#i initially wrote down this quote because of how beautiful it is

[serenpedac]

“We belong to the Earth and the sea, you belong to the stars.”

— Zhang Beihai (The Dark Forest - Cixin Liu)

[yandere-sins]

The Enemy’s Embrace

a/n: This doesn’t really has any big background. I saw a book quote on TikTok and thought that the scene would fit so well in a yandere scenario. So I wrote it! Hope you guys enjoy it :3

Warnings: Yandere, Mention of Stalking, Mention of unconsenting actions, Mention of Killing, Soft Yandere

»»———————— ♡ ————————««        

A shuddering sigh escaped your shivering lips as your gaze fell from the lattice above your head to the cell bars keeping you locked inside the cell.

There were so many things wrong with you being thrown in the dungeon. You didn't commit the crimes you were accused of and never fought the guards to deserve the resentment they've harbored. They had been downright glad to deliver you into the outdoor cell despite the early-winter cold setting in already, telling you you 'deserved' it.

Why did this happen?

Even after days, you lamented the questions of why and how, but the realization—a realization that made you angry beyond measure, furious and wild—had long set in. No matter how much you tried to ignore it for the sake of your own sanity, it wouldn't let you forget the reason you were here.

Not least because the reason kept talking to you with an awfully smug grin on his face as he waited for you to break.

"I don't mind sharing, you know?"

"I know," you mumbled, turning your back towards your cellmate and hitting your head against the cold stone to remain composed. You knew. You knew so well. The man wouldn't stop talking, belittling you with every word he uttered. And you knew he didn't mind sharing at the cost of you giving in to him.

It was driving you mad.

Glancing back over your shoulder, you watched your arch nemesis, the man you hated most in the entire world, flap his beautiful fur coat into the air, exposing the free space he had underneath to spare for you. That was if you could lose your dignity and sit between his legs, allowing this awful man to envelop you in a warm embrace.

He was grinning, as always, when he caught your eyes. Smugly. Challenging. Aware. Aware that you were slowly freezing to death in just your clothes while he had cozily bundled up in luxury unbefitting of a prisoner. He had been here longer than you, thrown into this dungeon for his crimes before they even came to get you. Someone took pity on the man who presented himself oh-so-dramatic and charming when he wasn't an insane villain. He just had to wail to and flirt with some of the noble ladies passing by the lattice until one of them decided to drop the poor man such a fine fur coat to survive the cold. 

It wasn't like he could come near you or hurt you again from his position, bound by chains around his wrists that weren't short enough to immobilize him but not long enough to walk away from his spot. But even after all this time, he still enjoyed the torment of your suffering; every breath you blew against your icy fingers sending a shiver of excitement down his spine.

Sadly, no one thought of gagging him as would be appropriate for a notorious liar. Though the court believed you initially when you told them about his misbehavior—the following, the touches, the murders all in your name—somehow, he convinced them that you weren't an innocent part in all of this. There was nothing you could have done to convince them of your innocence after he charmed his way into the hearts of the jury with fake reasoning and pleading for justice. He opened his mouth, and everyone played his game—except you.

For these reasons, you hated him. And for your rejection, he loved you.

He could have had anyone, even a noble knight or the princess of the kingdom. But he wanted you, specifically, and preferably on your knees, begging for him. His taunting invitation to a warm huddling under the fur was just another way to torment you. He simply wanted to have you just because he decided you belonged to him, and crush your mind to fill it with the same insanity as his.

You had fought him for years. You barely escaped him on so many occasions. But while it had felt like victory to see him being dragged off by guards to his new home, the outdoor cell you hope he'd never escape from, in the end, it had all been in vain. And as you stood in the cell, facing the grey stone wall, this realization was the hardest to accept in all your life.

Because you were really fucking cold.

Even if you had thought about the possibility of yourself dying while getting rid of this lunatic, the thought still pained you. Things had gone wrong many times, but you always made it. You wanted to live. You fought so hard for your freedom and to survive. How could you possibly just throw it out now and allow him to lure you into his grasp?

"What must I do to make you come here and stop being so wary of me? When have I ever done something for you to hate me so?"

Even when he let out a defeated sigh before he spoke, his voice was nothing but mockery. He once again played the role of a savior. A gentleman, a soft-hearted soul in a cruel world. He was right that the world was a cruel place, especially for a genuine and kind person like you. But if you needed saving, you didn't want it to be from an actor who played the role of the selfless hero while grinning at the blood on his own hands.

"I'm good," you replied coldly, much like you were feeling. Hugging your body, you sunk to the ground, rocking yourself back and forth while trying to ignore the annoying villain on the other side of the cell. Closing your eyes, you tried to imagine the summer sun shining down, warming your skin instead of the cold winter breeze ramming into you. Things would have been much easier if he had stopped talking.

"Not to unnerve you, but despite always being stunningly beautiful, the color of your lips is slowly making me nervous, too. We both know you are freezing."

He just wouldn't shut up.

"I. Don't. Want. You. Near. Me," you repeated the same phrase you've been telling him from day one. A phrase he usually liked to ignore and keep sputtering. However, not this time, and suspicion forced you to open one eye to see what he was doing as he didn't reply.

He was simply staring at you. Blankly, unnervingly. You had to look away because his unblinking eyes were unsettling to look into, wide like those of cats staring at an object of desire but void of the empathy of a human.

"Frankly, I don't care what you want," he muttered quietly, barely audible over the howling of the wind. "But if I beg you to come here and let me warm you, will that help? Would you stop torturing me with that pitiful sight of you if I pleaded and said 'please' and 'pretty please'? If I could, I would already be by your side regardless of if you'd let me, but don't you have pity on me, too? Pity on the man who has to watch the love of his life slowly freeze to death while he can't do anything to save you?"

You were so tired of his tirades. The endless amount of garbage he spoke as easily and freely as a bard sang of overdramatized adventures of heros without flinching about their lies. "Please," he breathed. "Please let me warm you."

Another shiver ran through you—from the cold or the desperation in his voice, you weren't sure—but you didn't move from your seat. Didn't give him the gratification of acknowledging him even if your body began to burn from the cold. You heard the rustling of chains, and when you finally looked up, you could see him twist and turn his wrists in the cuffs, trying to loosen them somehow. Only when he noticed your gaze on him did he change from fighting the restraint to giving in.

Letting his hands sink to the ground as far as the chains allowed, he kneeled on all fours before reaching up one hand, ignoring how the cuff cut off the blood flow to his hand. He could never reach you, but he was still trying. No matter what, he never ceased to pursue you, even in the most impossible situations. It made you shiver even more to know the person that selfishly claimed you as his, had the determination of a starving lion to get what he wanted even when he was chained and immobilized.

"I'm begging you," your enemy emphasized. "I'm begging you to let me help you. Let me hold you, so we can survive this together—or die trying. Together. Don't die so far away from me where I can't reach you. Can't even follow you... I can't even hold your hand. Please don't leave me like this. Please just... forgive me. Have mercy on my unworthy, oppressed heart."

Your eyelids were growing weary from the cold, and your mind even more so from his words. But as your movements slowly stilled, conflicting, old thoughts came to mind. Thoughts that you had chugged into the deepest drawer of your mind after he had been imprisoned. Thoughts you hoped never to have to resurface.

I'll survive this. I can escape him no matter what happens. This is not the end.

Slowly, weakly, your arm stretched out. The realization turned your enemy's expression into a surprised one, then he lept forward, ignoring any restraint and the impact on his body as he reached for your hand. His fingers barely grazed yours, but as you collapsed forward, he managed to snatch your wrist, keeping your face from hitting the dirty ground you two were seated on.

And before you knew it, you were enveloped in warmth.

He shifted all around you for a while until your feet were tugged in and under his legs, body covered by the fur and his—probably hurting—arms, one hand holding the coat closed around you so no draft could touch you, while the other one pressed your head into his chest, his chin resting on top of your hair. Completely absorbing you into the little warm orb that was the world he lived in.

"Finally," he sighed, turning his face downwards to nuzzle it into your hair, ignoring the grime that must have built for days. As if nothing about you could scare him off. He didn't seem bothered by anything as long as it concerned you, but you ignored anything he did for once, letting out a long sigh as the warmth slowly thawed you.

"You're not getting out of this one," he mumbled, planting a reverent kiss on your head, filled with the fulfillment of his longing for you, drawing it out as long as possible. Hand reaching up, he cupped your face and warmed your cold cheek with his palm while his thumb caressed you as if you were the most precious object he ever held in his grasp. "I finally have you," he muttered, and you couldn't help a weak huff as the words ever so softly reached you.

"You can't escape me now. You're all mine. Finally. I waited so long for the day you'd finally give in to me. I'll get us out of here, and you'll never have to want for anything, I promise. I'd do anything for you. You know that."

You simply let him keep brabbling while he kept you warm. Fearing that if you refused him now, he too would reject you. That this really would be the end despite all the hardships you had overcome up to this point. You felt nothing of the worship he felt for you, for him, but if this was the only way to stay alive, you'd bite your tongue and let him confess a million more of his crimes to your ears only. You'd overcome this all the same.

You'd survive this, too.

But for now, you'd be warm, cradled in your enemy's embrace.

[minhosimthings]

Dances Avec Les Etoiles ft. Heeseung - The Vows

Synopsis: God how boring is love? For Lee Heeseung, it was perhaps the most boring thing in this rotten world. But for his parents, it meant buisness. And buisness meant getting Heeseung married off to a princess from another kingdom. And when the princess shares a peculiar interest, Heeseung starts to believe in Cupid again.

Pairings: Prince!Heeseung × Princess!fem!reader

Warnings: literal fluff nothing else, vows and a wedding my baes!!!

A/N: I HAD to write a wedding scene like COME ON its a law in Mona town that you cannot not write a wedding scene. Also I wrote really sappy vows so sorry not really that @candewlsy babe your daddy papi is a lovesick daddy papi now hehe

Part 1 || Part 2 || The Wedding

The French Quotes Series Masterlist

Weddings were always thought to be pompous events, jewels, dresses, champagne, whose son married whose daughter, gold, silver, and most importantly first dances.

And Heeseung couldn't have been more impatient for his first dance than ever.

Although it wasn't his first dance with you, having danced with you with every passing second of time since your engagement was officially announced.

He had sneaked you out often to the western wing, much to the suffering of Sunoo who had to hear Heeseung's rants about how pretty you danced with him.

And now it was suddenly the wedding, how the time had passed so quickly, and how, now, you were all dolled up in your flowy wedding dress, with adornments on you, enough to last a time. But the thing that shone especially bright was the rose gold ring on your finger, which Heeseung had customised for you. A ballerina figure sat on top of the ring, a bit extra, but it was Heeseung, and you loved how he had your initials engraved on the ring.

And then there you were again, walking with slow, flickering footsteps down a carpeted aisle to Heeseung.

Your Heeseung.

Your dancing prince.

You had often heard of the notion that brides shouldn't ever cry on weddings, it was apparently bad luck.

But how could you have held yourself back? When your ears listened to the beautiful notes of Heeseung's voice reading his own, written vows, a first for Tarnow's royal weddings apparently. But how could he have not? His princess deserved more than poetry. Especially when vows weren't usually allowed for princesses so usually the groom had to take incharge of the "how much I love you" banter.

"Beautiful." Heeseung whispered to you as you stepped onto the pedestal, facing his handsome face, "You look beautiful."

"As do you, my prince."

The priest clearing his throat snapped Heeseung out of his daze, while he was staring at your exposed neck and collarbones, god he hoped he didn't have anything particularly visible.

"Right." Heeseung took a deep breath, and took his paper from a very sweaty Jay, who was looking at you with a "Thank you for falling in love with him" smile (as if he hadn't thanked you enough already).

"I-Im kind of bad at writing vows and everything. Not like I've written them before! Because I-Ive never been married before I mean-" Heeseung panicked, but immediately calmed down at seeing the smile on your face. You placed your hand on top of his, earning an "aww" from the guests and a smile from Heeseung, who took another deep breath and started.

"Princess Y/N of the Witchelm Kingdom." Of course the declarations had to be first, "Have you ever heard of the sentence, Dances avec les etoiles?"

His voice bought a blush to your face.

"It means to want to dance with stars. When I was forced to learn french at eight, I found out about this pretty poetic line, and I related to it greatly. A little too greatly perhaps, and I found myself dancing in the darkest corners of this palace every night. It gave me peace, a lot of peace, to see myself in a great big mirror and do what I could never do to the strangers in the outside world."

You swore you could see stars dancing around Heeseung.

"But then, you came into this thing I call my life, and for-for perhaps the first time, I felt complete. Yes, we may have bickered, too many times for your liking-" that incited a giggle out of you, "But even in that, even in your anger, I truly found beauty in its equality. And when you danced for the first time at the ball? Oh god I swear I could have ravaged the earth for you right there and then, my princess."

You could have done the same for him at that moment.

"I had always thought of love as an insignificant thing, who would crave for a mere emotion like that? But now I realise, that it the only emotion I am ever so starved of, and it is the only emotion I feel, every single time your light shines on mine.

God do you know how much you dance like a swan in the corners of my heart I thought were unreachable? Because you do, you truly do. If there were a hundred universes in this world, I swear to find you in each one, and have one last dance with you, one last sinful symphony if it's the final thing I do, if your face is the final thing I see, then darling consider me blessed in my choices and cursed in my rendezvous.

I-I would be the happiest man on earth, if I was to dance with you every second, if my hand were you rest on your waist and twirl you around every day, I would truly be happy, Y/N.

I would be dancing with you among the stars, so much that the planets themselves get jealous, that their astral ballet cannot compete with ours."

You truly never knew the dance of two souls could have been more prettier than Spanish flamenco. But now, as your lips moved in synchronisation with Heeseung's, the sweet venom injecting into your lovesick blood, his hand ghosting your waist, as if he was afraid to even break you, you truly knew what love was.

It was to match each other's feet in the mirror of a now renovated western wing, dedicated to dancing and only dancing.

It was to make fun of Heeseung's brothers for their terrible dancing skills (barring Jay).

It was to simply exist with Heeseung.

It was to dance among the stars with him, as the saying went,

Dances Avec Les Etoiles.

Taglist: @amazzwon @heeseungshim @kvmariii @mwahvvis @hottiewifeyyyy @sacrificeatmeup @perfectnighttt @yawnzzhoon @yungnorth

[meraki-yao]

Ok I saw a post before saying what if we put all of Nick’s characters in one room (I can’t find op anymore) and after the last reblog it got me thinking so here’s some weird multiverse imagination

Note that I’m only gonna use the characters I’ve seen/know about, so that’s Henry (RWRB, duh), Conor (Handsome Devil, watched the whole movie and really liked it), Timmy (The Craft: Legacy, only watched Nick’s part lol), Robert (Cinderella, the first time I actually saw Nick, I watched… enough, plus a bunch of video essays on it because I am a musical theatre person and a fairy tale person), Jeff (Bottoms, from what I can get from the trailers), and Luke (Purple Heart, which I love you Nick but I will not put myself through that, based on what I’ve heard about it and reading the synopsis on Wikipedia) if you can think of more please join in on this mess

Let’s say some weird random ass multiverse magic got all of them into a room. After the initial “Good God is that what I look like with a buzzcut?” and “Why the fuck are they British- is that kid Scottish?” and “HE’S A PRINCE? OH THAT GUY WHO’S SINGING IS A PRINCE TOO? HOW AM I A PRINCE???” then someone (honestly out of the six I listed probably Henry or … Luke?) telling everyone to settle down and introduce themselves so they can figure out their differences, what’s gonna happen?

Well...

Luke and Jeff will definitely get into a fight at some point. Maybe Robert gets unintentionally involved too

I dread to imagine the conversation/confrontation between Luke, the conservative marine and Henry, now a gay icon in a loving, committed relationship with the bisexual POC son of a democratic female president (I’ve heard some folks call Henry the rainbow prince and oh my God I love that) interacting, but Henry is still a prince and a lot stronger and willing to stand up for himself and his relationship at the end of the movie, I want him to win in that argument

Henry and Robert will definitely judge each other. Robert on Henry’s clothes and how proper he is (think about his fucking line “dancing at these things are so mannered! And formal! And we look like fools!” and oh God I hate that I can quote that line) and Henry on Robert’s eccentric, borderline-childish mannerism, and wonder how on earth is this guy a prince (I know royal protocols are strict and Henry does definitely find them stifling at times but a large part of that is just… manner and etiquette? Like look at the pained face he makes when Alex devours the cornetto and then speaks with his mouth full of ice cream, he was definitely exasperated by his choice of men at the moment)

Luke and Jeff will get annoyed at Robert spontaneously bursting into song and tell him to shut the fuck up, but Henry might find it amusing and somewhat charming (come on I absolutely don’t believe that Alex and Henry don’t sing to each other, especially when they have Taylor and Nick’s beautiful singing voice in the movie verse) and maybe Conor starts shyly strumming his guitar to Robert’s singing

Jeff trying to bully Conor and Timmy then realizing these boys are no less strong than he is and gets his ass kicked

(The next couple of points are the main reason I wrote this post lol)

Henry recognizing Conor and Timmy’s struggles, seeing bits of his younger self in these queer kids that look like him, remembering what Alex said about getting to be someone his father didn’t see growing up, thinking he can do something similar for these two boys and taking them under his wing, pulling the both of them to a corner to talk

Conor telling Henry that he doesn’t believe there’s a place in the world where he could just be himself, and Henry remembering feeling the same until a certain American boy with fucking eyelashes, black curls and dimples stormed his castle

Timmy explaining how he feels like his bisexuality isn’t being validated (Nick did amazing in that scene please go watch it) and Henry gently telling him that that’s absolutely not true and that his boyfriend is in fact, bisexual, and there’s absolutely nothing wrong with liking both boys and girls

Henry and Timmy sharing their grief over their lost parents

Conor and Timmy suddenly having a man who looks like them, who's in a position of power and in a committed relationship with another man in a position of power to look up to

Henry telling them his story and how he found love and support, giving the boys hope, and realizing that this is what making history can mean

I don’t know how my brain came to this but Henry as an older brother to Conor and Timmy now lives rent-free in my head, might write more on that alone

Very intrigued about how this is gonna be expanded when Mary & George comes out and we add George Villiers to the mix, Henry will pass out

[alicentsgf]

Let’s use my dusty knowledge of the Plantagenet era and talk about the white hart in HotD. I've had some really muddled thoughts and feelings about that scene and the way it framed Rhaenyra’s struggle for the throne to the general audience, but I also think there might be deeper meaning to it than what was initially obvious. If GRRM was as involved as he says, then at least some of this was likely deliberate; he's made no secret of taking inspiration from history, especially British history. The world of ASoIaF often rhymes with it.

The white hart wasn’t mentioned in Fire & Blood, and in my opinion its inclusion in the show seems to be not only foreshadowing Rhaenyra’s journey, but perhaps even commenting on the unreliability of F&B as a supposed “factual” account.

In our world the white hart is not just symbolic of royalty and burgeoning heroism, its much more specifically recognised as the heraldry of an English king; the deposed and disgraced Richard II. Though the only thing historians can agree on with Richard II is that he was considered physically beautiful by his contemporaries, modern historians at least somewhat unanimously write of him as a fair enough ruler, but for his belief in his own divine authority, as well as a lack of willingness or ability to play the political game, all of which facilitated his downfall. Simon Walker wrote of Richard II, "What he sought was, in contemporary terms, neither unjustified nor unattainable; it was the manner of his seeking that betrayed him." ...Sound familiar? Richard later died as the prisoner of his successor, the usurper Henry VI, a man whose expected inheritance Richard II had once subverted.

(There's also something to be said for the fact his rule and subsequent deposition has been argued as the groundwork for the War of the Roses; the real life inspiration for the events of A Song of Ice and Fire... maybe don't quote me on that to any historian though, it's heavily contested.) 

So, Richard II was supposedly a good enough man and ruler by contemporary standards, but he is remembered overwhelmingly negatively, most likely because of one very specific depiction; Shakespeare's Richard II. An unflattering depiction, steeped in exaggeration and a somewhat understandable need for drama. It's now the most widely-known representation of him. So is it possible that, through the white hart scene, we're being told Richard II and Rhaenyra run parallel to each other in one more way? How accurate is Fire and Blood truly, when it comes to its depiction of Rhaenyra? Does it meditate on her faults and exagerate her cruelty? Almost certainly. Is it any more accurate than Shakespeare's Richard II? Perhaps not.

My local pub happens to be called ‘the white hart’ (not even a weird coincidence tbh, it's just a very common pub name), and it has a framed copy of Richard II's heraldry (the image above) on the wall. I’ve spent a fair amount of time looking at that thing wondering about the symbolism of the crown sitting around his neck and the golden chain that trails from it. The implication of a crown as the thing that holds captive this noble animal… What better way to describe the claimants of the dance? It's not only Rhaenyra, but Aegon too, who is the stag with the crown at their throat, golden chains dragging them down.

[euhemeria]

WIP Tag Game

I was tagged by @chocochipbiscuit, who was embarrassed to have far fewer WIPs than this. Oh boy! Don't ask how many I have because this is still an incomplete list, I just gave up typing them out at a certain point 😂

Rules: Post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them and then post a little snippet of it or tell them something about it! Tag as many people as you have WIPs.

Okay I've organized this Overwatch WIPs first, all others at the bottom (categorized into BG3, Other, and Original)

Angela/Fareeha

engagement redux ● photos [nsfw] ● tu bishvat ● the big one ● pride six ● beach episode ● most mornings ● cisvestigating lol ● too close ● mariel bday [nsfw] ● augh [nsfw] ● again no [nsfw] ● aesthetic sensibilities ● funny? ● nervousness ● schedule [nsfw] ● couch ● fiber ● ethical objection [nsfw] ● nanobiotics ● a strange sort of freedom ● izzah boredom ● kinktober scraps [30] [nsfw] ● temperature play [nsfw] ● it's not the same ● not up for two [nsfw] ● scraps - no baby ● chance catches up ● event horizon ● something shifted ● colorblind shenanigans ● 07/24/2023 10:09 AM ● time tempered ● abdication of responsibility ● nebulous ● i don't actually ● initial shock ● repetition ● selbstzufriedenheit ● its different, its you ● youre making this very hard for me ● moon i think that its you ● rites of unshared spaces [nsfw]

Ana/?

tomorrow pt. 5 ● beautiful [nsfw]● topoisomerase [nsfw] ● ana leaving ● echo girl ● cairo [nsfw] ● undone, not quite young [nsfw]

Other Pairings

something is amiss ● whiskey dick [nsfw] ● agon pas de deux ● 100 and counting ● ground still tumbling down [nsfw]

Gen

ana izzah ● house - day 2 ● tangy ● envy ● change ● expectations ● izzah routine ● recovery ● what i would do ● shielded ● keen awareness ● inevitability ● touch-up/after ● six qs ● pre-partum anxiety ● bap non-binary ● oui'd ● adhab al qabr ● baby (there is none) ● therapy! ● 5+1 of the worst kind

BG3

kinktober [nsfw] ● shartzel bad end [nsfw] ● smtg healing [nsfw] ● the gang gets cancelled! [nsfw] ● quote from man owned: im not owned!

Other

gays anatomy ● scully im free at six pm call me scully scully im free [nsfw] ● josieviv [nsfw] ● apparently the worlds first osag fic ● chana please dont hate me

Original

below the gentle waters run ● like myself arrayed ● softest hours would choose ● lashon hara

Tagging @throughalleternity @foulbearobservation and @tahthetrickster. Sorry if you felt obligated to read all that because you got tagged because honestly I probably wouldn't read all that and I wrote it!

[minalblood]

Ep 7, finally! Sorry fellas took a while.

I will try to skip past the Despair destiel parallels since they've been mentioned often enough and focus on other stuff i find interesting.

Ok 1stly Carlos jokingly saying they should try jumper cables for the Ostium only to then look back at Lata judgingly was A++ friendship moments.

Love the Tony mention from Ada so much!

I will say all the shell company and warehouse talk reminds me of spn season 7 and the Leviathan plans which to be fair, the Akrida's plans are basically the same. Both hungry, some type of shapshifting beings. Kinda wanna know which came first for Chuck, cuz we know the Leviathan are meant to have been genuine creature vs the Akrida who were deliberately made as fail safe plague.

Mary big mad this ep beginning and it's all because of her worry.

God I still love the Akrida design and I also adore their growls!!! Tho I add that the fact that they can feel pain but cannot be killed save for something out of this world is hella intriguing, feels like something a, to quote Chuck, "cruel, capricious God" would do.

I adore Carlos brain! They're soooo smart and it's constantly shown in all the subtle ways but it's so consistent throughout that I love it. And not just generally, but also emotionally speaking, especially highlighted in the scene with Mary. Putting the right blame on the shifters, being honest about dealing or not with their parents death and still succeeding in bringing Mary's spirit up.

Why would John be so shocked that Henry would've written something for the MoL? Henry was a MoL so it really shouldn't be that surprising that he wrote stuff down. I personally think it's because he chose not to ask more questions because it would've fucked with him too much and he couldn't handle it.

Millie in the Clubhouse! Finally! She's still too harsh, but this time I tend to give her tiny bit more benefit of the doubt since it's obvious being in the Clubhouse is bringing up all the very complicated feelings she has deliberately not dealt with about Henry. It's why she can go from mentioning love letters with a soft gentle loving tone one moment and then insulting Henry's chicken scratch and its supposed use in saving the world. She has dealt a lot more with her feelings about Henry these past... weeks months? since all the stuff began, especially having received a clear answer about where Henry disappear to (he died), but that in many ways likely made it so much more complicated because the anger hasnt gone away but now it feels almost unfair to aim it so much at someone that seems to have not had a choice in abandoning them as she initially thought. She's still mad tho, not just because of that but also because she was never allowing in by Henry, not really, and we learn later that he deliberately distanced himself from her as well so being invited to the Clubhouse is a huge step in slotting into place what she feels. It's also why I think she demands so staunchly to know exactly what's happening because last time she didn't, Henry died.

The implication that Samuel Campbell is messy from Mary gave me such a John's room in Pilot vibes. Love that parallel (read: hate)

The mention from the Akrida possessing Roxy bout Roxy's beauty is made sooo much worse by the later episode about her possession, but with it in my mind, it give such icky vibes now. Besides the sheer disregard about Roxy's life. It makes it even more clear how much humans are just things for the Akrida to use and discard whenever. And that will only be made more apparent in later episodes.

Carlos' miiind!! The hex bag!! God I love them.

Interesting just for me I guess, but the fact that u just need to know the ingredients of a hex bag to find it, is sooo fun. I have so many questions.

I also love seeing Millie adjusting to the whole supernatural thing, her mind just going and her saying shit only to find out she might actually be onto something to them using her plan. Love that, especially love that it happens in connection to Ada. Millie and Ada have been pretty linked throughout the show so far, and I love that it's while Millie is talking to Ada, one of the few people who actually knew Henry and Henry allowed in, that she gets the idea she does. I also think it's very important that Ada does tell her the stuff Millie didnt know.

Ok, maybe controversial opinion here but I actually agree with Ada here, John is not closed off like Henry. He just isnt here. He is extremly reactive which means you will know what you get with him cuz he will make it clear, in a very bone headed way, sure , but it will be clear what he feels. There are of course things he doesn't disclose, but it aint about him being open, its just that he isnt closed off like Henry. Henry who his wife thought didnt even think of her or if he did it wasn't good terms at least toward the end, Henry who planted a protective plant for his family but never said anything about it. John, in spn, certainly does become closed off like that, id say he gets even more closed off but not this John, not yet and hopefully never. This john is just angry. Really angry, but it's still not the same insurmountable situation.

I adore Lata's excitement about all things monster.

Ahhhhhh I miss you all too Carlos 😭😭😭 #SavetheWinchesters

Nixon being Akrida is a nod to Lucifer possessing the president vibes to me.

I kinda love that Millie sold her wedding ring, it makes sense on so many levels. 1. Shes a single mom with a business to run. 2. She s trying to distance herself from the pain Hwnry left her with. 3. She is very much a dont think about it and it'll not affect you denial stage of grief person.

The music box!

It says shit about Millie that she didnt know john still had the music box all these years. It makes it clear which parts of John's life she paid attention to (or could allow herself to pay attention to) and which not.

I hate that they cant actually deal with any of the stuff because of the short window they have, but that's how things are right? both generally and def in the spn verse, you never have the space or time to actually confront the person thats traumatised you, not really, you just have small pockets of chances to process what happened in the middle of world ending events.

Fun fact, I rewatched Inside Man recently and the spell they use here to summon Henry is the exact same one Sam and Cas use to talk to Bobby in Heaven. And the fucking meaning always hurts me, cuz it calls onto dead loved ones to answers their calls/questions abd it feels like a prayer to me tbh. I also headcannon that the reason the spell works differently here is because Henry was still in the veil rather than in heaven, but ive nothing to substantiate that.

Once more Mary and John have such a genuine relationship tho, they really are honest with each other as often as they can because of the connection and similarities they felt when they first met and everything experienced since. Unlike their spn counterparts who were very much not honest about themselves.

I really love that John gets to hear Henry unequivocally say "it was my fault, not yours". It's so so important, both that Henry immediately owned up to it, and that he made sure to let John know first that it wasnt anything he did and that he wanted to explain everything.

I also wanna point out the immediate dif in Henry's demeanor once John mentions the Akrida aka work. Henry instantly compartmentalizes alll the feels he had about seeing John and getting to see Millie because he very much knows the importance. Better to have ur family alive even though you can't get closure than risk their lives just to explain yourself.

The paaaiiinnn, the emotionssss ahhhhh!! They can't get through everything they want to say but they make sure to say the things they need and my heart hurts now thx! Im very glad Millie got to see him though. It helped close another leaking wound in her. Damn this whole ep is Millie being put through the emotional wringer as much as John and Mary are. It prolly felt really good to hit the cop in the face with a bat after all that.

Love Mary's fighting advice. It shows she gets the urgency and the need to not linger on too long since the end goal isnt to kick ass, but to actually defeat the Akrida. Her hubting experience shows and her reason for doing this shows too.

I just know Lara wouldve had a field day if she couldve gotten that monster essence. So sad for her actually.

Also you know if Ada had been left to her own devices she wouldve followed Tragic Haircut and found the Akrida queens location. We've seen she can be very cutthroat when needed and her input wasn't really needed in the van, but it was needed to follow the Akrida. Thats what i think anyways. Millie for all her harshness, would never leave the kids behind. Shes suprising soft underneath it all, Ada is surpsingly cutthroat. Yay more parallel and contrasts between them.

Oh Mary, you were wrong there and it almost cost you dearly (just like how Dean going after Billie assuming shes thanosing people went wrong). Love the call back to their first meeting. Hate the despair vibes cuz ouch. Samuel to the rescue, congrats, you did the bare minimum. ( i am not a fan of Samuel and all the call backs to Spn!john only make it worse everytime, especially the heroic last second save when he's been mia and shitty throughout otherwise).

God can't wait talking about the queen when she finally appears properly.

See y'all later for a double special of Dean alive (ish) and Trickster/Loki discussion.

[jessamine-rose]

Everyone, check out Anya’s fic!! (๑*ᗜ*)

My comments are under the cut, and they will be incoherent because these are live reactions + I wrote these before realizing I'd hit the tag limit. Enjoy my ramblings xD

AAHH IT'S OUT!! firstly i'm applauding anya and dragging her into bed cuz 22.2K WORDS?? ANYA PLS GET SOME REST AFTER ALL YOUR HARD WORK--

for starters ohhhh the title, kafka quote, and chapter titles!! very intriguing + contribute to the overall vibe of the story >:3

i also love the banner. the scrapbook vibes.....blade's picture....aaahhhh

I

'There are thoughts in your head. They’re dangerous ones, lingering in places that are grimy and soaked in something tarred. They should not be there.' two paragraphs in and i already found a line that i rlly like <3

kudos to the narration!! from the faceless clients to darling's repetitive, methodical way of doing her job. you can rlly see how desensitized she has become to the horrors :'>

'( Your thoughts unravel and they’re a mess in your hands like several bits of coloured petals. The scent has washed away. They almost seem to wither, bit by aching bit. )' THE PROSE!!

ahh darling's backstory...from innocent children to shady people who have experienced/ initiated violence...what a sad change in patients :'>

'The carpet was worn down by blood and heavy footfalls, over the thread work and your mother’s faded name in the bottom.' this detail is *chef kiss*

'This is yours and it's a feeling locked away in your beating heart.' shoutout to this line as well!! i am also looking at the heartline divider >:3

ohh i love how you wrote the action scenes!! it's so immersive from the adrenaline rush to darling's attempts at processing the numerous stimuli

'It paces like a starved animal, like a caged beast.' ohhh i love this detail about blade!! adds so much to his characterization....

'You think he could have been pretty.' + the kintsugi comparison for blade's sword....god i love this description

OMG DARLING HIT HIM?? i love her mental list of blade's injuries. in the wake of violence, it makes sense that she'd find comfort in the familiarity of medical terms

what a great meet-ugly >:3

II

the aftermath is so heartbreaking. from darling's self-perception to her damaged clinic :'3

the details in the 'pick up the pieces' dialogue are especially telling!! all the love and memories that have been put into this area....a medical sanctuary now converted into a place where criminals roam.....the perfect symbol of darling's decline

OH NO DARLING'S BREAKDOWN :'>

i think i've said this before but the dynamic between blade and darling is truly interesting. an unkillable man and a doctor who views him as an anomaly in her medical knowledge. a murderer and a person who is supposed to save lives....

‘You don't tell him about the death, the way deceitful monsters do.’ this line :’>

OH NO BLADE AND KAFKA ARE HERE!! one paragraph in and i already love your characterization of kafka…

‘She looks at you like you were an adorable specimen. A pet…or perhaps a bug to be stepped on. ( It’s a cruel sort of beauty that edges her face. You’d hate to admit you were staring a little longer than you should be. )’ KAFKAAAAAAAA <3

UEEEEE SADISTIC AND UNNERVING KAFKA

‘Bladie catches your wrist when you try to squirm free and you’re half dragged onto the seat between them.’ omg blade…..this would be kinda cute if you hadn’t just traumatized darling with your mere existence

HELP NOT THE BABYSITTING–

‘Would you be a lamb and do it?’ MOVE OVER BLADE I AM GOING TO BECOME A PATHETIC DOG FOR YOUR COWORKER–

‘The room is a blurred scape, a watered down stain ( ink tracked against damp paper ).’ THE PROSE!!

‘Because humanity despises the naked truths in the world.’ THIS ALSO!!

III

i am loving these insights into darling’s family >:0

she feels so alone apart from the company of aleena and the watchman……which makes her all the more vulnerable to the stellaron hunters

i love how blade is just quietly sitting there and behaving like a tamed dog. it reminds me of a tumblr post that goes ‘he’s got that previously neglected shelter dog rizz’

‘The paradoxical warmth in his body now, when for a moment there was none.’ anya keeps feeding us with great prose…..

‘Blade still stays an unwanted spectre behind you, treading in a way that is too soft to be human.’ NOMNOMNOM

‘You keep rambling, hysteria trickling down. It's a leaky tap, that anxious mess in your chest.’ !!!!!!

i rlly love the choice of ‘vermilion’ to describe blade’s eye color

‘You do not like Blade’s silence. His silence means he’d rather think about something and him thinking could involve certain death. There is a disturbed sheen glossing over his gaze. He does not look wholly there, the less he talks.’ ONCE AGAIN I LOVE HOW YOU WRITE BLADE

‘Horror stirs deep in your gut and a small sliver of morbid fascination shunting beneath the murky waters and glimmering up in those seconds of resurfacing’ i love darling’s fascination with blade’s curse >:3

‘His regeneration. Yes, his regeneration. Tissue rest and repair would be unnecessary with that, wouldn't it?’ the medical knowledge throughout this fic is such a treat <3

‘It likes to gnaw out any sense of humanity from his bones, in fact, scavenging away the bare ligaments and swallowing it whole.’ !!!!!!

NOT THE TEXT FROM KAFKA— poor darling stuck between a guy she can’t kill and a coworker who could easily ruin her……

you did such a good job at portraying darling’s helplessness

V

aww what a nice interaction between darling and her patient—aaaaand there’s blade

AW HELL NO NOT THE SUITED MAN—BLADE GET  OVER HERE I’LL EXCUSE YOUR MADNESS JUST THIS ONCE

'Blade does not leave. He never does, on that bitter note, looming over the two of you by the wall, that beast twisting in his eyes like a snake...' this part + the next few paragraphs!!

god you can rlly see how much time and consideration aine has put into analyzing blade’s character. atp hoyoverse should hire you to write for blade

omg the interaction between blade and kafka……ngl if i were darling, i’d assume i was third-wheeling on them (doesn’t know a lot about hsr and it shows. does kafka help blade with his mara??)

‘Do you like this one?’ UEEEEEEEEEEEEE

on that note, i love how you write kafka. mysterious, enchanting, equally threatening in her own way…

VI

NOOOO goodbye aleena. also ouch, the lines about love and hurt :’>

it’s cute to see blade acting awkward in civil conversations. def not his forte xD

i love the cooking scene!! very descriptive from the ingredients to the dull knife. ofc it would be the perfect opportunity for blade to prove himself to darling. the shaky beginnings of domestic ‘bliss’ and camaraderie if you will

‘Your old home smells like this, like comfort and nostalgia in the idyllic sorts of memories. They’re the ones you lock away in a box, nestling that key deep inside your ribs. Even so, that horrible weight swells up like a tumour. It could burst any minute. It’s wearing you down and frying the ends of your nerves.’ atp this reblog is just 75% of anya’s prose sksksnkdn

ohhh darling’s backstory :’>

‘It's hard to think of Blade as human in times like these, where he's either too robotic or too animalistic.’ you’re right!! in all of the blade fics i’ve read, it does sound like he struggles to find middle ground between the two

‘I'll drag you back. I will keep dragging you back till you cease this foolishness.’ ueeeeeeeeee

‘You want to scream at him till your vocal chords fray and your arytenoids collapse’ more medical terms!! <3

‘He can’t quite stop it, the rapid undergrowth, the rustling call of mara…’ yeah idk what else to say. i love love LOVE this part!! the graphic imagery, blade trying to make sense of his feelings, the earlier part about the script……..

‘Do you hate me?’ + ‘You can kill me then.’ ah yes how romantic of him </3

dw blade. give darling some more time and she’ll be killing you to your heart’s content. whether it’s out of hatred or to satisfy your masochism, we have yet to see

‘He muzzles himself as most dogs should be. His teeth are blunted, his claws filed.’ no anya you can’t do this to me THE SADIST IN ME IS SMILING NOOOOOO

VII

the scene between aleena and darling……ohhh. you did such a good job at exploring the familial love + conflict as experienced by both :’>

‘Am I not a good daughter?’ …i think something in me just broke reading this line :’>

HELP KAFKA’S VISIT?? kafka what are we T0T

‘Pity weighs in her sentence, cloying it together like resinous amber and sundew. She looks delighted.’ atp if anya were to create a writing course, i’d be the first to enroll

‘Then again, Bladie's always rough with the things he likes. I'm almost tempted to take you with us.’ give me a moment i gotta simp

‘Your fear is a feast to her, one lazy bite after the other.’ god i love how you don’t hold back on kafka’s ruthlessness whilst maintaining her charisma

THE CHEEK KISS?? atp are kafka and blade down for a polycule—

the way you write darling’s distress coupled with her rationality is so…..aaaaahhhh. it’s a perfect balance. you can rlly feel her defeat in the last part of this chapter

VIII

‘You're trapped in your own burning house, doors jammed shut and the window too high to take a jump. You'll suffocate in here, choke till your lungs collapse and your organs scream and fragment.’ ANOTHER BANGER LINE–

‘Don't you dare tell me I'm being—’ ‘that I'm being difficult.’ ohhh this line hits hard when you consider darling’s backstory with her family :’>

‘Your mind, your ribs are barren spaces.’ HUHUHUHUHU

i love your description of the guy’s death. i shall now proceed to slap blade for letting darling see that and not considering the additional trauma it would give her

THE KISS SCENE?? IT’S SO GOOD WTF—the adrenaline rush, the ongoing violence, the horror of it all + the nearby corpse, darling’s breakdown aadkdndeknndkdenkdendkendeked

i love how you subvert a couple’s bath, normally something viewed as domestic and fluffy/ spicy, into a scene of horrible numbness <3

also shoutout to the asian-style bath. nothing more romantic than pouring water over your lover’s head xD

aahhh yes what wonderful pillow talk. tsk tsk blade

IX

OH MY GOD THE SMUT??

the double cruelty that is blade’s hornii and darling’s own body betraying them…..

the confession aaahhhhhh

i’m bad at commenting on smut scenes but just know that it’s SO GOOD!! the noncon and hatred and blade getting strangled add so much flavor to it teehee

‘( There are many things you want to tell them. Many angry things, many quiet, introspective things. Many with a little more love lining your words, a little more longing. They still wait for you, even after shutting their doors. You know this too. )’ brb gonna cry—

the ending…..darling choosing to fully dissociate from the violence…..but oh no is that her family?? welp at least darling has blade now T0T

atp let’s hope kafka and blade do take darling with them bc there’s not much left of her. she can be their onboard doctor instead!! lots of wounds to treat if you get what i mean :’>

dkndkdendekndekdenk god this fic was amazing

it’s difficult for me to give an overall review but just know it was amazing. a rollercoaster of emotions

i love darling’s character and her dynamic with blade!! they are *chef kiss*

anya, your writing style + stories are fcking incredible and i’m truly blessed to be living in a world where i can read your work and interact with you

 and it pains me to say that i like blade a lot more now bc of you…..damn it >:’T

ノㅤTHE DEVIL'S ANESTHETIC ;; blade.

syn. [ 22.2K ] you were just a doctor, at the start of it all. then came the chaos, the knife, the bits and pieces of madness and coming horror. and in the center of it all, stood him ( a gentle cruelty ).

CONTENT WARNINGS. slight yandere + dark content ahead. reader is south asian coded, blade is a little fucked up and inevitably fucks the reader up a little too. murder, corruption arcs i suppose, medical terminologies i only half know spare me i'm studying in aslp not pediatrics, breaking of medical ethics, the reader is a wet cat and is absolutely pathetic, gang violence, death, kafka being a manipulative milf, angst, acts of murder and mentioned dismemberment, suicidal ideation, SMUT ISTG SMUT, dub-con, non consensual kissing, hatefucking, blade having violent thoughts bc mara, seriously the reader is not daijobu, blade getting off on being killed.

ENTRIES. HAPPY HALLOWEEN! this work has been marked mature for containing smut & dead dove content. readers below the age of 18 / ageless blogs and antis, do not interact. PLEASE READ THE WARNINGS BEFORE PROCEEDING. ( this is my THIRD fucking repost because tumblr KeePS EATING MY TAGS )

playlist ノ author's notes ノ masterlist.

"you can hold yourself back from the sufferings of the world, that is something you are free to do and it accords with your nature, but perhaps this very holding back is the one suffering you could avoid."

— FRANZ KAFKA.

I. NEWLY DECEASED

“We have another one.” The receptionist echoes out from the front desk.

Another one. The words still the twitch in your muscles, the incessant cleaning and arranging and scrubbing away blood from medical chairs and forceps that should not be here. There are thoughts in your head. They’re dangerous ones, lingering in places that are grimy and soaked in something tarred. They should not be there.

Another one and that’s enough to coat your stomach with ugly, stifling coldness. You don’t reply, keep your eyes down and let the man walk in.

There were never any faces to your clients. They had hands, ringed, tattooed, scarred. Some had suits. Some stank of iron. And they all had guns, or bats, or rusty crowbars and attitudes that were knife edged and brutally coarse. This one is much like the rest. He tells you he was shot in the waist and his voice is static and white noise and discord leaking out of your ears in droves till —

“— will you get moving?! It fucking hurts.”

“Yes.” you choke out. “Yes of course.”

It comes easily to you now, after months of repeating it over and over with varying degrees of perfection and prompt. Find the shrapnel, pull it free, clean the wound, suture it. Find the shrapnel, pull it free, clean the wound, suture it. Find the shrapnel, pull it free, clean the wound, suture it. Find the —

( Your thoughts unravel and they’re a mess in your hands like several bits of coloured petals. The scent has washed away. They almost seem to wither, bit by aching bit. )

You step away. “Done.” you tell the suited man and ask for no payments. Your receptionist does not either when he strides outside and it’s smart because patience was a whim when you reeked of viscera. That brazen naivete was drilled out of her a long time ago ( and you too ) and the rules were set forth, rules that must never be broken. You’d seen too many zipped up body bags scattered in the gutters to dare to. You do not want to be one of them.

( Coward, that spiteful half of you snarls and you know it’s right. )

Only he does reach in and throw some loose notes against the counter. You shuffle up to her, nails crusted with brown and red and count fifty kaas. It’s peanuts. It will do.

You were a doctor.

Or at least you’re certain you were. You’d spent the better part of your decade rooted within a small university where standard IPC dialect was taught as a secondary language and the fans hadn’t been replaced for the last thirty years. It was torture during the summer and the hospital adjacent had patients who spoke in tongues you didn’t quite understand. But you manage. You tried, you graduated.

You were a doctor. Your license reads you specialised in paediatrics. Children were all you needed to deal with, some too loud to listen to their parents' chides for silence. Some so young they were small enough to fit in your desk drawer. Some of them liked to talk too and ask questions during checkups and vaccine appointments ( nerves, you reason and you answer the questions ). It wasn’t much. It was peaceful. It was alright. This is your clinic, something you'd built from sleepless nights and mountains of referral literature.

Then you’d see less children and more of those suited men as the streets grow with a cacophony you can’t call safe after this. The carpet was worn down by blood and heavy footfalls, over the thread work and your mother’s faded name in the bottom.

You weren’t treating children anymore.

Still, you hold it together. This is yours, all of this. This is yours and it's a feeling locked away in your beating heart.

When the man returns — and you know it’s him because the birth mark on his hands were hauntingly similar — he brings company. The company in itself would have seemed unassuming, and they were, lingering by the doors speaking in words too fast to comprehend till the gunfire rang out and the windows shattered.

A part of you is thankful that it’s so late, where the streets are silent and the bustle is calm. The files you were rearranging fall to the floor. You duck beneath your desk and stay there, enclosed within tumult, within chaos, within something you wanted no part of ( and you grip your hands tight, quietly wondering if that persistent cat would be fed, if your father would care to know what happened to you ).

You hear glass break, fall, fall and hit the floor with a sadistic sort of tinkling.

You hear frantic footsteps thundering up by the door.

You hear the screaming.

( You hear your heartbeat. You want it to stop. )

Something crashes into the storeroom. It was large, heavy, clothed and it let out a strangled cry before iron clogs up your nose and heat and cold fizzles up and hammers into every crevice and pore and turns your chest inside out. The man tries to shift, to get up and out of the way, shoulders knocking against the shelves in panic that feels painfully palpable. He’s crying. You see that when you bundle into a corner, eyes burning.

His body jerks and is dragged to the door.

“Don’t,” he begs till the desperation chokes his reasoning and it meters into panicked threats. “You’ll be torn apart by this, I swear, you’ll be hunted down — ”

He’s pulled at again, his limp form slipping out of sight. You hear a sick sound — a squelch, the dripping of blood and viscera and the gamey crack of bones. Your teeth dig into your cold fingers. The stinging is numbed, dim and distant, while you press against the wall and try not to wail.

There is only a single set of footsteps now. It paces like a starved animal, like a caged beast. Leave, your thoughts scramble and correct themselves. Just leave. And it repeats, over and over like a maddening chant. Please leave, leave, leave. The footsteps stop at the door followed by a slow scrape against marble. A shadow falls over the doorway. That’s when you see him.

You think he could have been pretty. But there's terror beneath that veil of frozen numbness. You don’t think he’s pretty now, when he’s stalking into the room, bloodied sword in hand ( it’s mired and cracked and mended like kintsugi but twisted and terrible ). He walks like a man who’d been broken and sewn together and he reeks of death and a sickening sweetness.

His gaze meets yours for that fleeting moment.

( it felt like that throbbing helplessness. Of everything going wrong. )

One of the suited men had not died. Not yet, in some inane act of stubbornness. He’s tackled down immediately and you flinch back and finally scream, watching the writhing pile of bodies smack each other down with ease. The swordsman ends it. There’s a chilling disparity in strength with how his bare hands tear into flesh and rips his opponent’s arm off. He’s laughing, laughing like a madman and the insane hysteria sparks a primal instinct nestled in your mind.

You’re moving before you realise it, when you spot his fingers twitch for his fallen sword. Your hands close around metal. You’re surging forward, taut at the edges. That part of you screams into the void, stripping away morality, reason, the simpler parts of shame that could have stopped you then and there.

When your fractured mind pieces together and lets the spinning room rest into clinical stillness, you’re aware of the hysterical laughter that man trembles into. He slumps against your legs, weighted, boneless. He’s still laughing, like the world had whispered a funny joke into his ear and left him to rot.

The dislodged pole slips out of your hands. You watch him crumple down onto the floor, staining the tiles. A swing, a hit to the back of his head, a break to the vertebral artery, a medullary haemorrhage, a stroke, neuron death —

You spend the next hour tucked away in that storeroom, watching the man’s body convulse, then his breathing still and his body run cold.

II. DISTENSION

Once upon a time, you told yourself that you could get by. You could get by and let yourself think you were a good person despite the ugly cracks tucked away and the bated disappointment breathing down your neck. It’s the human experience, a conditioned way of convincing yourself, a way you wish to live in the quieter corners of you.

It’s a lie. A lie. A lie.

The body does not move, as dead bodies usually do. As a frame of reference, dead bodies don’t do much to begin with. You stand back up and feel nausea coat the back of your throat, then wordlessly stumble to the man. Your fingers press against his pulse. Nothing.

A part of you wants to laugh at yourself for hoping.

The police take it all away. They don’t know what you did. Or maybe they do and care so little they swat that detail aside. Death is so natural here, so common and where is the sympathy for the damned when the damned were everywhere and your kindness wears thin?

( You’re left to pick up the pieces. The cracked photo frames, the toys and magazines salvaged, the bowl of tamarind candy tipped over. Bits and pieces gathered together and sewn back together. There was a heart in these walls. The pain was always there, but a dogged part of you loves this place. )

You answer what questions were asked and let them walk away, knowing they’ll do nothing about the situation to begin with. They never do. Most policemen were tucked up in the pockets and played dogs to gang members. Some lost themselves to apathy. Money could buy loyalty in droves. It was an open secret.

You get back home and let the hot water run into your bucket. You feed the visiting cat. You wipe the counters down and unearth some food from the previous night. You turn the water off. You bathe. You eat.

( “I’m fine.” you lie to Aleena when she calls you, frantic, scared. More frantic and scared than you present yourself to be. You don't tell her you’re a murderer.

“I don’t think you should go back tomorrow. I’m not saying this to get off of work or anything but after all that?” she falls silent.

“Maybe. But I need to keep the income coming in somehow.” )

Walking into the bedroom feels harder than it should. Lead bleeds into muscle as you patter along and try to keep yourself steady against the walls. For a moment, you stop and lean your forehead against it and tell yourself not to cry ( because cowards cry, and idiots cry and it was a pointless endeavour anyway because nothing — nothing about this would change ). Your degree falls into your line of sight, framed up against the wall.

You are a doctor. You are a doctor. You are a doctor.

That guilt knocks you in the knees. The guilt, the disgusted guilt that comes from killing a man.

( It’s engulfing, like tar and cloth pressed up against your face. The breathlessness, the storm rattling against the window, the messiness of it all. You’re screaming at the pillow. You’re clawing at it. You swipe till your arm bleeds and the cacophony dies down. )

The veneer shatters and the frame is clenched and thrown to the floor. The casing cracks. You heave, look at the mess at your feet and think to yourself :

What were those eight years for?

You killed a man.

You killed a man.

You killed a man.

A gasp tears through. It's painful, heavy and it's glass and shrapnel. The voice in your head whispers. Nothing. It's all for nothing.

Another one crackles through the muffled distortion, straining and rattling. A clear “I told you so.” grating past the chaos, disappointed, smug, knowing.

You shut your eyes and dream of jasmine and marigolds.

( You listened to Aleena when you passed the register and took a day off in the end. It’s the one kindness you let yourself have.

You did not eat for most of the day. Your gut gnaws. Your limbs feel weak. But food, as delicious as the thought seemed, invoked a visceral response. Of corpses and blood and things that you thought yourself too far removed to disgust you. A caved in skull did all this. A caved in skull made you retch and empty your stomach out into the toilet.

You think you deserve it. )

Your watchman stops you when you head back out again a few days later for a grocery run. "Are you alright?" he asks, peering through sleep. The cat curls round his legs and he gives it a gentle pat. You can hear the content purr it lets out from where you stand, and you venture a little closer.

"A little." you reply, smiling a little. The watchman tilts his head in consideration. You'd lost count of how long he's been here. Some of the older tenants mention he'd settled in over a decade ago, when the building still had four floors instead of five and a little more space to park out back.

"You still seem scared is all." he glances over at you again. It's the worry in his furrowed brow that makes you give pause. He reminded you of your grandfather then, strong jawed, stern eyed before that softness pervades through when he'd let you scoot over next to him to sneak a look at the newspaper ( cricket scores and stock prices were all he looked at. And the Sudoku ) .

You shift in place, tugging at the hem of your jacket. "It was a little jarring. The sudden attack, that is." you admit. You don't tell him about the death, the way deceitful monsters do.

The watchman shakes his head. "Horrible thing to go through, I agree. Especially for one as young as you." The cat slinks pat his legs and under the bed. he leans forward, tire heaving at his bones and his joints. A decade. One would assume he'd retire at this point given his age. "Try not to let it wear down on you, is all."

"It's easier said then done." You mumble.

"It is." the watchman snorts. "I told my daughter about you though. She's taking medicine too…Oncology. I scraped together every Kaas I had to pay her tuition fee off." he flexes his arthritic hands. You keep listening, that sliver of curiosity winning out. "She hasn't met you…but she knows about your clinic. the children your helping…suited men aside. It gives her a bit of spark at least. So you keep going too."

You feel gutted, eyes stinging a bit. He puts too much faith in you, you realise. But there is a small touch of warmth against the rattling cold. "Thanks…" you nod. The watchman leans back.

Keep going. What a mess, really.

You return to your clinic, the day after. You decide it's the last time you'd let reckless hope bar the instinctive tearing in your gut.

There is a woman sitting on the waiting room chairs with a dangerous smile. She’s dressed well, like those elegant omen-bringers or dapper businessmen. She’s dressed like the coming consequences and it’s there, that sadistic delight, hidden behind that lazy tilt to her head.

“Good morning.” she greets, like she hadn't broken into your clinic. “Hope we’re not intruding.”

You look to her companion next to her.

The dead man ( and he was dead. He was supposed to be — you were certain ) stares right back.

“Do you have anything to drink?”

“There’s a coffee machine…”

“Hm, never mind. I was never too fond of the instant stuff. What do you think Bladie?”

'The man named ‘Bladie’ does not respond. You’d have laughed a little — if your nerves weren't frayed. You’d have laughed over a silly, inconsequential nickname slapped onto some scary looking man, then gone on your way. But the scary looking man was a murderer. And you were certain, so certain, that he was dead.

( His blood coated your hands days ago. You can’t have imagined it — not something so innately ingrained within your psyche like some sadistic firebrand.

How is he alive? How is he alive?! Why is he — )

“I could pick up some tea.” you suggest, because playing meek was the way of a coward and you were that in the end. You still had to open your clinic in another half hour. There are still parts of the storeroom that need cleaning and a window that needs replacing. The woman laughs. She looks at you like you were an adorable specimen. A pet…or perhaps a bug to be stepped on.

( It’s a cruel sort of beauty that edges her face. You’d hate to admit you were staring a little longer than you should be. )

“There’s no need for that.” she looks to the side for a moment. “Bladie was here a few days ago, you know.” you flinch, perhaps knowing the ugly scene to follow. “Got into a bit of a tussle. Of course, I wasn’t worried…he’s got a knack for seeing things through, you know…” She’s staring straight at you now. “And he’s good at not dying, one could say.”

“That’s nice.” you mumble, shifting uncomfortably. Your cheeks are cold. Don’t look at me, you try to tell the should-have-been-dead swordsman. Like that would have worked ( he keeps staring ).

The woman continues. “It's funny though. After that affair at your clinic, I had to pick Blade up at some hospital’s morgue of all places. Quite the detour if you ask me.”

You still.

She knows.

Fuck. She knows.

“I…I see.” you play into stupidity, wring your hands a bit and force a far away smile. “I wonder how that happened.”

“Yes.” she nods, solemnly flicking dust off of her velvet coat. The playful lilt to her tone is back, delicately poking and prodding away and you feel the walls close in bit by bit. You can see the man tilt his head. You want to disappear. “I’d think you know though…so how about you tell us?”

You don’t look at her. You can’t, with that horror filtering through and spotting your vision.

“Now….listen to me.” she stands, saunters up to you and you stay rooted. Your mind fogs over with cotton wool and the aftertaste of wine blooms through your mouth. There is consideration there, her pointedly dragging her eyes across your figure and taking a sick pleasure in the fear that trembles at your fingertips. A tiny part of you that still remains too torturously aware recoils. “Were you the one who killed Bladie?”

“Yes.” you reply and it isn’t you. You wouldn’t have said that. You wouldn’t have.

Her lips curl. “How did you kill him?”

“I hit him on the back of his neck.”

Her face glows. “Good girl.” she pats your cheek. “We have a favour to ask you. How about you hear us out?”

She gives your shoulders a squeeze and you’re gasping for air. “That wasn’t so hard.” she grins. The cotton wool strangles and is caught at the edges, whisping, grasping, stubbornly trying to stay. You still pull at it incessantly while you back away from her touch. It burns. What did she do to you? What did she fucking do to you —

You’re pulled closer. It’s just a tug, a simple coil of her fingers round your arm. “I’m sorry.” you blurt out. “I’m sorry. I never meant it.” There are cracks against the surface, a spiderweb and it keeps going and going and going the more you talk ( you need to shut up ).

“There there.” She coos. “How about we sit down, hm? Bladie, think you could make some space?”

You don’t want to sit down with them. You try to pull back, to run because that’s what you should have done in the first place; instead of entertaining a pair of strangers with that stupid, naive hope of safety. She pulls back. Bladie catches your wrist when you try to squirm free and you’re half dragged onto the seat between them. “Honestly. A drink would have been nice. Oh don’t worry. I could hardly blame you for that.”

The woman fixes her sleeve. “I take it you don’t know who we are?”

“No.” you admit.

“Ah. the IPC influence here isn't as deep, huh? I heard there was an overhaul a few decades ago. The revolt drove most of them out…I wouldn’t count on it staying that way.” She passes you a measured flash of her teeth. It’s all good manners and etiquette you can’t return. “But we’re not here to talk politics. I’d like you to babysit Blade for a while.”

Blade seems to be expecting it. He does not mirror your dismayed shock.

“Why — ”

“Can’t say. It’s all a part of some very important work.” She holds a finger to her lips. “Would you be a lamb and do it?”

You grip at the metal armrests hard. The room is a blurred scape, a watered down stain ( ink tracked against damp paper ). “I won’t.”

“Come now. After that stunt you pulled with him, it’s the least you could do.”

It settles hard. “I told you I didn’t mean it.” you snap. “I didn’t mean to kill him. I didn’t mean to kill you.” Your unravelling seeps into something dangerous. You try to step back. To keep it together. It tangles, knots, frays and snaps and tangles again and the foundations crumble. You cannot think despite the clarity slowly creeping and the fog metering out. You cannot think because the man you killed is alive and right next to you and dead men don’t just come back to life.

The woman forces you to turn her way. “You didn't mean it?” she repeats, inquisitive, amused. “Doctor please, any normal person would have gone for the head. You made a very calculated move there…and I'm sure that pretty little brain of yours knows the consequences that come with it.”

It’s a coveted part of you that dies there, withering, burning, clipped away and cast aside and you shake your head as you’re retrained. “Don’t touch me!” you scream. “Don’t touch me!”

Because humanity despises the naked truths in the world. They’ll deny, deny, deny what stares them in the face for those fleeting, selfish little comforts skewed in ignorance. Better the downy coverlet to the thin blanket, better the sweeter lie that bitter sincerity. You’re no different. Not really. You’re not different at all.

And that woman was not a liar.

III. RUPTURE

Aleena doesn’t take well to a strange man lurking within the backrooms. Her eyes always flit to the doors and her shoulders stay tense as she directs a few straggling patients to the waiting room and updates their details into the salvaged computers. “I don’t like the look in his eye.” she whispers hurriedly. “Doctor. Have you seen him?”

“Yes . I have.” you reply simply. “Could you pull up the files from a month ago? We have a follow up due today.”

She hums, and you nod to the messy clattering from the keyboard. “He’s not from here, is he? His clothes aren’t local.” her voice dips. “Is he an outworlder?”

“Yes.” You flit through a case history. The ink has run a bit, the edges flicked a dirty red. Bile and acid sears the edges of your mouth. You don’t think throwing up here and now would be professional. And your receptionist has a very nice shawl on. “Have the police called?” you add, helplessly rubbing away at the browned stains.

“You know they won’t.” she clicks her tongue, wrinkling her nose to the injustice of it all. You bite back your tired humour. She might descend into an angry little ramble then curse those men in three different tongues. You were guilty of listening in ( it’s amusing, and she had plenty of anger for the two of you, and then some more for the smaller things ). “They’re too busy sipping cha at the local angadi.”

She keeps tap tapping away. “Do you want me to send a soft copy? Or will you directly look into the logs?”

You cease flipping through the files. “Just send me a PDF.” you mutter. “You still have a few cases to input from yesterday right? I won’t hold you up.” Another report is pushed your way. Two more patients, two more medical histories to pore over. The throbbing in your forehead is incessant and stubbornly clinging on.

Gang activity in your neighbourhood has stifled from its initial raucous to a cautious thrum. There were still glimpses and the ignored nods, and that delicate rope-work still standing strong despite men from their brackets dying some terrible death. They don’t suspect you. It would be stupid to ( because you could hardly hold a gun in their eyes, or fight back. Your claws are chipped and your fangs blunted. It’s not a mystery ).

It does not stop the occasional loitering goon up front as parents grow a little braver and a little more desperate to bring their sick children in.

You settle with your work email, tapping your foot against the faint buzz from the streets outside and the waiting area. There is the occasional loud call. Kids being kids, shushed by mothers and fathers with warnings of naughty ones being fed the nastiest medicines for bad behaviour. You’re not cruel enough to do so maliciously, but it quiets them down amidst the worried ogling.

A ping pulls you from sinking further into your pit of thoughts. The document pops up in your inbox and Aleena slows her typing to two finger taps. “Can I take a week off?” She pipes up, nervously picking at her fingers. “Next month, that is.”

“For the agelu?” you guess, a new sort of weariness settling. “I suppose you can.”

Aleena stifles away a relieved smile followed by a : “You're not going?” She looks a little surprised, then lets her eyes sweep across the clinic. “I mean…yeah I guess you won't, given the state things are in right now…”

You wince. Your father had sent a text in. He asks for you, in his own, distant way. Maybe he misses you. Maybe you miss him beneath the hurt and the anger. But feelings were messy, scary things and it was better to look away and stick your head into papers and books and words that could be read. “I’m not sure.” is the soft admission. “It's a little early, I think, for me to make a proper decision.”

( Going home feels like a fever dream now. You’d almost come to loathe the smell of marigold and incense smoke. )

That and you can't be certain if Kafka would pick your guest up any time soon. She never gave you a timing, or any sense of clarity and control in this mad scramble. Blade was to lurk in his little window in the backrooms with all the year-old files for as long as he should.

“Besides.” You finish with a hint of good humour. “I'll take full responsibility for any ancestral hauntings after. Maybe my great grandmother could make a nice home on my couch.”

Aleena purses her lips. It’s says enough. A little more if you squint hard.

“Okay that wasn’t very funny.” you admit.

“No. It wasn’t.” She tilts her head sympathetically, pressing the pads of her fingertips to the edge of the desk, half pushing up against hardwood and paper. “I have plenty to say…but you’re my boss and that would be unprofessional.”

You bite back that twitch to your lips. “A wise choice. Take care of yourself now…and don’t forget about the rest of the reports.”

Primal fear rear its ugly head and scrapes at the bars when you meet Blade’s gaze.

“I have two patients due in the next hour.” you manage to pull out, turning your heel immediately after. Any inch for a quick escape, really. “So don’t come out. You’ll scare them.” you add for good measure, like he’s a child himself, or a feisty dog muzzled and chained up.

( The kind of dogs who bite at anything and everything. The kind who quietly bare their teeth at cruel hands and kind. You aren’t certain of Blade’s stance here and now, if he was pleased with his arrangements — stuck in a room too small for him, with someone who clearly didn't want him here.

Because you don’t. There’s something about you and your face and the way it’s a traitor. It gives away your thoughts, your heart, the things you want to keep tucked away at the back but seep under the doors and stain the carpets. And your displeasure seeing him is on full display.

His corpse comes to mind. Still, dead, cold took the touch with the beginnings of rigour mortis settling when he was hauled over the stretcher and wheeled away. )

He says nothing back, unsurprisingly. He didn’t even bother speaking out as much when Kafka came in and dropped him off with all the unceremonious sneaking and threatening. You think he’ll carry on with his silence, letting whatever this delicate little semblance of distant amiability stay within its stagnant state. An untouched web.

You turn. Keep walking. You really don't want him here, you think miserably. The paradoxical warmth in his body now, when for a moment there was none. His gaze, unsettlingly intense. You don’t want him here at all.

Still, you turn once more. You speak. “Is there anything else you need?” be polite. Be polite.

Blade considers it. He looks at you. You fool yourself into believing the hunger simmering beneath harsh vermilion does not exist.

“No…” he finally relents. His voice is coarse, heavy, the whisper of a growl.

( You leave faster than you should have. )

He follows you home after the day is done ( you wish he didn’t ).

Blade keeps you within his line of sight — just within reach and just close enough to feel that faint prickle of body heat against the back of his neck. It’s an uncomfortable itch. It’s unwelcome. So you turn your head back to his silent figure and test your fingers against your bicep.

“Could you walk in front of me?” you ask.

Blade seems to consider it. “No.” he finally decides with finality edging every word. “You might run.”

“I don’t think you’d let me get very far to begin with.” you mutter under your breath. His footsteps are heavy, kicking aside loose concrete you avoid. Blade still stays an unwanted spectre behind you, treading in a way that is too soft to be human.

“I won’t.” he agrees, sounding sure of himself. Bored even. There is a scuffing sound, cloth against cloth. You’re tense again, anticipatory ( and yet, you don't dare to look back, to look at him ). “It saves inconvenience. That is all.”

You decide you’d like to be an inconvenient annoyance. That should drive him back to wherever he came from.

“I still don't think you should walk behind me though.” You repeat. Your fingers curl. You wish you had a taser. Your last bottle of pepper spray was spent as is on a few other thugs the past couple months. “You look like a creep. And a stalker. You might mug me.”

“I won't.”

“How do I know that?” You keep rambling, hysteria trickling down. It's a leaky tap, that anxious mess in your chest.

Blade blinks. “Kafka told me not to.” ( like it was the most obvious thing. You might be imagining the heavy condescension oozing through ).

That does not make you feel better. Kafka seems as reliable as a tsunami, or a flood, or any natural hazard creeping into its first few stages of utter destruction. It shows on your face, that muted mix of disbelief and horror. Blade's gaze is sharp, not quite the disconnected distance it held before. Kafka was suffocating as is but blade feels like rubble bearing down, down, down. You hate it.

“And it would be pointless, trying.” He continues. “Killing you would change nothing.”

You wordlessly rub at your knuckles, at the pulled skin of your hand. You do not talk to him for the rest of the walk. You should be more polite, you tell yourself. Be more polite. You killed this man, watched him die as his brain slowly collapsed in on itself. The least you could do after those fifteen and a half dumpster fires is extend some basic human decency, right? Be polite.

A scream ringing out gives you another thing to focus on. They're normal to hear, even as it wrenches open your viscera and leaves something sick on your tongue. It continues, growing increasingly hysterical, then stops.

( You almost run for the source, You want to. You do not. )

By the time you slip into the parking lot of the apartment and head for the elevator, you’re half hurrying Blade along. There’s nothing glamorous about the place — a standard five storey tall building just like the other projects lining most lower middle class neighbourhoods. The watchman was found out back, half passed out from his shift and stinking of beedi smoke, leaving the dog that frequented the neighbour's doors to rip into any intruders.

You don't think Blade is wholly impressed as he nudges at him with his foot. The watchman jolts with a huff and a startled snore, then passes out, head lolling to the side a little. The dog does not bark, simply trotting up to accept a few pats on the head. And indignant annoyance flares up. You sharply tug at the hem of his sleeve.

Blade jolts. The vermilion of his stare burns you.

"Leave him alone." you warn, giving his sleeve another tug for good measure. Blade's lips purse, his displeasure a quiet shift on his face for the most part, burying away immediately into the corners and crevices where things were never brought up again. "I hope you like cats." you add. "I have one who visits sometimes. She's a terror and a half…"

He grunts, stepping to the side as you fiddle with your keys, pulling away the string from your key chain and getting your door open. It’s a welcome ritual, feeling the cool breeze from your apartment filter in after a while. The cat is passed out on the balcony floor, cracking open a single yellow eye in greeting when you shuffle forth to take a peek.

“Hello, pretty girl.” you coo, feeling that heavy warmth in your arms and the softness of her fur against your palms. It eases you just enough to face Blade again.

Be polite, you tell yourself because you killed him, because he could snap your neck in two, because you think that the last thing you need is pissing off a pair of seeming psychos. “You won’t mind tea, right?”

Blade leans against the wall, maybe trying to make himself as small as possible within the cloistered rooms. “It’s a waste.” he replies, ignoring everything else; the hum from the streets below, the occasional flicker from the lights, the cat settling on the couch and sleeping an arm’s length away.

“Okay.” you mumble and set down two cups anyway.

You do not like Blade’s silence. His silence means he’d rather think about something and him thinking could involve certain death. There is a disturbed sheen glossing over his gaze. He does not look wholly there, the less he talks. Most conversions your parents had with guests were about the weather, then delving headfirst into some obscure gossip about a family three kilometres away.

Another fleeting glance at Blade has you reason that he’s not one for gossip.

( You let this silence settle in. It’s still a suffocating thing, an unwanted presence and an unwelcome guest. You think of the suited men and the gangs amok in the dirty corners and you think the silence looks like them. )

“So…our first meeting wasn’t…wholly ideal.” You speak up after a while, handing him his tea. Blade looks vaguely surprised when he takes it. “I don’t think ‘ideal’ would be the right word for it…”

“You killed me.”

You swallow. “Yes.” your voice shakes. “I killed you.” Your legs are drawn a little closer to you before you talk and you lower your voice, all that shame and guilt subduing the last bits of that cocktail of fear and tumult and annoyance. “I’m sorry for killing you. Even if you’re still alive…somehow…it wasn’t the best course of action, to be fair — ”

Blade’s lips twitch. He takes a sip of his tea, letting you stew there with your fumbling, your shame. It still goes unspoken. That damning ‘how are you still alive’. You don’t bother asking it. He can’t stay dead — Kafka said so herself. The very notion feels like an existential terror moulded to the shape of a man and you want it to stay far away from it.

“Four days.” he finally utters out, inspecting the last bit of tea staining the bottom of his cup. “I was dead for four days.”

Oh. Oh that stung.

“I’m sorry.” your voice cracks and your eyelids start to prickle. Stupid. Stupid stupid, you curse at yourself, claw at the offending load inside.

Blade snaps his head towards you. There is a twitch in his hands, slow, dog-like in the way strays jolt in alarm. You do not comment on it, awkwardly pressing at the surface of your cup while the tears are quickly wiped away and smudged against your cheeks. There's no use crying over it, you scold yourself. Grow a spine.

“Spare yourself the pity. It is not an uncommon occurrence.” is his uncomfortable dismissal. The words are nonchalant and his forehead crinkles to match the perplexed hitch to his shoulders. He probably wants to say more, speak more, tear you apart. Or he was just too put off by how pathetic you are.

“You’ve been killed before?”

“Yes.”

Horror stirs deep in your gut and a small sliver of morbid fascination shunting beneath the murky waters and glimmering up in those seconds of resurfacing.

( Can he not die? He’s still here after dying from a stroke. Does he regenerate? How does he do that? Do his cells simply have a faster metabolism? That means his neurons can too despite their limited replication in most normal people. Does he — )

The tear tracks are drying. Your face feels stiff.

“I was trying to protect myself.” you even talk like a guilty person ( it does not help. It’s subdued, the way you speak. Beaten down, half hearted. You wonder if you even want to protect yourself at all ). You don’t want to look at him anymore.

“I don’t blame you.” he replies. It’s soft, missable, sympathetic and you know that can’t be the case. Blade blinks slowly, setting his cup aside. “Would you do it again?” he asks solemnly. His hands twitch again, out of its usual bent stiffness. Beneath the dim lighting, the paleness of his skin is a corpse like macabre; greyish, sallow. He seems starved. “Would you kill me?”

Your lips part. Bile and acid burn your throat. You shut it again and shake your head and the desperation, you assume, is enough. No, no never again. You don’t want that nausea. You don’t want any more of the griping aches in your stomach and the incessant pound of your capillaries.

Blade straightens up and gives you a long, thoughtful look. He steps back and returns to his stony silence without a word. The air is restive, poisonous in how it melts away the peace.

You really should pray to that nameless god, to soften that blow. You really should pray because nothing good ever comes out of this. There’s that brush of scale against your foot, the shrinking courage when faced with dour vermilion. It’s wolfish; its jaws bear down. The cat cracks open an eye again, letting out an annoyed mewl.

No, never mind that.

IV. EXUDATION OF BLOOD

You should have prayed. The questionable existence of a god or not, maybe you'd have given yourself that tiny bit of assurance.

Even your ancestors would have done well enough. What would your grandmother say?

( Her old spirit's possibly disowned you, if she hasn’t already. She must have burned your seat in the afterlife and spat on the ashes. Bringing a man into your home, no matter the circumstance would have incited all the wrong reactions. )

You learn quick enough that Blade never sleeps. The third night after spent between lurking within the stuffy storage space and wedged next to old folders, you’d spotted him sitting upon the couch in the middle of the night. “What are you doing—” you croak out after the initial scream. He scrutinised you with clinical indifference, sweeping over your bare legs to your face. You tamp down the urge to pull your shirt down, cheeks burning.

“Thinking.” he says. There is no further elaboration to it. Blade turns to peer outside your window and the dead streets below. There is a faint echo of the strays barking trailing behind the occasional hum of a passing car. Your little town was far sleepier than the cities, where the traffic continues on, long past the morning calls and the reedy music from 24-hour bars.

“You scared me for a moment.” you purse your lips, picking at your hands. Blade blinks. “I mean, you're just standing there.” You try to justify it, fumbling a bit and coming across as far more slow than anything else. Blade tugs at his sleeve and smoothens over the damp spots.

“I'm not trying to kill you.” he reasons.

You dig your thumb down into the thicker skinned parts of your palm. It reeks of iron. He always reeks of iron. “Startled me, then. I thought you were asleep.”

Blade considers it. “I do not need sleep. Not more than what is necessary.”

Uneasiness filters in. Your throat bobs with it, unsure. “Everyone needs sleep.” you stumble out. Blade shifts, tracing along his nape with a purposeful look. His regeneration. Yes, his regeneration. Tissue rest and repair would be unnecessary with that, wouldn't it? Sleep, food perhaps, the little necessities taken for granted — peeling that away and pulling back the blinds to peer down that gaping hole, it's strange.

The grislier parts of his curse seemed to strip away those human needs. It likes to gnaw out any sense of humanity from his bones, in fact, scavenging away the bare ligaments and swallowing it whole.

“So…you’re just going to stay there then...” .

“Yes.”

Blade’s shoulders are set into its perpetual hunch. There’s something unfettered about him, roiling within deeper confines with a sense of wildness and entropy. You take your cautious step back and steel the nerves you have left ( there aren’t many to begin with — you still try ). It’s far from the moodiness he usually holds himself with and the cyclical introspection. “Could you be less…disturbing, then…?” you ask.

Silence. “Disturbing.” he echoes, tasting every breadth of the word on his tongue. You feel metal coming to rest in your mouth and dig into the insides of your cheeks. There’s a flicker from the apartment across and sterilised white shines upon the side of his face. He looks worn down, worse for wear. The darkened spots on his clothes are dyed red round his torso and dried blood crests across the rim of his fingernails. Red. Red on his clothes. Red on the floor. Red on your couch. Red —

“Did you leave this room?” it’s not a question. You’re not asking questions.

“No.”

You don't quite realise it, the scrambling and the frantically locked doors till the cold nip from your room settles against your skin and your shaky hand holds up your phone. It takes a moment for the buzzing numbness to fade to a tumultuous undercurrent and for you to dial down that emergency contact, seconds away from calling —

— a notification.

It's an unlisted contact, and a single message.

Unknown. I wouldn't do that if I were you.

A moment of pause. You don't move, balking at the sight of it.

Unknown. There's a good girl. I hope Bladie isn't giving you any trouble. If he's made a mess, just help him get cleaned up, please.

You. Is this Kafka?

Unknown. Look at you playing detective! That's cute. It is, by the way.

You. How did you get my number..

Unknown. Oh I have my ways. And I wouldn’t call the police. I can’t say I’ll stay quiet and pin the blame on you. It would be easy, hiding a few bodies in your storeroom. I like Bladie, you know. Can’t have him getting arrested and all.

It feels like you’re grasping at ice, with the way it feels cold. Cold, so cold and uncomfortably harsh against your cheeks. You want to tear into something, into your pillow, into yourself. You want to throw your phone across the room and scream till your lungs are hoarse. You want to call the police anyway and shove that into Kafka’s face. You want to cast them out into some forgettable void and be done with this fear and this painful grip in your stomach and…

…you do none of that.

Some small defeated part of you whispers its comfort. You ignore it, cast it aside, call it a fool. You’re gutless, maybe a little brainless and honestly, you half consider going back to your hometown and — no. You will not think about that. Not now. Not ever. You broke that life apart, stepped over the fragments and let your bloodied footsteps lead you here. All that hurt is not worth the quiet defeat.

The door creaks open. You peer back out at Blade. “Sorry…” you mumble. He glances up at you. “I just…i was shocked…there’s blood all over you.” You think about what you should say next. You chose your words carefully. “Did you…”

You don’t get to finish. Blade leans back and shakes his head. “I did not kill anyone.” A wry little tug twitches at his lips. “Not now at least.”

It takes a tentative step, then another for you to exit the room completely. Blade doesn’t look bothered, content in his solitude where sits. You look down at the tiled floor trying to summon forth whatever blind insanity you had. It takes a special sort for this, for this specifically where the cracks fissure into the sides and down down down to the foundations. “What happened?”

“Nothing.” A lie. There’s blood on him for crying out loud.

Still, you do not pry. “Should I…” you stop. It takes some struggle, reaching down deep and wrenching the words out into something stringed and legible. “Do you want to clean up?” you offer softly, motioning to the bathroom. “Just…a shower, I guess. I can get those washed.. Blood’s really hard to get off after all and they’re nice clothes…from my personal experience at least…”

Blade watches you, tilting his head a bit. He does look a little like a dog now, one with a wrinkled muzzle and dark, serious eyes. “Fine.” he relents after some consideration, impassively getting to his feet. He follows you to the bath, delicately sidestepping your frame to enter. You let the water heat before letting it run into the bucket, offering him a pitcher and some soap.

“You’ll have to make do with the towel…I might have some spare blankets around.” you add, because you will not have a naked man walking around your house. There’s so much your ancestors might allow at this point. This would be toeing the line from possibly being dragged into the afterlife.

He spares a grunt in response while bandages come undone. You chew against the inside of your cheek, inhaling stale metal and collecting blotched brown linen from him. He’s hesitant, letting you close, but it takes a quick turn of his wrist for you to pick out the worst of his wounds. These ones do not heal away the rawness and the sick pink of flesh. These ones still bleed.

“Can you manage?” you peep out. Blade stares at his hand, at yours grasping his.

“Yes,” he says after a while. His fingers brush against the inside of your palm as you let him go, and you take that shaky step out of the bath, leaving behind a clean roll of bandages and antiseptic at the door.

V. PUTREFACTION

The woman beside you looks tired, worn away at the eyes and around the edges of her face. “Stay still.” she whispers hurriedly, stuffing her phone back into her purse as she gathers the skirts of her seere.

The boy on the bed does not stay still, tapping his fingers away at his lap as you shoot him a reassuring smile. There’s plenty of nervous energy stuffed away in the cracks and crevices of that tiny body of his, and it barely abates with the ticking second hand from your analog clock. “Are you nervous?” you offer, taking a knee beside him. The boy purses his lips, brown eyes focused wholly onto the floor below.

“No.” he decides to be brave and squares his shoulders up. You appreciate the effort as you press at the inside of his arm.

“That’s nice.” you nod. “But it’s okay to be scared sometimes. I know how scary needles can be.”

“I’m not scared.” he insists. He challenges you, looks at you dead in the eye with the most determination he could pluck away at his reserves and gather together. “Last week I chased a ghost away from my room. I turned the lights on and screamed at it.”

You crack a smile. “Is that so? Did it try to come inside?” you entertain the thought, poke away at his imagination till you find the faint blue of a vein. You see how his mother bows her head down, looking a little sick. The boy doesn’t seem to catch on in the way his eyes light up and he draws himself up. You don;t think she wants him to see. Sometimes there are instances where you see parents squirrelling away those bits of childish innocence like uncut diamonds; biting down at grimy hands that try to snatch it away.

You cannot fault her for wanting him to be happy. He was only four.

“Yeah. I was all GRAAAAAHHHH’!” you flinch at his spirited demonstration. He’s pleased with the audience and the invoked emotion as his mother winces and tries to pull at his ear to keep him quiet. It’s too late given his excitement, ducking down to continue his babbling. “And it went ‘AAAAAAAAAAAAHHHH’! Then it left and I went to see if amma and appa were alright. They were and I hugged them to make them feel better.”

“That is brave.” you nod. “You be careful out there, okay? Don’t stop hugging your amma and appa. I’m sure they love your hugs.”

“After this, can I have the chocolate at the desk?” he asks, batting his lashes. He flashes you a cherubic grin, and you might have caught yourself smiling a little wider. It’s a rare instance of silly happiness after the mounting strain on your shoulders and the urge to rip your eyes out bloody and raw. “The one in the big bowl.” he adds for clarity; because adults, he might be thinking, needed plenty of that.

You look over your shoulder to the door with a thoughtful little hum. “It’s not chocolate. It’s tamarind candy. The sweet kind. But it’s sour too.” You admit. “Do you still want some?”

The boy draws his lips back. “I’d still like some. I like tammy-rind.”

“Well, listen to your amma and stay still, okay?” he does, his small hand reaching out to grasp at her seere’s pallu. She holds her hand out and he takes it, tugging at her fingers, then her thumb as the nervousness slowly trickles in and scrunches away at his brow and nose. “Don’t get all stiff. Deep breath in…deep breath out. You can tell me about things you like if it helps…what games do you like playing?”

“I like football.” he offers. “My cousins say I'm a baby so I can't play with them. But I'll grow big and tall one day and I will kick their legs and show them.”

“Don’t start there.” his mother warns. “You’re not kicking anyone.”

The boy makes a face just as you give him his shot, then yelps a moment at the pin prick. His eyes squeeze shut for a second, his grip white knuckled till you finally pull the needle out and pat his cheek. “Done. That’s his DTP vaccine done with. He’ll need to get his booster next year as well so keep a reminder on for that.” His mother nods, handing in the little booklet as you scribble away the recommendations and mark away at the sheet.

The boy grumbles, poking at his arm. “Do I get the tammy-rind now?”

“Of course. The brave kids always get an extra one too.” you appease, walking them out.

“Great.” he’s mollified at least, wiping away any residual tears with a discreet turn away. “And i think you’re brave too. I saw a ghost here. In the door at the back.”

You freeze up a bit. “Did you now?” you’re feeling your voice crack a bit at the end of that question. Even the mother glances over, unsettled. You shake your head and the reassurance returns. It’s nothing, nothing at all, you try to say.

“Yes. He looked super scary. But he just looked at me and told me to go back to amma.” the boy sighs.

“I’m sure that was just one of the boys who helps the doctor.” his mother reasons, her words taking a sterner edge. She’s bustling him out, putting away at his back as she straightens her pleats and fixes her pallu. “It’s not nice saying things like that now. You’d better apologise to that man if you said that to him.”

“I didn’t say anything.” the boy insists as you pause by the door and see them off after handing him his hard earned candy, ( “thank you, doctor. Say thank you to the doctor auntie.” the mother urges. The boy echoes it drolly then slips back into his stubborn insistence, pulling at her arm ). Their voices fade into the faint music playing at the lounge and the chatter in the waiting room. Aleena turns to call for the next person, peering down at the files.

A hush filters through. One of the men stands over the row of seated people. They draw some of their children closer, muted shock and fear splayed across and you feel flayed open. “Tell the clients to leave.” you mumble. She nods and sends the word out. Some of them seemed to catch on quick and pack away their folders and gather their companions. A line of men and women mill out, leaving that sole frame standing, arms crossed in wait.

You keep your eyes down as you motion to the doors. Aleena hides away as she usually does ( you’d torn into her when she’d gotten too mouthy, too brave the last time ).

“Is something wrong? I’m sure I paid off the fee two weeks ago.” you test out.

The suited man doesn’t reply yet, sinking into the backdrop of static and the panicked thudding in your ribs. You vaguely remember Blade hiding away within the archives and hope he doesn’t wander back out again. He takes his time, dragging out the seconds as he idles past your framed degree and a few photos from your childhood home.

“A few weeks ago there was an…altercation in your clinic, correct?” he states more than he asks it, rubbing at his chin.

Oh shit.

“Yes…” you nod when you sense his wait. Your nerves wither away and you lose your sense of touch.

“Some of the men on my side died here. I was sent in to get to the bottom of it all.” His narrowed gaze settles on you. “It’s funny. We know there’s a third party involved but his body went missing from the morgue before he could be ID’d. Any footage of him? Wiped clean, and aeons forbid the police trying anything when it comes to getting witnesses to speak a consistent story.” His footsteps are an echo in the back of your mind, too loud, too distracting. Blade, dear lord, his presence here is a mistake. “Now, I'm here to ask if you had a hand in it, doctor.”

“No.” you choke out. “I don’t.”

“Were you working with that man who killed them?”

“No — ”

“Did you see him?”

You're too slow to respond and it takes him grabbing a fistful of your hair to rattle it out faster. “No I did not!” you insist, squeezing your eyes shut. You recall what you tell the boy, and the empty words about bravery. You feel like a liar steeped in bitter hypocrisy. It makes you want to rip your insides out and claw at your viscera.

Nails dig into the softer parts of your cheeks as your face is slammed into the wall. It draws out a choked, gasping wheeze from your ribs and white hot pain screaming at your skull, your muscles. The small, scared animal in you is crying, crying, crying away into bleak emptiness. It tries to run, eyes blown out and mouth hung open. It tries to make you run before you’re gutted clean through. “Are you lying?” the man asks quietly.

“No. No I didn’t.” You stutter it out, pressing your fingertips into the chipped paint. “I was hiding…I-I was hiding till t-they took the bodies.” The pressure against your head builds, builds till you yelp and struggle, terrified of him digging down hard enough to cut away at your airflow and snap your neck in two. For a moment, you wonder if he’ll do just that when he finally, thankfully, lets you go…

( Your eyes flit up, desperate, moving things and you look at him, actually look at him and the cold death in his gaze. You never assumed someone could look like that — empty and scooped clean of any humanity lingering at the edges. He’s hollow, and angry*.*

You made your mistake. )

…You’re slammed back in. The scream in muffled into your wrist. “You saw nothing?” he repeats, guttural in how he addresses and enunciates every word. It’s like reasoning with a man eater. You nod, nod because it’s all you had. “Nothing at all? No faces?” another nod and the man slips back and lets you crumple to the floor with that warning.

“You better not be lying.” he tells you, slipping to the speedy notes of your local tongue. “There will be hell to pay for that.”

You’re lucky, you think, for getting off that easily. The buzz in your mind builds and smothers you against your spot and you shift a bit when Aleena presses a hand to your shoulder. Blade is right behind her and she’s flattening her lips.

“You’re a nuisance.” you tell him, annoyance and anger and all that frustration meandering and stubbornly oozing through the cracks. Blade fixes you with a glare, drawing his mouth back to a half sneer.

“Who did this?” he asks, voice dipping to trembling danger, entropy brewing underneath all that. “Who did this to you?”

“None of your business.” you snip in turn, wobbling to your feet. Your coat is blotched red around the collar and the shoulders. You didn’t realise you were bleeding till your fingertips came away sticky and wet ( you feel like you’re careening off of the edge of a cliff, in a car you have no control of ). “You’re more trouble than you’re worth.” you add, croaking through your words and the buzz and the annoyance. “So just leave. Leave, tell her I can't babysit you if this…this is what I have to deal with.”

Blade narrows his eyes. “I cannot.” he states and leaves no room for argument as his hand grabs you at the scruff and half tugs you alongside him. You’re not spared any more dignity around him, and he treats you like a wet cat nipping and scratching at his arm. “You.” he adds, turning to your receptionist. “She needs to be tended to.”

Aleena mumbles something under her breath but seeks out the first aid kit. She swats Blade’s hands away once she approaches you again. You appreciate it. You don’t want him touching you and the crawling chilliness of his body invites an ugly sort of desperation that blocks away your throat and nudges at all the parts of you you’re less than proud of.

Blade does not leave. He never does, on that bitter note, looming over the two of you by the wall, that beast twisting in his eyes like a snake.

He unsettles you with the way he stalks the emptiness of your apartment rooms, pressing his body to the wall with shaky breaths. You watch him from the crack of your door and wonder if this is what unravelling sanity looks like. If it is the face of a man ripping open his chest and screaming through the guts until that beating heart is carved clean from the cavity.

Blade is more animal than human in how he walks. The room smells strange too. You do not know what it is, in its pungent notes and the unpleasantness of it all. It’s not rot, you’ve smelled rot before, and tasted that stench of decay lain thickly on your tongue.

This is more rancid, like regurgitated food and butter. You spot a single leaf on the floor, fan shaped and dipped in sunlit gold. Then more at his feet.

His form flickers by, rustling past your door. He’s at the balcony, then he’s not. You pad out and scan the dark streets, spotting his hunched frame nestled within the alleyways tucked at the side. There is a glimpse of purple from Kafka’s hair as she presses her lips to his cheek, whispering something to his ear.

Blade seems to melt and you watch on, half transfixed from the scandal, cheeks warming when Kafka leans to the side and waves, a playful grin curling on her face. She whispers something again and has Blade turn too, and you think you’re almost drawn in, dizzyingly close to the edge of your balcony rails till reason snaps you back and you return to your apartment.

( “Bladie…” Kafka coos at him, her gloved fingers pressing up against the seam of his lips. Blade tries to hide away the dry hunger in his stomach and his mouth. “Do you like this one?” she asks.

He thinks about it. The release of death. The warmth of your hands. The tears. He thinks of the man sawed apart on the concrete, down to tendons and bones and muscle and flesh. He thinks of the scattered limbs and the bruise and your blood.

Her hands press to his cheeks. “Listen to me. Push the mara down…we don’t want to keep upsetting her now do we?” she asks, teasing in how her teeth flash. Kafka feels like a dream lost in the haze of it all. He leans into her touch and lets the flowering roots in his chest rupture and decay.

“No.” Blade admits, surreality dragging him under. He does not spare her a reply to that question. Kafka already knows. )

VI. DISCOLOURATION AND DESICCATION

“Tell me who did it.”

“No.”

Blade looks annoyed, scraping and haunting the walls of your apartment as he follows you through the kitchenette like a ghost. The brewing…whatever it was…from the past couple of days seemed to have cowed after that visit from Kafka, nothing more now than a placid beast ( as placid as a rabid mutt could be ). You clench fist into your knife’s handle a little harder than you should have.

She could have taken him back, her little lover boy guard dog and his strange balcony crawling ass —

Blade hovers close, so close. There’s an absence of heat beside you. He’s always cold, colder than a man, warmer than a corpse. That in-between he seemed to linger in. His limbo. “He hurt you. He will do it again. Tell me who it was.”

“Absolutely not.” You state, voice flattened against bemusement. “You'll just kill him.”

He stills, his eye letting out something of a neurotic twitch. He might just strangle you now, carve you open with that sword, eat your insides…maybe. “He suspects something. He must die.” He says it slowly, irritation budding through the dryness of his countenance. Your nose wrinkles at this.

“That's nice and all but you stink of death enough, and ‘enough’ is still far too much.” You angle your knife, pressing into the tender outer layers of the onion till you slice through it. The blade shudders against the impact and your hand strains into it. You bite back a curse.

( You're thinking about too many things.

You're thinking about Aleena turning in her resignation letter, and her apologies. A marriage, she'd said. And how could she turn down her parents’ demands after everything? They care. Despite the pain, you knew that too. It's that painful kind of love where you'd hurt and hurt and keep hurting them when the choices seemed so sparse. Better a bloodied knife, they'd try to say. Better a few cuts than being torn apart.

She only just found out, she admits. There was an uncomfortable shift in her body. She looked ready to crumple into herself and shatter into a million pieces. She's meant to meet him during the agelu. It's been arranged for.

How did you? you'd asked. You were afraid to ask. You shouldn't have asked. That meant looking ugly things in the eye through to the nauseating technicalities. Aleena swallows. She looks more distressed than she should. You let her weep a little and nurse those gaping cuts. Your bruises don’t smart anymore. You’d forgotten they were there.

She shows you a newspaper. And you stare on with an empty kind of apathy as you spot her details within the bridal adverts, down to her college degree and the colour of her eyes. )

( You were reminded that there's a kind of love fuelled by bitter hate. You were reminded of the sight of her shrinking back and fading into the walls of your clinic, like a collapsing black hole. It's how daughters and duties were here, a little better than the north but broken in a way where broken things couldn't be fixed.

You've seen it in a mirror once, hollow and void and dead in your eyes, and your mehendi stained hands tearing apart the the jasmine in your hair. )

Blade tilts his head and angles the knife just a bit before you could cleave a finger straight off. “I’m being reasonable. He won’t hurt you if you let me.” he tries to reason, playing clumsy diplomacy. But Blade still pauses between his words with that perplexed unsureness. He didn’t know what to tell you when you were sobbing on that couch. He doesn’t know what to say now, when your insides were burning away your peace.

You brush him away and viscerally visualise grinding him to a bloodied pulp with your grandmother’s mortar. The violence in your head helps a little.

Blade keeps watching you, turning his head away from the spattering chillies and the sour notes of tamarind staining your hands. The onions are still a bother. You think it can't quite get worse at this point, with stubborn tunicated bulbs and a dull blade. The over-stimulation you're half subjected to feels like claws on a chalkboard, gratingly demanding every bit of your attention.

“Give it to me.” It's not a request. He takes the knife before you could really mutter out sneering ‘no’. He slices through the onion, passes you a pointed look and keeps slicing ( why does he make it seem so easy? Why??? ).

“Give it back.” you try.

“No.”

“Please…?”

He nudges at your shoulder, towards the stove. Your shoulders sag and a frustrated lump gathers at your throat. At least he’s helping, you reason. You shouldn’t be so angry over this. A normal person wouldn’t want to throw a fuss over a stolen chore and a stubborn wraith. You light the stove and gather what you’d prepared. Blade was done with onions. It’s only been a minute.

…You decide to not question that.

( Please don’t kill me, you add in your mind for good measure. )

There’s something therapeutic in indulging with this familiarity. Your old home smells like this, like comfort and nostalgia in the idyllic sorts of memories. They’re the ones you lock away in a box, nestling that key deep inside your ribs. Even so, that horrible weight swells up like a tumour. It could burst any minute. It’s wearing you down and frying the ends of your nerves.

“Aleena is leaving.” you blurt out. Blade blinks. “My receptionist.”

“She told me.” Blade nods.

“She’s getting married.” you continue.

Blade considers this. “She is…young, yes?”

You nod. “Twenty four.” you swallow. Your throat is parched. “Some families do marry their children off at this age. Not all of them, of course…and not every arrangement is all that bad…I've seen some good ones.” He keeps listening, you know it in the way his head tilts ever so slightly to you. Your senses are clumped together, messy, messy, messy. “It’s none of my business.” you add feverishly. “I shouldn’t be getting upset.”

“...why aren’t you?” the question is sudden. You feel your confusion knock away reason. Blade tries again. “Married. Why aren’t you married?”

“That’s a very impolite thing to ask.” you reply quickly.

“I see.” he struggles, pondering over his next few words. “I will not push further.” You purse your lips, the conversation delicately fraying and fading out. You let the silence stagnate, hovering by the stove with your vessel-full of coconut milk.

Something inside you tugs.

“I was supposed to be.” you mumble. “He was a nice guy, was working for a stable job and had plans to buy a house close to the beach. The kid you’d see in movies, you know?” you laugh a little. “And maybe I was a little swept up. But then we talked and we both realised that…we had dreams of our own. Things we weren’t willing to let go of, a relationship he was serious about.”

The chicken goes next, as the gravy settles into a shade of brown-red. Blade is staring, something in his face set in an odd way. He looks off putting. Hungry, like those night spent pacing through your living room.

“We parted ways. There weren't any dramatic rejections…he seemed just as pleased with it, to be fair. I hear he’s settled nicely with his boyfriend…good for him.”

“So you came…here…” Blade works it out.

“Quite. Those choices weren’t wholly supported by my family. They kept trying to find someone and I kept pushing it away…I was scared I guess, and people got angrier and insistent and I started feeling less…human.” you take a deep breath in. “So I left one day. They never contacted me. My father only started again after my grandmother died. And I opened this clinic up…”

The room is blurred out. All you see are splotches of colour and a blemished, dark blue whee Blade stands, rimmed by the sunset.

You wipe the tears away.

“It’s all I have now.” you whisper, a painful crackle coating the peaks. “All of it. And it’s a nice place…I used my grandfather’s photo frames in the reception…my mother’s carpet too. It was a souvenir from the north. And…and some of the toys were my own. It took some digging and cleaning and repairing but they’re just as good as any other…” It’s flaking at the surface. You aren’t a strong person. It’s always been so easy to crumble with the weight ( like a paper doll ). “So please…please just leave before you make it worse.”

Blade regards you. He always is, watching, watching, watching, like there’s nothing else that could tug him away, take up his mind when he’s not snapping necks till they shatter.

“I cannot.” His brows are set, pulling together just a little.

“You can.” You insist, feeling stupid, childish. Its pointless trying to convince him otherwise anyway, Not without feeling hacked down and near helpless beneath his looming shadow. “You can leave. You and Kafka can, it's not that hard.”

“We have work to do and it must be done.” driven finality settles deep. He feels so far away, repeating words like a robot. It's hard to think of Blade as human in times like these, where he's either too robotic or too animalistic. It feels scripted, all wrong, all twisted up and chewed apart. “You wouldn't understand it. Leave it be.”

“I won't, if it's my business you're intruding on.” You set the coconut milk down, the steel vessel striking polished granite with a sharp ring. Your teeth grit together ( you hate feeling angry. You hate the cloudiness that comes with it ). “What if I run then?”

Blade's glare is cutting. “You will not run.” He asserts, scruffing you so easily, tugging you just a little closer. You fight back the urge to swat at him. At least you could think a little. At least you still had a tiny hand digging it's claws into your self control. “I'll drag you back. I will keep dragging you back till you cease this foolishness.”

( How were you being foolish? All you have are fragmented snapshots, the lingering sense of dread, the knowledge of something sinister brewing beneath the surface. You have a man in your house, a murderer. You have a man in your house you swore you killed. You have a man in this house who doesn't die.

How were you being foolish? You want to scream at him till your vocal chords fray and your arytenoids collapse. But Blade has probably never felt fear. You can't imagine his sympathy.

And you still killed him though. You stop. The guilt is back, and the anxious Turn of it, and the seething edge of your rage burning, burning, burning. )

“Did Kafka tell you to do that too?” poison burns holes into your words. You and Blade are sinking deeper and deeper beneath it, boring holes through your skin.

( You need to stop. You need to stop talking. )

“She wouldn't be as kind.” He asserts simply, rolling his eyes at the mention.

Defeat comes for you from the corners. You huff. “Let go of me.” your arm is shoved back, elbowing his ribs. Blade doesn't flinch, but his grip loosens and he dips his head down in acknowledgement. “Are you ever going to leave me alone?”

“When we collect what we need, yes.”

“...get it over with quickly then.” You mutter, stalking away from him. “Tell me when the chicken is cooked. Leave me alone till then.”

Blade takes a moment. “Alright.”

“Bladie, you're upset.”

Is he? Blade doesn't quite see it. But there is an ache where his heart should be. It's been there since you'd locked yourself away and he’s left to stare at the curry bubbling at the edges. Kafka laughs from the other end of the line, light, airy; she's probably wiping blood away from her swords.

“You are. Has the doctor been softening you up?” She's playful, prodding, poking, stringing along her words. “Cute. Is she why you’re calling?”

“She’s asking questions.” he steadies his phone. It’s so easy, how it slips between his fingers. It’s not the firm immovability of his sword hilt and it’s slippery, almost unusable with his twitching. Blade hears Kafka hum against his ear, kneading away at the issue before her voice picks up again.

“You know you can’t give too much away, right? We need to follow the script and if she meddles too much…”

“I know.” Blade cuts in, apathy sinking deeper. The script, yes, the script. There’s that flash of familiar awareness. The script is something to be followed, right down to the bare details. If pinstripes needed to be worn, then pinstripes must be worn and if Blade must cut a hand off, that hand must go. But even he knows of the variables being difficult, breaching at destiny’s thin skin.

“And she’ll only get hurt, Bladie.” Kafka coos it out gently, placating the tenseness building in his shoulders. “It’s unfortunate how scared little things tend to bite more. Listen to me, try appeasing her a little, yeah? I’m sure a treat or two should keep her from stepping too out of line.”

“How much longer do I have to stay here?”

“You want to leave so soon?”

Blade does not. He can feel the roots tugging at his feet, fixing him down here, leeching, leeching, leeching. The fluttering ache in his stomach has grown worse. Blade fears never slipping away and that won’t do. Wolves aren’t to be leashed. That fractured memory, the writhing ocean in those eyes…there is no place for him here.

( Destiny, destiny, destiny. The unattainable, the inescapable…Kafka whispers something else. He wants to break his wrists. )

And still, Kafka knows. He can practically see the cheshire curl to her lips. “Cute.” she repeats, drawling the word out. “I’m almost done. Just a bit of the usual…we’ll have the stellaron collected in no time and we can head out. Till then, lie low and be a doll for me before I come to collect you, okay?” he can hear the faint echo of her footsteps echoing past empty hallways. She might spare a visit soon, he realises. “And again. Try not to upset the doctor too much, yeah?”

Blade dips his head down, mollified. “Alright.”

The phone cuts away. You’re still in your room, cut away from most of his conversation. The chicken looks cooked so he turns the stove off and gropes about absently till he feels a plastic handle. Then he knocks on your door.

It takes you a moment to open it for him. “Is it done?” you ask. Blade stares down at your wide, tired eyes. “Yes.” he replies, dizzy and blotted out in the centre all at once. He can’t quite stop it, the rapid undergrowth, the rustling call of mara, that need to seize you by the face and tear into the softness of your cheeks, to bite, to taste blood, to break your bones and devour you. To feel the dig of your nails against his arms, something sharper, you scooping out his chest, his ribs and his heart till it’s beat ceases and he curls into your warmth —

“Do you hate me?” he asks quietly, unwavering. Its swelling. “Do you want me gone?”

You swallow, halfway out of your room. Blade wants to grab you, taste —

“I do.” you mumble.

Appease her. Kafka’s echo fades out once more in the back of his head. Blade presses the knife to your hand, holding its edge just over his stomach, pressing till he feels its prickle numb out. It’s where the fluttering was, unfettered when he tore his intestines out upon your couch and let the blood seep into the fabric ( you hadn’t liked that, so he stopped ).

He stops, gripping you just above the beat of your pulse. It speeds up, vivacious, so alive ( Blade is used to his steady thrum, slow, so slow unlike that of a human ). “You can kill me then.” he tells you. “If it pleases you.”

There’s a shift. The handle slips away and you snatch your hand back, face twisting to what he recognises as distress. Then you look angry, slamming the door back shut. “Don’t talk to me.” You scream through, muffled by hardwood.

Blade feels empty. He collects the knife and turns back into the kitchen, temptations spilling out when he lingers a little too long and thinks of sweet oblivion.

He muzzles himself as most dogs should be. His teeth are blunted, his claws filed.

He doesn't want to scare you.

VII. CONSUMPTION

Aleena hasn't spoken much since she'd told you about 'the arrangement' ( you make it sound like some cold business deal. A travesty. Maybe you were being far too pessimistic with this whole ordeal, putting in too many chunks of those ugly memories into that basket. You could be wrong. You could be wrong about it all ). It's an all too familiar disconnect, a silent misery that you'd watch every day after. She's letting it fill out her whittled spaces, and it worries you. Worries you in the way your heart twists and your insides turn.

( Won't you be coming, he'd asked again over a messy phone call. There's a lot of things to catch up on. We'll lay off the insisting, we'll let you choose the groom this time. That would be far better, right?

And your father's words meter out to warbled static, spilling through your ears and onto the floor. )

Maybe you should put something out in penance. Let those ghosts keep to themselves and continue their silent vigils. You're not superstitious, and rituals like these feel more a far away dream since you'd moved away.

"Aleena…"

"Yes?"

"How about we go get some cha during our break?" you offer a kind smile, tired, a little neurotic but you think it will ache a lot more if you say nothing at all. That wound up and coiled-away thing in her, pulling at the set to her jaw and the firm stoicism she displays — it slowly lapses. She looks down at her feet, back up at you and blinks a long, slow blink.

"That sounds nice." she croaks out, pushing aside a stack of papers. You check the analog clock above the two of you. A lunch break was due in another fifteen minutes and there a few checkups and medical records to fill in for school diaries. You could finish soon enough."Is it at the local place? I like the one with the cardamom."

"Sure you can."

Aleena seems to think a thousand thoughts all at once. "Thank you." she whispers when you step back, trained down to the keyboard. She's not typing, tracing the plastic frame itself . You leave her be, let her stew a while before gently gathering her up and leading her to the closest stall.

( Blade was cornered in the stores. You tell him not to stir up any trouble.

"Where?" he asks.

"None of your concern. I'd like some time alone with her, please." He reaches out, curling his hands into the sleeve of your coat. His eyes look like smelted iron. You tell yourself not to flinch, to skitter away because you will not be a rabbit. For once you will not be a rabbit. "I'm going." you repeat with more purpose. "You can't tell me otherwise."

Blade lets you go. )

It's crowded as is, and you try not to let yourself be pushed out by the squeezing throng. Not until you and Aleena leave with your tea and a packet of glucose biscuits to sit by a roadside ledge beneath the tree cover.

She takes a few bites before she starts talking again.

"Sorry about the suddenness of it all."

"The marriage?"

"Yes." She picks away at some of the crumbs.

"It's okay." You pat her hand in assurance. "I was wondering if you were doing alright

Aleena seems to ponder over it. "A little. I know him. We went to the same school…so it's not all bad." She drains the last of her tea, throwing the Styrofoam cup into a dustbin. "I'm just…angry I suppose."

"At your parents?" You guess.

"Yeah." She swallows. "They've been pestering me since my second year in college. I had to keep telling them that I wanted more stability…a job. Something. I can't just keep relying on my spouse for money and all that, you know…my parents said I could do that after. That I was being selfish for putting it off."

You purse your lips. "It's good to be stable." You agree. "Sometimes it's easy to point fingers and blame it on unnecessary worry and paranoia…but from my experience, marriages like these are a gamble. You can't be too sure, even with people you think you know." You must be rambling. Embarrassment floods into your cheeks. You have the grace to look a little sheepish.

"Right! And I told them that and…" She shakes her head. "They don't get it, I guess. I mean…I don't mind settling down, really, but they keep pushing me and rushing into it and then they just put up that advert without saying anything and..." Her wide eyed hysteria is palpable. You might want to hug her, steal her away. Familiar pains tend to do that, stinging at your soft insides.

"Am I not a good daughter?" The fragility spotting it aches, unfurling, spreading forth. You shut your eyes.

"I'm sure you are." You tell her honestly. And she is. You know she is.

Aleena's face stretches, pained. "It feels the exact opposite. I might be making it all more difficult…I should be grateful, shouldn't I? They care about me, I know that and…this…" The words are turned over, thought upon. Her hands twitch, gesturing at the air with wild frustration. Aleena is shrinking by the second, cracking at the corners. "What do I do?"

Your throat dries.

"I don't know. I ran away from mine and now my family refuses to talk to me." You tell her. "There's a lot of different ways this could go. Parents react in different ways…all I can say is…you need to trust your instincts."

"I don't want to lose them." She admits shamefully, wiping away a tear. "I'm a coward."

You purse your lips. "I think we all are." You sigh. Your tea has cooled against your fingertips. “But…but I'd say it's better than being miserable the rest of our lives. It's selfish, I agree…” you feel defeat trickle down — defeat, hopelessness, a cocktail of too-many-things-at-once.. “it could work out too. It could work out and it will be alright after that. But there's a lot more before it all as well…I'm sorry. I'm not very good with advice.”

Aleena shakes her head, rubbing at her eyes. "It's better than people telling me that I'm being a nuisance."

"You said you knew him too." You add.

She scoffs. "He might have changed. The most I remember is him pulling at my hair and calling me ugly."

"Oh. Hopefully for the better, then."

Aleena rubs at her knuckles, humming softly as a trill of birdsong echoes above the two of you. "Thanks for taking me in." She says, and it's spoken so softly you almost miss it. "I learned a lot working under you.and you were good to me. Better than some other bosses I had…hopefully I should still be able to work after…" She breaks away.

A gooey sort of warmth trembles inside. It's the sort that cracks you open. "You're welcome."

She kicks out her feet, letting her footwear flap shutter against the balls of her feet, then stands back up. "We'll head back then? I don't think I'd want to leave you with unfinished work on my last day…"

"That would be terrible." you agree, cracking a grin.

Aleena veers the subject away to the common pleasantries. She talks about the weather, the new park in the better parts of the city and the flowers there. She talks about the old lady who invites her to feed the pigeons. You listen as you do, till you slip back into the clinic and start the afternoon shift again. Clockwork, familiar clockwork. Still, you ache. It's selfish.

"Blade." you call out when you step back into the stores. You're greeted with silence. You're greeted with emptiness.

"Doctor? we have another checkup!" You straighten up, smooth away the frazzle, the jumbled nerves and the frayed ends. There is a time and place for panic. Not now. Not when you have work to do. So you work. You work till the minutes and hours bleed in and the sun spills past the concrete rises. You work till the night falls and you realise the silence in the storeroom seems to have grown past the occasional rattle from the shutters and the wind.

You heave in a breath. Aleena has left, pulling you into a final hug. You find yourself looking for him.

( Where is he? )

It's Kafka who drops by after closing. The anxiety nips at you, your face, your hands, everywhere, between Blade still not making a reappearance and now…this.

You hadn't met her face to face in a while and you've almost forgotten the weight she carries. She'd turned you around before you could walks away any further, her gloved hands snaking round your waist and her lips brushing against the shell of your ear. "Sorry for the visit, doc." she speaks out, like you're old friends. "Had some work to look into."

You hunch your shoulders, cowed of any initial annoyance. Something in you draws back, scared around her. It's the cat-like preening, the way Kafka smiles so emptily at you. "Right." you mumble.

"Bladie's been treating you well? I told him to be on his best behaviour."

"He's…he's alright. If you're here to pick him up…well he's been missing since this afternoon. I…i swear I didn't — "

Kafka shakes her head. "Oh no, I sent him on a little errand." she assures you, sitting down in the waiting room. She pulls you down next to her. "I've noticed he's been doing his best around you too…granted I'm sure some of his habits are a little…of putting." That smile is back, razor edged.

"It's fine." You try to say.

"Mhm. If you say so." Kafka crosses a leg over the other. "I've been souvenir shopping between work and all. I might pack up a larger haul after this final matter is dealt with. So many things to do…" She trails off, drumming his fingers against her chin as if deep in thought. "Have any places you recommend visiting? I've heard the silks here are to die for."

You hadn't known that either. "That's…nice." You lower your head, that far away beeping growing louder and louder against the chills clawing up your spine. You breath in, feeling the point of her nails press up against your cheek and turn you around to face her.

"Oh dear. I don't think you're very happy to see me." she coos. "Bladie hasn't been very good to you, has he?"

You open your mouth.

"You don't have to say anything." she cuts in with what seems to be kindness. You were almost fooled by it, set adrift, running straight into that tangle of webbing. Kafka feels predatory the way Blade does, and in ways that doesn't feel like him either, spinning you around and around in circles for those simple little amusements.

"He scares me." you blurt.

"Is that so?" Pity weighs in her sentence, cloying it together like resinous amber and sundew. She looks delighted.

"He does." you nod, feeling helplessness undo your seams. Kafka leans in close, close enough for the warmth from her breath to spill over your jaw. You want to push her off — you should, given who she is. But she clings so close, drinking it all in with strange euphoria. She's still holding your face, and Kafka was far stronger than she presents herself to be.

"You poor lamb. I hope he didn't bite you too hard." She smiles, caught in a trance as you sink further into magenta and pink and the smell of her perfume. "Then again, Bladie's always rough with the things he likes. I'm almost tempted to take you with us."

You shutter, blank out, flail about internally before all reasoning bears down with the impact of a comet. "I don't want to go with you though." You squeak, the words sinking in so quick and it shocks you.

Kafka considers you, tilting her head with assured grace. "Are you sure?" She asks again, thumb pressing up against the apple of your cheek. "It complicates things quite a bit for you. I'd say you'd be more miserable staying here than giving in, no? For one…" She's enjoying herself, her lazy gaze scanning the clinic again. "…you'll be loosing all of this."

You seize up. "…What — "

"This." Kafka repeats. "All of this. It'll be gone soon enough. Bladie and I have dipped into businesses that most should keep out of…I'll spare you the details, really…though you might just have more popping up in that little head of yours." She taps a nail against your temple.

"What are you talking about." You croak out, falling into a gaping bit. The vestiges of horror start taking root in your lungs. Kafka bites her bottom lip, playing coy.

"Oh dear, I've said too much. May as well let you in on it then." She croons. "The IPC don't have much of a hold here, do they? No wonder…granted it made going through this operation far easier." Kafka lets you go. You lean back, back away from her, sputtering. "To keep it simple, we were here to collect something. A very important something…and out of all the possibilities we had…your little route happened to give us the least amount of grief to deal with."

You grip at the armrests hard. "I don't…I don't understand…" You choke every syllable out with a tongue that feels like lead. "I don't understand." you repeat, the mania arching your higher notes. Your clinic, this clinic, the only thing standing between giving up and going back and…Your clinic ( You remember the money, the scraping together and the loans upon loans and that less naive part of you still folded into the walls and corners ).

Kafka shrugs. "I don't expect you to. You've been a tucked away and coddled into this peace your planet has blanketed you with. There's plenty more in this universe you can't quite comprehend; and there are plenty of big bad things out there that Bladie and I could hardly hold a candle to…" She grins. It's a vicious, predatory thing. Your fear is a feast to her, one lazy bite after the other.

"I don't want this. You're lying — "

"In another five minutes…" Kafka begins. "Bladie will come back , dragging a little friend of ours along with him. He'll have sustained a hit to his head, half healed. The hem of his coat will be ripped off." Her gaze darts to the clock. "Tick tock. I'll be busy after that so you'll need to be quick with what you have to say."

You're stunned to silence. Blade. An associate. It's a nightmare in the making. strangling every bit of air from your lungs. Kafka seems terrifyingly sure, watching the way you move, scramble, feeling disjointed and not all there or all quite present in your body.

"I don't want this." You tear up.

She kisses your cheek. "I know, sweetie." Kafka gives your shoulder a condescending squeeze. You may as well be stabbed in the stomach too, revulsion burning your throat, jerking you away from her. It makes you want to grow claws, to make her hurt somewhere, anywhere. "It's too bad, really. Maybe if you were a little braver, a little more gutsy, we might have struck you from that list." She laughs. "Honestly, I find it adorable. You're like a scared little stray…"

A sickening thunk suddenly echoes out back, soft against the tile, and moving trough whimpered struggles. Kafka's eyes narrow. "That seems to be our cue." she comments lightly. You look at the clock. Five minutes.

Your voice is stolen away, a failed note against the hand crushing your windpipe. You feel dizzy, dizzy, dizzy, almost stumbling over the chair. Kafka is drunk off of it, shoulder brushing against yours. It's just her, those footsteps, the smell of her perfume. "So…" she whispers. "What's it like?" Her touch sears at your wrist, edging higher. "Being scared?"

Blade steps between the two of you. His hand coming to grasp at your arm, smearing a brown, bloodied stain against the expanse and dwarfing your wrist ( he can break it so easily ). He stinks of iron and rot and you don't dare to face that monstrous view of him, just like that first day, feeling his pulse recede and the massacre he left behind under the fading colour of his eyes.

( And still, you feel guilty. Because Kafka is right. You are a coward. )

"Kafka." Blade utters, a warning stained against his stressed inflections. "Leave her be."

Kafka's lips pull at the corners, serene, seemingly innocent. She doesn't even try to hide the deception. "Jealous much?" she snickers, letting you go. Blade feels agitated, the beginnings of a riptide streaking beneath a still surface. He yanks at you, fingertips pressing at your cheek, the spot between your ear and the column of your neck. It's the most he's touched you.

( Has she hurt you, he wants to demand. Has she? )

"Don't touch her."

Kafka holds her hands up in surrender. "Okay." she relents, content and entertained with the way things seem to be. From the corner of your eye, you see a mass…something close to human, move. A scream is lodged in your pharynx. Your nails dig into Blade's hand, a hoarse, wheezing sound heaving from the depths of your lungs. The mass stretches, tries to move away. You see red plaster the white tiles beneath it.

Blade's gait shifts to awareness, sharp eyed, watching the man try to escape.

"You didn't break his legs?" Kafka asks.

"I did. This one is stubborn." Blade snarls. He looks dog like, wolf like, fangs borne between a drooling muzzle. Your eyes sting as you try to tug away, away from him as Kafka stands and saunters over to the body, that elusive little smile still present.

"Well, we have plenty to ask of him. He still has a few details to give away now, doesn't he?" She hums a little tune, yanking the man by the hair till his broken whimpers turn to miserable screaming. "Come on Bladie, I need help. And you…" She fixes that stare on the man. "Listen to me. You can't speak anymore, or scream, or cry. Not till I tell you to."

The man's cries fade out into open mouthed gasps, his face a bruised and bloodied mess of tears and snort. Blade was not kind in handling him, not with his torn tendons and the unearthly jut his legs were angled at. Your skin crawls at the sight. You reach for your bag, your phone, shaking past the initial terror to give a final call for help.

Blade looks at you. It's enough to completely shatter it, unwinding, undoing, pressing down harder against the fragile cracks in your walls and letting that mess slip away past the desperate grasp of your arms and down away on the floor.

You shut your eyes and tell yourself you saw nothing.

VIII. SKELETONIZATION

You don't hear much of the man, save for Kafka's questions muffled behind the walls. The whats, whens, wheres and hows that you can't keep track off without giving too much of yourself up ( you're afraid you do, a thousand different things will split. You tell yourself there's nothing there ). You focus in the clock instead, watching minutes after minutes pass beneath the incessant sound of it ticking, ticking, ticking.

Minutes after minutes after minutes.

There's a final exchange of words. You hear a tumble, a body hitting the ground. Kafka walks out, hardly bothered in the slightest and pristine save for that dampness of her gloves. She shoots you a charming smile, taking in how you'd tucked into yourself. "Well you're a sight for sore eyes. Scared, lamb?"

You're scared of a lot of things now, of the woman in front of you and the man outback and the man whose words they stole and the impending aftermath predicted. You're trapped in your own burning house, doors jammed shut and the window too high to take a jump. You'll suffocate in here, choke till your lungs collapse and your organs scream and fragment.

Kafka cups your cheek. "Hm, a pity. Scripts have to be followed though…sorry about that doc." She draws away and you let out a wet little sob. "Don't be too sad about it." She coos, patting your cheek. "On the bright side, I'll be leaving soon. Stay close to Bladie, okay? Can't have you running off and throwing a fuss now."

Dear lord no. Not Blade. Not Blade after all this. It feels like a joke and a half, an empty attempt at drawing out any laughter from an unenthused crowd of blank eyed faces. You stay seated, wide eyed and insistent. "No." you choke for good measure. Kafka's expression glows.

"No?" she echoes, a hand resting against either side of the armrest. You try to make yourself small, edging away from her farther and farther till her knee slots between your legs and you nearly cry out and kick her off. "Come on now." She coaxes, hand tugging at your waist, sitting you up proper. "Don't be too difficult. Bladie's not half bad."

You shake your head, blanking out through her crooning as your struggle intensifies. "Stop it." you repeat, shaking your head, seized and maniacal till your nails dig in. Kafka doesn't flinch. She's still smiling. "Don't you dare tell me I'm being —" You sob. it's messy, so messy and that pain in your chest only grows, spreading across like blooming rot. " — that I'm being difficult." You spit. "After all this, I'm allowed to. You're both insane, you fucks, I — "

Kafka presses a thumb over your lips. You bite, hard.

"Listen to me." She keeps talking. She won't stop. "Stop crying."

You stop crying. Your mind is empty white and fuzzy static stretching out like elastic. You feel her laughter against you. "Good girl." She praises. "Now, go on along with Bladie, okay? He'll do a good job looking after you."

You claw at the walls, trying to protest as your body lifts, padding out back, trapped within the long winding of corridors that didn't quite look like that once. "Kafka." you hear Blade echo again, his hands resting heavy on your shoulders. It sounds exasperated? Why? You're fine. You think you're fine. You see a magenta blur flutter around you and words spatter apart and stitch back together into nonsense and noise.

Blade takes you by the arm. You're half leaning against him, the soft, shaky breaths against his ribs and his heartbeat ( it's a slow, faint sound ). He seems to linger in place, letting you be as your nose screws against the smell of blood spotting his clothes. Then, he's leading you along the less crowded roads, shuffling past the harsh blaze of streetlights. Vaguely, you remember where this route takes you and you try to join the pieces — the memories feel so far, far away.

The mass tucked under Blade's arm moves. You look the man straight in the eye and do nothing. Your mind, your ribs are barren spaces.

You smell salt, hear the sea, the waves, the wind. The man in his arms struggles ( you're not here ). You see the panic stretched across, the way he pales to what looks like ash grey ( you're not here ). You watch Blade turn your face away, annoyance sparking in his eyes ( you're not here ). You look on anyway, as his fingers claw at his throat, so easily tearing apart soft flesh and tendon and muscle till his hands are stained warm red ( you're not here ). You're lain bare to those death throes, a wheezing from a broken windpipe, the yellow of subcutaneous fat and the ruptured arteries ( you're not here ).

"You should have looked away."

Blade's voice pulls you out. You finally breathe. Take it all in again as the cotton and the fuzz and the silk web is untangled from your notches. The man falls to the sand, nothing more than dead weight at this point.

( This could be you. )

You take a good, long look at him, at that tear stricken, marred face, that distended jaw and the awful angle to his limbs. The sand is already soaking up beneath him — he was alive once. You didn't know this person, you'd never met him and…

( You let him die. You're a doctor and you let him die. )

Blade's brow furrows when you take a shaky step back, two clear words; 'do not'. You look around you, spot one clear rout of escape amidst that hopeless need to collapse, the world spinning faster and faster and fraying and burning away at the far extremities. You try to run.

He doesn't lie when he says it's easy to catch you again.

You're drawn close, your back practically colliding against his chest before you could make it too far. That rabid, scrambling beast in your snarls and you sink your teeth into his wrist, kicking wildly till your foot connects with his shin. Blade grunts, and you slip away just a little, an inch, one more. But he's bigger, bigger and stronger and it takes a moment for you to fall to the floor, swiping into the buzz and feeling his heaving chest pressed against yours.

His hold closes round your throat. "No — " You burst out,. "No, no don't — "

Blade doesn't move as much against your kicks, face drawn to stony apathy while you try to pry his fingers away, vision blurring against tears and snot. His thumb presses down against your thyroid, breaths unevenly paced to an animalistic rhythm. He doesn't seem all there with how he seems so steeped in madness and…

…fuck it, you're terrified.

Your hand gropes to the side, closing round the uneven surface of a stone. You drive it into the side of Blade's skull, a faint crack ringing out. He falters, wide eyed as one hand presses against the wound and comes away wet. You take a gasping breath in, pushing yourself up but Blade drives you down hard, down to your back till it hits something soft, and still and dead —

( No no no nono no no no NO NO. )

The vermilion of his gaze burns you ( just like all those nights ago ).

It's already started to heal, collapsed parts of his skull scraping and pushing itself back out, repairing damaged bone and muscle. And Blade looks half drunk, sunken into rapture and starvation, his hand sliding up from your throat to press at your cheeks. You freeze, ceasing your assault to his chest and stomach.

He curls over your form, shrugging and swatting away your hands to pin you down proper. There is a wet squelch against your arm pressing against that open wound. "Stop…" You whine, trying to tug him back. "Blade. Blade stop — "

He presses his lips to yours. You slam your fist into his sternum, tasting his blood in his mouth. His teeth come next, biting against your bottom lip, taking, taking, taking. It feels infecting, like a disease, like something that shouldn't be there and you squirm. Blade's fingers tangle into your hair, giving it a sharp tug. You feel your back press against the corpse's shoulder, practically crushing you against it.

He's not gentle. Blade can't be gentle with the violence that comes with him. It's too deeply embedded into the crevices of his bone and marrow and in his veins and blood. It's the oxygen he breathes in, the lead that poisons his alveoli and files away at the pliable parts of his abdomen.

His tongue peeks through, pushing past your lips to take a taste. There's that heady taste in you, disgusting, curling in your guts and just about threatening to batter out. You kick him again.

His eyes flash, dyed more red than orange. He comes away with spit and blood smeared across his lips. You heave, staring up at him, then break down, sobbing openly. Blade keeps you still, bending down to kiss you another time, just at the corner of your lips.

"Enough." You beg him, sounding small. You feel defeated, the load wearing down the bones of your shoulder till you're crushed and collapse. "Please."

Blade blinks. He sits up and sits you up with him, nestled between his legs. You look behind you, the man's larynx having come turn free from your struggle, hanging out a hairs breath and cushioned by fat and crushed muscle fibres. You croak, tipping your weight over and emptying your stomach out onto the beach; till all you are retching out is acid and bile. He pulls your hair back, halting your mess from getting caught in it.

"Done?" he asks, drawing you back close to him, his gaze lidded. You shut your eyes.

"I want to go back home." you whisper.

"Alright." Blade promises you, putting you back down on the sand. "Don't move." You don't think you can. Your limbs weight down more and more with the passing minute. Blade drags the body out into the ocean, for a moment, disappearing beneath the surface. He returns, of course. He can't drown, or die ( He's not human, never will be ). "Come." he tells you.

You allow it, him gathering you in his arms. You don't make a fuss, or shout. "Keys." he reminds you. You hand them to him, leaning your head into his shoulder. Your tears prickle beneath your eyelids.

He takes you back home.

You don't know how he'd avoided the security guard's questioning, or the neighbours, But Blade sets you down on the little stool, pulling the bucket beneath the tap to let the hot water run. You draw your legs to your chest, thoughts collapsing into each other, fracturing and splintering as your trembling grows worse. All you can think of is gargling till the taste of blood is gone and the memory of that kiss is gone.

Blade fixes his attention on you. "You need to bathe." He says, taking a knee. You're exhausted, too exhausted to protest, trembling when he pulls away at your jacket and your pants, letting it pile up by the door.

"I can do it myself." You mumble. You question the necessity of it. He won't listen, after all.

He unhooks your bra and tugs down your underwear. "You're tired." He states. "Your attempts will not be as effective."

"Does that matter?"

Blade hums. "Kafka mentioned the need for hygiene. You could fall sick. Besides, you are a doctor." Not anymore, you nearly snap. He moves on to himself next, unbuttoning his jacket. "Detergent?" he asks when you squeeze your eyes shut and refuse to see any more. The sound of his belt buckle is next and his trousers being pulled down.

"Cabinet under the kitchen sink." you mutter. Blade steps out and you lean up against the bucket, watching the water steadily fill till it reaches your fingertips. You hear the beeping from the washing machine and Blade's returning footsteps. He settles behind you

"Turn around."

You turn. You do not look down.

He spends a moment regarding you, then empties a pitcher-full of water over your head. It's warm enough and you let your eyes slip shut as he works on scrubbing away the blood and sweat from your hair. That rotten thing curls in your belly, ringing round like a centipede crawling.

Blade's thumb wipes away the smudge on your cheek with sandalwood soap and he tips his chin up. "Don't fall asleep yet."

"Okay." you passively reply, opening your eyes. he hums and continues to wash you, treating your body with clinical indifference. You don't know what's worse, the hunger or the distance. The act of being viewed as anything but human leaves a sour taste in your mouth. "What about you?" You ask, filling the empty space. You don't want to think about tonight. You don't want to think at all.

Blade hums. "You can help." He shrugs right after. "We will be done sooner at least."

"Okay." You echo, reaching for the soap. You come to realise that he does need the help. Pulling the bandages off of him was a hard enough task. They were messily strewn on, almost cutting away his blood flow and he sweeps it aside. His wrists and his forearms are next. You don't undo the one on his thigh, furiously washing the dried fluids off of him.

What are you doing?

A part of you laughs at the obscene humour. A few hours ago, you'd have dropped dead at the very idea of doing this, if the hopelessness wasn't torn away from you the reins and left you on the backseat of a crashing car.

"You can…turn around."

Blade grunts and turns. you spurt too much shampoo into your hands. Some of it spills over. "You're scared." He says.

"I am."

He bends down a bit. It's easier to reach his head this way. "You should be. You should have killed me." He states, severity weighing his words.

Your shoulders slump, fatigued. "Please. Just stop." Your voice dips into a whisper. "Just stop. I want to rest, alright?" Blade falls silent, knitting his brow together. He nods wordlessly as you rake your fingers through his hair, undoing some of the knot building up against the shampoo suds.

( Blade thinks you're still too gentle with him, in how you trace one of his scars. But he feels the shudder, the roiling beat under your skin, the fear. He sees how easy it is to bring the tears out again and turn that mind of yours off.

He turns a little, pressing his fingertips to the softness of your thigh, just in case you try to run again. )

When you're both done, he has you swaddled in your blankets and deposited on your bed, clothes in tow. It's horrible, this tenderness. You don't think he's used to it either, in how he shuffles and cautiously pads at your arm like you're a fragile little thing, like he wasn't the one who took the mallet to it in the first place.

"Will you hurt me?" You ask, dead eyed.

Blade's lips part ( sometimes he does, when the mara blooms forth florets in his chest and stomach and he wants to break something that breathes beneath his hands ). "Will you run?" he asks.

"If I do, will you hurt me?"

"Yes." he replies bluntly, his hand resting on your calves. You know what that means. You squeeze your eyes shut and nod, laying down on the bed and curling up into yourself.

"You're a monster." you tell him with a shaky, illegible slur. All this for a preordained destiny, for convenience, because you're a coward. All this and you'll be left with nothing tomorrow. You think of your clinic and what you'd salvaged before opening it. It's foundations and the grey walls of the empty rooms it once had. Your heart poured into it all. "Both you and her."

Blade lowers his head. "We know."

IX. DISJOINTING

You did not sleep at all, last night. Blade still stalks the hallways at the unearthly hours you wake at ( five thirty on the dot ). A man is dead, a man you barely know, whose body now below the ocean's surface. Maybe the sharks ate him. And your clinic…you curse it all, and you curse that compulsion that has you reaching for your phone.

It doesn't take long to find it after browsing the local news network. A few live footage of the collapsed interior and the busted furniture. Years of work torn apart ( At least Aleena quit. At least she doesn't have to see this ).

"Do you know why they did this?" you ask, your voice scratchy when Blade comes to linger by your door frame. He'd washed his clothes last night, having pulled his trousers back on with a loose fitted tank top. Kafka must have dropped by.

Blade looks away.

"You know." You spit out, fury bubbling up, clouding your eyes, painting it all red. "You know, don't you? Look me in the eye and tell me you do, you little — "

"The man." Blade cuts in. "The man who hurt you."

You grip the sheets. "What did you do?" you whisper, numbness taking foot and taking away more and more reasoning.

"I killed him." he passes you a sharp look. "Letting him live would have put both of us at risk."

You let out a mirthless laugh. "So it's your fault then. You…you come in and just assume I would be fine with you just…" You laugh. You laugh and laugh and laugh till your ribs hurt and your sides ache because it was so unnecessary, all of this. He must be sick in the head, him and Kafka, to twist apart your livelihood and step all over it. Monsters, the lot of them. Monsters.

"Oh god you're a fucking riot. Now what should I do? I have no job…should I go back? Maybe you could get a kick out of me being sold off again, right?" You flash him a bright little smile, mania at it's finest, and anger. So, so much anger it boils your body alive.

He narrows his eyes. "You will not be leaving. They'll come after you next."

You giggle. "Of course they would." You whisper. "Of-fucking course they would. Then I'll just die. Let my father douse my ashes, if there's even a body to cremate because that just seems the best way to go." You lay back down, tugging at your hair with frustration. The mattress dips as he lays next to you, lips drawn against your nape.

It's possessive, demanding of every little thing and every little part you had to offer.

"I won't be leaving." You snarl, feeling all that spite gather. "I can't because of you. remember?"

"I know."

You press your cheek against your pillow. You're tired again. You want to sleep. "You may as well just kill me at this point." You state flatly. "There isn't much use keeping me alive. I've served my purpose right? What was it, some glorified shield?"

His grip on you constricts. You're pulled closer to his chest. "You will not die." He tells you, his nose pressing up against your neck. Blade inhales, tangling his fingers into your hair. "And I won't kill you."

You bare your teeth at him. Then you stop, and press your face to the pillow again. "Enough." you tell him, feeling angry and tired and empty and more. You try to push Blade off of you, the small of your back brushing against him. Blade lets out a hiss, nails digging into your forearm and you freeze.

He's pressed up, half hard against you.

You throw yourself away from him.

Your eye sockets burn as you flinch and struggle. "Stop." He rasps his order, pressing you stomach down against the mattress as you curl over the edge, letting out a panicked whimper, a migraine searing through your forehead. It turns into an ugly sob, into cries that bleed into the sheets, tracking saliva down as you're dragged back.

His weight bears down hard on your back, his mane curtaining your line of sight. You try to elbow him off and he wrestles your hands down, pinning them behind you. He's panting, letting out a stray growl every now and then. The edge of his nails dig a little deeper into your wrists, just as the other hand fixes itself firmly against your thigh.

You shake. You don't try to hide the glassy eyed look. You only shake.

Blade's annoyances seem to mount, his forehead pressing against your temple. ( Appease her, Kafka's voice whispers to his ear. Blade feels too much of you beneath his palm, and it stokes a selfish hunger that comes down violently ).

He trails his hand upwards. You lay slack, surrendering to it with a tense form. It tugs your nightwear down, spreads your legs a little more. You cry a little, then give up on it, his fingers exploring the softness of your thighs and slipping to the inside. He lets your hands go and you come to grasp at the pillows, nipping down at your bottom lip.

"Blade…?" You whisper, unsure.

He traces the seam of your cunt, dipping a finger inside to toy at your clit and you squeak, grabbing his arm. "H-hold on that's — "

Blade turns you over, draping your legs on either side of his hips. You look at him, pupils shrunken down at the sight of him surveying you, his lips pressing over the curve of your knee, then further down. You squirm beneath him, movements stilled by a firm hand on your belly. Blade bites hard, tearing into the skin of your thigh, breaking capillaries and drawing blood.

He pulls away to witness the bruising and the wet wail you shudder out, soothing you with his tongue brushing over the wound like a dog. You slam your foot against his shoulder. Blade simply grabs it and hoists it above his shoulder.

"Let me…" he mumbles, groaning up against your skin, spacing your thighs apart some more. You're squirming, and he roughly pulls you closer. "Stay still."

You can't, you want to say. You can't when he's touching you like that and —

He stills. "You haven't done this before, have you?" he guesses. You want to sink, sink down into a place that was far away from here. Blade's eyes are unnaturally bright, burning like coals against the dim lighting.

"Shut up and get this over with." You rasp. There's nothing here, nothing between the two of you. Maybe a few sick feelings from his side. You want it to be done with and let the maggots eat away at your body after ( if that makes it easier for him in the end ). Blade huffs, vague amusement flitting past his expression. His cheek is smushed against your thigh.

"Your first…" he mumbles, a vague story playing out in his eyes. Your legs are pushed back, and he sits himself down before you, teeth grazing through soft flesh till he latches his mouth to your cunt and presses the expanse of his tongue over your bundle of nerves. You mewl into it, jolting under his touch as his hands come to massage circles at your hips.

You stay steadfastly quiet after that, as the assault continues and he licks a strip up your slit while gauging every little shift and twitch on your face. You could have fooled anyone else with the forced apathy, fooled Blade with you looking at anything but him. He suckles at your clit, rolling it over the tip of his tongue and you twitch, bucking your hips into the grind.

Blade demands. He demands and keeps demanding, eating you out half starved and at a pace you couldn't keep up with; feeling that appendage slip into you at some point of it all. You moan ( this doesn't feel goo. It shouldn't. How fucking pathetic are you?! ) trembling at all the new feelings blurring out your mind.

You tell yourself to take it. Take it and let him leave you be after that taste of satisfaction. Blade nuzzles into your cunt, smearing your building slick against your outer lips till smelted orange meets the fatigue in yours.

"You're being stubborn." he comments, pulling away for a moment. You grit your teeth, open your mouth to snap back. Blade dips down then, a finger slipping into you, massaging your insides and pacing himself with more gentleness than you'd expected. Gasping and grasping at the sheets, your narrowed gaze fixates on his, fuming, fuming.

You push his face away when he leans in close and he persists, teeth latching over your neck, licking a delicate strip up the column of it. His chest seems to vibrate — it's not a purr. It rattles at you, it's unnatural.

"Make it quick then!" you sob. "Please."

His finger curls inside you and you curl your toes into the sheets, keening into his hair. You hate this. You hate this. There is a warmth in your insides that stirs and seeps through the cracks. Blade seems to notice and takes it in with a hunger that terrifies you. He presses his pads against that sweet spot, a thumb returning to your clit. You whine, shake your head.

"Good?" he asks. It feels like a taunt.

"Shut up." you grimace, rocking your hips in pace with him. It's little jolts of that buttery feeling that has your mind sink further and farther away. Blade kisses your neck, grinding up against your ass through it all. It's awful. It's all wrong, this facade of gentleness.

You mumble, grinding at his hand as another finger is added and he stretches you out a little, testing your limits with rapture. That heat grows, grows, grows bit by bit, tuned to the way his finger curls into that spot. A moan spills out, then another and you spa a hand over your mouthy, shaking your head. You want it to stop. You want this to stop now and —

Blade's digits nudge against your cervix and he bears down on your clit hard.

It snaps, that warmth. You tighten round his gingers, clenching, sucking him in deeper and his lips part as he watches you fall apart with a jumble of words and begging. You fall back into the sheets as he pulls his hand away, laving at your mess while he undoes the buttons of your shirt. It spares a peak of the sweet of your breasts, the soft expanse of your stomach. He's seen it before. There's nothing new to it.

He bites again, not as deep this time as he pulls his pants down. You spare a glance, snapping out of the afterglow when you catch sight of him. "That won't fit." You whisper.

Blade shudders, his cock resting at your stomach. It's hot, an angry res that makes you feel uneasy. You half expect pain when he slides down to breach you entrance, you expect tears and you expect it with hunched shoulders. Blade is slow instead, thoughtful, almost. He keeps his progress slow, watching you wince against the stretch before he thrusts in deeper, finally nudging his tip to your cervix and staying there a moment.

Somewhere between all that, his hand finds yours, pressing down at your palm in awkward assurance.

You can't take it.

"What are you doing?!" you demand, whining against how full you felt. It's strange, so strange and you think you see the mad ramblings from friends and gossip over how good sex felt sometimes. But this is Blade. Blade, with his violence and his slashed wrists and the way he stank of death.

Blade pushes some of his weight on you. "It's your first time." he replies.

Your first time. A rare consideration. An emotion that bud out too late for your tastes. "Why should you care then?!" You snap, grabbing his tank top. "For fucks sake, stop treating me like I'm your lover! I'm not! You're not doing this to me because you have feelings do you?!"

The question was wholly rhetorical. It's a harsh accusation, mounted by everything else he'd done wrong. Blade falls silent, eyes wide. You leer up at him, then chortle with disbelief. "Oh god, you are." You choke out, feeling violated in a way. Feeling more violated than you were already. Blade keeps staring at you as you cover your face, cackling. "Oh god, oh god this is just unbelievable! You like me? Me?!"

You feel venom drip into your words. You feel that ache, the urge to tear his eyes out then and there. Boys will be boys. The words keep echoing through and it makes you physically ill to think of it.

"You're pathetic. You're absolutely fucking pathetic!" you cut through, grabbing his hair and pulling at it. Blade grunts, annoyed. You don't care, ripping at his face, his neck, his shoulders. "Fuck! Fuck you! After all this bullshit, fuck you!" Blade hisses, trying to shift a bit, move some more but you kick out at his thigh.

"Do not." he grits out, his voice low and angry. "Your anger is an inconsequential thing. I've seen far worse."

"You think I want your guilt, you ass?!" you demand. "You think I want you begging and grovelling for forgiveness?!" Blade thrusts. You dig down, fight against it and the sweet burn it brings. You feel that storm brew in your chest and you spit at him, jarring Blade enough with wide eyed shock ( it's a satisfying thing to see ) to slam your weight into him and roll the two of you over, your hands grabbing at his throat.

He nudges deeper into you and you cry out, feeling his tip coax into your g-spot. Still, you hold on.

Blade still watches, gauging the sudden shift, waiting to see you move. When you take a moment to gain your bearings, he grasps at your hips, guiding you down his cock and you almost falter, feeling his free hand tweak your nipples. sputtering a little, you persist, your thumbs coming to press against his Adam's apple.

Blade lets out a gasp, snapping his hips up again, drawing himself out then back into you. You feel him grind against those sensitive spaces he'd gauged out earlier and a few flustered cries sputter out before your grip tightens round your neck.

He sets his speed, increasing that pace to a faster rhythm, grasping at what parts he could, letting you take from him for a moment. You double over, teeth tearing into his cheek. "I despise you." You tell him. "I hate you for taking everything away from me. I hate you for ruining my life." You pour it all in, all the vitriol and the fury. Blade's eyes shut.

"I know." he grunts, feeling you clench down on his cock.

"I wish you'd stayed dead." You add, feeling it all pile up into a raw mass that eats you alive. "Do you hear me?"

"I know." He repeats.

"I hate you." You sob out, your tears splattering against his jaw. Your thumb presses down harder. Blade moans, his tempo increasing and catching you in it's midst, hitting your sweet spot over and over till it tumbles through to make a mess between the two of you, the baggage and the tucked away harshness. "You're pathetic. Absolutely fucking pathetic."

It feels so fuzzy, the heat, the faint warmth from Blade, blocking out his airflow. His movements grow frantic, almost, his grip on you bruising your hips till finally, you find you release again, legs weakening below you. Still, you hold fast, dragging yourself over the expanse of his body as he keeps up with thrusting faster and faster to a brink of near over-stimulation, all of it animalistic grunts and grows and teeth nudging at your chest.

You press down hard enough and Blade finally cums, his release coming in spurts inside of you. The cartilages in his larynx give out and you feel tissue collapse into itself ( just like that man on the beach with his throat torn out, poetic in a gruesome sense ). You watch him struggle to breath and you push down harder, hysteria bursting as you bare your teeth and drive him closer to another death.

Blade goes still below you. He's cold as a corpse.

You sway a bit, lifting yourself off of his cock, falling into a haze of cotton wool and sick satisfaction, tipping into the space next to him. He's dead. He's dead.

You shut your eyes, and you feel nothing.

You have better to do now, the unsaid and the undone. The empty buzz of pleasure slowly recedes and you grasp your phone between your hands, tapping at the message app. You let out a soft cry, shoulders shaking. There was a life once that felt far too distant. Where you'd been tugged away and folded into silk and gold till you were shackled down and told to stay quiet. 

( There are many things you want to tell them. Many angry things, many quiet, introspective things. Many with a little more love lining your words, a little more longing. They still wait for you, even after shutting their doors. You know this too. )

So, you start to type.

Dear Appa…

Blade wakes when the sunlight filters in, and his arm winds round you in the silence, listening to the rustle down below and the coming commotion. Then, he rises, buttoning his pants up proper and drawing the blanket over your head. "Stay here." he tells you.

You listen to the angry voices and the encroaching footsteps from the staircase outside. Blade summons his sword, stalking out of the room, dog-like, wolf-like, his violence returned to him after briefly being cowed by your venom. 

The doorbell rings and you draw into yourself.

You are not here. You tell yourself. You close your eyes and think of the garden in front of your childhood home.

[from-a-reckless-writer]

9 Supercorp

1 new message.

The notification reads. This is odd. Nobody ever sends Kara any messages on this account, for the sole reason that it doesn't have much followers.

It was Nia's idea initially. She's told Kara to buy herself a journal. She keeps one herself, where she writes all the dreams she doesn't know how to interpret yet.

"You should write down whatever it is and let it lie there for a while you know?"

Kara thought about it, had mulled it over and over in her head. A journal is indeed a great idea. An outlet of sorts. But the thing is, a journal is too private. If Kara wrote in a journal the only person who would ever read it would be herself.

Kara didn't want that. Kara hungered for an audience. She wanted to write and put it out there, out in the world where somebody will maybe one day read it and come to her--tell her, "Me, too. Me, too."

She wanted to write and be read by people.

And so, the journal idea became the Instagram poetry account idea.

A handful of original poetry posted in between aesthetic photos.

Nia and her sister are the only two people in her life who knows about it. That's why she is genuinely shocked when she reads the notification.

By the time, she's collected enough courage to open the app.

There have been more than 10 notifications. First, was the follow, next was a series of likes and then finally the message.

Kara clicked on the profile first.

It was a bookstagram account it turns out. There was only the username display, kieran. All in lowercase. No location, no bio, no nothing. The icon was of a single, black, loopy 'K' on white parchment.

The feed was of book covers, pages, spines and some quotes here and there.

The thing that Kara noticed about it though was how sad everything looked, once she's looked at it all in one grid.

It looks beautiful but melancholy.

She opens the message.

"I don't usually do this but...I just have to tell you that, your poetry has more of an impact than you will ever know. Thank you making me feel like I'm not alone. Thank you for sharing your words."

It was signed with a single heart and a 'k'.

And that's when it hits Kara.

Kara writes out a reply.

I'm out there.

I'm out there, in the world. And somebody is reading my words. They're reading what I wrote and it made them feel something.

"Thank you for taking the time to write those kind words to me. I hope you know you've made me want to write now more than ever. Thank you."

She added a heart at the end too. Kara didn't check her phone for the rest of the day.

They didn't reply it turns out. Kara tries not to feel too disappointed at that and tries to go on with her life.

Although, two weeks later after their first interaction, Kara posts two new poems, she discovers that kieran didn't stop reading.

Kara would usually get a like or a comment of a single heart then and again, and if she's lucky they'll comment a 'Beautiful.' underneath one of Kara's longer poems.

Kara collects all those crumbs and keeps it close to her heart.

******

"had a shity day ur peom made my night. thbk you."

Kara reads the message at 7 am, it was sent at 3:36 am. It isn't till she's halfway through, that her groggy mind realizes that they must've been drunk when they sent her this.

There's a twinge of worry in her chest, so she writes.

"I'm glad I made your night. And I don't want to overstep, but I think you were drunk when you sent this. I hope you're alright today. Drink lots of water! Thank you for the kind words."

She doesn't check her phone for the rest of the day.

Kara's knee-deep in Snapper's column assignment when her phone pings.

"Don't worry, you didn't overstep. I think you're the kindest person I've ever met."

Kara can't help the feeling of concern when she reads the message. Imagine thinking an Instagram poet who you've interacted with, two times in total, is the kindest person you've ever met. Never mind the fact that she's the Instagram poet.

Kara feels intrigued by this person.

Maybe it's because they're making her feel important. Maybe it's because Kara doesn't know who they are and the mystery appeals to her. Maybe it's because with them, Kara isn't anything. She's just a poet.

Maybe it's all of those or maybe it's none of those reasons at all.

Nevertheless, Kara sees her fingers fly across the keypad before she can even realize what she's doing.

"And you, IG user kieran, I think are the most interesting person I've ever met : )"

She puts her phone facedown on her desk.

Kara stands up from her station, walks around, pokes her head into Snapper's office, asks if he needs anything, gets yelled at, bothers Nia, walks around the entire bullpen, refills her tumbler, sits back down on her desk.

1 new message.

Kara lunges for her phone.

"Interesting huh?"

Just that. Just that and nothing else, yet it makes Kara feel like she's being observed, judged, weighed.

"Your feed is beautiful, your books. What I wouldn't give to get a peek in that beautiful mind of yours."

Kara exits the app, her thumb gliding through the screen so fast, it's a miracle it didn't break under the pressure.

She stands up from her desk and does a whole 'nother round.

1 new message

Kara takes a deep breath before opening the message. She doesn't even know why she's nervous.

"my mind is a lot of things, but i doubt beautiful is one of them."

What does she mean by that? Well, Kara guesses, everyone's brain is a mess right? She's pretty certain she's fucked up herself in more ways than she even knows.

So that's what she says.

"Everybody's a mess i think. Doesn't mean they're not beautiful."

Kara waits and waits and waits.

The reply doesn't come.

*******

Life goes on, her IG account gains more followers, her poems get stacked upon each other each week.

She always notices which ones kieran likes though.

They never message each other again.

******

And then, that one fateful day comes—Kara falls in love.

She meets Lena and Kara falls.

Hard.

Lena catches her and together they write what Kara thinks, is the most beautiful love story in existence.

Lena's her soul mate, her best friend, her one true love.

Her poems become lighter, happier.

She's so caught up with living in the real world with Lena, that sometimes she doesn't even have the time to write poems anymore.

Why would she? When she's living a brand new love poem each day she wakes up to Lena by her side.

One night, Kara is putting on her pajamas, and Lena is taking a picture of some book in their bed, her hair in a bun, big nerdy glasses perched on her nose.

Kara is in the middle of climbing into bed when Lena asks her, "Hey, have you ever read poetry and felt like it was speaking to you directly. As if the poet wrote it with you in mind??"

Quietly, Kara answers, "Yeah."

Immediately, Kara's head travels through all the snippets of conversations she's had with kieran.

All her IG posts, the one account, the one thing that Lena does not know about.

"Why?" Kara follows-up.

Lena's sat, leaning into the pillows, her phone in her hand.

"There's this- you know what? Why don't I just show you? You'll get what I mean, when you read it."

Lena shows Kara her phone screen and Kara freezes.

There on the screen, is her Instagram poetry account. @kz_elwrites.

Her entire collection of verse all lit up in Lena's phone.

"I-" Kara doesn't know what to say. And Lena notices, of course, she would.

Lena always notices. ,

"Kara?" She asks. "Is there something wrong?"

"I wrote that." Kara lets the words hang in between them.

She meets Lena's eyes, reads the shock there.

Kara grabs her phone from the nightstand and opens her IG app--shows it wordlessly to Lena.

Lena takes the phone gently from her hands, flicks up and down for a couple of minutes.

Kara feels like something important is going to happen. Everything feels to quiet. Lena is too quiet.

Lena hands Kara her phone back, still not speaking.

And then, Lena turns back to her phone, swipes a couple of times.

"Come here," Lena whispers. "Take a look."

Kara's eyes land on the screen.

kieran.

"You're-"

"I am."

prompt list here

[arr-jim-lad]

If you don't mind me asking, could you tell me about DIO and how he became your favourite? I'm curious!

you know what that's a really good question and i wish i had a clear answer but it kinda just happened lmfao. there was some process to it that i can easily narrow down though and i will gladly dive into it and try to explain it because you KNOW i'll take any chance to talk about god damned DIO lmao

im gonna try to make this as coherent as possible but please bear with me, i'm pulling an allnighter and am currently in the 24th hour of awakedness so lmao

ok first; initially kakyoin was actually my favourite for a while, and after a while i'd say i like them the same, but we all knew. we all knew i was a dirty little liar. i have 4 kakyoin figures. i have a DIO shrine. i wrote several analyses of DIO. my god damned phone background is DIO. idk who i was trying to fool lmao

the funny thing is that before i watched jojo i actually fucking hated DIO lmfao, there was a blog here that posted undertale quotes and i really enjoyed it, but then one day the blog decided to just start posting 'you expected x but it was me, dio' memes and it was extremely unfunny and annoying and i hated it and i hated him lmfao

then i watched jojo with my friend and i just thought DIO was funny in like a fucked up way, mind you i watched the dub which made him extra funny with the british accent

i "liked" him but more like as a joke. i did really enjoy just the sheer extent of how vile he was though, making a mom eat her own baby is still one of my favourite fucked up things i've ever seen a villain do. it's the way he had fun with being absolutely reprehensible that made him so much fun to watch. i love when villains are fun.

having seen him in parts 1 and 3 i still kinda liked him as a meme and eventually as like, "i hate that i like him lol"

but like, then i've seen the OVA, and DIO spoke with andrew chaikin's voice in the dub and i was just kinda uh 😳

because like andew chaikin's freaking DIO voice???? hi hello??

also just in general how DIO is in the ova... his design and animation are fucking stellar and he was just a freaking delight to watch, but his voice made him particularly comforting to me.

so yeah it was the ova. the ova is to blame for all of this.

i do feel a need to mention because this is something that would make me super uncomfortable if people misunderstood it, but as i am aro/ace, my love for DIO is not of a romantic or sexual nature at all. i'd describe it more as like.. adoration? i see him as a muse and a comfort character.

the reason i actually really started liking DIO so much and why i consider him a comfort character is because he turned out to be just.. amazingly, delightfully comfortable to draw. i enjoy drawing him so much. i've drawn him 128 times and plan to draw him many more times. i think my art has improved immensely just from how much i've drawn him, especially when it comes to more muscular bodies, which i really didn't enjoy drawing before.

he's so incredibly fun to draw because he combines this macho huge body with fashion and elegance and beauty, and drama and evil and danger and egypt and vampires. there's always something about him that's gonna inspire me to draw another piece of him. i haven't had an art block since i started drawing him (though worth noting is that my mascot Luv has also been a top notch fighter against art block; him and DIO are my main muses to always keep me drawing and experimenting and creating new approaches)

I also think DIO is a hugely interesting character, as it's apparent by how much i've written about him in the past. i think his motivation is so messed up and convoluted and interesting because yeah a fucked up vampire who's been isolated underwater for 100 years would probably not exactly be a stable and rational person lmao

to me as someone with social anxiety, the fact that his main goal is to achieve peace of mind is also really interesting. uh, spoiler for stone ocean here so im gonna cross it through so people won't accidentally catch a glimpse of it but, ok firstly i think DIO's plan was absolutely batshit and definitely not the right thing to do LMAO, but i love that he literally wants to change reality to know what's gonna happen next, because not knowing things in advance is preventing him from achieving his peace. like im not saying i relate to DIO because i really don't, but as someone who's been very familiar with anxiety, it's really interesting to see that as a villain's motivation (also might as well mention i don't think DIO has anxiety, i think it's more like frustration over lack of control with him, also he's a huge paranoic)

i want to also talk about his philosophy that i genuinely love so much, and that is the concept of gravity as he means it on that famous panel. DIO's idea of gravity is a very zen concept, it's the idea that fate will bring you where you need to be, fate will make you meet the people you need to meet, etc. as someone who struggles with anxiety, that is a really compelling idea to me, which helped me overcome stressful situations long before i got into jojo. of course i do understand that to some people the idea of a predetermined fate can be terrifying and tbh i totally get it, but for me, when it comes to anxiety-inducing situations, the idea of "gravity" has helped me be less stressed. it's a very interesting concept and i love that it's something that's so deeply ingrained in DIO's philosophy. (PS just so you know whenever i say DIO's plan was a good idea i am joking 100% of the time, i would not want to live in the world he wanted to create. however, it's funny to say DIO was thinking of us socially anxious folks so im gonna keep saying it lmao)

you know, it's also really funny that like.. DIO ended up being such a massive beloved comfort character of mine, because like up until him, i generally got attached to characters who were very Good and Wholesome lmao. tfw the two characters that served as the most important comfort characters for me in my life were DIO and......... Papyrus from Undertale LMAO

they are almost polar opposites, but what they both have in common is that they are both very confident, and i'd say that while characters who doubt themselves are generally those i personally relate to, characters who are confident are the ones i gravitate towards for "support". Papyrus has been a character who i honestly hold single-handedly responsible for helping me turn my life around and just.. had an amazing impact on my mental health. i dont want to know who i'd be today if i never got into undertale.

with DIO, i feel like part of the reason why im so joyous and loud about how much i love him and why im so open about how much fun im having enjoying his character so much is because if i were to meet this character back then, when i was in college or in high school, i would never allow myself to enjoy this. i think that to me, DIO being such a huge comfort character represents like... something? i can't quite put my finger on it, but i feel a certain kind of pride and freedom about it because i know i overcame something in these past few years, and that i am much better and happier for it in every aspect.

i am very much a person who gets deeply attached to things or characters that i associate with positive changes in my life. because i've been at such a low point once in my life, i cling to things that remind me of how far i've come.

im just like.. really happy to be here as i am and DIO somehow became a deeply ingrained part of that.

[farthngdr]

Some Thoughts on “Dead to Rights” by Radio Company

First, if you are not a Cockles truther, you should probably look away. My tinhat is so tight it hurts. Surgical removal has been deemed too risky and would probably result in my demise.

The comments here are entirely mine, as are the assumptions incorporated into my lyrics analysis about real-life people and their relationships. No disrespect is intended. Please do not contact Jensen, Misha, or Danneel about anything you read below, or about anything Cockles-related, because there is absolutely no evidence for anything I am saying here, and their lives are essentially unknown to us.

Thank you.

_______________________________________________________________

She said It all will change If not it all can wait It may die away Over time But I do believe It's better than being alive It's better than being alive It's better than being-

Bombs away Only just begun You want to be the one to say you love The rain-

fall

When all the while the angels call; The only way to see just how it comes to be Every day To know it all falls away.

You had me dead to rights Holding down my chain; You had me dead to rights I got out again; Never been the same.

Song composed by Jensen Ackles and Steve Carlson

No official statement has ever been made by the two songwriters as to who wrote the lyrics, who wrote the music, or if words and/or music were composed by both. I am proceeding on the assumption that Jensen wrote the lyrics. He has mentioned writing lyric ideas on notepads (as shown in the above photo), and so indeed he gives much thought to his lyric-writing process.

In another track from Vol. 2, “City Grown Willow,” a song clearly written by himself, he uses “chain” imagery. Clearly, the concept of the chain resonates for  him, whether the chain belongs to his lover, in “City Grown Willow,” or, as in this song, the chain is attached to himself, with the other end being held by the “she” he refers to throughout this lyric.

In addition, a close examination of other tracks by Radio Company share similar lyrical hallmarks as “Dead to Rights”: the invocation of a “she” in “City Grown Willow,” who I maintain is the same “she” as the one here, namely Danneel; “bombs away,” a metaphor for his emotional relationship with the “bomb,” i.e., Misha, recalls “cannonball, rise and fall,” from Vol. 1; other similar MC metaphors are the “fire” from “Jump into the Fire,” and “he stokes the flames ‘cause he is amused by the glow,” from “City Grown Willow.” Other JA lyrical hallmarks can be identified here as well.

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“’Dead to rights’ means having overwhelming evidence of someone's guilt, having irrefutable proof that someone is responsible for something. The idiom ‘dead to rights’ came into use before the 1850s in the United States.”

“’Dead to rights’: In the act of committing an error or crime, red-handed. For example, ‘They caught the burglars dead to rights with the Oriental rugs.’ This phrase uses ‘to rights’ in the sense of ‘at once.’”

________________________________________________________________

The theme of guilt is embedded in these lyrics--the narrator, JA, is guilty of something, and he was “caught red-handed,” as it were, by someone, the “she” in the song--his wife. The “guilty” act was more, I believe, her intuiting/noticing that her husband was in love with another--early days, perhaps before much had occurred between the two men, but wives are smart, and they can sometimes intuit when their men are in love with another, even before the husbands know themselves. 

“She said”---This song focuses on the fact that the narrator’s wife notices instantly--”at once”-- the “act” for which he feels guilty. And she voices it to him--she knows he is in love with another. And she also knows who. 

Thus, the “dead to rights” reference--she knew right away when her husband fell in love, and that he either wants to, or already has begun, pursuing a romantic relationship with his love. She “caught him red-handed,” even though a “crime” has not literally occurred, and, most importantly, *she is not angry or judgmental*; rather, she is concerned. 

She has thought about it before she confronts him with it. She is philosophical: “It all will change”--that is, this could be a momentary fancy, and if you follow through, everything will change in your life. “if not”--that is, if this is something lasting and substantial--then “it all can wait.” What’s the rush? Why not cool your jets and see if you still feel the same way in a few months? And know too, if you do pursue this, “It may die away over time.” So be careful. Don’t jump into the fire. You could get burned. I don’t want that for you.”

What is his response to her words? He acknowledges to her: “You are right.” 

He concedes that everything she says is true. But he has thought about it too. A lot. And he realizes something: “But I do believe it’s better than being alive.” This cryptic line puzzled me initially. “What” is better than being alive? Then one day, after hearing the track a few times, it hit: If the relationship crashes and burns--if it does die, and his heart is destroyed in the flames and ash--then so be it. He has decided that being with this person, jumping into the abyss with him, which could result in his own  metaphorical “death,” is exactly what he will do, because “dying” from the possible fallout of a disastrous love affair is preferable to the agony of continuing to live without him.

“You want to be the one to say you love the rain.....fall” --I love the pause here, putting the emphasis on the “fall,” conjuring up the act of falling in love; and also, the possibility of falling to one’s death. And of course, the biblical “fall”--we’re all fallen from grace. He is reminding her that it is she who always says she loves the rain--metaphorically, the rainy days, the times when things aren’t necessarily all sunshine and roses. She understands and accepts life’s gifts and risks. (And we learn in “City Grown Willow” that, in fact, “Her faith in love is better on sunny days.”)

“When all the while the angels call”--I cannot emphasize enough how unequivocally this imagery refers to MC. If I have to explain how many times J has called M an “angel”.....The point being, the angel calling him is impossible for him to ignore, and he just plain doesn’t want to. When an angel calls your name................you go.

“The only way to see just how it comes to be”--a typical Jensen cryptic line, when he wants to say something but doesn’t want to be too revealing, so he does so with the utmost vagueness, to the point where his meaning is almost impossible to decipher. That cryptic line, combined with the rest of the verse, “Every day/To know it all falls away,” strikes me like this: “The only way to know if I should do it or not, is just to do it.” And in the end, he philosophizes, everything falls away in any case--”even you and I will someday be parted.” The idea of mortality--of the limited span of time we inhabit this life--is heavy on his mind. And again, he has made his decision: His love is so deep, so compelling, that he is willing to risk everything--heart and soul--to be with the angel who is calling him.

_______________________________________________________________

ADDENDUM TO MY POST:

Unless Steve Carlson has said publicly that he specifically wrote the *words* to City Grown Willow, I maintain steadfastly that Jensen composed the lyrics. It makes sense that Carlson had written the guitar piece itself, with its beautiful, cascading notes and striking chord progressions, which demonstrate his skill as an instrumentalist. It’s no accident that the recording itself features only Carlson’s playing, with no other instrumental accompaniment--probably exactly the way Jensen first heard it.

Jensen heard Steve play the piece, loved it, and proceeded to write words for it. When Carlson says he played this piece for Jensen and that he had written it years prior, I take that to mean that Jensen loved the sound of the guitar and wanted to work with it.--that the song had no words. The lyrics have the hallmarks of Jensen's writing style; the content fits his situation, with a female and 2 males as the protagonists; and HE is “the man from the mountains.” That’s not Carlson’s identity--that's a moniker Jensen deliberately chose for himself, as he makes clear in the music video. 

If anyone can provide for me a direct quote from Carlson that he wrote the words, I will retract my statement. Until then, I hold my position.

[bonesbuckleup]

Lord, this answer got long. I’m a little embarrassed about it, but I wrote it, so it’s getting posted. It’s a literal essay. Sorry but also not?

TLDR: Yes, the show is arguably unfair to Sokka about Kya, but it also follows a pattern where Sokka stays quiet about Bad Feelings and plays by the rules established for his character. Katara, meanwhile, grieves loudly and often, and appears to be under the impression that because Sokka’s grief is silent it doesn’t exist, which also fits her character/interactions completely. Neither of them are right or wrong, but it sets them up on inevitable collisions.

Now. If you want to join me on a cactus-juice fueled descent into madness, proceed below the cut.

Number one. We’re referring to this exchange in “The Southern Raiders,” where the Gaang is talking about Zuko and Katara going after the man who killed Kya, which is vicious and brutal and never reflected on:

Aang: You sound like Jet. Katara: It's not the same! Jet attacked the innocent. This man, he's a monster. Sokka: Katara, she was my mother, too, but I think Aang might be right. Katara (angry, yelling): Then you didn't love her the way I did! Sokka (visibly hurt, softly): Katara.

And that’s it. Upon returning, Katara apologizes to Aang and not, as Anon is absolutely correct in pointing out, to Sokka, who is 100% the more injured party. Now. Is it possible this is one of the rare missteps from the atla writers? Yes. Absolutely. Is that the answer I’m about to write a literal fucking essay about? No. Because it’s more painful fun to take it as face value and talk subtext.

First, a reminder that this show is fucking good at what it does. It teaches you how each character grieves as we go: Aang explodes, often triggering the Avatar state, usually crying or angry, and when he does try to repress his Bad Feelings it rarely lasts longer than a day; Toph either shuts down or gets mad, but either way she doesn’t like people seeing her having Bad Feelings and often storms away, knowing that she can’t control it no matter how much she might want to; Zuko yells at the sky in a rainstorm or yells at his dad in an underground tunnel or challenges Zhao to an Agni Kai or yells at his uncle in a jail cell and generally is an emotive nuclear bomb because the boy has feelings and if he keeps them inside for more than three seconds he might explode okay.

Then we have Katara and Sokka.

Let’s start with Katara, since she has the most textual and straightforward displays of grief. She’s really the only one to talk about Kya’s death in Book 1. If Sokka mentions it, it’s barely in passing. I don’t think we hear Hakoda address her death at all (which I’ll return to in a moment.) Katara’s grief is loud. It’s angry. It’s still very much a living thing for her. She thinks she sees Kya in the swamp and breaks down crying, and tells Aang and Sokka about it with no hesitation. When she’s angry and sad at Hakoda for leaving, she acts out and is visibly upset with him, yells at him, cries at him. She out-loud hates Zuko when she comes to the conclusion that he told her about Ursa and got her to talk about Kya to manipulate her. It isn’t that her grief is performative, because it’s a very real and terrible thing, but it’s a grief that’s to be witnessed.

Then, Sokka. Sokka’s grief is more complicated because it exists almost entirely in subtext, especially in regard to Kya. We really only hear him talk about Kya twice, both in Book 3. First, to Toph, when he tells her that he can’t remember what Kya looks like. Worth noting, however, that even though it is Sokka talking, this is still centered on Katara and Katara’s grief. The next time is when Zuko asks what happened to Kya, and Sokka tells the story that leads into the initial flashback. Sokka doesn’t talk about his mom. This is a fact of the show. It’s such a fact of the show that, in “Southern Raiders,” after the exchange at the start of this post, while Katara and Zuko are on the hunt, Sokka doesn’t bring up Kya again and is messing around with Aang. Like nothing has happened or is currently happening--which I’ll come back to in a moment.

So while we can use Kya as a perfect example of how Katara grieves, we can’t really use her for Sokka. So let’s use Yue instead. Moments we see (or don’t see) Sokka grieving Yue:

In the opening to Book 2, we briefly have a shot of Sokka with the moon imposed behind him.

“The Swamp,” where Sokka’s vision is of Yue accusing him of not protecting her. This one is one of the more textual moments of grief--”I think about Yue all the time”--but what’s awful great about it is how Sokka tells Aang and Katara. Aang, obviously, has no qualms about sharing his vision. Katara openly talks about seeing Kya. Sokka only tells them about Yue when explicitly asked. Even then, he doesn’t mention what she said to him. From this, we can assume that Sokka is still holding onto a lot of guilt over her death--guilt that he won’t let Aang and Katara see. Anyway. Moving on.

“The Serpent’s Pass.” After spending all day panic protecting Suki, he tells her that he lost someone, but doesn’t go much further into detail, just saying that he can’t when she tries to kiss him. Of course, this is all happening in front of the moon. Again, though, Sokka stays vague. He doesn’t tell her any details.

“The Puppetmaster,” Toph posits that maybe the moon spirit has gone mean and is kidnapping people. Sokka snaps at her, in a moment definitely meant for laughs, saying, “The Moon Spirit is a gentle, loving lady. She rules the sky with compassion and ... lunar goodness!” It is a funny moment, but here’s what we can take from it: Toph doesn’t know about Yue. Toph is a Feral Bastard a lot of the time, but she also knows where the line is, and I don’t think she’d’ve said that if she’d known.

“Boiling Rock,” in arguably the most quoted (and well deservedly so!) line in the entire show. “My first girlfriend turned into the moon.” “...that’s rough, buddy.” COMEDIC GOLD. Also, weirdly, the literal only time that Sokka explicitly tells someone about Yue in the course of the show.

“Ember Island Players” which I haven’t hit in my rewatch yet, but I definitely remember a moment where Suki asks Sokka when he was gonna tell her he made out with the moon, and he tearfully shushes her. Again, played for laughs, but the implication is that he still hasn’t told Suki about what happened.

This plays perfectly into the same way that Sokka (doesn’t) talks about his mom. When the Bad Feelings come, Sokka either avoids them and finds a distraction (Goofs with Aang--see, told ya we’d come back to that) or stays silent. When someone explicitly asks him about the Bad Feelings--what he saw in the swamp, what’s eating at him in “Sokka’s Master,” why he’s panic-protecting Suki--he’ll answer, but often talks around the actual issue. (Interestingly, it’s in regard to Suki we see the most explicit manifestation of Sokka grieving as Azula taunts him during the invasion: he cries, he attacks Azula, he yells and questions her despite the fact he knows she’s wasting their time. I think this one hits him because, as this beautiful post points out, Suki’s the protector in the relationship, and Sokka can actually chill out for 2 seconds. But he let his guard down, and Azula got Suki. Anyway. That’s probably a different essay: back to the matter at hand.) We even see this in “Boiling Rock.” There’s a moment where they think Hakoda is not with the other political prisoners. Sokka’s tense, drawn tight, but the only thing he says is, “No.”

Basically, we’ve got Katara, who grieves loudly and rages and is kinda like white-water rapids that churn and churn and churn. And we’ve got Sokka, who, to quote John Mulaney, looks at his grief and says, “I’ll just keep all my emotions right here and then one day I’ll die.” Iceberg grief, to keep the water metaphor going.

And where did these come from? Yup! Water Tribe gender roles! What we know from the show is that, while the South is typically more progressive (women can train as benders and marry who they want, at least) than the North, it’s still very rigid: the men are warriors/hunters/protectors, the women stay home to cook/clean/child-rear.

Now: subtext! And why I think they are this way!

We’ll start with Katara. The last waterbender in the South Pole. She no doubt grew up doted on. If I say she’s most likely a little spoiled, I don’t mean it in a bad way--I mean it in a she’s the last living remnant of this aspect of their culture kind of way. When raiders come, she’s probably the first priority to protect. Kya dies to keep her safe. Her needs are generally put before the community as a whole. (This isn’t to say that Katara doesn’t contribute or care about her community, because she 100% does). But! Especially in Book 1, we see Katara often considering her opinions as facts (trusting Jet, the waterbending scroll) and doesn’t always pause to consider the larger impact that her actions will have (scroll and Jet again, challenging Pakku, dressing up as the Painted Lady despite the fact the factory will hold the village responsible). And many of these actions are good! But we see a lot of Katara being pretty self-centered--what can I do, how does this impact me, how do I feel about this? And this isn’t a bad thing! This aspect of her character makes her complicated and complex! Katara loves her family and protecting people and caring for them! She’s extremely empathetic! But she also struggles to meet people where they’re at when they emote in a different way than she does (see: her clashes with Toph, her initial problems with Zuko joining the group, the above interaction with Sokka). It’s also worth talking about how Katara witnessed her mother’s death, which no doubt makes her grief about it a sharper thing.

Then, again, Sokka. Also loved in his community! But a normal kind of love, I’d assume. He probably was raised on stories of the Fire Nation dragging waterbenders away. No one exemplifies the Water Tribe ride-or-die mentality quite as well as Sokka, or the gender roles of the man as the warrior/protector, so you gotta believe Hakoda raised that kid to look after his sister at all costs, which we see throughout the show (already preparing to go after Aang in the South Pole because he know Katara’s going anyway, “You burned my sister!”) And he isn’t there when his mom dies. He finds out later. He goes from feeling like a victor who helped chased the raiders away to the worst realization of his life. I have to imagine he’s ashamed by the fact that he thought everything was going to be okay, which leads into his worldview of assuming that nothing is okay ever in any circumstance.

Finally, Hakoda. Who never, unless I’ve forgotten something, talks about Kya. All we know is that their family fell apart after her death (per Sokka in “The Runaway,” learning how Katara stepped up to hold everything together) and sometime after he took the warriors and straight up left. He apologizes for leaving but doesn’t address the fact that he left Katara and Sokka with no parents at all, only the war. This is, uh, not exactly echoing a healthy coping mechanism?

My theory: Kya dies. Since the Water Tribe is so embedded in gender roles, Hakoda probably shut down and/or checked out emotionally for a while. This leaves his kids on their own to deal with their shit, and we learn Katara does everything she can to keep her family going. As the most protected individual in the South, Katara’s probably been taught that emotions equal attention, and uses her temper/caring/sadness to help bring her community closer. Meanwhile, Sokka, who hero worships his dad, watches Hakoda go stoic and learns that “real men” shove their shit down. Additionally, Katara’s grief is deafeningly loud, and Sokka’s number 1 role is to keep Katara safe. He’s taught that the Bad Feelings only get in the way and make things worse, and so he learns to be fine no matter what kind of terrible is going down around him.  Basically, Katara learns to use grief as a needle and thread, and Sokka learns to bury it as deep as he can and avoid it at all costs. Opposite reactions to the same trauma. Katara gets mad and demands to be heard and listened to and seen, and Sokka gets sarcastic and prepares himself for the day the Fire Nation ships come back for his sister.

So. Back to those above lines from “Southern Raiders.”

From a writing standpoint, I do wish the final moment was between Katara and Sokka versus Katara and Aang. They could’ve had an almost identical interaction, but it would’ve been more nuanced. I don’t think that Katara needed to apologize, but I think we needed some acknowledgement from both of them: Katara continuing the lesson she’s learned about how her pain doesn’t entitle her to hurt other people (including Sokka, who is there no matter what she says or does), and Sokka that Katara’s process of grieving had to involve this catharsis.

Or. Maybe not. Because again--subtext. Their grief works in such different ways that I have to imagine this isn’t a new fight. It was probably brutal and vicious for a very long time. Maybe that’s part of what made Sokka try and go with the warriors. Maybe that’s part of why Katara gets mad so quickly in the first episode of the show. But eventually, unable to find an answer, they just...stop talking about it. Because the two of them don’t talk about it. Katara only talks about her mom with people who aren’t Sokka, and Sokka does exclusively to Toph and Zuko.

The only time I can think of Katara and Sokka talking about it together is the exchange at the top of this post, and it gets ugly fast, and it isn’t brought up again. It’s a fight that will never be resolved, because they fundamentally can’t react to one another in a way that can be universally understood.

“You didn’t love her the way I did!” Katara yells, loudly, because if Sokka loved her then why isn’t he raging? Why isn’t he getting his sword and coming to help her? Why doesn’t Sokka want to burn this firebender to the ground and make him see and hear and look at what he’s done to the world? To their family? He must not understand. He must not care as much or he’d be screaming with her.

“Katara,” Sokka says, much quieter, and adds nothing else. Not because there isn’t anything else to say, but because Sokka can’t talk about this kind of thing. Not doesn’t want to, but can’t, because it’s his job to protect people, protect Katara, and if he lets all those old hurts come boiling up he can’t do that, because that ends with losing focus and losing control and people getting hurt or going away. Why can’t she understand that?

And then they do what they always do. They don’t bring it up again.

[variousqueerthings]

Daniel LaRusso: A Queer Feminine Fairytale Analysis Part 1 of 3

Disclaimers and trigger warnings: 

1. These fairytales are European, although there’s often overlap in themes globally. I know European fairytales better, which is essentially the reason I’m not going to branch out too far. I opted to also stick to Western movies so as not to narrow things down, but also in particular “waves hand towards all of Ghibli” amongst many others. There’s a reason the guys in Ghibli are so gender.

2. TW for discussions of rape culture and rape fantasies

EDIT: FUCK I’M A GOBLIN CHILD! FORGOT TO PUT A MASSIVE MASSIVE THANK YOU TO @mimsyaf​ WHO HAS BEEN THE NICEST, KINDEST EDITOR ON THESE THOUGHTS AND CONTRIBUTED SO MUCH TO THEM AND GENERALLY IS A WONDERFUL PERSON!

Part 2

Part 3

1. Introduction

I recently wrote a little thing, which was about Daniel as a fairytale protagonist – specifically one that goes through some of the kinds of transformations that are often associated with female protagonists of fairytales.

I used quotes from Red Riding Hood, Labyrinth, Buffy The Vampire Slayer, and Dracula, which, as an aside – the overlap between fairytales, horror, and fantasy and the ways each of those genres delve into very deep, basic questions of humanity and the world is something that will always make me feral. I will be generally sticking with fairytales though. Also I am very excited about some of those Labyrinth concepts going around!

I’m going to use “feminine” and “masculine” in both gendered (as in relating specifically to people) and non-gendered (as in relating to codes) ways throughout this, depending on context.

To be binary for a moment, because sample-sizes of other genders are low, women are usually able to fall into either feminine or masculine arcs, although sometimes the masculine-coded woman can become a “not like the other girls” stereotype and the feminine-coded woman a shallow cliché – in both cases they’re also under more scrutiny and judgement, so it’s always worth asking “is this character not working for me because of the writing or because I have ingrained biases? (Both?)”

Men don’t often get feminine-coded arcs. Because. Probably a mix of biases and bigotry. But there are some that seem to have slipped beneath the shuttered fence of “Sufficient Narrative Testosterone,” and Daniel LaRusso is one of them.

2. Some Dude Comparisons (Men Doing Manly Action-Hero Things like being trans symbolism and loving your girlfriend… seriously those things are hella manly, I wish we saw more of that onscreen…)

a. Neo

Much like Neo The Matrix, whose journey is filled with transgender subtext and specifically and repeatedly references Alice In Wonderland, Daniel doesn’t go through quite the kind of hero's journey usually associated with Yer Standard Male Hero, especially the type found in the 80s/90s.

Neo is my favourite comparison, because of the purposefulness of his journey as a trans narrative and the use of Alice. But I’m sure there are other non-traditional male heroes out there (but are they trans tho? Please tell me, I want trans action heroes).

Neo “passes” as a socially acceptable man, but online goes by a different name - the name he prefers to be known by - feels like there’s something inherently wrong about the world around him and his body’s place in that society, and then gets taken down the rabbit hole (with his consent, although without really “knowing” what he’s consenting to) to discover that it’s the world that’s wrong - not him. And by accessing this truth he can literally make his body do and become whatever he wants it to.

Yay. (The message of the Matrix is actually that trans people can fly).

Neo is – kind of like Daniel – a strange character for Very Cis Straight Guys to imprint on. He spends most of the first movie unsure about what’s going on, out of his depth, and often getting beaten up. He is compared to Alice several times and at the end he dies. He loses. He has to be woken up with true love’s kiss, in a fun little Sleeping Beauty/Snow White twist. Yes, after that he can fly, but before that he’s getting dead-named and hate-crimed by The Most Obvious Stand-In For Normativity, Agent Smith, and being carried by people far more physically capable than he is (people who also fall outside of normative existence).

Trinity and Neo in The Matrix. The fact that a lot of the time neither of them is gendered is something. Literally brought to life by true love’s kiss.

I’m not about to argue that Daniel LaRusso is purposefully written along these same thought processes, so much as the luck of the way he was written, cast, directed, acted, and costumed all came together in the right way. And this is even more obvious when compared to That Other Underdog Fite Movie That Was By The Same Director as Karate Kid.

b. Rocky

The interesting thing about Rocky is that he is (despite being a male action icon) also not written as a Traditionally Masculine person. Large portions of Rocky – and subsequent Rocky films – are his fear and insecurity about fighting vs his inability to apply his skills to another piece of work and wanting to do right by his girlfriend (and future wife), Adrian. The fighting is most often pushed onto him against his will.

Much like in Karate Kid there is barely any fighting in Rocky I. Most of it is dedicated to how much Rocky loves Adrian and the two of them getting together. The fight is – again like in Karate Kid – a necessary violence, rather than a glorified one (within the plot, obviously watching any movie like this is also partly about the badassness of some element of the violence – whether stamina or the crane kick, it’s all about not backing down against a more powerful opponent).

Rocky is played by Sylvester Stallone. He’s tough, he’s already a fighter (albeit in the movie not a great one yet), he’s taking the fight for cash – so although he’s also soft-spoken and sweet, you’re aware of the fact that he’s got those traits that’d make a male audience go “Hell Yeah, A Man,” or whatever it is a male audience does watching movies like that… cis straight men imprinting on oiled muscle men sure is a strange phenomenon, why do you wanna watch a boxing match? So you can watch toned guys groaning and grappling with each other? Because you want to feel like A Man by allowing yourself to touch the skin of other men?

Apollo and Rocky in Rocky III. This sequence also includes prolonged shots of their crotches as they run. Sylvester Stallone directed this. This was intentional. Bros.

Daniel LaRusso is not built like that. But that doesn’t really have to matter. Being smallish and probably more likely to be described as “pretty” than handsome, and not having a toxic masculine bone in his body does not a feminine archetype make. It just makes a compelling (and pretty) underdog. 

c. Daniel

So where does the main difference really lie? Between Rocky and Daniel? Well, Rocky has the plot in his hands – Daniel, largely, does not. Rocky is acting. Daniel is reacting or being pushed into situations by others. Just like our boy Neo. Just like Alice in Wonderland, Cinderella, Snow White – just like some of the women in some contemporary(ish) fairytale films like Buttercup (Princess Bride), Dorothy (Wizard of Oz), or Sarah (Labyrinth).

This isn’t a necessary negative about stories about girls and women, so much as looking at what it is girls and women in fairytales have/don’t have, what they want, and how they’re going to get it. It’s about power (lack of), sexuality (repressed, then liberated), men, and crossing some taboo lines. It’s also about queerness.

3. The Karate Kid Part One: Leaving Home

Daniel LaRusso is a poor, skinny, shortish kid (played by a skinny, shortish twenty-two-year old) who doesn’t fit in after having been taken away from the home he was familiar with against his will. Not every male protagonist in a fairytale leaves of his own will, and not every female protagonist leaves under duress – Red Riding Hood, for example, seems perfectly happy to enter the forest. However generally a hero is “striking out to make his fortune,” and generally a heroine is fleeing or making a bargain or being married off or waiting for help to arrive. She is often stuck (and even Red Riding Hood requires saving at some point).

Daniel then encounters a beautiful, lovely girl on the beach, puts on a red hoodie (red is significant), is beaten up by a large, attractive bully, loses what little clout he may have had with his new friends, and generally has a mostly miserable time until he befriends and is saved by Mr Miyagi. To do a little Cinderella comparison: Miyagi is the fairy godmother who pushes Daniel to go to the ball in disguise as well, and that disguise falls to pieces as he’s running away.

Then Daniel asks for help, Miyagi gets him enrolled in a Karate Tournament, and starts teaching him. Daniel wins the tournament and gets the girl, the end.

While Daniel has chutzpah and is a wonderful character, none of the big events are initiated by him, except for the initial going to the forest/beach (and within all of these events Daniel absolutely makes choices – I’m not saying he’s passive): Lucille takes them to California, Miyagi pushes him to go to the dance, Miyagi again decides to enroll him in the tournament and trains him, and only because Kreese doesn’t allow for any other option, Ali is the one who more often than not approaches Daniel, and even their first encounter is pushed by Daniel’s friends.

Daniel really is at a dance/ball in disguise and receives a flower from a girl who recognises him through said disguise, it’s unbearable! It’s adorable! I get it Ali, I fucking get it!

Daniel’s main journey within this – apart from not getting killed by karate thugs (love u Johnny <3) and kissing Ali – is to learn from Miyagi. He’s not necessarily a full-on feminine fairytale archetype at this point, although there are fun things to pull out of it, mainly in the context of later films and Cobra Kai: the subtext of karate and how that builds throughout all the stories, the red clothes, the themes of obsession, his being targeted by boys whose masculinity is more than a little bit toxic and based on shame… more on all that coming up.

He doesn’t technically get a home until they build him a room at Miyagi’s place, but he definitely leaves the woods at the end of this one, trophy lifted in the air after being handed to him by a tearful Johnny and all.

And then they made a sequel.

4. The Karate Kid Part Two: Not Out Of The Woods Yet

Daniel’s won the competition, Kreese chokes out Johnny for daring to lose and cry, more life-lessons are given (for man without forgiveness in heart…) and Daniel and Ali break-up off-screen, confirming that TKK1 was not really about the girl after all, which, despite Daniel and Kumiko having wonderful chemistry, is also an ongoing theme. Daniel enters the screen in The Most Baby-Blue Outfit seen since Tiana’s dress in Princess and the Frog? Or that dress in Enchanted? Maybe Cinderella’s (technically silver, but later depicted as blue)? 

(Sidenote: At everyone who says Sam ought to wear a callback to that suit,  you are correct and sexy).

Surprise, Miyagi’s building him a room.

Double-surprise, Miyagi needs to go to Okinawa.

Triple surprise, Daniel reveals he’s going with him, because he’s his son dammit.

The Karate Kid Part Two is maybe the least Daniel-LaRusso-Feminine-Fairytale-Protagonist of the three, because it’s not really his movie. Daniel runs around with Kumiko (aka the most beautiful girl I’ve ever seen), continues to be The Best Non-Toxic Boy a middle-aged Okinawan karate master could ask for, lands himself another Built Karate Rival (twice is just a coincidence, right? Right?), and eventually doesn’t die while wearing red again – twice: When Chozen almost strangles him to death at the Miyagi dojo and then during the final fight. The Saving Of The Girl (both the little girl in the storm and Kumiko) actually puts him in a more traditional masculine space than the previous movie did, even if the main theme of the film is about compassion and kindness and by the end, once more the boy whose masculinity is built on rockhard abs and matchsticks is on his knees. Daniel just has that power over big boys. It’s called kick/punch them in the face hard enough that they see stars.

There’s an aside to be made here about how much Daniel really is an observer in other peoples stories in this, although he is the factor that sends both Chozen and Kumiko into completely different directions in life (Chozen and Kumiko main characters when?) Anyway he comes out of it presumably okay, despite being almost killed. Maybe a few therapy sessions and he’ll get over it. Too bad Terry Silver is lurking around the corner…

5. The Karate Kid Part Three: The Big Bad Wolf

Alright people have written Words about the third movie. It’s fascinating. It’s odd. It’s eye-straining. It’s like olives – you’re either fully onboard the madness or it’s too off-putting for you (or you’re like. Eh, don’t see what all the fuss is about either way...). It’s basically a non-consensual secret BDSM relationship between a guy in his thirties (played by a Very Tall twenty-seven year old Thomas Ian Griffith) and a 17/18 year old (played by a shorter twenty-eight year old Ralph Macchio).

Also recently we got more information on Mr. Griffith’s input on the uh… vibes of the film. Apparently it wasn’t just The Sweetness of Ralph Macchio’s face, the screenplay (whatever that amounted to in the first place – release the script!), the soundtrack, the direction to not tone it down under any circumstances, the fact that Macchio categorically refused to play a romance between himself and an actress who was sixteen, no: it was also TIG coming up with fun ways to torture Daniel’s character and suggesting these to the director. Clearly everyone has fun hurting Mr Macchio (including Mr Macchio).

The point is that aaallll of that amounts to that Intense Homoerotic Dubiously-Consented-To D/s subtext that haunts the movie and gives a lot of fun stuff to play with. It’s also a film that – if we’re analysing Daniel along feminine-coded fairytale lines recontextualises his role in this universe.

The Fairytale goes topsy-turvy. Through the looking glass. Enter Big Bad Wolf stage right. Karate is a metaphor for Daniel’s bisexual awakening. 

“Oh, when will an attractive man touch me in ways that aren’t about hurting me?” he asks after two movies of being hurt by boys with rippling muscles. “Why do men continue to notice me only to hit me? Do you think wearing red is making me too noticeable? Anyway, Mr Silver looked really good in his gi today.” 

Daniel’s diary must be a trip.

[zellacchan]

TANAKA APPRECIATION DAY STARTS NOW

-THIS WHOLE EPISODE ABOUT HIM IS PERFECTLY WRITTEN, THE IMPACT IS BEAUTIFUL, AND I HAVE GROWN TO LOVE HIS CHARACTER SO MUCH MORE.

-TANAKA DOESN'T GIVE UP. that thought alone seems boring when you read it just like that, right? but this episode, ugh, man. it surfaced a whole new concept, you'd think the character was a genuine human, a real person from this world.

-how, exactly? let's start with the things that happened to Tanaka-senpai. ‘‘embarrassment. failure. yet despite that-you refused to give in, and you constantly repeated that in your mind. yet you still ended up getting even more disappointed than you initially were. nothing was going smoothly, and you didn't know why. 'it's okay. i'll keep going, it'll be alright.' you result to self encouragement, because it really isn't the time to feel down, just stay positive. force yourself to be.’’ was the type of situation he was in. normally, a person would give in to the despair, the negativity their mind kept bringing to them. because, i mean, what else could they do? everything was going wrong right in front of their eyes. and when they tried bringing themselves up again, their own teammate refused to help. getting them to toss to you after you called for one could've been the chance to redeem yourself, but no, it didn't. in a normal situation, you'd think ‘okok they might have a plan/they prolly have a better chance at scoring’ or ‘psh maybe next time.’ or even go ‘asjdjfjfj that was embarrassing!’ pretty much any thought, usually it wouldn't give a huge impact to you, and you're able to brush it off after a couple minutes then focus on the game again. but if its like the situation Tanaka was in? completely different scenario. it's likely to give more than a stab to your morale. could even serve as the final blow. even Bokuta-san knew this, as seen from how he passed out afterwards watching them. (maybe it's due to the relief that karasuno scored, tho his attention mostly focused on Tanaka, as once again shown from his reaction after Tanaka earned a point. plus the fact that he was aware of how he, himself would act if he's in Tanaka's position.) but, did that 'deal the final blow'? did it finally make him give up? nope, it didn't. (part of the credit goes to our sunshine child Shoyo, thank hEAVENS for this angel.) and even if Shoyo wasn't there to encourage him, i doubt he would've acted differently. it takes such an impossible amount of mental strength to survive those kind of life difficulties, moreover in sports. s p o r t s, where one mistake could ruin everything. and Tanaka-san had that strength. it merely showed it's pique on the very end, but he had it from the very beginning. hence, again, i doubt a different outcome—and i find that so so beautiful, bc honestly, let's be realistic here. not a lot of people could do that. they may try, but they can only reach so far before giving in. Tanaka was one of those rare gems, and this episode was incredibly inspirational about it. i just can't say that enough. it's anime, fictional. yet the emotions, the struggles and how it was depicted were more than on point, and that's why it's capable of such impact. hhhhhhhhhhhhhhhh-

-i dare say more; let's move onto his quotes. “i'm nothing but average. but still, my average self.. do you really have time to look down like that?” ohmygod. this needs to be my life motto. Tanaka-senpai you outstandingly positive man, i crave for his attitude-his viewpoint, way of dealing with sitautions and everything. it's so cool and awesome and just aAAAAA, how?! how is one capable of such thoughts?? please teach me. i beg of you. “i'm pretty sure i'm a normal human being. especially when it comes to my build and abilities. when i was a kid, i was convinced i was a genius. i might've thought that until i was in middle school. actually, i'm still sorta convinced that i am. but i'm probably never going to be 180cm tall. i'm confident in my athletic skills. but on our volleyball team, i'm not number one in anything at this point in time. but that's not a reason to quit, nor is it an excuse.” i'm screaming. just slapped the perspective and words i've longed to hear. what an ace, Tanaka-senpai deserves that title so much. it fits so perfectly. “as long as i keep trying until i can do it... i can actually do it!” yes, thank you, Tanaka-senpai, Furudate-sensei, for proving that giving up is just an illusion of success. once you've tried enough and you can finally do it, you've finally done it. it's possible.

I REPEAT, TANAKA RYUUNOSUKE DESERVES SO MUCH APPRECIATION. HE'S SUCH A BEAUTIFULLY WRITTEN CHARACTER, AND WE ALL SHOULD SHOWER OUR LOVE TO HIM.

p.s i wrote this on the spur of the moment, (milliseconds after the episode ended) pardon if i dont make sense<3 just love tanaka ryuunosuke<3 thats all you need to know<33

[new-sandrafilter]

The Making (and Re-Making) of Timothée Chalamet

BY DANIEL RILEY / PHOTOGRAPHY BY RENELL MEDRANO

He found superstardom and artistic acclaim instantaneously. Now, with unique candor, the actor of a generation reveals what it’s like to come of age in our very upside-down era.

The day after the Oscars in 2018, everything that had changed, changed back again. Timothée Chalamet had spent the previous months becoming known. He had acted in a film, Call Me by Your Name, which was critically acclaimed as well as an instant object of cultish admiration—and his performance had made him, at 22, the youngest person nominated for best actor in 80 years. He had, simultaneously, been transformed into the rarest of pop confections—fawned over by younger women, older men, and every demographic in between. And he had traveled without pause on the awards circuit since early autumn, back and forth from New York and Los Angeles, practically living out of the first-class lounge and the lobbies of the Bowery Hotel and the Sunset Tower.

But the day after the Oscars, the moment the clock struck midnight and his carriage turned into a pumpkin, Chalamet was right back where he'd been before the whole fantasy had begun: in New York, with no credit card, no apartment, and no longer any structured demands on his time and attention. Outsiders who had witnessed the arrival may have regarded this 22-year-old as being in possession of wealth and clout, but he was suddenly back on his own dime, which amounted to maybe five or six dimes, reticent to stay with family and friends whose lives he felt he was disrupting with all his new baggage. Of course they couldn't possibly comprehend the chemical reaction that had just transpired. They were still hydrogen and oxygen, and Timothée Chalamet was all of a sudden water.

And so, for three weeks, he disappeared into the wallpaper of the Lower East Side. Specifically, the wallpaper of a little apartment that the French street artist JR kept for visiting collaborators. Chalamet holed up against the ugly New York weather of late winter, and did the only thing he could think to do: learn lines. The King would be his first film since his pivot into fame, and he was anxious to get back to acting after such a long stretch of merely talking about acting. Even more, he needed to blot out the unrecognizable icon the internet was already beginning to make of Timothée Chalamet.

I met Timothée for the first time at the onset of that initial blush of fame, when all of us were being introduced to an actor who had both rare talent and the un-engineerable it that chings like an audible sparkle off a jewel in a cartoon. I wrote a story for this magazine about that first chapter in the arrival of a film star. This is the second chapter, the story of what's happened since. It wasn't evident yet, but those three weeks in New York in 2018 were the starting line of what would amount to a 30-month stretch of four new films, two new Oscar campaigns, some refreshing romance, an incessant awareness of the confusing image of himself as—what else to call it?—an emerging global movie star, and a constant concerted effort to figure himself out as both a young actor and a young person in the unceasing spotlight.

This summer, we were talking about all this on a little screened porch out back of a modest cabin in Woodstock when Chalamet recalled those three weeks. “My world had flipped,” he said. “But if I kicked it with my friends, things could still feel the same. I was trying to marry these two realities. But I don't even think I knew that was what I was doing. That dissonance was real. And thank God. Because I feel like if I'd caught up to it immediately, I would've been a psychopath or something.”

Out on that porch, I asked him a version of the same question over and over: What had the last two and a half years been like for him, as a human being? His response was a multi-hour monologue that I would characterize as: intense. He expressed unadulterated gratitude for his great good fortune. But he also expressed confusion and tension. He is firmly in a moment when he is concerned that everything he says or does or thinks will look or sound wrong. He backtracked a lot (“Wait, let me try that again”). He jumped on and off the record (“Sorry, sorry, sorry, this is just for you…”). It was important for me to know, he said, in order to communicate the context of his experience, if not the specifics.

.

“I want to get back to the undefined space again. I'm chasing a feeling.” 

He lives in the same world all of us do—only with the potential for adoration and blowback turned up to 11. He seems, at once, to trust his own instincts while also second-guessing most thoughts the moment he's convinced of them. It is an exhausting way to be. At times, when he was up on his feet, in his T-shirt and shorts, pacing around the little screened porch, hands tugging at his mane, I could feel the gears grinding to the point of smoke. He wanted so desperately to get this right, to express what he really meant, to feel the right feelings, to live the right way, to be the right kind of man for the people in his life that he knows he can and should be, despite everything else, despite the noise. He's doing his best.

Timothée had rented the house for the month of July, as a little escape but also as an opportunity. He was slated to play Bob Dylan in a new biopic. No telling when it might film, given everything, but for now he had more time to himself than he'd had in years, which meant time to maybe huff the vapors of some Woodstock Dylanalia. “It's not like I'm suffering from lack of connection otherwise,” he said, “but it just really feels like I'm connecting to something here.” When he arrived, he discovered that his little house had a wall devoted to Dylan—to the albums he'd recorded in the run-up to his timeout in Woodstock in the late '60s. Timothée relished happening upon that wall his first day in the Airbnb. The universe offered signs if you nudged it toward coherence.

He knew what the cabin might seem like—like some young actor taking himself way too seriously, “treating himself like an artist.” But he was back and forth between Woodstock and New York all month, bombing up and down the interstate in the Honda sedan he'd rented from Enterprise. (He learned how to drive on Beautiful Boy.) All the while Dylan was top of mind. Timothée was late to the party but helplessly obsessed. He quoted him generously. He fixated on both the art and the persona. He marveled at the way the artist could be out there so much, making such an impact, while also keeping the real person obscured behind the music, the characters in the songs, the language. In the city, we spent time walking around Greenwich Village, Timothée in an identity-concealing face mask and bucket hat and sunglasses, able to search out old Dylan addresses in an invisibility cloak. He ran from site to site, with notes he'd kept while reading Dylan's memoir, Chronicles: Volume One, barreling up stairs and peering into windows. He was a 24-year-old actor, taking advantage of the pause between the second phase of his career and the third and thinking hard, daily, about how to play the next few years.

He rented the house in Woodstock, too, so that he could have a little space all to himself. He craved the privacy to try things and to fuck up. To make small mistakes now, out of view, when it was just him, when he was still young, so that he didn't have to worry about it later. At one point, he stood up and slapped an empty water bottle off the table so that it clattered against the screen of the porch. “I want to know what that sounds like!” he shouted. He hadn't taken many missteps yet, and it made him uncomfortable, wary, that he would someday. The month felt like a controlled burn. In the most innocent way, that was what Woodstock was about. He got to practice his guitar and harmonica in peace, cook himself his “shitty pasta” without judgment, permit himself space to keep growing up. So much was in the spotlight now. But in that cabin, he could sit on the couch for a while and re-familiarize himself with “the crease in the cushion” that he'd lost touch with over the past few years. The quiet. The stillness. That sunlight there coming through the trees. He could breathe a little. Sleep a little. It had all been so good for him so far. But the goodness made him anxious. When will the other shoe drop? Not there. He'd deleted Instagram off his phone. He'd stopped posting on Twitter. He was reading again. Listening to albums all the way through. Slowing down. What was it like to have lived these past two and a half years? It was like a lot of things, but here at the end of it, it just felt good to sleep.

Back at the start of the 30-month run that led to Woodstock, Timothée turned over the keys to JR's studio and went to Europe to shoot The King. The role was like none of the films he'd just received notice for. “Here I am on set with all these Hungarian men with scars on their faces, and they're like, ‘You're the center of the shot, you're the badass! And we know you tried to put on all this weight, but like: You're wearing all the chain mail.’ If they took the chain mail off, my throat is still this big…” There he was trying to keep in perspective this new fame, this new validation, this new temptation toward ego, all while being thrust into the center of “something called The motherfucking King.”

When he returned to New York that summer, he skipped off the atmosphere again with another awkward reentry. One moment he was on the battlefield of the biggest-budget drama he'd yet experienced, the next he was “back in New York, on the A/C/E at Port Authority, just like, What the fuck is going on?” It was a pattern over the past few years. The calmly intense immersion into work, the “thud of lost purpose,” as he called it, when the work ended. It happened the same way in the fall of 2018 with Little Women—reunited with Greta Gerwig and Saoirse Ronan and the crew from Lady Bird. There was just an ease with which he plugged in with them, “a vocabulary of friendship” that existed there.

Timothée's career thus far has been filled with these sorts of friendships, notably those across generational lines. Even a casual observer may have picked up on it. Those glommings-on to older people in his life. Armie Hammer. Kid Cudi. Greta Gerwig. When I asked Gerwig to comment on the arc she's witnessed up close, from Lady Bird to Little Women, she wrote a note about “my friend Timmy”: “It's hard for me now, because I'm his friend, to see him strategically.… I love talking to him. We can get on the phone and talk for an hour or more without even realizing it, just skipping from subject to subject, making jokes, me feeling old and happy and him being funny and anxious and delightfully all over the place.” It's an odd gap he finds himself in—forced to be more accelerated than most 24-year-olds while also having not lived enough life yet to fit in absolutely with the people he enjoys spending time with most. On a recent visit with his grandmother in New York, she surprised him by saying, “I wish you would hang out with people your own age more often. It must be so weird.” It made him chuckle. Even she'd noticed. She might be right. But how could he resist the orbit of these creative geniuses he'd so long admired and who were filled with so much knowingness?

“I'm confident in the way I'm trying to approach things now, how I'm setting up the angles.”

In the winter of 2019, another Oscar campaign left him feeling disoriented all over again. Everything, Timothée said, was exactly the same as the first time except him. He'd put in this undeniable performance, but maybe one that sparked a little less for Oscar voters than that first kiss with a stranger. Now he was in all the same rooms as before, the same lunches and dinners and cocktail parties, shaking hands with the same Academy members who showed up at everything to get a little nibble of the freshest biscuit, growling ominous things at him, like: You don't have my vote yet.… “I really don't know how to talk about this stuff, man,” he told me, “because my experience of it is at the center of it. There's just some dark energy at these things, and this time around I felt like I could see it. And yet I'm thinking, Why isn't this going the exact same way?”

He wasn't nominated for Beautiful Boy, but the fresh air came, as it always seemed to, on the set of the next film: Wes Anderson's The French Dispatch. The movie is about a fictional English-language magazine (based on The New Yorker of the midcentury) and is structurally organized like the magazine itself, featuring short pieces at the “front” of the movie and a triptych of long features at the back. Timothée costars in the second feature, about a May '68-style student-protest leader named Zeffirelli and the middle-aged magazine journalist (Frances McDormand) assigned to report on his cause.

“I had seen Timmy in Lady Bird and Call Me by Your Name,” Anderson wrote to me, “and I never had the inconvenience of ever thinking of anybody else for this role even for a second. I knew he was exactly right, and plus: He speaks French and looks like he might actually have walked right out of an Éric Rohmer movie. Some time around 1985. A slow train from Paris, a backpack, a beach for 10 days in bad weather. He's not any kind of type—but the New Wave would have had a happy place for him.”

The privilege of early fame that Timothée most appreciates is the ability to choose the directors he works with. His role in The French Dispatch is a minor one, but it's a Wes Anderson movie—it's as simple as that. Due to the episodic nature of the film, some of the other “stories” were already being shot when Timothée arrived in Angoulême, a town that reminded him of the one he spent time in growing up, “so French it was like a caricature,” he said. Timothée had the opportunity, then, to hang with some of the elders he doesn't act with, like Jeffrey Wright, Bill Murray, and other seasoned members of the Wes Anderson troupe. “It was immediately as if it wasn't his first time with our group,” Anderson explained. “He was somehow already part of the family. The youngest member.”

Timothée had seen McDormand around for years, but he'd never felt like she was someone he could approach. “We'd shared an agent,” he said. “And it was no disrespect to me, but I hadn't been in any movies yet. What business do I have talking to Frances McDormand? But now, and this is the gift of acting, I really feel myself coming into my own as a community of thespians, as opposed to actors. And man, that sounds pretentious, but I just mean it's not about the fucked-up ladder of success and un-success, and being the guy or the girl, and then being off the list… That's not what I'm talking about with her on set, that's not what she's espousing to me. She's talking about a long career. She's talking about marriage with a creative partner and consultant. So to be able to have conversations like that and then a story line in the movie where they're kind of on an equal field? Even if she's an experienced, wise woman and he's an idealistic, naive boy? That's the exact relationship of exchange I want with my intergenerational peers.”

There's a particularly memorable scene in The French Dispatch, reporter and subject having fallen into bed together, when there's a knock at the door. Timothée looks at McDormand, anxious about who's there, mortified when McDormand informs him it's his mother. There, in that scene, we see all the desire of Zeffirelli—this energetic young man with all the right intentions, who strains to be intellectually and emotionally riper—clash with the reality of his age. It felt familiar to me, and no doubt to Timothée. It was some of my favorite acting in the film. I asked McDormand if there was anything in their scenes that struck her as particularly mature for someone his age. “Maturity is not something a fellow actor is the most concerned with,” she said. “Playfulness, discipline, and rigor. I do recall, during our scene in bed, the crew responding to his work with true respect for his focus. He was bringing it and we sat up and paid attention.” Anderson added: “I think my favorite moments with Timmy during a scene were the ones where I saw him pause and find a new attack. A new angle, which he does very clearly and assertively. What I love is how he will surprise you with something new, completely unexpected and perfect.”

One night, while McDormand was shooting a scene without Timothée, her husband, Joel Coen—he of the Brothers—asked Timothée if he wanted to go out for a steak. Over dinner, Timothée grilled Coen about Dylan. He knew Coen was a fan and had steeped in it on Inside Llewyn Davis. “He almost seemed weary of even talking about this stuff, it was so big and potent,” Timothée told me. But Coen noted that the truly incredible thing about Dylan was not so much the quality, which was obvious, but the quantity—the rapid amount of work in short succession, one groundbreaking album after another, in those early years. That takeaway resonated deeply with Timothée. Especially as he reflected on it from summer 2020, during the pause, during the moment of no work. That gush from Dylan made him want to work—harder, longer, better, more.

A week after our conversation in Woodstock, Timothée and I were in New York City, sitting on a bench along the Hudson, talking about what he's looking for when work resumes. “I want to get back to the undefined space again,” he said. “I'm chasing a feeling. When you think you're doing some great thing, it's probably something you've done before, and when you really fucking have no clue, that's when you're doing something on the edge, good or bad.”

Timothée's mask had slipped down his face as he was saying this, and two young women, about his age, approached cautiously. “Would you mind if we got a…,” they asked, and he hopped up without hesitation. “How'd you recognize me?” he said, friendly, but genuinely curious, as if he hadn't just been shouting about art in a voice that sounded a lot like Laurie from Little Women or Timmy from late-night shows.

“Was it the scrawny limbs or the hair?” I asked him as he sat back down.

“Definitely the first.”

From France, last spring, it was straight to Hungary—right back to the exact apartment in Budapest he'd stayed in while shooting The King—to start work on Dune. Very few actors had become as famous without a blockbuster. And while he'd really gotten it down how to act on an indie set, how to make every second and every take count, he knew this would be something altogether different. It wasn't just the shoot that would prove taxing. A film of Dune's scale would likely be the can opener to a whole other stratum of Hollywood prominence.

Director Denis Villeneuve told me Timothée was his “first and only choice” to play Paul Atreides, “the one name on the page.” When they met to discuss the prospect, Villeneuve told Timothée how happy he was to finally meet the young actor. And Timothée had to remind him that they'd met before, when Timothée read for Villeneuve's Prisoners. “ ‘Of course!’ ” Villeneuve remembered. “He did a great audition, but he didn't physically fit the part. He was probably swearing at me because I didn't take him.” Timothée was party to so many stories like that one—glancing interactions with these heroes of his before he'd broken through. It reminded me of the relationship between freshmen and seniors in high school. The freshmen remember everything about the seniors; the seniors hardly notice the freshmen. But we all become peers eventually.

“I felt there was one being on this planet right now that would be able to portray Paul Atreides,” Villeneuve said—referring to the hero of the 1965 Frank Herbert novel, who transforms from an unassuming heir into a messiah figure, a charismatic outsider and commander of men and women (and sandworms). I read Dune for the first time this summer and was shocked by the source material, how much I'd consumed in culture that had borrowed from it. Star Wars. Alien. The Matrix. Game of Thrones. Paul, therefore, is a type we're familiar with but also possessing singular characteristics Villeneuve wanted Timothée for: “He has a deep, deep intelligence in the eyes. Something you cannot fake. The kid is brilliant. Very intellectual, very strong. And you see that in the eyes. He also has a very old soul. You feel that he has already lived through several lives. And at the same time, he looks so young on camera. Sometimes he'd look almost 14 years old. He has this kind of general youth in his features and the contrast with the old-soul quality in his eyes—it's a kid that knows more about life than his age. Finally: He has that beautiful charisma, the charisma of a rock star. That Paul will lead the whole population of a planet later. Timothée has that kind of instant charisma onscreen that you can find only sometimes in the Old Hollywood stars from the '20s. There's something of a romantic beauty to him. A cross of aristocracy and being a bum at the same time. I mean, Timothée is Paul Atreides for me. It was a big relief that he agreed, because I had no plan b.”

“If I get hit by a truck next week, I'm looking at 20 to 23, I don't know if you can top that.”

I asked Villeneuve if he noticed Timothée struggling at all to adjust to the larger-scale production. “It didn't show when he was on set, but I think for him the big thing was to learn how to create his own bubble on set. So that he would not have to try to be the friend of everyone. When you're on a smaller set, when there's 25 people, you can be friendly with 25 people. When there's 800 people around, you cannot be friends with 800 people.” He chuckled. “It's too much. So how to save your energy, how to focus, how to give himself permission to be in his bubble and make sure that his bubble is respected.”

As ever, Timothée had a special affinity with those people on set who were a little older, a little wiser. Villeneuve said Timothée was constantly speaking with him and his wife in this open, vulnerable way about his concerns, his fears, how to deal with certain pressures. Villeneuve also described for me Timothée's relationships with his fellow actors, particularly the trio of Josh Brolin, Oscar Isaac, and Jason Momoa. “I felt like Timothée was deeply seduced—or maybe not seduced, but I just felt it was like a kid being with older brothers,” Villeneuve said. “He was younger, he was the little one on set, and everybody loved him. There's a scene in the movie where Timothée runs into the arms of Jason Momoa, and Jason grabs him like a puppy and lifts him into the air like he was a feather. And that's real! They really loved each other. It was very beautiful to see this young man being influenced by these people he admires.”

“His positive energy is infectious,” Zendaya, his nearest peer in the film, told me. “He really is so much fun to be around. We have very similar humor, and we can keep a joke going for a long time, but when the cameras start rolling and it's time to work, you can see it's game time, and he just taps into this brilliant intensity. It's awesome to witness.” Villeneuve underlined the energy as well, describing for me just having seen Timothée the night before we spoke, and marveling at “that beautiful, strong candor.”

“I will say that looking at Timothée working, I had a deep feeling that I was watching the birth of something,” Villeneuve added. “Not that it's for me—I say that with humility, because I feel that birth in all the movies he's done so far. I'm feeling it's someone that has insane potential. When I say potential, I don't want to reduce what he's doing right now, not at all. It's just that sometimes you are in front of somebody and you have the feeling you are in contact with a strong artist and that artist, his identity is still growing, building itself, learning its boundaries, learning how to protect some part of it. I think that we are witnessing something beautiful right now.”

At the end of summer 2019, Timothée finally resurfaced from Planet Dune. He had been on social media only sporadically while shooting for most of 2019, and so, for his vast base of fans, it was an overdue glimpse of the object of their affection. First up was the Venice Film Festival and the premiere of The King. There were clothes and Kid Cudi cameos and charming red-carpet interviews. It was an example of the sort of stretch, in the gaps between shoots, when Timothée could indulge his passions for hip-hop and fashion and all these things he'd loved all his life that were suddenly accessible. It was another of the delirious disorientations of the past few years—the way that people who were once subjects of his intense fandom were suddenly a part of his life as friends or acquaintances happy to have him around. He might still embarrass himself at times, helplessly rapping back lyrics to his hip-hop heroes or gushing like a broken dam about new music or clothes or art made by the makers in his life, but they were cool with him so long as he actually kept his cool.

Timothée also spent the end of last summer promoting The King, alongside his costar Lily-Rose Depp, whom he'd been dating for about a year. He is serious about keeping his former relationship with Depp to himself, but he did share one very sweet, very funny, very sad anecdote that encapsulates the spectrum of great and terrible that accompanies the private life of someone new to mega-fame like Timothée.

After Venice, he and Lily-Rose took a few days for themselves in Capri, where they were photographed by paparazzi. One image, in particular, circulated in which they were making out on the deck of a boat. Timothée is contorting himself into the kiss and looks a little awkward. Many people had their laughs. And some even suggested that the photo was staged for publicity. “I went to bed that night thinking that was one of the best days of my life,” Timothée told me. “I was on this boat all day with someone I really loved, and closing my eyes, I was like, indisputably, ‘That was great.’ And then waking up to all these pictures, and feeling embarrassed, and looking like a real nob? All pale? And then people are like: This is a P.R. stunt. A P.R. stunt?! Do you think I'd want to look like that in front of all of you?!”

This was how things worked now. He'd disappeared into those four straight films and emerged into a new paradigm—one that followed him into the holiday season of last year and a whole new level of exposure with Little Women. Here was this film about sisterhood, female intimacy, and a feminist critique of art and commerce. And yet Timothée was still the shiniest object in the set for so many fans. “I'm very used to answering questions about Timothée's hair from 15-year-old girls,” Saoirse Ronan joked with me. “I imagine that's probably what you're going to ask me about?”

Ronan has the unique perspective of having filmed and then promoted two movies with Chalamet during the past three years, and has as clear an eye as anyone onto this early phase of his career. “He's had such incredible opportunities, and he doesn't let the reality of that pass him by,” she said. “He's incredibly gracious and grateful in relation to his work and the people he works with. I think he's become more open as an actor. He knows his instrument more. I think he works even harder now because there are projects that are on his shoulders in a way that they weren't before. And of course he's been totally catapulted into this whole other realm of attention and notoriety. So he's also having to balance the incredible fame and attention, which would completely freak me out if it was something I had to go through.”

.

“I've realized that as much as these heroes of mine mean to me, and as grateful as I am when they offer me advice, even they acknowledge it's just a different thing now.”

When Timothée and I were sitting by the Hudson that afternoon back in summer, there were those two young women who approached him for a photo. But there were also two other young women who caught an eyeful of his profile as they strolled by and then surreptitiously positioned themselves out of his sight line but still in mine. They did that thing where one pretends to take a picture of the other while actually shooting back over her shoulder in selfie mode. That charade went on for five minutes or so while Timothée exercised his guts about reuniting with Gerwig and Ronan on Little Women, and though I was nodding along, I was also marveling at the lengths to which those two fans were willing to go to get a picture of him.

I asked Ronan what she's noticed about that level of attention, sitting beside him for so much of it. “I'm always kind of shocked by those things—when any one person can just completely take over people's lives so much,” she said, laughing a little incredulously. “But I'm also not surprised. There just aren't many other young male actors out there like him, who are able to hold an audience in the way that he does. His look is so magnetic and beautiful. One of the things that we spoke about a lot when we were doing Little Women, in terms of our characters, but also in terms of myself and him as people, is that we both have this masculinity and femininity equally. And I think that that's one of his strengths, is that he can be incredibly sort of feminine and sensitive and sensual, and also he's a guy that, you know, girls fancy. So he covers so much ground in terms of popularity. But at the end of the day, he's always gonna have this skill. He can be cute, but that only gets you so far.… And so I've seen him learn how to separate himself from all that other stuff when he's on set, when he's working.”

In Woodstock, Timothée had described to me with greatest admiration the way that Ronan can act in these films, at this highest level of acclaim and attention, but also remove herself, uncomplicatedly, from all the fuss: “She is like a superhero when it comes to this sort of thing, going through it so healthy—with the asterisk being excellent work across the board and four Oscar nominations. I think her, like, DNA of self is really morally right.” She knows herself extremely well, he said, and has the confidence to give up only so much of herself. Whereas he feels he is calibrating constantly how much of his true self to reveal. “Saoirse's one of my best friends in the world—at least I think we're best friends. And she's never judged me for…the Coachella of it all.” That is, the part of him that can't resist fanning out backstage with his favorite musicians or occasionally allowing himself to be in the spotlight even as he talks about preserving his privacy.

“He's 24, and he's gonna have a great time, and I would never judge him. I've been to Coachella; I just never got photographed at Coachella,” Ronan said, chuckling. “But yeah, we talk about that sort of stuff all the time. We've weirdly gone through this together for the last few years. We've both become more accessible. But he's had one sort of attention—I do feel like boys get it on a whole other level. I know that ultimately what he wants is to be good at his job. And that will always steer him on the right path. I've always let him know, and he's always let me know, we can talk to each other, and we do. He has good people around him, and I'm one of them, and Greta as well—we all kind of look out for one another.”

Timothée spent late May and early June asking questions of himself: What can I do? What is my role in all this? He felt conflicted when he sprang to action and conflicted when he stood still. But never did things feel less uncertain, less self-conscious, than when he was marching, anonymously, alongside hundreds or thousands of others in Los Angeles in the wake of the murder of George Floyd. It was an active way to participate—meaningful action, without being showy, without flexing any of the levers of fame or power. He was going to get hit no matter what he did, so he tried to follow his instincts of what felt humble, responsible, right.

“This idea,” he said, “that power is the mass body politic organized—and how many bodies can you get together—that makes sense to me.” He didn't disappear but, rather, stripped himself of his him-ness and became one body, among many, taking up space and participating in an unequivocal statement. “With a mask, a hood, a hat, glasses—my face is deleted,” he explained, “and I'm literally presenting a physical form, you know?” A single body in space that, like a vote cast in an election, is democracy embodied, but anonymous. The same unit of power as anyone else. “People might find it disingenuous, but I found it really grounding,” he said. “It was Oh shit, I don't feel out of place—and yet I haven't been in a crowd like this for years.”

He spent much of the summer talking with others about how a person should be in a cultural and political moment such as this one. “After a day of protests,” he said, “I'd ask friends if they ‘felt good.’ If we do, is it a good thing to feel good, or does that mean we're doing it for the wrong reasons? How much do I want to put on social media? Is it a virtue signal to put it on social media? But all social media is performative, right?” I heard him ask dozens of self-interrogating questions like these. He cares so genuinely about doing the right thing, about doing well by his family, his friends, and his fans. But he didn't want to misuse his privilege or his platform, to overreach so that the gravity of his fame sucked up anything from anyone else whose moment it was to speak. He didn't want to take up room; he wanted to help center other voices. On Instagram, he posted videos each day during the first week of marches in Los Angeles—no directives into camera, just an implicit charge to his followers: Show up. Listen. Be a body.

“I have so many thoughts on so much of it,” he said, “but I don't see the benefit of putting it down for consumption until I've really worked out exactly how I feel about it all. Who benefits from my half-baked ideas?” Who cannot relate to this in 2020? Who would want any of their dinnertime conversations with family and friends these past months chiseled into the stone of the internet? “I care so much about this stuff. But I would never want my caring to be misconstrued. I don't want my caring to be about me in any way.”

God, this stuff twisted him up. He knows how much has gone his way. But from the summit of good fortune and power, is it better to speak constantly—or to shut up, put on the glasses, pull down the hood, and live and act according to one's convictions as one individual among many individuals? To march. To vote. To speak through action rather than words. Staying in motion, showing up, being a body—it's a good place to start while he works out the rest of how he's meant to live a life true to his values with everyone watching.

He's seeking out the right path, the right people—with help from his “intergenerational peers” and Dylan and anyone else he can find. He wants the benefit of their knowledge and experience, and he's okay if it's slow going to accrue it. He's open to playing the role of the novice still. But there have also been things in his life these past of couple years that have made him realize, as he puts it, “adults are just kids a little bit older.” When he returned to New York from Los Angeles this summer, it wasn't to his childhood apartment or to a borrowed living space of an acquaintance. It was to his very own apartment, his first, in a little wedge of Manhattan he loved for being nowhere, but on the edge of several somewheres. He relished the mundanity of setting up his own place. To hear him talk about a first trip to CB2 was like hearing another person talk about their first trip to a movie set. “But I think if people saw what my apartment looked like, they'd be like, ‘Oh! This kid has no fucking clue what he's doing.’ ” He is so young and he is so old. It is his gift. He is so patient when he can suppress being so restless. So careful with the long arc of a career when he can resist obsessing over the instant. He is so confident when he centers on the work and so searching when he gets sucked down into questions about the rest of his life. Will he always be this way? This pliable and open? This self-reflective and intentional? He trusted so little of his new life, but he trusted his talent. That was the key. He knew he was as good as anyone at playing other people, even if he was still figuring out how to play himself.

We spent a good amount of time in Woodstock and in New York City and on the phone talking about where his career might take him from here. With great humility, he acknowledges his skill. But he has been thinking a lot about the difference between preternatural talent and mastery—the work that's required to ascend from that floor of young greatness to the ceiling of realized potential. That said, he's wise enough to know that his career could pivot in an entirely different direction—that the world could change or the opportunities could dry up or “eventually there's gonna be an Oscar Isaac in his 30s who's gonna bust out of Juilliard who's gonna be the next great actor and make me feel like a piece of shit. But right now…”

He told me, “If I get hit by a truck next week, I'm looking at 20 to 23, I don't know if you can top that.” To show up with Call Me by Your Name—he knows that that film was a unicorn, the sort an actor works his whole life to find. And the immediate Oscar nomination had freed him up to not spend the rest of his career chasing a certain kind of role that might lead to a certain kind of validation. “I'm not gonna be bashing my head against a wall trying to prove that I'm an actor,” he said. “The train can run over my leg and leave a track forever, and yet the point of entry for me…,” he said, trailing. “That's a good feeling.”

He looks at all these careers—all the careers you might expect: DiCaprio, Bale, Phoenix, Depp. And he does his best to separate the strands of each of their careers that might still apply to his. But all of the rules for acting success that those performers played by, for how to be in the public eye, for career arcs and longevity—those rules are irrelevant now. Hollywood is different, the media is different, fans are different, movies are different, the world is different. “I've realized that as much as these heroes of mine mean to me, and as grateful as I am when they offer me advice, even they acknowledge it's just a different thing now.”

And so it's occurring to him that the next few years will be Timothée finding the path that's right for him. Lately, he's thought about this next phase as shining a flashlight into the dark. There are potential projects that excite him considerably, some of which he's had a greater hand in engineering. There is, of course, the Dylan movie. But there's the question of how to spend the rest of the year, when most Hollywood productions are still paused. “The rest of the year,” he says, “I'm just thinking about Trump, man.” But after that…maybe Europe for a while? The Woodstock experiment did what he'd hoped it would—a little space, somewhere else. He would love to just breathe some different air again.

He was at another pivot point, as he had been when he and I were first together for Chapter 1. In the winter of 2018, the work had been validated, the public profile had developed suddenly. But the temptations, the confusion, the money—those were all lagging indicators. By mid-2020, all had caught up. And the money, in particular, was on his mind one afternoon in New York. We were talking about how a person might stay true to one's roots with that sort of thing when the reality, for him at least, had changed with Dune. I told him that one of the things that seemed to differentiate him from young stars of the past, and perhaps was a feature of his generation, was the way that material possessions didn't consume him. He didn't buy much stuff. He didn't own a car or a house. He liked borrowing clothes, but not necessarily keeping them. He agreed with the characterization, but then got immediately twisted up about a potential future hypocrisy: “But Dan, what if I do grow to like fancy shit?!”

Boomeranging back home after the surreal adventures out in the world—that was a good and grounding thing for him. Over the weeks we were talking, he spent time with his folks, delivered some COVID groceries to his grandma, and was in touch with his sister daily. And in New York, he and I kept running into ghosts. One afternoon, when we crossed the West Side Highway at Houston Street, he gestured at the athletic complex at Pier 40, where he played soccer growing up. He scampered over to a vending machine there to grab a bottle of water. When he pulled open his wallet to pay, he had only twenties. “Bad metaphor! Bad metaphor!” he screamed, jumping away from the vending machine, as though it were one of the great threats to his selfhood. This was the sort of innocuous moment that will hum with outsize resonance for me when I think about Chapter 2 from the future. All the things that one would expect to happen had happened in the first two and a half years since the arrival of a comet, and yet he was suspicious of so much of it.

Here is another way I will remember him from this moment: sitting on that porch in Woodstock—breeze and birds in the trees, sunlight in the leaves—looking for a higher power. Or at least expressing openness, as a nonreligious person, to the idea of some central organizing force in the universe—because, given everything lately, there has to be or we're fucked, right? Some of these searching things he said to me could be mistaken as a person spinning out a little. But that wasn't it at all. There was such calm. There was such contentment with the grace that had been afforded his life and career thus far, and where each might take him next. He was questing, yes—but he was firmly at the controls. The flashlight in the dark. Someone moving forward with great confidence into the unknown, with eyes wide, mouth shut, and ears listening more than they ever had before. There were no models for how a person like him should be anymore. There were no longer any adults who weren't just kids a little bit older. There were no blueprints for how to shape a career—so much had changed. There was only a head and a heart, his, and a feeling for the moment. “Maybe I'll never do a great work of art again, but I just feel like I'm confident in the way I'm trying to approach things now, how I'm setting up the angles,” he said on that porch in Woodstock. “When you think about Dylan. When you think about what Joel Coen said about the rapidness of the art, I'm just like: Trust the beat of your own drum. Give this its best shot. Give your artistry its best shot.”

.

Daniel Riley is a GQ correspondent and the author of ‘Barcelona Days,’ which was published this past summer.

A version of this story originally appears in the November 2020 issue with the title "Wild Heart."

PRODUCTION CREDITS: Photographs by Renell Medrano Styled by Mobolaji Dawodu Tailoring by Ksenia Golub Produced by Wei-Li Wang at Hudson Hill Production

[digressions21]

The Adam Driver Complex

I’d like to preface this by saying that this isn’t really about Adam Driver, but more of an outpouring of thoughts and feelings towards fame and why so many people want it. I recently graduated university and will soon be starting my first job in the ‘real world’. My job is nothing to do with acting, nor does it have any way of making me rich and famous. This fact has caused me to deep dive into despair over the fact that I am not famous, and probably never will be.

The Adam Driver part of this comes from a Fan Fiction story I read a month ago, after I discovered how amazingly written a selection of stories based around the Star Wars characters ‘Rey’ and ‘Kylo Ren/Ben’ are, of which Driver plays the latter. Fan Fiction can be a bit of a cesspool at times; however, it is a guilty pleasure. Anyway, I read a story where Rey was a clothes designer to the stars, and Kylo Ren/Ben was a famous actor who she designed. I won’t go into detail about the story, but they of course ended up together engaged and happy, after some initial drama. It is not a new formula, and I have read similar stories hundreds of times. However, this story stuck with me. This version of Rey was a relatively normal girl just doing a job she loved – she was not initially rich or famous, just a ‘normal’ person. Upon entering her relationship with the famous actor she became known, and discussed things such as the Oscars with her famous now-fiancé. When I finished the story I felt surprisingly melancholic, so I went on a drive to a park and thought about why I was upset but this story which was good, but perhaps shouldn’t have caused such a reaction in me. I realised that it bummed me out because I would never be that Rey character, I would never meet and fall in love with this character based around Adam Driver, and I would probably never marry him. But why would I? I don’t know Adam Driver, and though I am sure he is lovely, I am confident that he is very happy with his wife and family. So, why am I still bothered?

I realised that it wasn’t some infatuation with Adam Driver that was getting me down – it was the fact that I am not famous enough to have the opportunity to meet a person like him. Of course, one doesn’t need to be famous to meet a famous person, but it definitely makes it easier. Now, I have developed a complex with the actor Adam Driver, through no fault of his own. Whenever I see him online or in a film I am reminded of my inability to have the same opportunities as him or be as famous as him. More annoyingly, whenever I see an actor in a film that he is in, I relate this complex to them and am reminded once more! (For example, Lady Gaga is in the new House of Gucci film – which looks fantastic – however, she stars opposite Driver, and now when I see her it all comes back to me). It is starting to become a little dramatic.

This led me to another question – why would I want to be famous? I have a lovely life surrounded by great friends and family, opportunities related to my passions, and a positive-looking future. Additionally, I value my privacy, something which celebrities often seem bereft of due to the demanding and insidious nature of social media and paparazzi (this word reminded me of Lady Gaga, which reminded me of Driver – it’s hard to escape this cycle). Sure, being rich must be nice, and it must be great to provide for your family easily, but it takes hard work to get there, I’m sure. I’m not a particularly gifted actor, and I don’t really want to make the sacrifices needed to become an Oscar-winning actor either. My career in amateur acting came to a slow end after an unsuccessful audition at a drama school in London. So, if I can make these conclusions, surely this should quell my sudden desire to become famous enough to meet Adam Driver, right?

Wrong. I cannot seem to escape this complex. I find myself trying to think of ways I can become famous on the sly, whilst progressing through my everyday job. Dreams of a famous agent seeing me on the street and stopping me, because I look like the perfect person to cast in some blockbuster movie, and of course they don’t need to audition me – they can already tell I’ll be perfect! However, this sounds like the plot for another Fan Fiction story, which is what got me into this trouble in the first place.

I know that I am not the only person in the world who feels this compulsion to be famous and walk the red carpets but feels like I lack the opportunities (and if I’m being honest, talent) to get there. This reminder does make me feel better, along with the fact that the majority of people in the world are not famous and are very happy. I am reminded of a quote from Rainer Maria Rilke, from the book of hours, which states “Let everything happen to you: beauty and terror. Just keep going. No feeling is final”. I hope that one day this feeling will slowly fizzle away, so I can appreciate the accomplishments that I do make in life, even if they probably won’t involve being famous and meeting Adam Driver on the red carpet.

I often remind myself that there are many people who were considered the crème de la crème in terms of fame and reputation one hundred years ago that are probably forgotten now. It is this idea of not being remembered that underlies this entire issue, as of course none of us wants to be forgotten. However, you can be the most famous person on the planet, but that doesn’t mean that you’ll be remembered in three-thousand years’ time (unless you’re somebody like the Greek figure Achilles, who is still discussed in 2021). Homer’s epic the Iliad focuses heavily on this concept, that the names of men “fall likes leaves”, and the downfall of many heroes within the story is that they care too much about their kleos – their glory and reputation. The fact that this poem discusses a topic which bothers people thousands of years later makes me feel good – our feelings of insignificance are not original, and they don’t need to be our downfall. That is why I wrote this piece, in case there are other people out there who have complexes of their own – perhaps yours is based on another famous individual, such as Brad Pitt or Kermit the Frog. Whatever the case, I have made peace with the fact that from time to time this feeling of insignificance may plague me, even when I am doing well in my life. I mean really, we are all insignificant in the grand scheme of things – will Adam Driver be remembered in three-thousand years’ time? Maybe! He is a pretty great actor – but who is to tell. It is unlikely any of us will be remembered that far into the future, and that’s ok. As long as we are having a good time in the here and now and making a positive impact on the planet I think we are going to be ok. Even if that positive impact is something as small as writing a blog post on why the idea of Adam Driver is causing a bit of drama in your life right now.