#this is also inspired by me being extremely touch starved and a potential scene for mugungwha

[fluffyposting]

I think Gi-hun should have given In-ho a hug. Yknow, as a treat.

[eloarei]

WIP Game

List the things you’re excited to work on this year in as little or as much detail as you like, and then tag some friends!

Tagged by @enchantedtalisman (and again it won’t tag you. Tch. Sorry. But thanks for the tag!)

(Behind a cut, because you don’t want to read all that. ...Or maybe you do?)

In no particular order, because my level of excitement changes at the drop of a hat: 6 BNHA fics, and one each FFXV and FO4. 1700 words of synopses and babbling.  (Friends who read my stuff: if you wanna skim through these and tell me which one(s) (if any) you’d most want to read, that’d be rad. =D Will it influence what I work on? Who knows? My inspiration is fickle as shit. But it couldn’t hurt.) 

1. “Touch2” -- current WIP, 10k + notes. BNHA. Dekumight. Estimated total: 20k?      Picking up right where “Touch” left off, this fic is a slightly more detailed/slow/slice-of-life story than its predecessor. The 10k I’ve written so far takes place over the course of only 2 days, and it’s mostly Toshi and Izuku getting to know each other, and Toshi being yelled at by his manager (an OC called Suzuki). The general plot of the story doesn’t deviate very far from canon, as far as I’ve planned. “Touch2” will probably cover at least up to the entrance exam, but I’m not entirely sure. Given that leisurely pace, there’ll probably have to be a Touch3 and 4 as well, if not even more.       I’ve been slowly hacking away at this one since the start of December, just in between whatever else I might be working on. Kind of got to a point where I need to actually think about what happens next? ^^; Also, it’s gotten too long to be a one-shot, I think, but I’m going to have to be careful how I split it up. It’s not written for splitting… Well, I’ll figure it out. Just gotta keep writing first.

2. “Make the Most sequel, and side stories” -- only notes. BNHA. Dekumight. Estimated total: lots???      I’m lumping these all together, but this includes quite a few stories, some of which I have plans/notes for, some only ideas. One of the first is a fic that might be, at most, half the length of MtM, which is the events of MtM from Toshi’s POV. This was actually requested by a friend, but it was something I kind of already wanted to do, which is cool. Other side stories include perspectives from other characters, some things like dates and vacations, Izuku learning to use his powers, and some extra NSFW scenes, because why not? After all of those, I intend for there to be an ‘official sequel’, taking place towards the end of Izuku’s college run, which might function as more of an epilogue than a sequel, due to the potential lack of actual plot.      Geez there is just so much potential for this series to go on in side-stories and extras and etc. I actually get a little mad at myself whenever I neglect to continue it, because it’s sort of my main, well, IP, I guess you’d say. It’s my kudos breadwinner. XD I should just do it!

3. “Loveless epilogue” -- only notes. BNHA. Dekumight. Estimated total: 7k?      A short...er sequel/epilogue, taking place roughly a year (I might change that) after the main story, revolving (spoiler alert) around Toshi figuring out if/when/how to propose to Izuku, and summing up how things have gone in the past year. Mushy because I love marriage, okay guys, I just love it so much, and also a little bit morbid because of an in-universe tradition that could be considered either romantic or creepy, depending on your views. =D      I actually ought to write this one like… immediately, while the main fic is still fresh in my mind. It’s extremely self-indulgent, maybe more than just, y’know, my normal writing. But I think at least some of the people who read LOVELESS will like it. ^^ And I will, I think. And that’s all that really matters, right?! *shakes head ‘no’*

4. “Waste” -- current WIP, 1k + notes. BNHA. Dekumight(-ish?), and Deku+friends. Estimated total: 15k???? No. Probably more.      A Fallout fusion. Vault 211 (21-1 or twenty-one one) has been carefully breeding superpowers into its population for the past 200 years, but if yours doesn’t show up by your 18th birthday, prepare to be kicked out on your ass into the unforgiving wasteland. Guess who’s the newest resident of the wastes? Lucky for Izuku, he meets a frightening creature who takes to looking out for him. ‘Human’ under some description, he’s sure, this guy has radiation levels through the roof. Burly super-mutant by day, gangly rotting ghoul by night, he doesn’t exactly have a lot of friends, but boy is he good at surviving in the hellscape that the world has become.      I freaking love Fallout a whole lot, and look, Toshi/All Might is so very much a ghoul/super mutant, and vaults just give you so much free reign to give people powers and etc etc, look, it just seemed like something that would work. Not sure really how it’s going to go, but we’ll see. =]

5. “Nana/Toshi darkfic” -- only notes. BNHA. Nana/Toshi (probably NSFW) and Dekumight. Estimated total: 20k???       His mentor was beautiful, kind, strong-- perfect. He didn’t realize she was being eaten away by a dark pit in her heart. He didn’t know if leaving her alone would help it. He just wanted to be with her so badly, to please her, to make that smile real, and she lacked the fortitude to refuse him anything that would make him happy. A fic about Nana and Toshi becoming perhaps too close, and Nana struggling with depression. Following the canon timeline moderately closely, it shouldn’t be a surprise that it will include a major character death, and the fallout surrounding it.      Hoo boy did the desire to write this fic just hit me like a ton of bricks a few weeks ago. This is going to be a dark, sad, uncomfortable story, most likely. And although it will end with Dekumight, the large part of the plot will still revolve around Nana/Toshi, so I’m not sure most of my normal readers will want to touch it. XD;;; I think the inspiration to write this came somewhat from the feeling that the ending to LOVELESS was not nearly as dark as it could have been, haha. Every so often I just want to challenge myself and see how many boundaries I can push. ^^;

6. “Feed” -- only notes. BNHA. Dekumight. Estimated total: 15k?      In a world ruled by a vampiric shadow known as All for One, Izuku’s group has been trying to find ways to fight him. Nearly everyone is of this man’s blood now, since he started handing out powers to gain followers. But it’s said that an artifact of some sort exists still which can give the power to defeat him. Izuku, with the purest blood of his group, is chosen to seek it out. But the artifact is a vampire, the last of AfO’s first ‘children’, frozen and starving after failing to defeat his ‘father’, and Izuku almost doesn’t survive the encounter.      I want to write this fic, and I think I should do it while it’s still cold and gloomy, because that’s the feel of the setting, but if I get distracted and don’t get around to it, I probably won’t be too upset.

7. “Parents AU” -- current WIP, 6k + notes. FFXV. Gladnis + Ignis&Noctis. Estimated total: 40k?       Teenage Ignis and Gladio happen to be babysitting the toddler prince when the Empire attacks, and in the chaos they manage to get safely mixed into the crowd of civilians fleeing the city. They decide to treat him as their own until they can be sure it’s safe to return him to someone with more seniority. But will it ever be safe? Fifteen years in hiding says no, and even when Noct is old  enough to be asked to save the world, there’s no way in hell his parents are going to let him go it alone.       I tried to continue writing this the other day and it was terrible. Painful. I almost cried. Literally every word of the 30 or so I managed before I gave up were the hardest things I’ve ever written. I think if I go back and play the game again (which I’d like to, since there’ve been updates and DLC), I think it will be easier. Honestly though, this is one of my favorite things I’ve yet written, so if I don’t see it to fruition, I will be moderately pissed.

8. “Same Heart” -- current WIP, 30k + notes. FO4. Estimated total: 90k (35k for act 1)      The great synth detective Nick Valentine is recaptured by the Institute, remade and reset. He awakes to his new life underground, unaware that he ever roamed the wasteland-- except for the rare moments when they plug in his old memories so they can grill him for info. Though the memories are gone again after every session, they leave an aftertaste of distrust for the people he’s working with, until it’s too much to ignore. Meanwhile, he finds himself as the only person who seems to truly care about the little boy they’re all calling their savior, doing his best to help him grow up with some modicum of love in this sterile environment. When Nick finally decides to break out of their fancy little prison, it’s not a question whether he’ll take Shaun with him, and it’s obvious where they’ll go: to find the parents the Institute stole him from.      This one haunts me, because I spent like 3 months doing practically nothing but writing this last year. I got almost, almost all the way through the first act (out of 3), and then… stopped. Now I know it’s going to be impossible to get back into. And this is already a very different story for me, because it’s essentially a gen fic. The intention is for acts 2 and 3 to focus on Nick and the ‘sole survivor’ Nora, but the whole first act is about him half-raising her son, Shaun. I really want to finish this, or geez, at least the first act! Because it is painful having 30k sitting around that nobody has ever seen. And it’s pretty decent! But even though I have 6 chapters done, I don’t want to start posting it until it has a halfway decent ‘conclusion’, so I need to finish the act. I have to.

And I’ll tag… uh… @oldseablues, @braincoins, @thenightisdarkandfullofbooty, @orionskingdom, @animeuzumaki7, @blessedblooduniverse, @rangrids, and anyone else who’s reading this and is also a writer. =] Tag me back so I can see it, please! ^^

[theheartsjourney]

The Public Square (1923) - Will Levington Comfort

D. Appleton and Company, New York. 320 pages.

“This isn’t an English-Indian story. It’s a story of all the world.“

CW: murder/massacre, animal (horse) death, war

The book primarily follows its first narrator, Pandora "Pidge" Musser, although it varies from chapter to chapter. Fresh from Los Angeles to New York to work independently as a writer, nineteen-year-old Pidge enters a rooming house on 54 Harrow Street in Greenwich Village. The owner is the calm and experienced figure of Miss Claes, an Indian-American, who takes the role of a mentor figure to Pidge.

Others who take residence in the building are Nagar, or Mr. Naidu, Richard "Dicky" Cobden, and a "couple of girl-pals; one works in a restaurant to support the other who is to become a prima donna; [and] a couple of decayed vaudeville artists looking for a legacy" (32) who--to my great disappointment--never appear.

Nagar is the writer and Hindu friend of Miss Claes. He presents his story, "The Little Man" to the Public Square, where Dicky, the weekly paper's reader, is enthralled by the narrative of Gandhi. Dicky leaves his wealthy home on East 50th Street to join the others at Harrow. There, he believes he'll find inspiration among the artist-types to write his magnum opus.

Loves tangle from there. Two additional characters are introduced to complete Comfort's commentary on relationships: Fanny Gallup and Rufus Melton. Fanny, the destitute, worldly girl from the Lenox way factory, embodies woman ruined in her search for love, and Rufus the type of confident man who loves for himself--even if he must beguile and silence for it.

Pidge's struggles with love are raw and convincing. Despite craving comfort, she refuses to allow Dicky to love her by his imaginary ideal of her. She prefers the independence she escaped Los Angeles for--even if it exhausts her and starves her to keep. The peace a husband's salary could give her is too easily won for her to accept.

Yet the past combines with her need for "experiences, life" (107) in Rufus Melton, a man whose self-serving love is still a constant battle for her to accept. She never manages to change herself for him--rather, in the same way she did for her father, she adapts, ignores, and tolerates his presence as she can. Comfort compares the two directly: "she was lacking in the ability to detach herself from Melton, as from the influence of her father" (93). When she first capitulates to Rufus' advances, she even blames it on being her “father's child (134). As her tenderness for Rufus wanes, the narration also comments that “Rufus thought her extremely selfish. So had her father" (157).

Rufus again acts as a foil to her father in the way his character is treated off-scene. Chasing a story, he departs for WWI France--and is promptly forgotten by the narrative. When he reappears, he is trapped in a new marriage and is potentially shell-shocked. Dicky frees him--and he is forgotten again. His absence does not have the same power over her as Adolf Musser did, yet even his wanes as Pidge matures: when Adolf falls ill and Pidge rushes to him, she “suddenly discovered she had a father” (221) as though she had forgotten him.

To an extent, the act of saving Rufus and forgetting him places Dicky in the same role as Pidge. While Dicky is away in India and France, Pidge has taken his place in The Public Square as reader, completing the exchange of roles. Their codependence and unshakable link remains throughout the novel. This relationship asserts that their link is not as lovers but comrades. 

When rejecting Dicky's proposal a second time, Pidge states:

“Do I have to begin by saying how dear you are— how kind, how utterly good it is to know you; what it means to have faith and trust in one man?”

“Please not, Pidge.”

“But never forget it, Dicky. It’s the pedestal upon which everything’s builded. Always remember that I know you underneath; that I turn to you in trouble—not like a brother or father or lover, but what our word *comrade* means—what it will sometime mean to many people!" (106)

The word "comrade" calls to Comfort's language in his Will Levington Comfort Letters (1920). He dedicated the volume of letters "To The Comrades," referring to his compatriots in the spiritual sect he headed called The Glass Hive. In the first letter, he states that "We should belong to one another better in the Long Road sense, in the sense of the real meaning of the word Comrade" (WLC Letters, 2). The second letter clarifies that his purpose in the volume is "to touch the real Comrade within you, for I have an Immortal Friend there, one who would die for me every day" (WLC Letters, 8).

When Dicky attempts to make a lover of her, she refuses: comradeship is the higher relationship to her. None of Pidge's relationships have the power to alter her character but the one with Dicky. Her empathy for others in financial hardship is sourced from her time working in the exhaustion and hunger of the labeling factory. Nothing in her sense of value or work ethic was dictated to her by another.  But after rejecting her novel manuscript for being too shallow, Dicky unwittingly changes Pidge: she sets her writing aside, understands the naivety of it and herself, and matures as a reader instead. 

Dicky does not understand this relation at first, and in contrast, he does nothing but develop based on others' influences. Most of those influences are Indian: Nagar's "Little Man" tale inspiring him to write an equivalent story, Miss Claes' wisdom at the Punjabi dinner where they gather after the fallout of his first failed proposal, Gandhi's comment on marriage that reawakens Dicky's love for Pidge. In the critical scene of Pidge's second refusal of Dicky’s proposal, she states, "Miss Claes and Nagar lose themselves in nations. You’re getting to be like them" (107). Furthermore, Dicky’s development  moves in tandem with that of India throughout the climax, which Comfort summarizes as "there had been death and birth for India and for himself" (283).

In its later pages, the novel places Dicky amidst the Indian nationalist movement of Gandhi. In particular, Comfort references "The Rowlatt Bills," likely referring to the "Black Bills" which preceded the Rowlatt Act. Introduced March 18, 1919, this act allowed the government to arrest and incarcerate without trial anyone on grounds of inciting terrorism in support of the Indian nationalism. Dicky arrives in late May to reunite with Gandhi and understand the position of "The Little Man" in international politics. The pacing swiftly moves onto April, where Dicky is nearby the arrest of Dr. Satyapal and Dr. Kitchlew--public figures who campaigned against the Rowlatt Act and who, being Hindu and Muslim respectively,  promoted unity. The resulting Jallianwala Bagh massacre is also covered.

I adore this excerpt of from the Jallianwala Bagh scene. Dicky confronts General Fyatt (Reginald Dyer) at the head of the massacre

Dicky felt the horrible slowness over everything—that somehow there was not in this man’s volition the power to order the firing to cease. No recognition showed in Fyatt’s eyes. He stared. It was like the man who had stared at him on the docks in Bombay, when he heard that America had entered the War.

“I only wanted to ask —” Dicky stopped and raised his voice above the tumult of shots and voices. “Cobden of New York—saw you in France!’’

[...] ��Ah, Cobden. Heard you were in town. Busy, you know!”

“I see!” the American yelled back. He felt like a maniac. “I see! I merely wanted to ask, General, if you had gone mad—or have I?” (277-8)

Comfort’s description style of the massacre closely resembles his techniques to describing the trauma of WWI combat in Red Fleece (1915). His sentences are fragmented and disorderly, and smooth comprehension is abandoned for the narrator’s uncertainty. Another mirror in his combat writing is through specters. Dicky notes feeling as though Pidge were with him through his transformation into a “world citizen” (292). Despite recognizing the absurdity of it, he allows himself to find comfort in her imagined presence--and he notes that "things of this kind had often happened to soldiers on the battlefields of France" (285). The phrase has merit in Comfort's experience and in others. Sassoon (Diaries 1915-1918, 68) and Bird (Ghosts Have Warm Hands, 38), for example, describe seeing loved ones in moments of stress. Twice the protagonist in Comfort's second WWI novel senses his love nearby: "he fancied her near..." (Red Fleece, 134) and "she had been near" (Red Fleece, 148). 

Still--not wishing to distract from the novel's theme towards India--Comfort spends a brief time in WWI France and Arabia "with young Tom Lawrence, whose fame Dicky Cobden helped to make" (137). The French portion receives a short chapter set near the Meuse–Argonne offensive ("The 'Oregon' forest," 197) which contains a passage I found memorable:

His mount had turned gently away in the thickening dusk, turned on his toe corks through the slush to follow a wind-blown leaf. Plop — a water-soaked trench-siding gave way, and Yorick disappeared into an unused pit. [...] Yorick looked like a monster in the process of being born out of the mud. There was something both humorous and hopeless about the gaunt lifted head that came up into the ray. And now Dicky discovered that Yorick’s left foreleg below the knee veered off suddenly to the left, at a decided angle from the way it should lie. Dicky felt alone in a harrowing underworld. [...]

“Pretty lucky old boy, you are,” Dicky said. “Work done, war over for you, nice warm ditch to lie up in at the last, and I’ve got to take all the responsibility.”

He drew the pistol from his belt and placed it on the little twist of hair halfway between the eyes.

“I ought to take the saddle off first, but I’m not going to. So long, old kid, and best luck.”

The pistol banged in the dugout like a cannon cracker under a flower pot, and the voice of an American sentry above was heard to say:

‘‘Some fool’s blowed his head off, down there. Why in hell can’t a man be patient!”

Although not a complete surprise coming from Comfort's strong anti-war background, the novel references support for the pacifist movement. John Higgans, the Public Square's editor, wrote a pacifist article in outrage of his conscientious objector friend's arrest. Despite knowing it would doom the Public Square, Higgans pushes to publish the article. Pidge convinces him not to, and he cedes ownership of the paper to her and Dicky. Thus, despite its feature on little more than a page, the scene contributes to the novel's imaginary future story: the tale of the press in the hands of Pidge and Dicky.

But the Public Square is not the ultimate point of the novel. Neither is Pidge--which weakens the novel’s impact after spending so much time wither her. Dicky is key. The value of the story is in his transformation, but even that is muddled toward the end.

Even after every change India and Indian culture has wrought in Dicky, he concludes though the trauma specter of Pidge that it was her influence that matured him. He goes so far as to say “The Little Man has made me see [...] the great thing you have done [...] pushing me back into myself ” (292-3). By relegating Gandhi--and India in extension--to a supportive role for Pidge, the novel completely undermines the strength of Dicky’s world citizenship. All his work towards his journalism--watching Nagar be whipped, drilling himself to avoid partisanship, neglecting his family for India--is abandoned for what he suddenly realizes is to “at last to become connected to her this way, though across the world" (286).

Furthermore, Pidge’s character relied deeply on the concept of the Comrade. Instead, her role in maturing him is as a “the man-maker a wife must be” (292). While the novel’s final pages do not state explicit romance, the intention is obvious: Pidge is to be divorced from Rufus, she confesses that she is “dying to be a woman” (318), and she repeatedly asks Dicky for rest--the thing he offered her in his original proposal.

It’s a disappointing finish on an otherwise well-done book. Comfort’s love for his settings genuinely shows. His characters--while not very complex--are effective and generally interesting. The language he uses is beautiful and rewarding, and the way he conveys empathy is clear and moving without grim moralizing.

---

The Public Square dust cover from Yesterday’s Gallery.

Everybody’s Magazine Feb 1923 cover from rarerecordsncollectibles on eBay.

Everybody’s Magazine Mar 1923 image, page 105 by C. R. Chickering.

Everybody’s Magazine Apr 1923 image, page 155 by C. R. Chickering.

Everybody’s Magazine May 1923 image, page 149 by C. R. Chickering.