#kanej bathroom scene

[pinkvenuss]

no other couple will ever be like them i fear

[opal-stars]

kanej bathroom scene you will always be famous! 🤧

instagram • @ opal.stars

[she-posts-nerdy-stuff]

An interesting thing about Kaz is the way he views a hierarchy within everyone he meets, an attitude probably defined in him by the Kerch culture of trade and the environment of Ketterdam. Kerch is a country that in many ways is designed to reflect the American Dream as it is portrayed in classic literature such as The Great Gatsby: as an ultimately unattainable and useless lie, designed to control and quell the masses in the danger of extreme capitalism. The social hierarchy in Ketterdam is well-established and discussed throughout the novels, though mostly in Crooked Kingdom since the plot stays almost entirely within city limits, and the attitude of viewing a miniature hierarchy amongst those around you as part of the overall societal structure is evidenced in Kaz, and possibly reflected in Wylan; a link both to their different upbringings within the Ketterdam social structure, and their position as literary foils. (I wrote a whole long thing about how Kaz and Wylan had/have the potential to become each other, so feel free to check that out for more detail if you want it). The city’s hierarchy and the unattainability of joining the rich upper echelon of society is cleverly hinted at from the very beginning of Six of Crows, when Kaz is jumped and then wakes up in what he expects to be the deb of a rival gang. He instead finds himself in Councilman Hoede’s Manor House, which I believe is on the Geldstradt, and the way he makes the distinction is by realising that the decor in the room he’s in “takes real money”. We know that people like Pekka Rollins or Tante Heleen have become truly rich from what they do in the Barrel, and so it’s strange to suggest that you’d need “real money” for this since we would generally use that phrase to refer to a large amount of money. What Kaz actually means here is “old money” or “family money”; you need the kind of money that the Merchant Council have been hoarding for generations, making supposedly risky trades when they have millions of savings to cushion the blow if things go wrong, not the kind of money that comes from the popular gambling dens and brothels of the Barrel. He means the kind of money that Daisy and Tom have in Great Gatsby, people who’ve never worked a day in their lives and yet like to think of themselves as very successful at life when all they’re truly succeeding in is spending their parents money, not the kind of money that Gatsby scraped and saved and began to chase through undisclosed illicit means. Even when men like Gatsby and Rollins make their money, and their name, they are never equal in the social hierarchy to people with old money. (To be clear, not that this is a defence of either character, I have criticisms of both, especially Rollins).

But the hierarchy Kaz places upon himself and upon the others is slightly more subtle, and arguably subversive. He looks down on Matthias because he “stinks of decency” and because he supposedly hasn’t struggled, arguably gaining slightly more respect for him when he learns of him losing his parents and baby sister but still maintaining the idea of ‘everyone has a sob story and you were clearly more lucky in your options to deal with it than I was, it’s not my fault if you made the wrong choice’. We as readers obviously know that Matthias had no options but to go with Jarl Brum and spent the next 6 years of his life (I think that’s the right amount of time, please correct me if I’m wrong) being emotionally manipulated and abused by him, but Kaz simply refuses to accept has suffered because it would be psychologically damaging to him to admit that Matthias was able to go through that and still come out a good person, when Kaz sees himself as having become truly demonic. Matthias looks down on Kaz for the exact same reason, unable to understand - especially since he knows far less detail about Kaz’s trauma - how someone who ever had a core of decency couldn’t maintain it through their pain, he assumes Kaz was never a good person, or never had the potential to be one. Kaz also looks down on Wylan, arguably far less for his attempt to maintain a core decency but because he views Wylan as having had the option to do so. Kaz seems to have more respect for Wylan in Crooked Kingdom than in Six of Crows, when he knows more about (but never, it should be noted, the full extent of) Jan Van Eck’s abuse to his son, once again showcasing that he struggles to accept the idea of someone feeling bad when they have supposedly suffered less than him. His trauma has clearly warped him in many ways, and one of them is losing the ability to see relative pain and how different things can affect different people in different ways; he effectively views everything in the manner of ‘I had it worse, and I’m fine so you need to get over yourself’. He labels Nina “a snob” for staying away from the Crow Club and the Slat despite being a Dregs member, and her response is “she didn’t much care what Kaz Brekker thought”. I think that Nina is possible the person Kaz holds the most respect for in his platonic relationships, and that is mostly because she simply couldn’t care less whether he respects her or not.

His relationship with Jesper is more complex; he judges Jesper for his addiction and yet continually eggs him on, giving him a line of credit to play cards at the start of Six of Crows and having the first step of his planning in Crooked Kingdom to make Jesper play all night, although it’s unclear whether Jesper has ever shared anything about his mother if anyone knows then the most likely parties are Kaz or Inej and yet Kaz forces Jesper to give up his revolvers in Crooked Kingdom, his most treasured possession and his constant connection to his late mother, he consistently infantilises Jesper, but mostly in his head and this is possibly an interesting link to the final nail in the coffin of their relationship; Kaz sees Jesper as a substitute to Jordie. I think it’s possible that he likes to see him as younger because that’s how he remembers Jordie - it’s also important to remember that Kaz is now several years older than his elder brother ever was so seeing him in someone his own age is possibly even more painful because that’s a point Jordie never reached (he was only 13 when he died). Jesper is someone that Kaz feels the need to keep at arms length, not because he doesn’t respect him but because he fears having a close relationship with someone who could so easily slip away from him like Jordie did. I think we can also arguably see aspects of Jordie within Jesper, the naïveté of thinking you can make it Ketterdam followed by the city swallowing you whole, killing Jordie and driving Jesper to his slow self-destruction - “I’m dying anyway, Da. I’m just doing it slow”. (If y’all have read many of my analytical posts you may have begun to notice that’s one of my favourite quotes)

Then we have Inej. Kaz places Inej on a pedestal whatever she does. I’ve spoken before about how she claims to be bad at picking locks whilst he claims to have done “a shoddy job at teaching her to pick locks” because he’s incapable of accepting that she is incapable of something; if there are flaws, they must be his because she cannot have any. In a lot of situations this can be harmful, going back to the romance of Daisy and Gatsby where Daisy is placed on a pedestal and idealised so much that she become more of an image than a person, so when she does not live up to his every high expectation Gatsby is destroyed by it. But with kanej this seems only to elevate their position, possibly because Kaz isn’t claiming that Inej is flawless, but rather that she is capable of working on her flaws in a way that he isn’t; it is almost a form of envy. For example, Inej also has a fear of touch and human contact, but she purposely forced herself to cope with small amounts of it, such as allowing Nina and Jesper to hug her even though it makes her flinch, because she fears it becoming a debilitating condition, as it has done for Kaz (not that she knows that initially when it’s first implied that she too fears contact). In the bathroom scene when she admits to him that she also struggles with touch, it has such a massive effect on Kaz not because he refuses to accept that she has flaws but because he sees her as so much stronger than himself and wishes that he could be more like her. Although both of them are ultimately unable to go any further than a few light brushes of contact, it’s suggested that what trigger Inej more than the touch itself is the sexual implications of those touches based on everything she went through at the Menagerie. Kaz doesn’t see Inej aligned with with himself or the other gang members, but as above them - and not in the way he labels Nina as a snob, but in a genuine manner he refuses to acknowledge her as low in society because he sees her as deserving of so much more. He notably never refers to her as “a canal rat” and he never even comes close to defining her by her time at the Menagerie, a start contrast between him, the supposed low of the hierarchy, and Van Eck, the supposed upper, he yells at her “you little skiv! You little whore!”. However, there is one way in which Kaz arguably looks down on Inej and it’s in a similar way that he looks down in Matthias: how dare she still try so hard to remain truly good, and decent, and to find her Saints and to politely ask them for forgiveness, when it would be so much easier to let the world beat that out of her? Arguably, it’s not that he judges either of them for their faith, but it’s that he fears them judging him for losing his, be that in religion or in the world at all. (I don’t think we know if Kaz was raised in a religious household or not, but based on societal structure in Ketterdam and the way most of the population in most of the countries are religious I think it’s safe to assume he at least grew up with an understanding of Ghezen). Kaz fears that they’ll judge him for failing to maintain his core of decency, which is exactly what Matthias does, and so he aims to offend or challenge them before they can him.

Ok I’m not gonna lie to you guys it’s like quarter past one in the morning as I’m writing this, and oh my god it just got so long out of nowhere… I might have lost my point somewhere in there, I don’t even know, this came from one quote I was thinking about and I’m not sure I even wrote that quote in there so, yeah, I guess. If you bothered to read this far the tysm I hope it made sense

[andreawritesit]

Another day, another FUCK YOU NETFLIX for cancelling Six of Crows.

[insignificant457]

Kaz: *disappears into the geldrenner bathroom with Inej for like 20 minutes and emerges sweaty and disheveled*

The other crows:

[username599]

Usually I don't physically use a pen on my books but the fact that it was denial is so important to me. Kaz was literally just a child when he lost his whole life. The bathroom scene is just so ughhhh.

I just need to reemphasize that he deep in his heart truly believes that him and Jordie deserved to lose all their money. He literally says the were fools but Jordie was 14 how could he have known better. The fact that this hurt so much for Kaz and he needed someone to blame it on other than himself.

I also just now realized how horribly I underlined that oops

[drowneddinosaur]

at this point shadow and bone season 2 is just fan service

and i am 100% here for it

[tough-n-dumb]

a kiss upon my violence

“The limp, the cane. No one’s ever smart enough to look for the real one.” She had never heard him speak with such tenderness, the rough burr of his voice turning into a gentle rasp that wrapped her in warmth. His face was tilted down toward her. When had he gotten so close? Inej’s eyes darted between his eyes, his lips, and back again. She wanted… she didn’t know what she wanted. Just that he would move closer still. - or, what would have happened if Nina hadn't interrupted Kaz and Inej at Black Veil while he cleaned her wounds? Extended scene.

Read on AO3

[youngdollopofcream]

I just re read the bathroom scene…..

She exhaled. "Go on," she repeated. Finish the story.

The barest movement and his lips brushed her skin-

warm, smooth, beaded with moisture. Desire coursed

through him, a thousand images he'd hoarded, barely let

himself imagine--the fall of her dark hair freed from its

braid, his hand fitted to the lithe curve of her waist, her

lips parted, whispering his name.

[aoibhinnslater04]

Kanej AU

The scene (specifically from the series rather than the books but basically the bathroom scene) where Nina doesn’t interrupt them and Kaz doesn’t decide to sabotage himself

Basically a whole load of Kanej angst!!

Word count: 1697

Requested by @arany-studio

TW: mentions of rape, trauma, injuries

Kaz walked into the small room to find Inej packing her knives. He saw her pause at the sound of his steps, her head tilting slightly towards him, before she resumed sorting her knives. 

"You've been lying low?" he asked, his voice rough. 

"I've been gathering Intel on Pekka's assassin. I've discovered my bladesmith supplies him with bone-cutters and fillet knives," she responded, still not looking at him. 

"Taxidermy tools," Kaz choked out. 

"His name's Mogens. I've got his address,"

"That must have cost you."

Inej cut him off. "A new set of blades." She paused before continuing. "He intends on taking me alive, so he can put me back in the Menagerie."

"I won't let that happen," Kaz said gruffly. 

"And why should I believe you?" Inej asked, sharply, turning to face him at last. "We were ambushed, Kaz. Whatever this is, this blood feud you have with Pekka Rollins, I don't believe it's about some Saints-forsaken club! You are gambling with our lives and I deserve to know the reason! You owe me that much," she spat out, the first time Kaz had truly seen her angry. She always managed to find something positive about every situation, even being taken by slavers, sold to a Menagerie where she was abused and raped nearly every day, because her parents and brother weren’t there with her, they were safe, they were alive. Suddenly a bright red staining her sleeve caught Kaz's eye. 

"Inej, your arm," he whispered, his eyes fixed on the blood spilling out of her. She paused and glanced down, before sighing and rolling her eyes. She seemed to whisper a silent prayer for patience before removing her shirt, leaving her with just a vest on. She checked the bandage, before removing it, wincing.  Kaz looked away, unable to bear it, before finally answering her question. 

"Pekka Rollins killed my brother."

He felt Inej stiffen slightly, and heard her turn to face him. There was a long moment of silence, as she searched his half-hidden face, before finding whatever it was she was looking for. 

"Then we destroy him."

Kaz turned his head quickly up to face her, and saw the openness and anger in her face. She meant it, too. They shared a look, a brief moment where they were both just two people in pain, where they could get comfort from each other, before Inej winced again, and the moment shattered. She glanced once more at her arm, before turning away from Kaz again, reaching for the alcohol to disinfect the wound. She poured some on a piece of linen, and started dabbing at it, twisting her neck to make sure she was reaching every bit of the exposed cut. Kaz, hardly even aware of his own body, moved towards her. She glanced up at him, her beautiful doe eyes searching his face, before she turned to the cut again. Kaz reached out his hand silently, an offer. With her eyes now again on his face, not moving, as if hypnotised, she handed him the cloth. He wasn't able to remove his gloves, not yet, but he hadn't  been so close to another human being since Jordie had died. 

Inej saw his momentary hesitation, and turned away from him, allowing him to move at his own rate. He reached towards her, dabbing at the wound with the cloth. He heard her breathing hitch slightly, and kept dabbing, not wanting to break the spell by speaking. But then Inej spoke, her words soft and hesitant. 

"Is there anyone to protect you?"

You, Inej. You. 

But instead he responded, slightly harsh, "Was there no one to protect you?"

Inej turned to look at him, her face soft and vulnerable. She opened her mouth, but he cut her off before she could say a word. 

"Look for Mogens' tells. Signs of an old injury that point to a weakness or a repeating action that tells you what he's going to do next."

He saw her face turn contemplative, before she asked hesitantly, "Do I have one?"

He turned his head back to her soft brown skin, before responding "you shift your weight onto your back leg before you lunge. "

She turned fully, facing him again. He stepped back slightly, cursing himself inwardly. She whispered, so softly he could barely hear her. "What's yours?"

Kaz paused, before looking her in the eye. "The limp. The cane. No one's ever smart enough to look for the real one."

Inej moved slightly, just an inch towards her. It was as though his senses were heightened. He smelt her gentle jasmine scent, saw her lips slightly parted, heard her soft breathing, felt her gentle touch as she recovered the cloth he forgot he still held, and all he could think about was her nearness. He hadn't so much as removed a single glove, but he felt as vulnerable as though she had stripped him naked. 

Kaz cleared his throat before stepping back, grabbing the fresh roll of bandages off the bench. Inej obediently turned away again, allowing him to take a deep breath. The silence was killing him, and he spoke without thinking. 

“You know, I don’t find this part easy. The cutting, the slicing, causing pain is the easy part. Repairing the damage afterwards is far more difficult.”

He wondered if she knew that he wasn’t talking about her wound, then, not really. He was trying to explain that although he was broken, he was trying to repair himself, trying to fix the cracks to become the sort of man she would be proud of, that Jordie would be proud of. 

Inej let out a deep breath, sending strands of her dark hair fluttering outwards. Kaz reached out automatically, smoothing her hair down against her head. She stiffened, and so did Kaz, that brief moment of automatic affection an oddity to both. But Kaz then again, feeling almost dizzy with desire, allowed himself to gently stroke her hair. His gloves were still on, a barrier that separated them, but as he felt Inej relax at his touch, he allowed himself to want more, to want Inej. Perhaps one day she might want him too.

Inej cleared her throat, bringing back reality. “Once, when I was much younger, the first time that I tried to walk across the tightrope, I fell. Not when I was on the wire, but at the end, can you imagine? I fell, and hadn’t yet learned how to fall properly. My parents ran to me, but I didn’t feel the pain. I think I was in shock.”

Kaz waited, sure she had a point to this story.She hesitated, before continuing.

“I broke my leg in three different places. My mother thought I might never walk again. My leg healed, but some scars still remained. I couldn’t walk on the tightrope for months, fearing what would happen when I reached the end.”

She turned to face him now, causing him to step back.

“Finally I decided enough was enough. I had been afraid for too long. So everyday for three weeks, instead of walking across the tightrope, I would climb the ladder and just stand at the end. I stood there for an hour that first day, until I had calmed enough to climb down. The second day, I stood there for forty five minutes. Finally, I was only standing there for a few seconds. It took a long time, and the end is still my least favourite part, but I fought against my fears and won.”

She stepped closer to him, and this time he didn’t move back.

“You will fight your fears Kaz Brekker, and then one day you will live without the same fear. It might still hurt occasionally, but you are stronger than you give yourself credit for.”

Kaz looked down at her, his face soft, open and vulnerable. Inej looked straight back up at him, her eyes wide and searching, waiting. Kaz bent down slightly towards her, and brushed his lips slightly against her forehead in the gentlest kiss. Her eyes shuttered closed briefly, the softest sound escaping her throat, but she didn’t move. She allowed Kaz to tell her without words what he was capable of, what was too far and yet not enough. She allowed the broken man before her to fix a small, fractured piece of himself, before she stepped back, quivering slightly. She was feeling everything all at once, her emotions threatening to overwhelm her. But she stayed steady, and breathed, like she was at the end of the wire once again. Kaz gazed at her, his expression full of wonder, like a young boy, his future full of possibilities. 

She turned, so he wouldn’t see the tears that had filled her eyes, and grabbed a hairbrush, unpinning her plait to rebraid it. But he held out his hand, and said, softly, gruffly, as if he, too, was fighting back unshed tears, “Let me.”

Inej handed him the brush, and climbed onto the small bench in front of him, and as Kaz began to gently brush her hair, untangling the knots with such care it was as though he thought she might break at the slightest tug. Inej allowed, then, the tears to fall. She didn’t see that Kaz, too, had tears trickling down his cheeks. 

She let out a deep breath, she didn’t realise she had been holding, shuddering slightly, and allowed her eyes to shut for a moment. It had been so long since she had slept, and she had never felt so tired, as if her emotions had drained her more than usual. Her body swayed slightly, but then felt Kaz steady her. He gently laid her back onto the bench, and she felt him move away. She thought he had gone, but then heard his uneven steps return. She felt the softness and warmth of a blanket cover her, and felt him gently lift her head to put a pillow underneath. 

“I thought you had left me,” she whispered, her voice heavy with sleep.

“Never,” he vowed. “I will never leave you.”

And then Inej fell asleep, guarded by the healing man above her, his dark eyes keeping watch, protecting her from anything that meant her harm.

[flythesail]

I am not the same person I was before reading chapter 24 of lockwood & co the hollow boy

[someonelookingpretty]

Kaz awkwardly jamming a rag into Inej’s wound is more sensual than anything Malina have ever managed in their lives

[atalana]

me watching sab season 2, just mentally repeating to myself: it's not an adaptation it's high budget fanfiction, it's not an adaptation it's high budget fanfiction

[she-posts-nerdy-stuff]

It’s half past midnight as I’m starting this, who knows what time it will be when I finish it, let’s talk: Inej versus the Wraith.

Ok I’ve been thinking a lot about the distinction between Inej and the Wraith as a concept similar to the desperation of Kaz and Dirtyhands or Kaz Brekker and Kaz Rietveld, and I think I’ve noticed an actual trend in the books of using the epithet at certain times or in certain tones. For example, when the group find the pyre in chapter 19/20 and realise one of the victims is still alive, Jesper shoots them to end their pain. Kaz wanted Inej to do it since using her knives would be quieter than the gun, but she can’t bring herself to. In this moment, she is described exclusively as “Inej”. Later in chapter 20 she kills a parem-drugged fabrikator in order to save their lives, and is described as “the Wraith”. Not only is there the suggestion of a growing distinction between the two, but it is now being noticed by the characters as well as just the reader. For Kaz it’s really only the reader (and maybe Inej but I’d argue not to a full extent until Crooked Kingdom) who sees this distinction because we are closer to him than he lets anyone else get, we are the only people who really know what he’s thinking and see the two sides of his personality or the two potentials for who he could be. But with Inej it’s almost the exact opposite, we as the reader see the idea of the Wraith as an epithet invented by Kaz and an as empowering epithet designed to counter the dehumanising “Lynx” whilst still echoing the trauma of her past by linking very clearly to Inej’s descriptions of leaving her body behind and thinking “I’m already dead, I died in the hold of a slaver ship”, whilst the characters begin to almost refer to the Wraith and Inej as separate entities. I’m using Jesper as my example here since he’s the one to calll her the Wraith in chapter 20 - “trust the Wraith” - and the one to shoot the dying Grisha at the pyre, both to spare them and her from pain. It seems a sudden turnabout to go from a non-verbal or even any kind of communicatory acknowledgment that he needs to step in for her to expecting, trusting, and praising her for killing, but arguably that’s because he has seen a change in her during this short period of time.

It’s also worth noting that Nina almost always calls her Inej, in fact I don’t think she once calls her Wraith (at least to my immediate recollection, feel free to correct me) except when she uses the name to call Kaz out when he says “the Wraith can handle it” and she replies “the Wraith is a 16-year-old girl” and goes on to emphasise Inej’s injuries. But even in this scene, which is on the boat to Fjerda when it’s still unclear whether Inej will even survive and Kaz is talking about making her climb up the incinerator shaft at the Ice Court, Nina begins the conversation by saying Kaz can’t make Inej do that, and he comes back with “the Wraith can manage”. This suggests he sees a distinction between them as well, perhaps that Inej is a religious young woman who’s been left incredibly vulnerable but the Wraith is a hardened criminal with nothing to lose. By choosing to refer to her as the Wraith when he plans to put her through something so incredibly difficult, he is alleviating himself from the guilt of harming a vulnerable young woman by instead considering her as a hardened criminal. Nina calling him out in this shit (yeah I said it and I stand by it) clearly annoys Kaz or he wouldn’t have bothered arguing back to her, as he usually doesn’t. Arguably we could extend this to the idea that the others call her Inej when she’s the person they know and care about but the Wraith when she’s violent or commits crimes so they can actively choose to separate the image of warm, kind-hearted Inej from cruel or calculating Wraith.

Now everything I’ve said so far really comes down to perception so in terms of analysis it’s the kind of thing that you can say confidently and have accepted as accurate or at least as a reasonable interpretation, like when critics tell you that the dream sequence in Frankenstein can mean on of the following 5 things so you agree with them because they clearly know what they’re talking about. (Not that I’m saying the dream doesn’t mean one of those 5 things it can definitely be interpreted in those ways, it’s just an example of something in literature I’ve seen we kind of take as fact when it is, of course, all yo for interpretation). However, I want to be clear that what I’m going to say from now on can be considered a possible theory or interpretation of Inej surrounding her mental state and ptsd response. I’ve talked about it recently as part of other posts and I’m basically about to repeat myself word for word, but I wanted to compress this all into one post on the theme and include the stuff about the characters actually perceiving her that way too.

So first you we have a quote from the Crooked Kingdom Bathroom Scene™️, and what I’m going to say here is pretty much going to be exactly the same as what I wrote in my detailed breakdown and analysis of that scene, which if anyone wants to read is on my page or I can tag you if you’d like. The quote I want to talk about is: “I live in fear that I’ll see one of her - one of my clients on the street. For a while I thought I saw them everywhere”. Now I’m about to say there are 2 was to read this, but I mean this in a “I’ve read this is in two different ways” kinda way not in a “this can only be interpreted in these 2 ways” kinda way ok we’re embracing the de-classicising of literature here (I have no idea if that’s the right word or if that even makes sense but hopefully you know what I mean, I’m tired, bare with me) and we are open to any and all possible interpretations of things in any way they’re written so whooo if you read this quote in a different way let me know would love to hear it, these are the two ways I read it:

Firstly, that when she refers to “her” Inej means Heleen but edits her words as a continuation of this vulnerability she is forcing herself to share in this scene. If we exclude her being vulnerable with the reader, this is the most vulnerable we ever see Inej make herself - aka, this is the only time she allows herself to be deeply vulnerable out loud with another character. I think this closest other time we get is with Nina on the boat to Fjerda when Inej is trying to ward of flashbacks and she tells Nina why she doesn’t have the Crow Cup tattoo. However, that scene is written from Inej’s perspective and therefore gives her the opportunity to show the reader a lot more vulnerability than she shows Nina (eg when she has flashbacks the reader knows but Nina doesn’t because Inej is just egging her on to keep singing and distracting her; Nina knows something is happening but she isn’t being brought into the moment to share it because Inej isn’t in a position where she’s able to share her vulnerability) so our memory of this scene being particularly vulnerable is actually more about Inej being very honest with us, which of course isn’t an active choice, and less about her being very honest with Nina. Having the Bathroom Scene ™️ from Kaz’s perspective gives us the opportunity to have Inej’s openness and vulnerability in the scene far stronger since she has to say something out loud for us to know with certainty that she’s thinking it. Arguably if it had been a less vulnerable scene, Inej would have said “her clients” in reference two Tante Heleen as an added layer of the separation she practices, but here she changes it to “my” clients because she is forcing herself to be uncomfortable because she wants to be able to be more open with Kaz and she wants to continue this vulnerability that she’s allowing herself ti have with him. I feel like I just some variation on vulnerable like 20 times.

The second way I read it is linking back to our main theme of Inej and the Wraith as separate entities. “Inej talks a lot about how she would leave her body behind to exist only in her mind, in passages I find particularly reminiscent of passages in The Handmaid’s Tale (although please note soc is not very explicit whereas tht is incredibly explicit). But to take that idea further, I think there are certain hints, and I think this is possibly the biggest one, to imply that one of Inej’s ptsd responses it to actually view herself today as a separate entity from who she was during her indenture, effectively saying ‘yes these things happened to this body but they didn’t happen to this mind so that should make it easier’ to herself, which is massively self-destructive in nature because it almost creates this idea that she needs to get over who she once was and move on, very similar to the way Kaz Brekker represses Kaz Rietveld. Arguably, what she’s saying is the worst of it is this fracturing of the self that has been created by what they put her through and that she cannot seem to escape from.” (I put that bit in quote marks because I didn’t feel like rewriting it so that’s copy and pasted exactly from my Bathroom Scene™️ analysis post)

Ok there’s one other specific quote I want to bring up and it’s the end of Chapter 2 of Six of Crows, I did talk about it in my favourite quotes analysis of the chapter (which I am planning to continue btw chapter 5 up next if anyone wants to read these posts for the previous chapters let me know and I’ll tag you).

"Inej pitied the boy who might die alone with no one to comfort him in his last hours or who might live and spend his life as an exile. But the night's work wasn't over yet, and the Wraith didn't have time for traitors"

This I think, unless there are more I haven’t noticed/thought of yet is the only other time we get an suggestion of Inej perceiving herself and the Wraith as separate, and it’s arguably more concrete than the amendment of pronouns I just talked about for a ridiculous amount of time. To me, this quote shows Inej as being the girl she was, the girl she should have been, and the Wraith being a creation of necessity to aid survival. Inej is a religious young woman from Ravka who has been through far more than she should have done, but the Wraith was born and raised on the blood-soaked streets of Ketterdam and has every intention of surviving them - no matter the cost.

(That was also pretty much direct quotes from what said before)

It is now quarter past one in the morning. If you made it this far then thanks so much for reading I hope it made sense and was interesting, I feel like I’ve made enough “me rambling about grishaverse after midnight” posts that we can call it a series so if I think of a good name for it I’ll go through a tag them all so if anyone fancies trying to wade through all my middle-of-the-night-analysis nonsense you can find it all together because let me tell you something I never quite acknowledge just how much I’ve posted until I have to scroll back through to find stuff I’ve said in order to reference it in a new post. Anyway, thanks for reading I hope you enjoyed and if you have any thoughts linked to this or grishaverse analysis in general please comment or send me an ask I would love to hear it.

EDIT: sorry, correction, I just realised Inej didn’t kill the parem-drugged fabrikator she killed the parem-drugged squaller; the fabrikator was Nina’s childhood friend Nestor, he died from a combination of injury and the drug

[terrywho-cartoons]

But they tried. He tried. Maybe they could try again.

-Crooked kingdom

[fangirlwithasweettooth]

Me? Going absolutely insane over every single Kanej moment in both the books and the series? It’s more likely than you think