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prolibytherium · 1 month ago

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I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

#Sorry this turned into a 100000 word essay on The Iliad it can't be helped #I read Circe by the same author and thought it was like.. better? Definitely not great just less aggravating and kind of boring #Just rote 'you heard about this villainous woman from a Greek myth... Here's the REAL story' shit #It did have a few things I thought were good I remember it starting kind of strong and then just going limp for the remaining duration #I think part of it is that in that case she's expanding on a figure that Didn't have a whole lot of characterization in the source so #like. She had to actually Expand The Character #Again Silence of the Girls is the only Greek Mythology Retelling I have like....positive?.leaning positive? feelings towards #I've got BIG issues with it too but it does pretty much the exact opposite of everything I'm mad at SOA for and in some very #compelling ways (it's just that the author seems way more interested in Achilles and Patroclus than The Main Character Briseis #to the point of randomly starting to have Achilles POV interjections (which I thought were Good in of themselves but #really really really really really really really didn't need to be there) and then get kind of lampshaded by Briseis narrating 'I guess I #was trapped in Achilles' story the whole time lol!!!!!!')#It undermines the book on both a thematic level and just like. a construction level like it's real sloppy at times.#Also the Briseis POV sometimes has these like really out of place Author Mouthpiece Moments where she's very obviously #Stating The Point to the audience and it's like yeah we get it. We get it.#Wow in the scene were our mostly silent enslaved protagonist removes the gag from the mouth of a dead sacrificed girl as a #small but significant act of defiance and grieving in a book called 'Silence of the Girls' you inserted an ironic repeat of the line #'silence befits a woman'. in italics even. Thanks for that. I could not possibly have grasped the meaning of this scene if you didn't #spell it out for me like that. Thank you.#Actually hang on the only Greek mythology retelling I have unequivocally positive feelings for are the 'Minotaur Forgiving'#songs on 'This One's For The Dancer And This One's For The Dancer's Bouquet'. Fully love it. Like not just as songs I think it #does function well as a narrative and engages with and expands on the source in really beautiful and creative ways

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tunastime · 7 months ago

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Restful Dreaming, Mr. Freelancer

hi everyone :3 so um. I may have gotten very much into rvb smiles. and you know what happens when I really love something! and when I really love some guys from a something! yeap. here we go again. I just think caboose could be friends with everyone. I'm a caboose enjoyer what can I say. I love him.

Washington follows the Blue Team back to Valhalla, where he tries to get some much needed rest. Emphasis on tries. (3828 words)

When Tucker and Caboose find the unused, fourth room in the base, it’s Tucker that sweeps his arm out and gestures grandly to the room around them. It’s not very large—bed, closet, table, desk, bathroom. Enough space to walk around in—enough blue-white light to make sure nobody goes insane in somewhere so dark. Caboose goes on about how they’re almost neighbors, listing off what they could do being so close, gossip and sleepovers and the like, and Tucker goes on about how that’s nice, Caboose, and sure thing, buddy, and both speak to a Wash that’s not listening. He’s looking over the room, filtering in through a fine layer of yellow, just enough to change the hue from cool to warm, and something settles in the slope of his shoulders. He turns after a beat, folding his arms.

“You’re certain I can stay here?” he asks. Tucker shrugs.

“Yeah, I mean…” he starts, in the way that Tucker always seemed to do when he was on the edge of a decision that ultimately made him uncomfortable. “Just repaying the favor. Plus you’re the only one who really knows how to get Church outta that thing.”

“Epsilon,” Wash corrects. “And it’s a memory unit, not a thing.”

“Sure,” Tucker shrugs. “Whatever.”

“We still don’t know where that thing is,” Wash says, but it’s without any of the usual bored sting he might’ve normally laid on. He can feel the worry in the room like water around the ankles, like it invaded his boots. He steps side to side for a moment, trying to shake the feeling.

“We’ll find it!” Caboose pipes up, nodding several times. “We’ll find Church. I know we will.”

Wash sighs.

“Yeah,” he says. “I hope so.”

There’s a beat of silence. Wash feels his lungs work against the tight feeling in his shoulders all the way up until the point where Caboose breaks the silence.

“I’m going to go make lunch,” he says. “I’m starving.”

“Good point, Caboose,” Tucker agrees. He turns to Wash as he adds: “You, uh, let us know if you need anything. You’ve got the tour, now, so…”

Wash nods.

“Right,” he manages. “Thanks.”

“Sure thing.”

The silence leftover is mostly full of the sound of air circulating through the room and pulling into his helmet. Washington stands in the room in that long moment, finding his head spinning just enough to rock his balance. He’s not so sure he should even be standing, but Tucker had handed him enough med-kits to keep him running, and his bones felt mostly in place, despite some nasty bruising up his shoulder and back, all the way down his right hip and thigh and knee. He pulls himself from his stuck spot, finally gathering the strength to unlatch his helmet. Both thumbs hook under his chin until it clicks, and he sets it in the armor stand.

The thing about the armor is that they’re not necessarily supposed to take it off. It does come off, huge chunks of titanium alloy perfectly compressed to fit each wearer, to sit comfortably against layers of computer arrays and magnetic fasteners, bolts and straps and sealers. As soon as he starts pulling, chest pieces and arm braces come loose, and he sheds the exosuit slowly. Underneath is the cool-black bodysuit. That’s the part that really shouldn’t come off. It did, every once in a while, when there was enough time to spend recalibrating, readjusting, resyncing. The suit and all its layers, down to the skin, down to the channel of his spine, from tailbone to nape of neck, aligned with sensors and biocomponents along a fine, white scar to a thick, but equally healed one at the base of his skull, took time to adjust to. That time was precious.

But it didn’t matter with this suit. There was no connection. The suit would simply communicate without having to know, would respond to forces it knew best, and rely on what he had without a physical, grounding connection. He was free of it. The scar and its components would fade from his body. They’d be nothing but a memory.

Carefully, Wash dissects the titanium bodysuit—kevlar—coming apart at the seam, carefully fastened, skin-tight. It’s uncomfortable at first, adjusting to the air of the base, without the suit’s micro-adjustments for temperature and humidity, but he eventually shirks free and places everything in the armor compartment.

He feels light. He also feels exposed and a little small. He searches for any sort of replacement, sleeping clothes, uniforms, anything plastered with UNSC across the arm or chest or back. When he does find it, he’s quick to pull it on and over his head. The shirt falls crooked across him, pants similarly too large, and he has to wonder what sort of Spartan these were made for, knowing how he certainly wasn’t the smallest soldier he’d met. It’s something, though, and he doubts he’ll be wearing it for very long. In fact, he finds himself tugging it off as soon as he figures out the shower, and douses himself in hot water long enough to get the plastic smell off his skin.

Without the shadow of the day, his reflection in the mirror takes on a sunken quality. His eyes are dark and tired, lines stretching out underneath them, and the already-pale, now-bony quality of his face does little to hide it. He’s turned all sharp angles all too quickly. But if he’s got anyone to bitch to it would be himself. Well, maybe Caboose and Tucker would listen. But they probably wouldn’t understand. Epsilon might’ve ratted out his bad sleeping habits to Caboose, were he still around to actually see them. But he very well was half the reason they existed, so, touche.

Besides, now Wash was looking out on a bed that was impossibly too big for him. He pulls back far too many layers of blankets and pushes aside pillows and makes himself a space between it all.

The lights are dim, casting long, fine shadows in the cool light. They dim further to a blackness as he settles, lying back in the few pillows and pulling still-starchy sheets around him. His tired body all but sinks into the mattress, body aching at every joint from overuse, begging to stay and to be comforted. It's there he lies for a moment, adjusting to weight and pressure, air and texture around him. He sighs. It’s the longest exhale in what feels like a very long time. The back of his throat, up through his nose, starts to burn.

He squeezes his eyes shut. He takes a sharp breath in.

Washington’s hands come up on instinct, pressing the heels of his hands to his eyes as he fights back a sound from deep in his chest. It’s hard—it feels so stupid to call this hard, because he could just crack, just for a second. Just for a moment of relief, and—he does, shutting his eyes tight still and willing in a breath through his nose as he turns his face into pillows that he hopes were nobody else's and probably never were and never would be again. Nobody knows he’s alive. Not Command, not Project Freelancer, not the Meta—Maine. Not even Epsilon. For now. The weight off his shoulders was so instant it nearly winded him, on a bed seemingly too large. It was simply him, unshackled, and the blue-white armor in its case, and Caboose, and Tucker. And the base around him was quiet.

Washington lets his body relax. Sleep comes like a heavy blanket.

His second week’s worth of sleep doesn’t go as well. Tonight, Wash is still awake. It’s not of his own choice—if it were he’d already be asleep, curled into the plush pillows and firm mattress. He stares up at the ceiling. His eyes are dry, and it’s not all that comfortable to blink, actually. He’d prefer to focus on sinking into this nice bed, but he’s having a bit of a hard time. What he means by nice bed is that he’s gotten so used to sleeping on the ground or in the back seat of a moving Warthog or the jet or his cot so folded and unfolded that it stopped being comfortable, or the bunk that was just the right size but not nearly deep enough to fit him without moving, that having actual room to move around is really good. It’s really good, actually, and he’s not sure when the last time he had such a nice sleep was.

He’s not even sure when he woke up that first day, aside from the fact that it was Caboose waking him up and it was still dark out—or had just gotten that way. Maybe he’d slept that whole day. But he wandered around the Valhalla base instead, swallowing down the ache low in his spine. He mapped the rooms in his head, twisting around the circular hallways. Kitchen, armory, five rooms, garage, a small central living quarters that remained barren and empty, aside from bits of broken computers, radios, and robot parts. The floor still smelled like cleaner, remnant from the UNSC’s thorough cleaning.

Anyway—he’s still awake in his own room. His eyes hurt. He’s looking into the dark grey ceiling and wondering if sleep might crawl its way back to him when there’s a knock on the door. There’s a brief pause before it happens again. He frowns, scrubbing at his eyes as his brain fights the fog settling over it.

“Agent Washington,” a voice says, feigning a whisper through the sliding door.

“Caboose?” he whispers back, furrowing his eyebrows. Isn’t it late? He looks over to the bedside table, reading the dull red numbers on the clock—yeah. Late. “What are you still doing up?”

He hears Caboose sigh. If he thinks hard enough he can imagine him leaning against the metal frame, cheek pressed against the door, looking about as pathetic as he sounds.

“I can’t sleep,” he says, part tired and almost part sad.

“Why’s that?”

“I—” Caboose lowers his voice even further. “I had a nightmare.”

Wash blinks slowly, sitting up, eyebrows still furrowed as he frowns. He counts himself lucky that his head isn’t spinning from lying down too much. Sighing, he presses his fingers to his eyes, rubbing the sleep from them, trying to make the blurry room come back into focus.

“You—” he tsks as he words jumble in his brain, hazy with sleep. “Why did you come here?”

“Can I come sleep with you?” Caboose asks, completely ignoring the previous question. Heels of the hands to his eye sockets. Alright. Fine. He waves uselessly at the door, knowing full well Caboose can’t see him. Then it clicks in his brain: response. Right.

When Wash goes to give him an answer, it’s replaced by the sound of his bedroom door sliding open and shut and Caboose wandering in. The muddled dark obscures his silhouette more than usual and the normally wide slope of his shoulders was much more drawn in than Wash was expecting. He’s partially shrouded by his own blanket, wrapped around him as he steps in.

Wash feels something rolling around in his chest as he watches Caboose shuffle over, like his brain isn’t absorbing the situation properly. He mostly just feels lost. He’s still sitting up, slouched forward, mouth a fine line. His arms pool in his lap, head tilted just so as he observes Caboose in front of him. This is weird, right? Not in a bad way. It’s just weird.

Caboose stands there, frowning just a little bit, enough to almost be a pout, mostly looking at the bedside and not at Washington.

“I—” Wash starts, trying to protest. Caboose looks up at him for a moment with wide, brown eyes, and Wash feels his chest tighten. He shuts his eyes, sighing out of his nose. Then he pulls the covers back, gesturing vaguely to the space next to him as he lies back down. If there was one thing he’d learned from Caboose, it was that there was no arguing a point once he’d made his mind up. He was as stubborn as he was strong, and the man wasn’t slight.

There’s a beat of silence as Washington gets comfortable again against the mattress again, feeling Caboose move to his left. He worms around a bit, knee bumping the outside of Wash’s leg, elbows knocking together as Caboose makes more of Wash’s bed his own space. With Caboose’s arm now pinning his own, he clears his throat.

“Caboose,” he says firmly.

“Washington,” Caboose says, like his name holds the same weight as it did so long ago. At least someone’s impressed.

He sighs. Caboose is a heavy, warm weight against his side, and although he clings to his left arm like his life might depend on it, Washington couldn’t necessarily call it bad.

“You can either get comfortable,” he says slowly. “Or I’m going to ask you to leave.”

“Okay,” Caboose says quickly, wriggling further over. As his head lolls, it falls against the bone of the high of Wash’s shoulder. He ends up curled up in the space Wash’s side leaves open, head on his shoulder and arm over his ribcage. He’s heavy, holding himself and Wash to the mattress as he relaxes. Wash’s arm ends up pinned under him, bendable at the elbow, enough to shift around and find a comfortable spot to rest it. Caboose manages to pull the blankets over them both haphazardly, lying part on him and part over Washington’s torso. He squeezes his eyes shut. Caboose cannot be serious. This can’t be his solution, right? He takes a long breath in. Caboose finally says:

“Thank you, Washington,” in a soft and sleepy voice mostly muffled by his shoulder.

Washington sighs.

“Sure, Caboose,” he says, resigned. “Glad I could help.”

Caboose hums, sounding comfortable. In the time it takes for Caboose to finally knock out, how short of a time that was, Wash finally relaxes. He lets the weight around him settle him on the mattress, tired and heavy, and lets his eyes close. He can’t catch the edge of sleep just yet, but he can lay here, quiet and still, so that Caboose can sleep. He matches the slow rise and fall of Caboose’s shoulders, feeling his muscles slacken as he drifts off. Maybe it’s nice, actually. The weight against his side, pressure to the muscles that ache, warmth and heavy comfort. He can’t remember the last time someone shared the same bed space as him—those bunks were too small to really fall asleep next to somebody in, and sleeping in shifts wasn’t the same as someone sleeping against you.

He can faintly feel where Caboose’s cheek is crushed against his shoulder, where his arm rests over his chest, hand tucked against his other side. When he looks over, Caboose’s eyes have shut, face relaxed in sleep. There, he leans, pressing his cheek to the top of Caboose’s head, squeezing his eyes shut. Maybe it is nice. Maybe being needed for something so innocent as comfort could be nice. His chest twists, something as painful as it is warm weaseling up next to his lungs.

It reminds him of Invention. Nobody really wanted to leave York alone after the accident on the training room floor. He could fall or trip, he could miscalculate and hit into something harder than expected. They spent time crammed into the bunk spaces, shoulders to shoulders, to hips, to legs over knees, trying to catch sleep in between missions, how little time that was. Washington found himself in these moments more often than not, and now more than ever it seemed that touch was a thing not often disseminated. But he had it now, and he let himself have it. He let Caboose snore into the hollow of his shoulder and tuned it out as he tried to rest.

In the morning he’ll ask him what bothered him so much that he couldn’t sleep, or why he thought Wash could help. It wasn’t important now.

For now, he just tries to sleep.

Wash feels heavy.

He blinks his eyes open, the world coming to in barely-there light and soft blankets. There’s a weight over him, warm and solid. Caboose still sleeps soundly even as Wash shifts to stretch pins and needles from his left arm. The world stays still, held in a quiet balance. In it, Caboose breathes slowly and evenly against his shoulder, torso still haphazardly thrown across Wash’s chest. He’s curled his hand in a loose fist, snagging part of Wash’s shirt.

Washington sighs. There lingers a heavy, groggy feeling over his mind that he thinks he’ll have a hard time shaking, remnants of running too hard, too fast without stopping. He fought so hard only to again come up empty handed, aside from the now-bitter taste of his freedom. But for now he focuses on this moment. He rests his cheek against the top of Caboose’s head.

As he does, Caboose hums, waking enough to tense and relax again.

“Good morning, Caboose,” Wash manages tiredly, lying still. Caboose doesn’t move either, except to shift his cheek to a more comfortable position.

“Hello, Washington,” Caboose says, slow and sleep-thick but cheery. “You let me stay!”

Wash huffs out something, maybe a laugh and maybe a sigh.

“You’re surprised?” Wash asks, staring at the ceiling. It takes a minute for Caboose to answer, and in that time, Wash’s eyes shut, too heavy to hold open. Caboose draws his arm back from his chest.

“Tucker’s not very cuddly,” he says, only partially answering the question. “I can’t really judge if people will like it.”

“I take it not many do?” He asks. Caboose shrugs, somewhat stilted, speaking in that long, sighing way that he does.

“It varies.”

Wash hums.

“Right.”

In a beat of silence, Caboose unravels himself. He sits up, swaying a bit, shuffling around. It leaves a cold hollow where he used to lie, and Wash pulls his arm back from where it used to curl around him. He folds his hands over his sternum as Caboose sits up and shifts back.

“How did you sleep!” He asks, leaning forward, arms resting on his knees. Wash nods, finally blinking his eyes open.

“It was fine,” he says slowly. “How did you sleep?”

Caboose shrugs again.

“I slept okay—” he says. “You scared off all my bad dreams I think.”

Wash snorts, furrowing his eyebrows. Caboose blinks down at him with wide eyes. It’s almost catlike, the way he watches over him, like he’s waiting for Wash to reach out and force him to move out of his space. He’s still slightly blurry, courtesy of the sleep in Wash’s eyes.

“I did?” Wash asks. Caboose nods, looking sincere

“Yep.”

Wash looks away, huffing out. Something turns in his chest, warmly at that.

“Well that’s good,” he says. Caboose nods again. He’s just far enough away that in the dim lighting Washington can’t really read his face, but it seems soft and comfortable and Wash tries to remember if that’s a good thing. There’s only so many times you see someone’s face while being out in the field that you sort of just learn reactions based on tone and less on body language. After a beat, Wash says, haltingly, brain trying to find the words:

“Caboose, what… what is it that you had a nightmare about? What—why did you come to me?”

Caboose shrugs, waving his hands back and forth. He’s not looking at him.

“Oh, you know, just about Church and Epsilon, and Tex, and you, and everyone dying and exploding and dying again,” he sighs, shoulders falling, looking distinctly less bothered than Wash expects him to be. It puts something cold-to-cool in the pit of his stomach. “But it’s okay, you’re still here! And nightmares are afraid of you.”

Wash swallows.

“Oh,” he says lamely. It doesn’t feel right, all of a sudden, to just be sitting here. Caboose tilts his head at him.

“Did you have a nightmare, Agent Washington?” he asks, leaning forward a bit. He squints at him. Wash stares back, eyes wide. “You look kinda pale.”

“Um, no,” he says plainly. “No I don’t… normally dream.”

“Oh,” Caboose says. His face drops. “That sounds sad.”

Wash shakes his head.

“It’s fine.”

Caboose hums, tapping his hands on his knees.

“You can tell me if you ever have a nightmare,” he says, smiling, a pleased look crossing his face. “I can come and scare it away.”

Wash snorts, a smile creeping onto his face. He folds his hands together, tracing out the edge of his thumb with his other thumb. He furrows his eyebrows as he looks up at Caboose.

“Are you looking for an excuse to sleep next to someone?” He asks, a curious lilt to his voice. Caboose blinks, eyes falling to his hands. He shrugs.

“No…” he says. Then, “Maybe.”

“Well it…” Wash sighs, shutting his eyes again. “It was nice. Thank you, Caboose.”

“Mhm,” Caboose says sleepily.

There’s a moment of silence. Wash moves to get more comfortable, shifting back to rest his head properly on the pillows. He can feel his body sag as he does, that tired tug pulling on his shoulders and hips and eyes. He drums his fingers against his sternum, watching Caboose. Caboose’s eyes slip shut for a moment as he leans hand against his hand.

“I’m uh…going to try to get some more sleep,” he finally manages, clearing his throat. Caboose stays still, as if he’s fallen asleep again, shoulders weakly rising and falling as he breathes. “Caboose?”

There’s no answer. Caboose leans sideways as Wash goes to reach for him, folding like he’d lost all his core stability. As he crumples, he falls forward, half onto Wash in front of him, half into the bed itself.

“Caboose,” Wash tries again. Caboose doesn’t move, sinking further into his side.

Wash sighs. Caboose stays, solid and heavy and thrown over his chest. He feels like a little kid again, sharing a room with his sisters, or he feels like it’s some time back in training, both cats making their home on his chest. Caboose was kind of like a cat. If a cat were a dog, were late to the punch, were the same level as unable to catch the joke as he was. It was kind of sweet. Wash shifts him ever so slightly, until he’s leaning into his side again, head against his shoulder.

Caboose yawns, sighing out against his shoulder, shuffling to get comfortable. Wash curls his arm over his back, hand cupping around his shoulder, smoothing his thumb over the seam of his shirt. Caboose makes a little noise, a little sigh, and falls quiet. The world, too, is warm and quiet. Somewhere in that warmth, a soothing feeling washes over him.

Just a little more sleep, he thinks. Then he’ll get up.