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juliatulia · 5 months

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I didn't pay attention to the Housman bit on Autobiography, so I would love to hear your thoughts on that :)

Sorry for the late reply but here it is.

The * followed by parenthesis are my thoughts, the rest is directly from Morrisseys Autobiography.

Excerpt from Autobiography:

and, wrongly, unnecessarily, this child weeps, full of the foolish

embarrassment that his father has clearly marked out. New air is discovered

in the words of A. E. Housman (1859–1936), scholar-poet, vulnerable and

complex. On the day of his twelfth birthday his mother dropped dead,

sealing a private future of suffering for Housman, who was said to be a

complete mystery even to those who knew him. *(Whom are we talking about??) With no interest in

applause or public recognition, Housman published three volumes of

poetry, each one of great successful caress, each a world in itself, forcing

Housman into the highest literary ranks. A stern custodian of art and life, he

shunned the world and he lived a solitary existence of monastic pain,

unconnected to others. *(Again, whom?) The unresolved heart worked against him in life, but

it connected him to the world of poetry, where he allowed (in)complete

strangers under his skin. *(One know others by how one knows oneself) In younger years he had suffered from the

unrequited love of Moses Jackson, the pain of which was so severe that it

doomed Housman for the rest of time. *(Swap the names and it could be Steven Patrick talking about himself) All of his work would be governed

by this loss, as if life could only ever offer one chance of happiness (and

perhaps, for every shade and persuasion, it does?):

*(So, Morrissey introduces Housman as someone who has unhappiness thrust upon him (but he could also have been a moody melancholic from birth, who knows?). Life delt him bad cards, but used the unhappiness to create art that others found comforting. He clearly identifies with him. And the last part of the paragraph….. Words fail me. )

When the bells justle in the tower

The hollow night amid,

Then on my tongue the taste is sour

Of all I ever did

Housman suffered throughout his life, and therefore (and not surprisingly)

his life became an unyielding attempt not to cooperate. The black horizon

never shifted, and his emotional lot never mellowed.

*(Moses Jackson was very aware of Housmans feelings for him. If I remeber correctly when Moses married his wife, they didnt tell Alfred Edward until after the event (They also left the country). Jackson knew it would crush Housman. )

He would not stay for me; and who can wonder?

He would not stay for me to stand and gaze.

I shook his hand and tore my heart in sunder

and went with half my life about my ways.

At his Wildean lowest, Oscar’s personal sadness had never slumped to such

leaden fatigue; Housman suffered and accepted, death always close in his

mind’s eye – but not regrettably so.

I did not lose my heart in summer’s even,

When roses to the moonrise burst apart:

When plumes were under heel and lead was flying,

In blood and smoke and flame I lost my heart.

I lost it to a soldier and a foeman,

A chap that did not kill me, but he tried;

That took the sabre straight and took it striking

And laughed and kissed his hand to me and died.

The published poetry makes the personal torture just barely acceptable. The

pain done to Housman allowed him to rise above the mediocre and to find

the words that most of us need help in order to say. The price paid by

Housman was a life alone; the righteous rhymer enduring each year unloved

and unable to love:

Shake hands, we shall never be friends, all’s over:

I only vex you the more I try.

All’s wrong that ever I’ve done and said,

And nought to help it in this dull head:

Shake hands, here’s luck, goodbye.

But if you come to a road where danger

Or guilt or shame’s to share,

Be good to the lad that loves you true

And the soul that was born to die for you

And whistle and I’ll be there.

*(The poem is so true to the Morrissey folio. A strong friendship/connection/relationship is no longer what it once was and distance is imminent between the object and the subject. But should anything happen, "danger or guilt or shame to share" you know I will be there for you. )

It’s easy for me to imagine Housman sitting in a favorite chair by a barely

flickering gas fire, the brain grinding long and hard, wanting to explain

things in his own way, monumental loneliness on top of him, but with no

one to tell. The written word is an attempt at completeness when there is no

one impatiently awaiting you in a dimly lit bedroom – awaiting your tales

of the day, as the healing hands of someone who knew turn to you and touch

you, and you lose yourself so completely in another that you are

momentarily delivered from yourself. Whispering across the pillow comes a

kind voice that might tell you how to get out of certain difficulties, from

someone who might mercifully detach you from your complications. When

there is no matching of lives, and we live on a strict diet of the self, the

most intimate bond can be with the words that we write:

*(Here author and subject almost merge into one. Drawing the line where subject and author meets is almost impossible. I become you and you become me. When there is no one to whom one can bestow all ones affection on, the page becomes the active listener. )

Oh often have I washed and dressed

And what’s to show for all my pain?

Let me lie abed and rest:

Ten thousand times I’ve done my best

And all’s to do again.

I ask myself if there is an irresponsible aspect in relaying thoughts of pain

as inspiration, and I wonder whether Housman actually infected the

sensitives further, and pulled them back into additional darkness. Surely it

is true that everything in the imagination seems worse than it actually is –

especially when one is alone and horizontal (in bed, as in the coffin).

Housman was always alone – thinking himself to death, with no matronly

wife to signal to the watching world that Alfred Edward was now quite

alright – for isn’t this at least partly the aim of scoring a partner: to trumpet

the mental all-clear to a world where how things seem is far more important

than how things are? Now snugly in eternity, Housman still occupies my

mind. His best moments were in Art, and not in the cut and thrust of human

relationships. Yet he said more about human relationships than those who

managed to feast on them. You see, you can’t have it both ways.

*(We have to wonder why Morrissey included this in the book at all. When most authors writes their autobiography, they chronologically write about what happened to them, who they saw, or write about details about their life in descriptive detail (which in my opinion is quite dull and very little engaging as a reader). But Morrissey deviates from this enormously. He includes pieces of what made him the way he is(!). Why would he include long pieces about Melanie Safka, Buffy Sainte-Marie or W. H. Auden? Not interesting in itself to read about someone some person read a long time ago, but all these pieces gives us hints of who Steven Patrick Morrissey is.

The interesting part about including A. E Housman is how much Morrissey writes about his life, not just the poetry. I think this is the key to understanding the excerpt above. He both admire and recognise how life and art blend together and how they affect each other.

About Housmans later life, Moses Jackson died before him. Jackson suffered from cancer I think and knew he was going to die. Housman later wrote in a letter to a friend where he said: "I could not leave him behind in a world where anything might happen to him". He was a wealthy man from his academic work and became a patron of Jacksons son. He paid for his education when he didn't have to, but probably felt an obligation.

Why do we have such a lengthy part in the book about an unhappy man who lived all his life inlove with a man he fell in love with in his youth???

¯\_(ツ)_/¯ You tell me 🤓🤓

)

#here it finally is #sorry about the delay #tumblr doesnt work on desktop for me. had to type this for hand 🙁#thank you for whomever sent me the ask ive been meaning to write something about this for such a long time #fave moment in autobiography especially when you listen to the audiobook version #david morrissey understood the task ❤#please let me know what you think #morrissey #johnny marr #autobiography

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lifesliced · 1 year

Text

FULL DOCUMENTION OF BEYOND BIRTHDAY: one large post containing a breakdown for beyond birthday // * brief mentions of violence, death, and suicide.

please note that i only consider the novel, the manga, and the anime for sources and influences. the manga timeline is the main source i rely on with the novel being secondary. i do not consider any live action interpretations, including plays, so all information below is based on the three sources listed. all quoted content is from the translation of the LABB novel. i sometimes reference the DS games, but not often (if at all tbh).

NAME: redacted from records; officially born ‘bellamy bishop’. known only to himself, although was potentially revealed by B to the first child of wammy house “A”

TITLE: second child of wammy house, proposed successor to L, “backup”

ALIASES: B, BB*, beyond birthday**, rue ryuzaki**

** both beyond birthday and rue ryuzaki are self-given aliases, and are not known by wammy house. beyond birthday and rue ryuzaki are not associated with “B.”

DOB: oct 30 1983**

** making him 8 by the time he enters wammy house in roughly 1991 **

DOD: 01/21/04**

** making him 20 when he is killed by kira **

his DOB is based on his DOD, the vague description misora gives about his features (and it is revealed he wears heavy makeup when with her)

GENDER: cis-male

PRONOUNS: he/him/his

SEXUALITY: pansexual, demiromantic

HEIGHT: 6′ (182cm)

WEIGHT: fluctuates, generally on the thinner side (L is 110lbs or 50kg)

HAIR COLOR: naturally black, has been dyed

EYE COLOR: black, hued red in certain lights, and is blamed on partial albinism

FAMILY: father (deceased, attacked by thugs), mother (deceased, train crash), other family unknown and/or presumed deceased

ETHNICITY: japanese, vietnamese, english

DEFINING FEATURES: long limbs and features, gangly, spider-like, scruffy face, bulging eyes, dark circles, disheveled exterior.**

** “Natural black hair. A plain shirt, faded jeans. He was a young man, with dark lines under his wide, bulging eyes. Thin, and apparently fairly tall, but his back was curved, leaving his gaze two heads lower than Misora’s so he appeared to be looking up at her.“ and “[ ... ] well—he had always disguised himself with heavy makeup while he was with Misora [ ... ] ” **

we can assume his skin tone is likely a lighter tan towards a paler complexion based on his lifestyle, but made himself paler with makeup to deceive misora. he also likely added the extra shadows and dark lines beneath his eyes.

ABILITIES: shinigami eyes from birth (”eye born”), though he cannot see the time of his own death

IQ: 274

LANGUAGES: english, vietnamese, japanese, korean, italian, latin, thai, and others

LABB CASE YEAR: summer of 2002

AGE DURING CASE: 18, almost 19

LABB NOVEL TIMELINE:

FROM MAY 2002 - JULY 2002: L looks for B after B abandons Wammy House post-A’s suicide.

JULY 22 2002: LAPD receives an impossible to solve crossword puzzle.

1ST MURDER: July 31 2002, drugged and strangled, cuts on the chest post mortem .. roman numerals.

2ND MURDER: 4 days later, August 4, 2002, drugged and beaten to death (head), eyes poked out and crushed post mortem.

3RD MURDER: 9 days later, August 13, 2002, drugged and stabbed, died of massive hemorrhaging and blood loss.

AUGUST 14, 2002: Naomi and L make contact.

AUGUST 15, 2002: Naomi begins working for L.

AUGUST 15, 2002: Naomi and ‘Rue Ryuzaki’ make contact at the first crime scene.

AUGUST 16, 2002: L confirms to Naomi of Ryuzaki’s employment as hired by the victims’ families as a private detective.

AUGUST 16TH 2002: Beyond Birthday attacks Naomi in an alleyway on her way to the second crime scene. L tells Naomi that the killer is ‘B’.

AUGUST 16, 2002: Naomi investigates the second crime scene with Ryuzaki.

AUGUST 19, 2002: Naomi Investigates the third crime scene with Ryuzaki.

AUGUST 20, 2002: Naomi stays in a hotel in West LA with preparations to arrive in the evening in Pasadena, CA by August 21st.

AUGUST 22, 2002: Naomi poses as Blackberry Brown in Condo 1313, preparing to catch the killer; 9 Floors Below, Ryuzaki poses as Bluesharp Babysplit in Condo 404.

4TH MURDER: August 22, 2002. unsuccessful suicide by fire as the intended victim to be Rue Ryuzaki / Beyond Birthday in attempts to create ‘the perfect crime’ / ‘an unsolvable case’ ***

AUGUST 23, 2002: BB begins recovery for severe third degree burns in the hospital; after months of recovery and surgery, he is sent to jail.

(LATE) ??, 2002 - ??, 2003: Mello of Wammy House meets with Beyond Birthday.

JANUARY 21, 2004: Kira kills Beyond Birthday in jail using the Death Note. Cause of death is specified as a heart attack.

*** “Immolation. Burning to death.

“He had chosen himself to be the fourth victim. Beyond Birthday, the final B.B. That Rue Ryuzaki was a fake name did not even require L’s resources—Misora was an FBI agent, and could find that out for herself quickly, and if she dug a little deeper would be able to find out that his real name was Beyond Birthday. B.B.

Naturally, his face and fingerprints would burn as well — he had always disguised himself with heavy makeup while he was with Misora, and he had never left a picture behind, so even if someone directly affiliated with Wammy’s House inspected the body, they would have no idea that Rue Ryuzaki/Beyond Birthday was B from Wammy’s House. HE HAD LEFT NOTHING TO CONNECT BEYOND BIRTHDAY TO B. He had no intention of hiding his own identity (he wanted them to find out he was Beyond Birthday, to find out he was another B.B.), but he had to hide that he was B from Wammy’s House.”

[ … ]

A PROBLEM WITH NO SOLUTION COULD ONLY HAVE ONE ANSWER—THAT IT COULD NOT BE SOLVED. But that answer conflicted with the fairness displayed in the first three murders. Which tied their hands. Unable to find something that wasn’t there, L would have to continue searching for B—who no longer existed. The metaphor of the gradually decreasing Wara Ningyo established from the beginning that there would be only four victims, so the lack of further murders would not lead to the conclusion that the killer had passed away. L would be left chasing after the mirage of the deceased B. L would be forever followed by the mirage of the deceased B. L WOULD SPEND THE REST OF HIS LIFE TREMBLING IN FEAR OF B’S SHADOW.”

[KNOWN] VICTIMS:

Believe Bridesmaid: 44 years old, male, deceased

Quarter Queen: 13 years old, female, deceased

Backyard Bottomslash: 26, female, deceased

PERSONALITY AND ALIAS DISTINCTIONS: there are four main identities that come from [my interpretation of] B — “B” of wammy house, beyond birthday (or BB), and rue ryuzaki (RR or LL).

bellamy bishop — who he was born as, with this name being known only to himself. he has completely disassociated with this identity. the only people that know him as bellamy are all deceased, A included.

“B” of wammy house — who he became upon entering wammy house. the most “true” version of himself.

beyond birthday — as mentioned above, no one at wammy’s knows him as beyond birthday or “B.B.” it is a self-taken identity, and one that he plans to use as the fourth “victim” to the “killer” in the LABB case. this the identity he wanted his corpse to be ultimately known as, as well as who he is referred to by mello via the narrative.

rue ryuzaki** — another unknown identity to wammy house, the man that misora naomi saw on fire, and the alias eventually taken by L in death note’s main timeline / post LABB. this is B’s detective persona, one that he uses primarily when contacting the families of the victims, as well as the alias he interacts with misora under throughout the novel. rue ryuzaki is also a social persona B has been creating for a while, and finally gets more use from when he leaves wammy house in may 2002. B’s version of ryuzaki is based on a lot of the personality B imagines L to have, basically making ryuzaki a projection, or imitation, of L.

** “B approached Naomi Misora, calling himself Rue Ryuzaki. Rue Ryuzaki – L.L. For anyone from Wammy’s House, there could be no higher goal than identifying yourself with that letter — and Beyond Birthday seized this case as his chance. Even Naomi Misora knew what had happened to detectives falsely identifying themselves as L, and B was from Wammy’s House, so he knew better than anyone so this choice suggests the strength of his decision. He never once intended to survive, he had made up his mind. He was ready.” **

[ ... ]

“According to L’s investigation, a detective named Rue Ryuzaki had actually been hired by Believe Bridesmaid’s parents—and not only them, but relatives of the second victim, Quarter Queen, and the third victim, Backyard Bottomslash, had asked Ryuzaki to investigate the matter as well.”

regarding B, beyond birthday, and rue ryuzaki — these are three entirely separate identities. we do not see much of “B” in the novel, just beyond birthday and ryuzaki, and they are very different. the most connecting physical factor is their natural black hair, but “ryuzaki” is an identity that is worn with heavy makeup as a disguise. B even brushes his hair when getting ready as ryuzaki, which is counterproductive in itself; L does not brush his hair.

we can assume the brief bits of “beyond birthday” are actually “B.” beyond birthday and B do not necessarily have separate personalities, just individual “identities.”

it’s a bit complicated, as B starting calling himself beyond birthday at an unspecified point in time, but never revealed that alias to anyone (that we know of). it is never directly said he started using the beyond birthday alias before or after wammy house, just that he used it at all, and that it was self-given.

** “He had those eyes before he was born, which is why he called himself Beyond Birthday. Which is why a child as strange as he, was taken in by our home, sweet home—Wammy’s House.

He was B. The second child in Wammy’s House.” **

so, regardless of when it started, beyond birthday is an internal alias; it is the start of “B.B.”

it was B’s intention that beyond birthday would eventually become “the fourth victim” in the case, while “B” just disappeared from wammy house. there is no intent to connect beyond birthday and B from wammy house together.

“if she [Misora] dug a little deeper would be able to find out that his real name was Beyond Birthday. B.B.”

this means that B left record of a “beyond birthday” to be found on purpose, as it was stated that he chose rue ryuzaki to be intentionally discovered as a fake almost immediately to lead misora away from the identity of rue ryuzaki towards the identity of beyond birthday. it is unclear what “records” he leaves for her to find this “beyond birthday.”

so, while there are four total identities, there are two key personalities being displayed in the narrative of the novel: ryuzaki and beyond birthday (or, ”B”).

we know now that B and beyond birthday are basically the same. beyond birthday is written as more cruel, jaded, and prone to speaking incoherently, as well as to himself. he gives himself instructions, specifically how he should laugh. as ryuzaki, he acts more composed, albeit eccentric (the way he believes L acts), and somewhat energetic. while "ryuzaki” speaks strangely, exhibits peculiar mannerisms, and seems to lack proper social etiquette, he is far more “personable” than beyond birthday.

in his youth, i believe B tried to emulate L more often than not, while also exhibiting his own strange mannerisms. this is a technical blend of his own personality in conjunction with what will eventually become the ryuzaki personality.

he was also known to act strangely in his years at wammy house, frightening the other children. he was intelligent, clever, and highly gifted, but was also erratic, unpredictable, and aloof to a fault. he often was hunched, barefooted, and displayed other tendencies rumored to habited by L. i believe he was always eccentric, described as “brilliant and deviant” in the novel, and was always prone to a draw towards death, as well as the occult. by the time we actually see B, or beyond birthday, in the novel, we can tell he is unable to be “saved.”

A’s suicide is what drove B to finally “lose it.” he was already naturally prone towards villainy. from birth, B saw death / he saw red, and A “leaving him” was the final straw.

NOTATIONS (RUE RYUZAKI, L, WAMMY HOUSE, ETC):

i think the above image represent the aesthetic of L that B tries to emulate the most when acting as ryuzaki, the hair is (mostly) natural, which is why this look is fitting, as it’s more flat than L’s usual look. this version of L is not as ‘stylized’ as we see later. it’s more akin to very early L, before ohba had explicit directive instead of a concept. B’s ryuzaki is flat and messy, more natural looking especially in the hair. he hunches like L, though doesn’t really understand L’s true fascination with candy and desserts, so seems to imitate that habit poorly (the jam). they share a similar physicality, though B’s weight fluctuates more than L’s given his fluctuating living conditions pre /post wammy house.

given their age difference, B and L were in wammy house at the same time. B is four years younger than L.

L says,

“I have nothing to do with him. To be completely accurate, I do not even know B. He is simply someone I am aware of. But none of this affects my judgment. Certainly, I was interested in this case, and began to investigate it because I knew who the killer was. But that did not alter the way I investigated it, or the manner in which my investigation proceeded. Naomi Misora, I cannot overlook evil. I cannot forgive it. It does not matter if I know the person who commits evil or not. I am only interested in justice.”

despite the text saying they never in met person, there’s going to be some major canon divergence in my interpretation while using the text as a backbone.

the timelines of LABB and DN coincide without issue, but some of the canonical details versus the fanon details of the novel conflict, which is where i am left to make adjustments. i bend to the DN canon before the LABB canon.

post his leaving, L might have visited and observed, or spoke via voice-chat** – but L also does lie a lot, or will at least stretch the truth, and has a habit of forgetting people easily (he “forgets” misora when during her arc in death note). just because L says he does not know B does not mean that B does not know (remember) L. it could be argued that L either a) does not remember seeing, meeting, and/or interacting with B before the LABB case, or, b) is lying. both seem plausible.

** we know he at least does this, as we see him conversing with near’s generation of wammy children canonically in death note. we can assume he might have done this post-leaving the wammy house for B’s generation, too. **

from the beginning, L was extremely isolated from the other children before his departure from wammy house with watari, so B could have potentially seen or spoken with L in person before L left. this would mean he met L before L became the great detective, so is emulating L from memory, as well as an early version of L.

based on L’s appearance when he entered the wammy house, as well as the novel saying that watari met L when he was eight, it’s safe to say definitively that L came to wammy’s before B, and was there for years before B was “enrolled.” i have B as eight when he enters the wammy house, which would make L twelve. by this time, L was already functioning within wammy’s, but was independent of the other wammy orphans, primarily locked away in his room.

L is sixteen when he leaves with watari, making B twelve.

this would be when B goes into the running with A (and C) to become the first “wammy children” that we know of. before this, they (A, B, C, etc) were likely going by whatever names or aliases they preferred. B came in without ever having his name revealed to watari or roger in the first place, and it is unknown what the other children went by before becoming “lettered.”

while B is known as the “second child in wammy house” in the novel, wammy house was a running establishment prior to A and B’s arrivals, meaning that being titled this is more applicable to the L succession program.

A and B are the first children of the “L project.” we know that there are many children in wammy house, as well as other orphanages run by watari. wammy house seems to be more focused on particularly gifted children, or that is where the most gifted tend to be located and/or relocated depending on their situation.

it can be agreed that B did a decent job emulating L, so it’s more likely than not they have interacted in some manner, and that L’s dismissal of B (only knowing of him) is either L lying or misremembering. it is likely B is also copying what he has heard about L, adding that into his characterization of him.

THE (A)LTERNATE + THE (B)ACKUP: “The first child, A, was unable to handle the pressure of living up to L and took his own life, and the second child, Beyond Birthday, was brilliant and deviant.” A commits suicide by may of 2002. B, who was eighteen, was already planning on leaving wammy house, hopefully with A. after A’s death, B leaves wammy house, which prompts L to look for him. this is right before the LABB book begins. they were the “first children” of wammy house.

A was B’s closest connection, and his death is the reason that B finally left, enacting his plan. as mentioned above, A’s suicide is B’s breaking point.

it is unclear if B was planning the LABB murder cases (the unsolvable case) / to be L’s greatest foil prior A’s death. it’s even more unclear if B would have still enacted this plan at all, were he planning it, should A have lived. B is not just a backup to L, but is also a backup to A (the “alternate” or “alternative”). whether they were close before the successor program, they were after. while B insists that B will top L, A is the only one that can top B. symbolically, A is the alpha, while B is the beta. i am affiliated with yeonban’s A, and reference him often in threads. i suggest reading A’s document if you want to learn more about him!

OTHER LETTERS: we can assume that A, B, and even C were all in one generation. other than that, the actual “generations” aren’t completely consistent to the alphabet, as (m)ello and (n)ear were the most recent candidates, the two that L had no chosen between before death. there is a potential wammy child “J” in one of the DS games, and you can read about him here.

“If I had space left over I had intended to carry right on into the other two stories I heard from L: the story of the detective war between the three greatest detectives, all solving that infamous bio-terror case, with guest appearances by the last of the alphabet, the first X** to the first Z** from Wammy’s House; and the story of how the world’s greatest inventor, Quillish Wammy, aka Watari, had first met L, then about eight years old—the case that gave birth to the century’s greatest detective, The Winchester Mad Bombings that occurred just after the third World War**.”

it is interesting that they are described as “the first” x, y, and z. this could be a translation thing, but it could also infer that letters are replaceable, and subsequently we have seen replacements via near and mello.

we can infer that the A and B we know are the first of their letters, as well as L, and potentially C(?). we do not see replacements in death note for these letters, and by DN canon alone, we are left to assume that mello and near are the first “M” and “N” in wammy house. but this could be entirely false.

by the time we see them, they could be the second generation of letters, having gone through another A, B, C, all the way to M and N. it could stop at N, or it could go on to the end of the alphabet. we just do not know. it’s also interesting to note that characters like near, mello, matt, and linda all have aliases that are names, not letters, and that particularly near and mello are named by not just aligning the first names of their aliases to their birth names, but also their places in the wammy alphabet of succession.

it also leaves questions for characters like matt and linda, as matt specifically is considered still to be the third in line, despite sharing a named alias that begins with the same letter as mello, with mello being the one known as “M.”

by the naming convention alone, as well as seeing that the heirs of L are at least encouraged to play should they want to, it’s clear that some structural differences have been made to the heir program. this could infer that potentially the entire first generation of lettered children “failed” for various reasons, most all ending in death.

this all strongly leads me to believe that near, matt, mello, and linda are all part of a second generation of L’s heirs in the timeline, though linda does not seem to be in line as a successor, instead showing that there are still other children at wammy house not affiliated with the program, albeit brilliant themselves.

** i’m not even going into the third world war mentioned in the novel here in this post. **

LIVING CONDITIONS: post-wammy house, B has no singular address. it is noted that he has many lairs specifically across the united states, but also throughout the world. i headcanon that he was establishing headquarters before leaving wammy house.

MISC HC // * READING: B will read books over and over again, memorizing every line, every word, every letter until he can recite the page number, line, the book backwards if you wanted. he reads books at least four times, but never more than thirteen. this is not something A has to do. B has a photographic memory like many of the wammy children, and finds himself burdened by the constant names and dates he sees with his special eyes. by this logic, he also can usually tell who and who will not be the next L based on their dates of death, specifically for children like A, matt, or mello.

more likely tba