each other, basking in the afterglow.

"So," she says, after a few moments. "I don't want this to be over. I want to keep feeling like this."

"What do you mean?"

She smiles, and her eyes are full of mischief. "You know what I mean."

"Are you sure?" you ask, and you can't keep the excitement out of your voice.

"Yes," she whispers, and her voice is soft and breathy, and full of desire. "I've been thinking about it for a while. There's, uh, things in the top drawer."

"Things?"

"Just open it, dummy," she laughs, and you do. Inside, there's a sealed pack of condoms. You pick it up, and you can feel your heart racing, and you can feel the blood rushing to your cock, and you can feel the excitement building inside you. You turn back to her, and she's looking at you with a mixture of love and lust. Her eyes are full of anticipation, and she's biting her lip.

"You've thought a lot about this, haven't you?" you ask, and you can't help but grin. "You've had these just waiting here?"

She blushes and looks away, but then she looks back at you and smiles shyly. "Maybe."

You take one out and kneel back on the bed, between Hanni's spread legs. You know what to do. Simple. But the way that Hanni is looking at you, with a mixture of anticipation and excitement, is making it difficult to focus, and your hands are shaking.

You manage it, though. You roll the condom down your shaft and look at her. Her smile is wide and bright, and you can't help but smile back. She reaches for you and pulls you down on top of her.

"I can't believe we're doing this," you say.

"Me neither," she giggles, and then you're kissing again, and it's a hungry kiss, full of passion and desire. You feel her hand move between you and take hold of your cock, and you feel her guide it to her entrance, and then you're both pressing forward. The kisses are replaced by shared gasps, and your forehead comes to rest against hers. She's so warm, so wet, and so tight, that you have to pause for a moment, just to catch your breath, and she does the same, her eyes closed, her brow furrowed in concentration.

"Are you okay?"

She nods quickly and then tells you, "Keep going."

So you do. You push forward, slowly, carefully, and she takes you, inch by inch, until you're fully inside her, and you're both breathing heavily, and you're both trembling, and you're both holding onto each other, and it feels incredible.

"Wow," she whispers, and her voice is a whimper, and you can't help but smile.

"Yeah," you breathe, and you're smiling too, and then you're both sharing a laugh. "Doesn't it hurt? I thought it was supposed to—"

"A little, but don't worry," she tells you. "I'll let you know if it gets too much. Just... take it slow, okay?"

"Okay," you say, and then you start to move, slowly, and carefully, and her body responds to every movement, every thrust, every inch. Her hips rock against yours, and her hands grip your back, and her nails dig into your skin, and her lips press against your neck. She's so unbelievably tight.

"Hanni," you whisper, and your voice is a low growl, and you can't help but groan as you feel her muscles clench around your cock.

"Don't stop," she whines, and her voice is a needy whimper, her body is pressing against yours, and her legs are wrapping around your hips, pulling you closer, keeping you deep inside of her.

You pick up speed, but not too fast. You don't want this to end, you never want this to end, but you can't help yourself. It feels so good. It feels so right. It feels perfect. It feels like everything you've ever wanted.

"Oh god," you groan, and you plant your hand against her—half on her thigh, half on her ass. You grasp her soft flesh as you try to bury yourself deeper. Her body tenses in response. She likes it. "You're amazing."

"Mmm... more..." she moans, and you can't help but smile.

You start to thrust harder, faster, and her hips start to rock against yours, and you're both lost in the sensation. Breathless whimpers are broken by raw moans, which you try to stifle with kisses so no one can hear you, and then you're both lost in the rhythm, the back and forth, the ebb and flow. You're both in sync, both moving together, and it's the most beautiful thing in the world. You can feel the pressure building inside you, and you can feel her body tensing, and her breathing quickening, and you're both so close.

Hanni brings her hands to your head, running her fingers into your hair and pulling your ear to her mouth. She lets out a moan right into it, before telling you, "Take it off." You're not sure it's a good idea, but she's insistent. "I want to feel you. All of you. Please. Take it off."

"Hanni... I don't think—"

You're cut off by her moving her hands to your shoulders and pushing you onto your back. Hanni leans over you and looks down at your throbbing cock. "Let's do it properly." She reaches down and rolls the rubber off your shaft, leaving it bare. Your stomach clenches in a mix of excitement and fear. She throws the condom aside and then she climbs on top of you, straddling your waist, and her pussy hovers above your cock.

"Hanni, we shouldn't—" you start, but she cuts you off again. She takes hold of your shaft and rubs the tip of your cock along her wet folds. Her juices coat your cock. Her warm pussy teases the tip. Your eyes roll back in your head.

"It's okay," she whispers, and then she pushes your tip inside her, and she gasps, and you moan, and then she's sinking onto you, and you're sliding up inside her, and you're both breathing heavily, and you're both moaning, and you're both lost in the sensation.

"Oh god," you moan, and you can't help but grab her hips and pull her down, and you can't help but thrust up into her. You're bare. You're inside her, skin-to-skin, and it's the most incredible thing you've ever felt. The way she rocks her hips drives you insane. She's so warm, so wet, and so tight, that you're not sure how long you can last.

"Don't cum," she whispers, and her voice is a needy whimper, and she's looking down at you with wide, pleading eyes. "Not yet."

"I'm not sure I can—"

"You have to," she says, and she's looking down at you with desperate eyes, and you can't help but nod. "Please," she says, and she's grinding her hips against you, and she's riding you, and she's fucking herself with your cock, and she's moaning, and whimpering, and gasping, and you're both lost in the sensation.

"I'm close," you warn her. "I can't—"

"Wait for me," she whines, and you can feel her body start to tense, and you can feel her walls clench around your cock, and you can feel her start to tremble. "I'm—"

With a loud moan, her body tenses and cuts her words off. Her pussy clenches, and her hands grip your chest, nails digging into your skin, and her eyes squeeze shut. Her whole body quivers as her orgasm washes over her, and you can't help but thrust up into her, pushing yourself as deep as you can go. She cries out in pleasure, and you feel a heat in the pit of your stomach.

You thought nothing would be as intense as when you burst into Hanni's mouth, yet just half an hour later, you realise that was nothing compared to this. The rush is so powerful, so overwhelming, that it almost knocks the wind out of you. You can't breathe, you can't think, and you can't stop the flood of cum that's filling her. You can feel it, and she can feel it, and it's so hot, and so thick, and so wet, that you can't help but groan.

Pulsing and throbbing inside her, Hanni keeps riding you, her hips rolling, her thighs trembling and her cute little tits bouncing. Your cum spills out of her, and the mess is pooling beneath you both. It's the most beautiful thing you've ever seen. You can't help but smile as you watch her. She's so perfect, so beautiful, and you're inside her—the reason she's cumming.

She collapses on top of you, her head on your shoulder, and her body limp. She's breathing heavily, and you're both covered in a sheen of sweat. You wrap your arms around her and hold her close, and she does the same, her fingers running through your hair, and she's kissing your neck, and your cheek, and your lips. You kiss her back, and it's a soft, gentle kiss, full of love, affection, and gratitude.

"I can't believe we just did that."

You can feel her smile against your skin. "I can't believe I let you cum in me," she giggles. "It felt so good, though." She lifts herself up and looks down at you, her smile wide and her eyes sparkling. "Did I do okay?"

"You were incredible," you say, and you mean it.

"Maybe next time we could—"

"Next time?" you ask, making sure you heard her right.

"Yes," she says, and her voice is soft and shy, and she's looking at you with a mixture of love and lust. "I want to do that again. And again. And again."

"Me too," you say, and you can't help but smile.

-

She's asleep. You're lying in her bed, watching her. She's so beautiful, and you can't stop looking at her. You can't stop thinking about her. About what you've done. You're not sure how you're going to get to sleep. She's snuggled up to you, her head resting on your shoulder, and her legs tangled with yours. Her breathing is slow and steady. She's peaceful, and you're so happy. You can't remember the last time you were this happy.

You can't remember the last time you felt so content. It's strange. It's like you've been living your life in a fog. You've been drifting, and you've been lost, and you've been searching for something, but Hanni has been right here. She was right in front of you, all along.

You just didn't realise it, until now.

[bossuary]

Neve is painless. Rook is real.

Lucanis likes Neve because she represents what he is desperate to regain. He wants to feel normal, to work and cook and focus on the things he used to enjoy (such as they were) before the Ossuary. He wants capital R Romance, right out of a book.

Most importantly, he wants to get rid of Spite. He wants to pretend that he is the man he was...not this abomination.

Without truly knowing her, Lucanis believes Neve is a pathway to all of that. He's attracted to her, and she to him. Their flirting has an edge, but it's also friendly. She dislikes Spite, and her presence makes Spite disappear.

Neve will tell Lucanis that he's still himself, and that Spite doesn't change that. She will never be the one to reconcile Lucanis with Spite, to get them to accept each other. So, yeah, he gravitates to the charming, flirty, warm person who (through no fault of her own, really) feeds his desire to pretend he's not an abomination.

Even early on, I think he's smart enough to know that accepting Spite is his only option, but he...just... can't. With what tools? Nothing in his life has prepared him to deal with this. Rook does that. When denial tears Lucanis apart, Rook puts him back together with acceptance. Rook accepts the reality of Spite, and deals with it head-on every time.

Neve will remind Lucanis that she's not going anywhere. She'll tell him to open his eyes and look at facts, but she (probably) won't be the one to push him out of his own prison. Lucanis knows this, so Spite knows this, and therefore Spite will not look to Neve for help.

It's important for Lucanis to accept that Spite has changed him. But when it's Rook who says it--for whom Lucanis has developed real feelings, not idealized ones--well, it destroys the fantasy Lucanis clings to so vehemently, the one where he isn't this.

For me, the Lucanis/Rook romance feels the way it does NOT because the writers "preferred" that Lucanis and Neve get together, but because Neve is simply easier for Lucanis to accept. She's easier to talk to, unchallenging. Easy isn't bad! Comfort isn't bad! God knows they both deserve some comfort.

Loving Rook is a profoundly complex choice. There's not a lot of cute ways to work that profundity into sexy banter. It makes sense, then, that Lucanis doesn't have as much dialogue for a romanced Rook as he does with Neve. What he can do is cook, make small gestures. He can, heartbreakingly, tell Rook, over and over, that he doesn't have the words to express how he feels. That's such an awful state, knowing that the person you care about needs to hear words you simply cannot locate. As soon as he does have the words, he shares them.

Rook is real. And real is not easy.

To Lucanis, Rook represents a difficult path to recovery, a path he has to keep choosing to follow, every day. At a time in his life where he is incapable of seeing Spite (and his own PTSD ) as anything but a 'distraction' to shove aside, Rook shows genuine interest in helping Lucanis heal. Rook takes consistent action toward that goal, particularly when it's clear that Lucanis doesn't know how.

Lucanis also has to believe that he's worth the effort, his own and his love's. Neve is great, love her, but I don't see this struggling cynic, this chronic worrier, being very helpful in the self-worth department. No, people in a relationship do not have to perform therapeutic roles. But, partners do have to respect each others' boundaries and needs.

Of course Lucanis goes all-in for Neve, romantically, even while he and Rook are dancing around each other. Accepting how much he loves and cares for Rook means looking at himself the way Rook does. That is so much harder than whatever will happen with Neve.

The fact that Lucanis isn't afraid to pursue Neve, even if Treviso is blighted, tells me that Neve is an indulgence for him. Again, that's not a value judgement. If they treat each other with respect, then the merits of the relationship don't have to fall on whether Lucanis 'heals' as a result. Sometimes not hurting all the time is enough.

BUT. Contrast the ease he feels with Neve with his feelings about Rook:

"When I was afraid to want you..."

That is a powerful admission.

What was he afraid of? The annihilation of neglect, worthlessness, and shame. The awful but knowable pillars of his existence.

Wanting Rook means that Lucanis wants to dismantle everything he knows in pursuit of something he doesn't. To love Rook is to love and accept himself, exactly as he is.

Then...then...Lucanis finds real comfort.

[hedgehog-moss]

Pls give recommendations for Odd books 🙏

Here we go, a list of literary oddity :) This post contains majestic spheres, alien taxonomies, cruel subway polytheism, a fourth-dimensional cat, disturbing earthworms, infinite space football, existential mussel terror, a Parisian absurdist time loop, and a picture of a telegraph-pole-man-cheetah. I'm not exactly recommending these books, in the sense that I won't take any complaints if you find them more odd than good, and some of them transcend the concepts of good and bad anyway.

• The Other City, Michal Ajvaz. It's all like this:

• Contes du demi-sommeil, Marcel Béalu ('Half-asleep tales') —is the book that prompted my post about stories that have no ambition or justification beyond being odd. I'm sad that it hasn't been translated :( One of the tales is about a strange opaline sphere that rolls on the road. It doesn't accelerate when the road becomes a steep slope but continues rolling majestically. At one point it floats away towards the sky. Someone wonders if it was the moon. Someone else says authoritatively "It was an angel's egg." Everyone is reassured by this explanation. The whole thing feels exactly like remembering a dream you had. There is also a man who reads too much and whose body atrophies so only his head is left and his wife puts it in an egg cup for better stability.

• Leonora Carrington— The Skeleton's Holiday, or maybe the Hearing Trumpet. I've read them so long ago but I think the latter is the one with the old ladies and nuns? There's also a guy who was murdered in his bath by a still-life painter because he said there was a carrot in one of his paintings, but it might not have been a carrot? It's hard to remember details from this book without feeling like I might be making them up. Bonus Leonora Carrington painting which kind of feels like a short story:

• The Codex Seraphinianus, of course. I wish there were more bizarre encyclopaedias out there.

Also I love this review:

• Sleep Has His House, Anna Kavan —I really liked the way this book used language; making life feel like a fever dream even more than in Samanta Schweblin's Fever Dream (which I really liked too.)

The eye is checking a record of silence, space; a nightmare, every horror of this world in its frigid and blank neutrality. The actual scope of its orbit depends on the individual concept of desolation, but approximate symbols are suggested in long roving perspectives of ocean, black swelled, in slow undulation, each whaleback swell plated in armour-hard brilliance with the moonlight clanking along it . . .

• The second half of Michael Ende's Neverending Story, where things get stranger! I remember the hand-shaped castle with eyes and the city of amnesiac former emperors and the miserable ugly worms who cry all the time out of shame then create beautiful architecture with their tears...

• The Gray House, Mariam Petrosyan. This is the one I had in mind when I talked about a 'museum of the strange, but one you wouldn't want to be trapped in after closing time'. Another book that made me feel uncomfortable in a similar (good) way was Edward Carey's Observatory Mansions, the protagonist of which is a man who curates an odd private museum and can't stand the sight of his own hands.

• Oh, speaking of uncomfortable, and hands—He Digs A Hole, by Danger Slater. To me this book was in the more-odd-than-good category but I liked its refusal to have a coherent philosophical meaning. It's about a man who can't sleep so he goes to his garden shed and saws off his hands and replaces them with gardening tools. Then he starts digging a hole. And then it gets weird. (Read at your own discretion if you have a worm phobia; there's some body horror featuring sexually aggressive earthworms. And then it gets disturbing.)

• 17776 — Someone sent me an ask a few years back to recommend this online multimedia narrative to me and I really enjoyed it! Here's the summary, borrowed from the wiki page: Set in the distant future in which all humans have become immortal and infertile, the series follows three sapient space probes that watch humanity play an evolved form of American football in which games can be played for millennia over distances of thousands of miles. The work explores themes of consciousness, hope, despair, and why humans play sports.

• Saint-Glinglin, Raymond Queneau —the author admitted that this book presents some "internal discontinuities." I didn't like it much but I respect the talent it takes to write a novel where everything feels like a random digression, including the key suspenseful scene that matters to the plot. The one digression I loved had to do with the way the narrator is existentially horrified by various sea creatures. It's like he dreads them so much he can't help but think about them when he should be telling a story.

The oyster... This gob of phlegm, this brutal way of refusing the outside world, this absolute isolation, and this disease: the pearl... If I conceptualise them even a little, my terror starts anew. The mussel is even more significant than the oyster and even more immediately admissible in the domain of terror. Let us indeed consider that this little sticky mass whose collective stupidity haunts our piers, consider that it is alive in the same way as a cow. Because there are no degrees in life. There is no more or less. The whole of life is present in every animal. To think that the mussel, that the mussel has, not a conscience, but a certain way of transcending itself: here I am once again plunged into abysses of anxiety and insecurity.

Near the beginning he philosophises about what would happen if a man and a lobster were the only two survivors of the apocalypse. The lobster would break the man's toe and the man would say, "We are the only beings that remain on this devastated Earth, lobster! The only living beings in the universe, struggling alone against the universal disaster, don't you want to be allies?" But the lobster would disdainfully walk away towards the ocean, and "the sight of the inflexible and imperturbable lobster pierces the sky of humanity with its unintelligible claws." (I can't overstate how little this has to do with the rest of the book.)

• Autumn in Beijing, Boris Vian —needless to say the story does not take place in autumn nor in Beijing.* To the extent that it can be said to be "about" something, it's about people trying to build a train station in a desert with tracks that lead nowhere. (I just went on goodreads to check the title, and it's actually called Autumn in Peking in English. I also discovered that it was featured in a list of Books I Regret Reading. I liked this book, but I understand.)

(* French writers love doing this—like when Alphonse Allais said about his 1893 book The Squadron's Umbrella "I chose this title because there aren't any umbrellas of any sort in this volume, and the important notion of the squadron, as a unit of the armed forces, is never brought up at all; in these conditions, hesitating would have been pure madness.")

• The Library at Mount Char, Scott Hawkins—I fear this one makes a little too much sense for this list, but you can't say it isn't weird; and I loved it and recommend it any chance I get.

• The Eleven Million Mile High Dancer, Carol Hill —this book was so wacky and made me laugh. I've not yet managed to successfully recommend it to someone; its brand of odd didn't resonate with the people I know who've read it but that's okay. You could say it's about a woman astronaut whose weird cat disappears into the fourth dimension (or the quantum realm?) and she goes to space to save him—but that makes the book sound more straightforward and less messy than it is. Her cat leaves her a note before he disappears:

• The Bald Soprano, Ionesco —fun fact, there's a tiny theatre in the Latin Quarter in Paris where this absurdist play has been staged every night for nearly 70 years, with the exact same set design and costumes and everything, like the actors are stuck in a time loop. They celebrated the 20,000th performance this year! There's an actress who has been playing her character for 40 years and said joining this theatre was like joining a religion. I've been going to see this play as a New Year tradition with my best friend since we were 14, so I love it madly, though I wouldn't say it's good, necessarily—the author said it was about "absolutely nothing, but a superior nothing."

• Statuary Gardens; or Les Mers perdues (apparently not translated) by Jacques Abeille. This man is obsessed with weird statues. Unfortunately I find his writing style rather dull—I feel like he takes strange ideas and makes them feel mundane in a bad way...! But his books still have a nice, quiet, oneiric atmosphere, and images that stayed with me, like a solitary gardener trying to grow stone statues in the depleted soil of a walled garden. Here are some illustrations from the second one:

I'll look into some of the books recommended on my previous post! (and I agree with the people who brought up Cortázar, Borges, and Junji Ito. <3) Some potentially-odd books I have on my to-read list: Clive Barker's Abarat, Goran Petrović's An Atlas Traced by the Sky, Salvador Plascencia's The People of Paper, Jean Ray's Malpertuis; Jan Weiss's The House of a Thousand Floors; Brice Tarvel's Pierre-Fendre.

[salfishermustdie]

sal fisher headcanons

i've literally never been so horrendously down bad for a character before.. so i HAD to share my head canons for sal :3

CW: NSFW AHEAD!!

fluff <3

♡ he would try to teach you guitar, even if you arent very good at it...

♡ if you have sh scars, he'd kiss them over and over and over again, no matter where they are

♡ blushes over everything you do, any little touch you give him, he gets flustered over

♡ "ummmmm... uhh- i- well.. umm"

♡ he loves giving you things. for whatever reason, he's always gifting you small trinkets to show his love for you. his favorite excuse for buying you something is "it reminded me of you!"

♡ not the kinda guy who goes for looks. no matter how 'ugly' you think you are, he'll wholeheartedly see you as the most beautiful person in the world.

♡ with that being said.. he'd definitely stop in his tracks if he saw a cutie :3

♡ (IT'S YOU, YOU'RE THE CUTIE. EVERYTHING ABOUT YOU IS HIS TYPE. GOD, HOW ARE YOU SO PERFECT FOR HIM??)

♡ if you ever mention something in a conversation (a band you like, a cool movie you just watched or a book you read, etc.) he's definitely going home and learning all he can about it.

♡ wholesome romance like those in the romcom movies

♡ "i love everybody because i love you" /ref /ly

♡ would totally let you paint his nails, do his hair, anything like that. he loves when you make him feel pretty <3

♡ doesn't want anyone to know this, but he loves wearing your clothes. like, you know the whole "wearing you bf's jacket/hoodie" thing? that's what he wants, but with your clothes.

♡ obviously he won't deny you his hoodie, but deep down he's waiting for you to give him yours

♡ LOVES giving long, deep, passionate hugs. hugs and cuddle sessions that can go on for an hour. he loves squeezing you against him, it makes him feel warm and fuzzy inside; being so close to someone he loves so much

♡ he WILL sniff you. he can't get enough of your scent. at first he was scared you would think it was weird, but now he does it freely. he's a very sensual person, and because of his disability (possibly impaired sight?), he often relies on his other senses to soak up every little piece of you.

♡ he loves wrapping you in his arms, cradling and comforting you if he knows you need it.

♡ he's excellent at reading you. he feels like he knows you best. despite being someone who can't really show his emotions through his expressions, he's amazing at reading yours.

♡ you don't even have to tell him anythings wrong. he knows when you need a hug.

nsfw :3

♡ definitely has a mommy kink. argue with the wall.

♡ it just slipped out one day.. you were riding him, making him feel good and warm, and all of a sudden he let out a small "m-mommy..!"

♡ that being said, he LOVES having you on top of him

♡ while you're straddling him, he grabs you by your hips to make sure you're not going anywhere

♡ very shy + whimpering mess

♡ the kind to not know where to put his hands

♡ that doesn't mean he sometimes doesn't have a dom side to him...

♡ he's definitely a giver. he prioritizes your pleasure before his own

♡ he's insecure about his ability to turn you on, make you cum, etc. he always tries his hardest to make you feel good, and lets just say it always works :3

♡ jerks off to the thought of you more than he would like to admit

♡ has a VERY vivid imagination.

♡ oh god the things he thinks about doing to you are almost to embarrassing for him to admit

♡ very sweet and loving the whole time. he's huge on praise, and would rather die than ever make you uncomfortable. your sessions are filled with millions of

"are you liking that?" "you're doing so good for me." "are you okay with this?" "you feel amazing (y/n)"

♡ he needs 100% confirmation on your dirty suggestions. you could make a hint, but won't act on it until he's absolutely sure you mean it (obviously you always do, but god is this boy insecure.)

♡ doesn't seem like it, but will fuck you like a rabbit. it's always the quiet, sweet boys who are the dirtiest behind closed doors :3

♡ likes being bitten. idk. idc. IDGAF.

[daenysx]

i got bored so here are some modern!james potter headcanons;

um- sunshine energy at its finest!!

james is one of the prettiest boys you could ever see in your life

his smile lights up every room he walks in

he has to take extra five minutes every morning to fix his hair because he always puts his head wrong on the pillow and messes the shape of his thick, wavy hair

heavy sleeper!! (cutest though, sometimes he sleeps with his mouth open)

he's a morning person but he usually goes to bed early, claiming he has to get 8 hours of sleep

sleeps naked. to your delight.

he likes getting slow back scratches and massages, he is addicted to get kisses on his neck and his cheeks, he LOVES being babied

always runs hot even when the room is cold. he's generous too, he holds your cold body in his arms until you get warmer

i once wrote that he makes the best iced lattes in the morning, i still stand by it

he'd practice to be perfect at making your favorite drink (mine is iced latte so i had to say it-)

breakfast fan!!

he never leaves the apartment with an empty stomach, the worst he can do is take some snacks or fruits with him if he runs late

loves morning runs, morning walks, morning work outs, morning stretches. anything to wake his body up

and we probably all know this but james potter is the type of man who knows his body well

he looks good and he knows it

he also knows what he should do to take care of himself and his health

i mean he likes waking up early and starting his day, but he'll stay in bed with you if it means he'll get cuddles (especially when it's cold)

he tries to wake you up by bribing you with promises of a shower together and breakfast prepared by him

speaking of showers-

um- if you don't mind me being a little smutty here,

james potter loves eating you out

and he loves it more when he gets to wake you up to his mouth

and he does it again when he convinces you into shower

he does it for his own pleasure really

because it feels so good to keep his mouth on you and rubbing himself to soft blankets at the same time

this man is never- and i mean never ashamed of coming into his pants

like seriously, just think about it

he adores that feeling of falling apart for you, he doesn't even need to be touched

needy. and that's hot.

he makes noises in bed. never stays silent. always tells you how you make him feel.

he likes being called 'my love'

king of getting you flowers because 'they made him think of you'

he makes fun of his blurry sight every time he loses his glasses

he can't read for long (sleepy boy alert) but he likes it when you read a book out loud for him

tries to compete with remus on how many movies he can watch in a row without falling asleep

he loses of course

he complains about sirius' smoking (stop acting like a saint prongs) but he takes a few drags when he's too stressed

now that's the thing- james potter doesn't like to burden others with his stress

he keeps things to himself when he's not joking

his glossy eyes give him away though

precious boy

he blinks a few quick tears on your neck when it gets too much

let's keep going with happy james because i can't handle the thought of him being sad

the best hugger ever!!!

strong arms, broad chest, smells perfect, knows how to squeeze your body with the best amount of pressure

you forget everything when he holds you

he never pulls away from a hug first

just my dream guy

another thing- he is so proud of himself when you laugh at his jokes

has a group chat with remus and sirius

never stops sending memes, sometimes drives remus insane

his spotify playlists are so complicated because his music taste changes with every song

he wants you to choose the music every time you're in his car

guys- james potter brainrot is something else, i swear i love him so much

that's all for now, let me know if you'd like a part 2

[llamagoddessofficial]

Has anyone requested Fae Dust’s datemate HCs yet? If not, can we have some?

I also saw @owl-bones' Dust art, anon. And I very much agree its sexy

Don't think I need to tell you that he's hard to read

Get used to having no clue how he really feels.

Some wonder why he doesn't speak, when tricksy words are what the fae are known for. But in a world where every word is a trap, there's great power in not speaking at all.

... Also means it feels like there's never any pressure with Dust. You can relax around him. Blurt whatever you like, because he says barely anything in return.

When he likes you, you won't know how you know, but you'll just... know. You'll get a feeling you're being quietly appreciated. You'll get a feeling you're the only person in the room he can stand. He keeps looking at you like you and him are in on a joke no one else understands.

He'll be silent for hours, only to stun everyone in the room by chuckling at something you said.

He frequently looks your way, even if you can't see his eyelights you can tell you're being watched, and when you can see his eyelights they get visibly wider and softer.

Normally, during the rare occasions when Nightmare hosts balls or parties, Dust immediately finds some way to escape. But if you're present, he'll stay. Might even ask you to dance.

(By 'ask', I mean just gently take your hand and wordlessly lead you into it, the other skeletons too gobsmacked at his boldness to intervene)

There's a few clearer signs he likes you. He'll perform random acts of politeness for you, like holding doors and passing you things you can't reach, a big fucking deal considering you didn't ask first. He'll sit by your side, he'll stand close to you even if you're not facing one another. If you're having a conversation with another fae he looms nearby... you might mistake it for jealousy, but really, he's making it 100% clear to whoever you're talking to that if they trick you or take something of yours he's going to ensure it's returned.

..... A little jealousy too, though.

He disappears for several days at a time, seemingly out of nowhere. No one's sure what he does - rumours swirl that he goes out to do Nightmare's dirty work. The first thing he always does when he comes back is give you a small affectionate touch.

He spends a lot of time in Nightmare's library. You might find him there, if you wander that way. You can tell he appreciates the company because he doesn't leave when you show up.

You find him smoking outside, you ask for a puff of his cigarette. He takes a slow drag, then leans in and kisses you.

He'll take his hood down around you.

When he does eventually speak, you'll find that the whole time he's known you, he's been quietly making a dedicated effort to learn about the things important to you. He's very perceptive. He'll learn all about your interests, your hobbies, the things you could talk about forever... if you know another language he'll familiarise himself with the basics, if you like art he'll pick up a pencil, if you like history his satchel will be heavy with scrolls and books he's snatched from Nightmare's library for you.

It's funny how so few words can make you feel so appreciated.

He's quite the charmer, when he wants to be.