#this is a true story! i cannot prove it to you because.

[apparitionism]

Asleep 2

For the anniversary this year, I have the second “half” of my @b-and-w-holiday-gift-exchange story for @kla1991 : an involuntary bed-sharing situation that turns not sexy but disastrous. The first part took on Myka’s perspective; this conclusion is written from the other side of the bed. A confession: I find in-universe Helena’s head voice a somewhat difficult register to compose—because while she can’t be fully insane, she needs to teeter or list, sometimes more than a little (but without falling into histrionics). Which is to say that if you don’t entirely buy the turns of thought and/or coping mechanisms I’ve given her here, your skepticism is well-placed. Ultimately I hope it’s the case that a person can be broken but still want in a way that’s... pure? Justified? Sweet? Reciprocatable? Maybe just “vaguely recognizably human”?

Anyway, this is long, first because it extends well beyond the point at which the first part ended, but also because when a Bering and a Wells get to talking (as they at last do!), they need to work things out at their own pace...

Asleep 2

My arm is asleep.

Under normal circumstances, a person would, upon becoming aware of this, shift position so as to restore blood flow.

Under normal circumstances.

But very little is normal about the circumstances under which Helena’s arm is asleep.

She is in a hotel-room bed, in the dark of night, lying on her left side, with her left arm, her now-asleep arm, pinned beneath her. So ends the disturbingly limited “normal” portion of the situation.

Here begins the larger portion: she absolutely must not move.

Irony guts at her with that, a shiv-and-twist remembrance of bronze restriction—but that prohibition had involved a significantly different auxiliary verb: “cannot” rather than “must not.”

Grammatical particulars aside, her immobility now is barely less a torment. This is because her other arm, her alive right, terminates in an even-more alive sensate hand, one that now rests—but is in no way at rest—on Myka’s right hip.

Myka, too, is lying on her left side, a small distance in front of Helena, lying in this hotel-room bed. Such proximity in such a space might, under other circumstances, signify the fulfillment of a long-held dream... but here, now, it seems a nightmare. For Myka is Helena’s colleague and no more; they are in this bed for sleep and no more; and Myka is playing her part correctly while Helena is not, in contravention of what she has sworn to herself she would do no more.

Such drowsy sense the placing of that hand had seemed to make, when she had found herself facing Myka’s back. She had in the past regarded that length covetously, relishing the idea of touch both salacious and tender.

For all her coveting, however, she had in fact only once laid hands on that back, both hands with intention on the clothed blades of Myka’s shoulders: a terrifying embrace, one that was in the most basic physical manner right but overall searingly wrong, screaming bodily truth but surrounded by words that said nothing they should. A perversion of promise, like so much else that had happened in Boone.

Yet Helena had clung to its memory all the same.

She’d thought, here in this unexpected proximity, to supersede that, to touch once again, once again but brief, once again though brief. To erase and replace.

First she touched the right blade, light; yet her hand wanted stillness, more connection than a mere pat against cotton-clad bone. And there was Myka’s hip, a beckoning promontory jut... a place to rest. Rest, however brief.

Once placed, however, her hand had proved reluctant to retreat.

Brief, she reminded it.

No, the hand had responded. I belong here.

Helena knows this is true. She knows also that it cannot be true.

But she is no stranger to holding contradictory thoughts in her head. This has been essential to establishing and maintaining, in these new Warehouse days, a functional equilibrium. Functional. Indeed her goal, in this “reboot,” has been to function, which she has lately defined as something on the order of “to move through time nondestructively.”

This definition had come about due to her realization, pre-reboot, that her difference from others, her inability to fully perform a modern self—her arrogance about that inability, even as she attempted to hide both the inability and the arrogance—chipped at, chipped from, the good (the good nature, the good will, the goodness) of those around her. Over time, such chips accrued as wounds.

Nate. (Adelaide.) Giselle.

She had as a result finally understood that coming back to the Warehouse would mean, at the very least, that those with whom she interacted had already made a bargain, perhaps even a peace, with the inevitable violence of history: with the way the forces of the past could—would—affect, even infect, the present. Helena herself was, at her simplest, merely one more of those forces.

She did consider requesting that she be re-Bronzed, now absent any pretension of traveling through time, but rather as a way of neutralizing a dangerous, and demonstrably unstable, artifact. But then an image had come to her, possibly as an omen, possibly as only a desperate wish: Myka’s devastated face upon hearing such news.

Boone all over again.

Thus the reboot. Because the most significant entry under “function,” with additional emphasis on the “nondestructive” portion of that definition, was her resolution to spare Myka pain. In the past, Helena had been both careless and careful—surgically so—in her infliction of damage on Myka above all others. But she had sworn to herself that those days were done.

Done, but Helena knew she had not paid anything near a sufficient price.

So. To maintain distance, no matter how troublesomely ardent her wish to close it, was—had to be—part of her penance. And to do so decorously was—had to be—the gentlest approach. That was what Helena told herself in her more rational moments.

This moment, in this bed, is not one of those. If it were, she would simply remove her hand. Simply remove it, then roll over.

But her mind races, finding complication: She doesn’t know what sort of sleeper Myka is. Had Helena’s placing of hand awakened her? If she had awakened, has she now fallen asleep again? If she has, would she then be reawakened by the hand’s removal? Or would she, if still awake, draw some negative inference about the entire situation based on removal?

Ideally, Helena would maintain a facsimile of entirely blameless sleep while engaging in that removal, but can she make such a performance believable?

Never in her life has Helena been so concerned about her ability to mislead convincingly as when she has attempted to deceive Myka. That was the case in the past, even at her most nefarious, and now she worries day-to-day that her strictly disciplined disguise of near-constant wishing ache will slip and fail. A simple I am asleep should be... well... simple. But it is not, and Helena is reminded of Claudia’s tendency to observe, in situations both dire and banal, “Here we are.”

Here we are, because Myka is apparently indifferent to the idea of sharing a bed with Helena.

Here we are, because Myka is apparently indifferent to history.

Here we are, and that latter indifference is a surpassing irony, due to the fullness of—

Helena sees that she needs to divert her train of thought, as descending into unjustified anger will help absolutely nothing.

First, she entertains a fantasy of sitting up, turning on a light, and explaining to Myka that this entire situation is untenable, and that if they are going to share a bed, they should share a bed. But it’s true that Myka did not seem even to consider that as a possibility, which seems ludicrous, given the past... no, that’s back to unjustified anger, for who is Helena to resent what Myka wishes not to consider? And indeed, who is she to interpret the past in such a way as to believe she understands what Myka would have considered?

Focus on the facts, she tells herself. What actually happened in that nefarious past. And do so dispassionately.

Regrettably, the word “dispassionately” brings to mind another word: “passionately.”

Again. For she had thought that word not long after she and Myka had first entered this room, first entered it to find, as Helena’s unrestrained fantasies might have conjured, only one bed. That they were clearly intended to share. Thus her mind’s unruly leap to... an adverbial manner in which they might do so.

But Myka had said not one word about the accommodations, so Helena had held her tongue as well. She nevertheless couldn’t help but feel it an elaborate lack of remark on both their parts, the silence practically baroque in its fullness.

Baroque too had been the courtesy with which they jointly prepared for bed, a you-first-no-you stutter-choreography of politeness that ensured privacy, yes, but also reinforced the barrier between their past and their present.

Which Helena understood was necessary. It did nothing, however, to mitigate the breath-hold of preparing to lie down beside Myka.

Once she had managed that lying down, however (with a relative aplomb for which self-congratulation was not, she felt, unjustified), she hoped her torment might ease. A bit. If she could manage the additional task of pretending the body beside her was no more significant than any other human. Some flesh, recumbent.

But when they were situated thus beside, Myka spoke. “You seem a little upset,” she said.

Helena had barely been able to restrain a snort. Now Myka saw fit to comment? As if allowing this portion of the play to pass without remark would create some undue strain upon collegiality? As if their incongruous bonhomie might buckle under the weight of that silence? Oh, that was rich.

Bottling her pique, Helena questioned: “With?” To make Myka say it. Mere saying wouldn’t hurt. Would it?

“You haven’t been yourself since you put that camera in the static bag. Was it a problem, seeing it again?”

Helena held herself rigid so as to keep her body from betraying neither her disappointment at the question nor, contradictorily, her relief...

It was a reasonable question. A good question. Not one on which Helena particularly wanted to focus (although it indicated a certain attention on Myka’s part, an attention on which Helena suspected she should not dwell), but it did deserve an answer. “It closes a door, doesn’t it,” she told the ceiling, for turning her head to address the other body directly seemed an invitation to peril. “That one I opened so nefariously, long ago.”

“Or—and—maybe it closes a loop,” Myka said.

Unexpected. “A loop?”

“Right after college, I went through a self-help phase,” Myka said. She paused, and Helena found herself on relative tenterhooks regarding the applicability of this (new!) information to the current situation. Which reminded her how much she had missed talking with Myka... because of the very sound of her voice, yes, but also because her conversation could range so unanticipatedly. So rewardingly unanticipatedly. Helena had known few people who could lead her on such unpredictable, yet productive, journeys.

Was Myka’s apparent willingness to begin such a journey now indicative of... anything? A softening, perhaps, of relations between them? Not a rebooting of their once-burgeoning intimacy, for that had to remain taboo, but could it be that some restoration of their previous intellectual engagement might be, at the very least, neutral rather than harmful?

Helena had moved a tentative pawn in that direction during their conversation on the airplane. Perhaps this was Myka’s answering move?

With an exhale that seemed like resignation at what she was about to say—to reveal?—Myka said, “I felt like I needed to be someone different—someone better.”

Another pause. Helena considered that such a feeling seemed very Myka (and she heard that phrase in Claudia’s voice), but also very misguided. Of course she was not at all placed to make such judgments, and even less so to convey them to Myka. Thus she said a simple, “Did you,” to encourage without prejudice.

“So I read a lot of books,” Myka said, to which Helena had responded internally, Of course you did. “One was about how to get things done.”

“All things?” Helena asked.

“Sort of.” That was followed by yet another pause. Yet another puzzle.

All these pauses. Was Myka on the verge of sleep? Helena said, soft, thinking she might go unheard, “Perhaps I should read that book. As a help to myself.”

At that, Myka had laughed, more delay, but also soft. “I don’t think it’s any kind of help you need. The guy who wrote it had a big system, all these rules, and I love rules, but these... I admit I didn’t stick with most of them. Honestly, any. But an idea that did stick was actually a pretty minor part: open loops. Stuff you track subconsciously, all the time, because it’s incomplete. How troubling that is. And what a difference it makes when you close a loop, when you each a resolution. I mean, he was talking about stuff like answering emails.”

“Emails,” Helena echoed. So far from artifacts.

“Which this is so much bigger than,” Myka said, exhibiting, not for the first time, an uncanny ability to scoop from Helena’s thoughts. “But maybe the principle holds. You don’t have to tell me. But I hope you have fewer open loops now than you did. Before.”

“Yes. The number. Fewer,” Helena said, factually.

She of course couldn’t say out loud (but it was equally factual) that Myka herself was the loop most capaciously open. The one that gaped, superseding, never mind the number of lesser.

Indeed, however, that number was now minus-one. Oscar. Oscar and his ballad... that loop closed.

Helena had in fact, while handling the camera, begun to ideate a wish that someone (Steve? Claudia?) might be persuaded to use the camera to capture her image... for it had occurred to her that a spark of art, some production on which to concentrate, might animate this reboot... something to pursue, rather than to be pursued by...

But. Lying abed, still and strangely hopeful—a state she should have known would not endure—a realization had struck her, as an open hand to the face, a realization of why Myka had brought up loops and the closing thereof: she had somehow discerned Helena’s wish, via that scooping of thought, and was discouraging her from pursuing it.

So much for any softening. This was instead a warning: Helena should not open a loop that Myka might be obligated to close. And Helena had no trouble grasping that the warning was in no way limited to the use of a single artifact... no, it doubtless applied to any burdensome loops Helena might be thinking of opening, any new incompletions that might come to trouble Myka.

“I understand,” Helena had said, regretting that pawns could not be moved backwards.

At the same instant, Myka said, “I’m glad.”

That collision had canceled communication entirely; in its wake, Myka had turned out her light and turned away from Helena.

Leaving Helena to her thoughts.

Well, fine, had been the first of those.

Next had come an equally mulish sniff of And I will have no difficulty directing any subsequent away from this shared bed.

Whereupon she had proven herself both wrong and right, thinking about history, about the fact that, whatever Myka’s commentary or lack thereof had or hadn’t signified, the fact of Warehouse agents lodging together, sharing beds completely platonically, was certainly nothing new.

This line of thinking had enabled Helena to distract herself by recalling a mission with Steve and Claudia, one in which Steve had announced, after checking in at their hotel, “Bad news. Just a king room left, but they said they’d bring up a cot.”

He had then immediately assigned Claudia to said cot, prompting her to protest, “No way! This situation screams rock-paper-scissors tournament! Loser gets the crappy night’s sleep!”

“No way,” Steve protested back, far more mildly. “The father of science fiction gets first dibs on the lumbar support, and my back’s got a decade on yours, so I call second. If that father agrees.”

Helena had. Sharing with Steve had been fine.

Sharing with Myka should of course have been no different.

Should of course have been...

But now, here in the impossible present, as Helena’s left arm slumbers and her right hand sparks, what should have been? Isn’t isn’t isn’t.

She needs further distraction, so she casts her mind again to Claudia and Steve, to the compensations they have offered her during this strange and estranging reboot: at first Claudia, who had welcomed Helena back so unreservedly and continues to offer wholehearted allyship; and then Steve, who had quickly become an unanticipated boon companion, a partner upon whom Helena has felt increasingly, and increasingly exceptionally, lucky to be able to rely.

And yet these compensations, though Helena hopes she conveys all appropriate gratitude for them, are never sufficient, for Myka—necessary yet unreachable—is always present.

She’d been so, even during that cot-delineated retrieval. Its aftermath had (so much for distraction) involved a significantly Myka-related incident, for Helena had dared, as she, Steve, and Claudia were relaxing in the hotel lounge prior to retiring, to broach Myka as a topic of conversation. As one might do, she’d thought: speaking about a colleague.

“I have an inquiry,” she’d phrased it. To make the ensuing question sound... scientific?

Dispassionate, she jeers at her recalled self.

She jeers also at what she’d said next: a too-bald, “How is Myka?”

She had known, even at the time, that what she had truly wanted was to say that blessed name, to speak about that blessed person. She could not speak to Myka in any meaningful way, and she was starving.

Steve and Claudia had then shared what seemed an extremely charged glance, so Helena hastened to dissemble, making sure to use questions so as to prevent Steve from finding her immediately untruthful: “Given that her liaison with Pete ended? They’ve... recovered, as it were? Both faring well?”

But her tone had struck her own ears as too bright; a desperation rippled behind it, and Helena knew from experience that behind that tiptoed a still deeper threat of rupture, which required work to be kept at bay. As Helena had been instructed by her most successful therapist to do when such awareness overtook her, she began to breathe with attention.

Neither Steve nor Claudia spoke as she did so.

When the danger passed, she smiled, as best she could, to signal to them her appreciation—and to herself, her success.

Steve then said, “You’re not asking about Pete.”

Helena valued—as a personality trait—Steve’s discerning willingness to push. She did not in that moment value how he thus so easily revealed a glaring flaw in her initial approach: she should have asked about Pete; with that as her entrée, the talk might organically have turned to Myka. Foolish of her to think so unstrategically... or was her failure to do so a paradoxically positive sign?

“Give it time,” Steve said, and Helena knew he was making no reference to Myka and Pete’s recovery.

“My relationship to time,” she said, with contempt. Time: she’d taken it. Now she had to give it? A forfeit. Well, that was fair.

Claudia said to Steve, “Speaking of, we’re wasting it. Are we gonna do the thing?”

“Only if H.G.’s on board,” Steve told her. It was an unexpectedly mind-your-manners utterance.

“What is the thing?” Helena asked.

“Claudia’s trying out alcohols,” Steve said. “We can’t do it around Pete, obviously, which means retrievals are our—”

“So many questions to answer, right?” Claudia interrupted, her avidity increasing. “You know, am I über-suave James Bond with the martinis? Or a fights-against-my-general-cool-geek-vibe Carrie Bradshaw with a cosmo?”

Helena had had no idea what she was referring to, but the investigation seemed entirely fit for someone her age. “What have you determined thus far?”

“Turns out cosmos don’t work for me,” she said, “as the prophecy foretold, and Bond-wise, I like a martini all vodka, no gin; sorry, Vesper.”

“Is that all?” Helena asked.

Further avidity: “Oh god no. Vodka drinks aren’t perfect: white Russians are way too sweet. Also in the white family, the wine category pretty much bores me. Also there was this one time Steve ordered a gin drink called a white lady that I couldn’t even think about because it had an egg white in it and one look made me retch.”

“Quite the wide-ranging experiment,” Helena said, hoping to forestall further off-putting description. “Not conducted with inappropriate... ah... intensity, one hopes?”

Steve patted Claudia’s shoulder, at which she rolled her eyes. “I’m supervising,” he said. “No more than a few tries in one sitting, and we’re doing it mindfully.”

Claudia abandoned her attitude and nodded. “Paying attention to what I’m tasting. How to find, you know, notes and stuff. Except for the disgusting egg-white thing, it’s honestly been fun.”

“I’m not opposed to fun,” Helena said, and she was a bit surprised—but pleased, and pleased to be pleased—that Steve didn’t squint in response. “So, Mr. Supervisor, what’s next?”

“I’ve been pushing for the wide and wonderful world of beer, but—”

“Seems too jocktastic,” Claudia said. “You know, ‘Beer me, bro.’”

“I don’t know,” Helena said.

“Anyway that’s really not me,” Claudia continued, as if Helena hadn’t spoken. She did have a tendency to ignore Helena’s ignorance, a tendency that Helena enjoyed and found frustrating in equal measure.

“Her beer perspective is severely limited,” Steve lamented.

“I myself have always found a strong stout ale quite enjoyable,” Helena said: her contribution to Steve’s cause. It was also true, the fact of which he seemed pleased to affirm with a quirk of lip and a quiet “so you have.”

Claudia’s expression remained skeptical, but she shrugged weakly and said, “I guess I could give it a shot?”

“Oh, because H.G. says so,” Steve twitted.

To that, Claudia squared her shoulders. “Yeah. Don’t you know who she is?” she demanded.

“Who I was,” Helena hurried to emphasize, “and given that Steve assigned me the bed on that basis, he—”

“Who you are,” Claudia corrected, throwing the emphasis back.

“And who is that?” Helena asked. What distinction did Claudia imagine was relevant?

“The person who told me my destiny was glorious. You’re still that guy, right?”

Relevant indeed. Helena was taken aback, indeed taken back to that extremity, back in a novel way. She had been so mired in the Myka of it all in the intervening time, that she had lost her view of the bright salience of Claudia’s presence. Wrongly. “I am,” she said. She hoped Claudia believed her.

“Okay,” Claudia said. “So I’ve got this big-as-Pete’s-biceps incentive to hope the stuff you say is true. And by the way, one of you has to casually drop in front of him how I said that, because I want the points.”

Steve snickered and said, “I know my job. But in the meantime, I think I’d like to toast to all these sentiments, and to the agents offering them. With a strong stout ale.”

They tasted the three strongest the hotel bar had on offer, and Claudia pronounced that her favorite, one purporting to convey roasted notes of coffee, chocolate, and other darkness, was “way too complicated for your average broseph.” Which Steve seemed pleased by, as a judgment, so the overall experience scored a success.

There was no further talk of Myka, however, the avoidance of which topic seemed quite deliberate... as if Steve and Claudia had determined that Helena would not benefit from it.

Or that she did not deserve it.

For the best, Helena had concluded. Either way.

Now, in a similar “for the best either way” sense, she makes to raise her hand, with that intended overlay of feigned sleep, so as to shift away and at last regain equilibrium, restoring feeling to her sleeping arm and calming that oversensitive hand. But instead—in what she can interpret only as a stupidly id-driven attempt to bank some never-to-be-repeated sensation, to the memory of which that desperate id might cling in a touch-deprived future—she moves her hand, not away from Myka, but further down her leg.

And her worst fears are instantly realized: Myka’s body reacts violently, as if in revulsion at the very idea of Helena touching her.

It was only a hand at rest, Helena begs, with no conception of why or to whom she is rendering that supplication. That was all.

Alas, that was—is—not all, for in the next split second Myka is falling from the bed and crying out in pain.

Helena, at a loss, attempts a faux-innocent inquiry, which Myka answers unintelligibly. In trepidation, Helena ventures to the mattress-edge, then lowers herself to the floor next to Myka—and she is appalled, for the situation that confronts her is all debility, even more so than the absurd “my arm is asleep” with which this farce began: Myka’s shoulder is dislocated.

Further, Myka is now unconscious.

Spare Myka pain. How utterly unsurprising Helena finds her inability to obey such a dictum in even this most basic physical sense.

Unsurprising... worse, dispiriting, and it brings her low, such that again the incipient rupture asserts its subterranean power, urging Helena to give up, to run away and leave this broken Myka to someone else to bind up and save.

You’ve done it before.

That resounds in her head as both accusation and affirmation, and the voice pronouncing it might be Myka’s, or some deity’s, or that of any of the other personages who jockey audibly for primacy in that space, including Helena’s own.

She initiates breathing with care, even as an eddying undertow tempts her to entertain the notion that escape, too, might be rebooted, tempts her to entertain and revel in its ostentation as a response to Myka’s indifference, her rejection of history, even her revulsion.

Here is my answer to all that, a departure would declare.

Helena labors to breathe herself away from such perfidy, but the scenario creeps along, with an undertone of sinful relish, as she imagines leaving Myka to awaken alone and in pain.

But then—because her labor leads her there—she further imagines the various permutations of “someone else” who might be called upon to save the day in her absence. Whereupon the thought strikes her that moving through time nondestructively requires her to think seriously of, and to think seriously out, such knock-ons... how, for example, would Steve and Claudia respond to having to clean up this mess, knowing that Helena had made it?

Moving through time nondestructively. Interesting, here, the overlap with moving through time selfishly: selfishly, she does not want to destroy Claudia’s image of her as someone whose opinion matters. She does not want to destroy Steve’s image of her either, for it seems to have at least some positive components. Further, she does not want to destroy the fellowship they three are building.

If for no other reasons than those, she concludes that having caused this quite specific damage, she must fix it.

Because she can.

The fact of the matter is, Helena cannot fix most things. She has tried mightily to maintain the pretense that she can... but she has been forced over and over to confront the absurdity of that bravado. This very specific fix-it, however, she can perform. And while that performance—inconveniently, in the present circumstance—requires touch, here it can be functional. Perhaps in success she might in some way efface her earlier invasiveness...

Yet she can do nothing without two functional arms. She thumps her still-insensate left against the bed, hard—too hard, for Myka’s eyes open. She mumbles out something Helena decodes as “whatareyoudoing.”

“Preparing to remedy a situation,” Helena says.

“Okay.” Myka murmurs. She seems oddly comforted by the answer, to such an extent that she relaxes, losing consciousness again.

That’s fortunate, given the required manipulation.

Helena prepares herself to do it quickly, efficiently, as she has done in the past... rather dramatically on one occasion, as she recalls, for an agonized Wolcott... but she should not think of Wolcott. For the regret.

She sets that aside, preoccupying herself instead with the necessary activity. Her manipulation, determined and strong, is rewarded: what begins as a sluggish resistance resolves into a slip-pop of relocation, one that shudders a familiar path through her own bones. She then cushions Myka’s arm with a fresh towel and uses a pillowcase to fashion around it a tight sling.

Levering Myka up onto the bed would most likely cause further injury, so Helena sits beside her on the floor, ensuring periodically that she continues to breathe. The wait is calming, cleansing, its peace a renewal of a soothing activity of which Helena has been long deprived: observing Myka closely, at actual leisure. At no point since her return—so at no point in, literally, years—has she had such an opportunity.

She’s reminded, in that observation, of the true fundament: this precious person. Who could never be merely some flesh.

After a lengthy time, during which Helena is pressed to consider, to remember, to value Myka’s singularity, that precious person’s eyes flutter open.

That person tests her bound arm, a tentative physical investigation that approaches elegance in its delicacy.

But Myka’s delicacy and elegance, too, Helena should not think of. For the regret.

“I’m not in the hospital,” Myka burrs.

Reasonable, practical. This is what Helena should think of. “Not yet,” she says. “But we’ll go if necessary. If you’re in pain.”

Myka’s face contorts. “Not if. I am. Some. More than some. I’m sorry.”

“For being in pain?”

“That. But also, for changing this whole thing.”

Helena leaves the latter alone, for she cannot begin to interpret it. Focusing on functionality, she asks, “Can you dress yourself?”

Myka nods, but she winces far too much with even that motion, so Helena screws her courage to it and says, “I’ll change and then help you.”

Herself, fast, then Myka: Functional, she snarls internally as she addresses the situation, and even faster. She’s relieved to find that Myka’s trousers and boots are less complicated than she’d feared, and as it happens, preventing Myka suffering additional physical pain—even while undressing and redressing her!—is, paradoxically or not, far easier than navigating emotional shoals, or even hand-on-hip physical shoals. Focusing on Myka’s face for twists, listening for labors in breath, adjusting accordingly... it’s distractingly, satisfyingly concrete. Only the present moment matters.

Only the present moment matters. This is the mantra Helena iterates internally as they proceed to the nearest urgent care facility.

Yet as they wait there for attention, Helena finds herself increasingly unable to ignore why they are waiting there for attention. In the present moment, which matters. She begins—or does she intend it as an ending?—with, “I’m assuming you flung yourself to the floor in an attempt to escape a circumstance.”

Myka hiccups a laugh that makes her cringe in protection of the shoulder. “That’s weirdly accurate. As an assumption.”

Helena recoils at the confirmation, but she must acknowledge it. “A circumstance in which I touched you in a way that was unwelcome,” she agrees, with gloom.

“Unwelcome,” Myka echoes.

It’s so... definitive. It was one thing for Helena herself to think it, believe it, say it aloud. Quite another—though it shouldn’t have been—to hear it from Myka.

A punctuating end to what never truly began between them: there is some consolation, if only philosophical, in the idea that after so many starts that were false, they may at least enjoy a finish that is true.

“Of course it was,” Helena says, following with, “and how could it have been otherwise.” She puts the final period upon it by adding a bare, spare dig: “Given history.”

Myka closes her eyes... in acceptance of the cut? When she opens them, they are glistening. Tears? Helena is egotistically gratified by such a response, never mind that it means she has yet again failed to hold to her resolution.

“Helena,” Myka says, and now Helena is gratified simply by Myka’s low utterance of her name. Myka does not always use that deeper voice, and Helena does love (yes, love) the rare pleasure of hearing her name in it. “I’m so tired,” Myka says next.

That is less gratifying. It’s yet another utterance Helena should leave alone; of course Myka is tired. But in what she is sure is a mistake, Helena says, “Of?”

“Everything. But particularly, you.”

A dagger, that was. A cut back. Testimony to Helena’s concatenating mistakes.

“This you,” Myka adds.

The additional twist of blade leaves Helena unclear on the devastation Myka intends. “Of course” is all she can think to say.

Myka closes her eyes and exhales heavy, a near-sob. “Sorry. Sorry. Sorry,” she intones, but what need has she to apologize? “That was the pain talking—or, no, I still know you well enough to know you’ll hear that wrong. What I mean is, I’m saying something I could keep holding back if the pain wasn’t cracking me open.”

The pain. Cracking her open. Which would never have happened in the absence of Helena’s stupid, thoughtless touch. Which in turn makes abundantly clear that the stupid, thoughtless person who applied that touch is the “this you” Myka means.

If Helena is to remain in this situation she must take measures, so she lengthens her inhales and exhales, entirely ashamed both at needing such a crutch and at having to exhibit that need.

After a moment of silence, Myka asks, “Are you breathing differently than you were just a second ago?”

Myka isn’t Steve. Helena could at least attempt to lie about this, to cloak her shame... but it’s effort, either way. “Yes,” she says, choosing the unpredictability of Myka’s interpretation over the unpredictability of her own performance.

“Is that good or bad?” Myka asks. “Or both?”

The questions stop Helena, stop her in the same way her at-leisure observation of Myka had. I still know you well enough, Myka had said, and it is true. This is why, Helena would say if she could. Your knowing to ask that.

But she can’t say it, and, worse, she doesn’t know what she should say. What should come next.

Apparently Myka doesn’t either. That not-knowing persists, hanging, until “next” arrives, as an intrusion from outside their suspension: medical attention is at last directed Myka’s way; she is escorted out of the waiting area and taken elsewhere.

“We’ll call you when you can see her,” Helena is told.

Alone in the waiting area—for no other human seems to have suffered damage this night—and uncomfortably situated on a hard plastic chair, she tilts her head back against a similarly unforgiving plaster wall.

She closes her eyes. She’s had no rest, no rest for so long. She is drained. Physically empty.

Philosophically as well.

She imagines trying to sleep... or rather, she imagines not trying to remain awake.

Doubtless futile, either way.

She next imagines constructing an airtight argument that could not help but persuade all who hear it—Myka in particular, but all others as well—that this entire situation is Artie’s fault.

Also futile.

This despite its being the fact of the matter, for indeed he did bring the situation about. Perhaps not in a proximate sense, but in the ultimate... the idea of which, after a moment, strikes her as both comic and tragic: Artie as the ultimate cause? Of anything, from the universe on down? Though he would doubtless like to imagine himself so... even at the Warehouse, however, he must be not even penultimate, given the bureaucracy that sits over the entire concern...

Helena thus spends the bulk of her time in the waiting area stewing about—stewing over? stewing under?—the relative positions of god, Mrs. Frederic, and various Regents in the universe. None of it, however, requires her to alter her breathing; rather, she composes in her head the opening paragraphs of several publishable monographs on these and related topics. It isn’t restful. But is evidence of something other than emptiness.

When someone does at last call her to see Myka, everything has changed.

Well. Not everything. Helena herself hasn’t, as her bureaucracy-pantheon thought may have been philosophically valid but made no difference.

Myka, however, has changed entirely: her arm is now professionally dressed, but more importantly, the knit of pain has left her face. “They medicated me,” she says, giving the word “medicated” a rapturous cast. “The X-rays said I didn’t break anything, so we’re waiting on results of a scan to see if I need surgery but in the meantime I feel better than I maybe ever have in my life and I am so happy to see you. All these doctors were like ‘why did she think she could fix you’ but I knew why and it was because it’s you. and that scan? It’ll shout out how Helena Wells relocated Myka’s shoulder so she didn’t need surgery, and they don’t know this, but actually H.G. Wells relocated Myka’s shoulder, which is even more amazing. Wait, that’s not more amazing. You’re the most amazing when you’re you than when you’re that guy. Even though I guess you are that guy. Sort of. Wait, Claudia’s been saying ‘that guy’ a lot now. And I cut and paste from her so much, but I don’t like it. The way things are.” She heaves an enormous sigh and blinks at Helena, as if she’s just re-understood that another person is present.

Is there some ideal way to answer this flood? Helena settles for an antiseptic “I’m pleased to see you out of pain.”

Myka gasps and flails wildly with her uninjured arm, which gesture eventually resolves into an index finger directed at Helena. “That’s it exactly. I’m out of pain. All out. No more pain to give. Particularly not to you. So saying I’m tired of you? I regret it, and I apologize for it, and I promise that’s the end of it. I was wishing to get something back, and you don’t want it back, and so I have to be fine. Without it. Without you.”

Without you. Helena supposes she should be impressed by how concisely Myka can foreshadow disaster. “Should I not... be here?” She braces herself for the answer.

“Of course you should. I have to be fine without how you were,” Myka says, very quietly. The collapse of her volubility gives Helena pause.

She knows it would be better not to probe; she ought to, as Claudia says, “take the win.” But “Of course you should” is only facially a win... “How was I?” she asks. To wound herself by making Myka clarify what has been lost.

“Oh, how you were...” Myka says, her words dragging. How much—any, all?—of this might be due to the varying effects of the medication? “Putting me into this story,” she continues. “It was so big, and I didn’t understand what it was, really or at all, but it felt so big. Yearning and tragedy, and there I was, still me, but in it, so in it, all in it, next to you. Bigger than life, and I... loved it? Needed it? Something to take me over. But my wishing for any of it back, when of course you don’t?” She raises that free arm, then lets it fall. Futility, it says. “So small. Only somebody little and desperate would want to make you revisit any of that.”

Medication effect or not, Helena can’t let Myka keep on with this. “Make me revisit it? Yearning and tragedy? I’m the one who inflicted that, and with malign intent; I damaged you. And I cannot imagine a scenario in which that debt is discharged.”

Myka squints. “Debt,” she says, as if articulating a new noun, but not one that names an abstraction; no, this thing is big and blunt, a dumb object that takes up space. Unfunctional furniture. That I carry on my back, Helena moods.

“Oh!” Myka then yelps, her tone shifting to excitement. “But I just damaged myself. So now we’re even!” She delivers that last bit big and broad, for all the world as if she’s the comic lead in a panto.

Helena has not spared a thought for panto in years. “That makes no sense at all,” she says, because it’s the case, but also to scorn the memory. This is no time for that past.

“Would you like me to dislocate your shoulder?” Myka asks, as if it were a reasonable proffer. Still comic, but now strangely sincere.

Helena meets this bizarrely compelling, ridiculous combination with as much severity as she can muster. “Honestly no. I would not.”

“I see,” Myka says, and she points again, this time without preambling flail. “Some prices you aren’t willing to pay.”

Helena can at the very least be honest about this. How nice it would be if Steve were here to verify. “Willing to... in the sense of volunteering to? No. In the sense of understanding that I deserve to? Certainly. So do me damage if you must. In particular, do me damage if you think it could even the score between us. It won’t, but if you think it could? Please do.”

“That’s pretty twisted,” pronounces the only arbiter who matters.

“You sound like Claudia again,” Helena observes. To push the judgment away? Yes, and she tries to make certain of it with, “Is that another cut and paste?”

“Maybe. But now that I think about it, she sees things pretty clearly a lot of the time. Don’t you think?”

“I would like to think,” Helena is compelled to admit. Hoist by her own petard.

At this point—suspending any resolution—a doctor reenters the curtained area. “Good news: no surgery,” she tells Myka.

“See, I told you she fixed it,” Myka preens.

“You did,” says the doctor. “Several times,” she adds, dry.

Helena says “I’m so sorry,” only to hear Myka say, at the same time, “Sorry not sorry!” Another echo of Claudia... this one, however, clearly heartfelt.

The doctor turns to Helena. “Don’t try anything like this again. You got ridiculously lucky.”

“That’s kind of her M.O.,” Myka says. “Except when it isn’t.”

The doctor sighs. “I’m pretty sure that’s my point. And listen, make sure to follow up with your local doc. They’ll prescribe a ton of PT, so brace yourself.”

Myka snorts. “Brace myself? Sure, but not for the PT; my boss is going to flay me alive.”

The doctor barely reacts. “Oh, maybe this one can fix that too,” she deadpans, directing an eyeroll at Helena, accompanied by a murmured, “not a suggestion.”

“Oh, she’s in for the flaying,” Myka says, with more than a little cheer. “If not for this, then for something. Eventually.”

The doctor shakes her head, eyes unfocused. “Good news for me: I don’t have to care.” She points at Myka: “You go to PT.” Now at Helena: “You don’t try to practice medicine.” At both of them, her eyes flicking back and forth with purpose: “Got it?” Helena nods; she senses Myka doing the same. “Excellent,” the doctor says. “Or whatever. I’m done with you now.”

She conveys with her rapid exit that interacting with both of them has been a most exasperating experience.

While Helena does not appreciate being chastised—and especially not for attempting to care for Myka—she does appreciate expertise. Especially when it contributes to Myka’s well-being. It’s a conundrum. “I find your doctor’s aspect strangely appealing,” she says. “Speaking of bracing.”

Myka grins. “I was totally thinking the same thing.”

“And yet I would practice that medicine again.”

“For me that’s good news.”

As they prepare to depart, Helena says, “I confess I’m curious as to what you intend to tell Artie.”

Myka offers a slight stretch of her right shoulder in the direction of her ear: the only version of a shrug available to her, bound as she is. “Maybe I should leave that to you. You’re the writer.” Forestalling Helena’s reflexive objection, she adds, “I know, I know. The research. The ideas.”

“And yet I don’t have any. I certainly don’t see a path to inventing anything that would—”

“How about I take your photo with that camera? Think that’d help?” This is accompanied by a different grin: sly.

Whither the warning? Or is this a test? Myka isn’t Steve, yet Helena goes with truth: “It might. With any number of things.”

“If only,” Myka says, inscrutably. “Anyway I intend to tell Artie that this is all his fault, because he sent us on this retrieval in the first place. Obviously I won’t say what really happened.”

While Myka bestowing such grace is not surprising, it moves Helena all the same. “Thank you,” she says.

Myka opens her mouth, then closes it. She does it again. This wait... it’s grace too. “You’re welcome,” she eventually says. “I mean I’m tempted to tell him how you saved the day—the arm—but I know I shouldn’t, because I don’t want to draw attention to the hotel charging us extra.” To Helena’s quizzical eyebrow, she says, “For the missing towels and pillowcase. Which I tried to talk the nurses into giving back to me, but they’d already tossed them as hazardous waste. Or something. Or maybe I’m just not very persuasive? Or clear in what I’m asking for?”

Helena would very much like to explain that her own answers to those questions are negative and affirmative, respectively: no, you are persuasive; but yes, you are unclear.

“On the other hand, they did medicate me,” Myka says, perking up. “I keep thinking it’ll wear off, but not yet!”

The consolations of intoxication. “To the delight of your shoulder I’m sure,” Helena says. To my delight as well, she wishes she were free to say.

Their return to the hotel room offers another “everything has changed” hinge: no longer a stage for new and awkward performances of politesse, the space is now familiar, a place they have reentered. For the next act of the play?

Myka, who has preceded Helena in, stops and sways—just a bit, but Helena instinctively steps close, taking her by the elbow of her uninjured arm with one hand, stationing the other around the curve of her waist.

She feels Myka’s breath catch at the contact; immediately, she curses herself, loosens her hold, and says a terse, “I’m sure you want to lie down.”

“More than maybe anything. Or, wait, no, not anything.” Myka turns and catches Helena’s eyes with hers, but Helena cannot use that gaze as the basis for any inference.

She backs away as Myka lowers herself onto the bed; eventually, she backs her way into the room’s one armchair. It lacks give. It also lacks arms at a height that might provide anything resembling support. Helena slumps down, trying to be grateful that it exists at all.

Long minutes pass. As in the hospital’s waiting area, Helena imagines trying not to remain awake.

Similarly futile.

She chances a glance at Myka, who meets her eyes again and says, “That looks uncomfortable. Or what I mean is, you look uncomfortable. Which honestly is pointless, unless you’re doing some hair-shirt thing, because we’ve got this big bed. Not a lot of hours before we have to leave it, but we’ve got it for now.”

“That went poorly before.”

“I think circumstances have changed. Don’t you?” Weighted.

Circumstances are always changing, Helena could say. Usually for the worse. Instead she ventures, “You’d let me lie down with you?”

“I never wouldn’t.” Myka squints. “Wait. Did that come out right? Anyway, yes.”

Medication: not yet worn off. “You’re sure?” Helena asks.

“I’m pretty sure this bed is almost as big as a field where Pete’s favorite sport happens. It’s at least as big as an ice rink anyway, and those aren’t small.”

Helena refrains from pointing out that that was no help in the previous disaster. She doesn’t, however, appreciate being able to recline. For the first while, the fact of being beside Myka is less relevant than the slow loosening of her lower back and hips.

 “Can you sleep?” Helena asks, as they are both evidently lying with eyes open to the ceiling.

“Not now,” Myka answers, and the sentiment seems clear: not after all of this. All of this with which we must deal.

The bed first, perhaps.

She turns to look at Myka, if minimally. “Did you request a cot?” she asks, because she doesn’t know. Because the answer might reveal... something?

Myka’s eyes widen. “Oh my god I should have,” she says. Stricken.

“Why didn’t you?”

“It didn’t even cross my mind.” She’s talking more to herself—or perhaps to the room at large?—than to Helena. Is this continued evidence of the medication?

“And do you know why that is?” Helena asks, hoping for that revelation, even if drug-induced.

“Honestly I think I thought I was being given an ultimatum. Like it was something I had to be fine with or else.”

“Fine with ‘or else.’” Helena means the echo as rueful agreement.

But: “Sharing a bed with you. Platonically,” Myka says, taking it instead as a request for explanation.

“Platonically,” Helena scoffs, unable to avoid the idea that agreeing to accept that adverb would, paradoxically, usher in others. (Passionately.) (Speaking of paradoxically.) “That word is so often misused.” It’s a push-off. A push-away.

“But I’m using it correctly.” Myka sounds not offended, but rather self-satisfied.

Fine. Harden the position. “You are not referring to our consciousness rising from physical to spiritual matters.”

“Well... but how about love for the idea of good? As a path to virtue?”

Myka is well-read. In this moment, that fact is not entirely pleasing. “I suppose we were both attempting to be courtly,” Helena concedes.

“I mean I’ll grant you that nobody ended up transcending the body,” Myka says. Helena is about to agree, to snap away from churlishness, to express regret and apologies, when Myka exclaims, “Hey! I just had the best idea for a joke. So you’re not a hologram anymore, right? So you know what you were trying to be? Last night, in bed?”

Jokes. They confound Helena nearly as completely as metaphors do Steve. “I have no idea.”

“A Platonic solid,” Myka declares, triumphant.

Helena is mortified to find that in this case, she “gets it.” “Myka,” she sighs.

“Too soon? But come on, it’s not bad!”

“Alas, it is.” This quality, Helena can recognize.

“Right, but the good kind.”

Helena is not made of stone. Or bronze. How much easier everything had been then, sans choice and sans reason... and most importantly, sans the near-irresistibility of this one human. “I did always enjoy the word ‘icosahedron,’” she tenders.

“See,” Myka says, now in indulgence rather than triumph. “Pretty sure you have more than twenty faces though.”

“You do as well. Some revealed only under the influence of opioids.”

“Here’s one I don’t think I’d have the guts to use otherwise: my explain-it-to-you-using-words face.”

“Explain what to me?” Helena asks. It’s a surrender. She should better have said she did not wish that face revealed, but that would never have stopped a determined Myka.

“Why I flung myself to the floor.”

“I thought that had been explained? You were attempting to escape a circumstance.”

“First, the flinging was more involuntary than an attempt. And second: your hand.”

“Perhaps you don’t remember”—a strange thing to say to Myka—“but we had this conversation previously.” Helena does not want to have it again.

“Not this conversation. In that one, you drew the wrong conclusion. Or relied on an invalid assumption. Actually both of those. Anyway, your hand.”

“Please stop saying that,” Helena requests. Begs.

“Fine, I’ll finish the sentence: Woke up every nerve in my body,” Myka says, causing Helena to cringe and wish she could this very instant construct a truly useful time machine so she could fly backward, overleaping this latest passage so as to muzzle Myka before she could say that, because she believes it but knows it leads nowhere functional. To her continued mortification, Myka carries on, “Woke them all right up.” This, she says rhapsodic. Helena feels that tone in her gut, a hot twist of something she deserves as pain, but that manifests, shamefully, as pleasure. “Then your hand moved, and it shorted out the system—my system—and I fell out of bed, and the rest is history.”

“On the contrary, the rest is quite present.” Helena tries pushing all of it away, striving for detachment. For function.

“So, your hand,” Myka says again.

Helena raises the offender. “Also present.” Detachment. Humor, even; pushing, pushing, pushing. Trying to maintain.

“No, I mean why,” Myka pushes in turn.

Helena bats back, in faux innocence, “Why is it present?”

“Why was it present. On me.” Low now, her voice, just as compelling as, and even more commanding than, when she uses it to utter Helena’s name.

“I have no excuse,” Helena says.

“I don’t need an excuse. I need a reason. Do you have one?”

“It isn’t exculpatory.”

“As long as it’s explanatory.”

No escape now. No excuse, and no escape. “Here is my reason: I wanted to touch you. So against all better judgment, I did. Intending only that, nothing more.” Myka’s response to these words is an exhale. Loud. Unlike the hospital sob, however, this is slow and controlled. Helena allows a decorous pause, but no words ensue, so she goes on. Myka deserves an explanation that is complete. “But then I found myself unable to... un-touch you. Competently. And the rest will at some point be history, upon which I will never cease to look back and berate myself.”

Waiting for whatever may come next, Helena feels exhaustion inch through her, infiltrating her eyes, limbs, brain, sapping every vestige of energy... her surrender to the creeping leach is imminent when Myka says, “I like that reason.”

All right then. Awake and aware. “You do?”

“You really can be impossible to talk to. Listen to me: if I did that—touched you—I would find myself the same. Unable to un-touch. Do you understand?”

What would be the cost of abandoning her resistance? “I don’t know...” she begins, then reverses course and begins again. Truth, never mind the cost. “Yes. I do understand. But I don’t know what to do about that.”

Myka turns her head full toward Helena, twisting her long neck. Helena turns her own head, but that isn’t enough, so she shifts onto her side—her left side, punitively aware that it will be weeks before Myka can turn in such a way.

They look at each other, Helena both knowing and fearing how her guilt must freight her gaze. Regarding Myka so close, looking now into eyes that are open, is a boon she does not deserve.

After a time, Myka says, “I know what I want to do.”

Her intent is abundantly clear. The entirely of Helena’s being balks, stranding her again in Boone: if she makes a move for the momentary better, it will most likely end worse. She cannot find the... courage? or is it foolish disregard for consequences?... to reach for that moment of joy. Neither, however, can she find the discipline to dismiss its possibility.

“But I also know I shouldn’t,” Myka says, breaking with clarity into Helena’s indecision.

Well. Helena can certainly see the wisdom of that, so perhaps at last they are approaching a real accord that will render all hopes and wishes moot, so that neither courage nor discipline features in the—

“I can tell the meds are messing with my head,” Myka says, “and if there’s one thing I want to remember in picture-perfect detail, it’s this.” She moves her right index finger near to Helena’s lips, then withdraws it.

Unable to un-touch. That withdrawal reaffirms that Myka believes what she says. “This,” Helena echoes, mesmerized.

“So I’m going to wait till tomorrow to—listen to me saying it out loud—kiss you. For the first time. I want to be all there when it happens.”

There is a practicality to Myka’s thinking, and to Myka, that Helena worships. She tries to match it with a bit of her own: “If it happens.”

Myka’s jaw drops. “Come on! I said it out loud! It’s real now!”

“It’s been real for some time, hasn’t it? But I’m being realistic about the circumstance. You might not remember that you wanted to.”

“Seriously? I’ve remembered it since we met.”

Helena has remembered it just as long. She has. Denying it is pointless. But she has a larger concern, and though this is the wrong time to address it, perhaps medicated Myka will afford an unfiltered read...

“Or you might think better of it.”

“Of kissing you? I don’t think so.”

“Of what could ensue. The possibility of a... relationship. Between us. What if it doesn’t work?”

“Relationship.” After she says the word, Myka’s lips part and close, as if the very word is savory. “What if it does?”

It is savory. However. “I’m asking as a practical matter, not philosophically. I’m constrained: I can’t leave again. That’s why I came back.” The thin strand to which she is clinging... refraining from attempting to rekindle an intimacy hasn’t been only to keep Myka safe. It has also been to keep the Warehouse safe for Helena herself to inhabit.

“Then don’t leave again.”

“But what if that means you do?” This is not philosophy either. This, too, is history.

“If I do, then I do, but I’d like to think I won’t. We’ve both had our walkaway crises, and they didn’t take. So if it doesn’t work, we put it behind us like adults. If Pete and I could, then so can you and I. But I’d rather not have to. So let’s be careful.” She pauses. “Breathe however you need to.”

The words are an embrace. A physical clasp might be more galvanizing, but right now, Myka is managing just fine with words. “If this works, it will be because you say things like that.”

“Good news, because I mean things like that. And I intend to keep saying them. Hey, speaking of saying, do me a favor and write down what I said just now, about the adults and the careful, because I want to remember it.”

Sluggishly, Helena ideates rising, going to the room’s desk, finding logo-bearing paper and pen, writing...

****

Helena and Oscar are in a salon. They are engaged in a dispute regarding choices and consequences. Helena is standing at a lectern, and Oscar is reclining on a lavishly upholstered chaise longue, kicking his right leg such that its calf bounces in a languid little rhythm against the low cushioned edge.

Kick. Kick. Kick.

“The choices that create a circumstance will not, repeated, resolve it satisfactorily,” Helena says. Is she reading from a monograph? “As we see in the case of your own Ballad of Reading Gaol, do we not? And yet injury need not lead inevitably to future debility, so clearly some choice in the matter is—”

“Helena,” Oscar says, interrupting her monologue. “Helena,” he repeats. He sounds nothing like himself, but rather someone else, and Helena is straining to connect the voice to the correct person.

Kick. Kick. Kick.

“Time to wake up,” Oscar-as-someone-else admonishes. Encourages?

“I know,” she tells him, hugely frustrated, fighting. “I’m trying.”

His impassive mien is no help. It never was.

Kick. Kick. Kick.

Trust Oscar to cast some part of himself as the pendulum of a particularly annoying clock—

“Seriously, wake up,” Helena hears, and consciousness jolts at her: Myka’s voice.

Oscar dissolves. Into laughter or tears, no doubt, as he was wont to do...

Helena’s eyes open, meeting Myka’s, and she is brought back to it all: the hotel, the bed; the shoulder, the hospital... then hotel again, bed again... and finally words, as if for the first time.

Myka is lying on her right side, facing Helena. Her eyes are bright, her gaze intense.

“Are you in pain?” Helena asks.

Myka leans forward, as if that were a signal. The signal: for Helena is the astonished, grateful, transported recipient of a kiss, a first kiss—the first kiss—one that is swift but soft, gentle, genuine. Like morning... “Better now,” Myka says when she pulls back. “I’m going to brush my teeth. Stay there.”

Better now. Not lost on Helena are all the ways that signifies, including: better that this happened now than at some point in the desperate past. Then, such a kiss would have been a tragic wish for all they would never have. Now, instead, it can stand as a reward for having survived all of that, as well as, universe willing, a mark of embarkation.

By the time Myka returns, Helena has sat up, stationing herself on the edge of the bed. She has also realized that she must apologize—for they should not embark on this new voyage with yet another of her many faults unaddressed. “You charged me with writing down part of our conversation. I didn’t. I fell asleep instead.”

Myka hesitates before joining her on the bed’s edge, clearly considering which arm should be next to Helena. She chooses the functional right. “It’s okay. Even if I don’t remember exactly what we said, I remembered what we needed to do.”

“Needed to,” Helena reprises. She could supply words of her own, but why? Myka is saying the ones that matter...

“Needed to,” Myka affirms. “So where were we?” She raises her useful hand to Helena’s cheek, cradling. Helena leans into it, saying nothing, because silence now says everything.

This is a longer kiss, more wandering, more suggestive of possibility, more likely to lead to such possibility... Helena is the one to this time pull away. “A place quite new,” she says.

“And yet I’m pretty sure we’ve been headed here all along.”

“It wasn’t inevitable,” Helena says. She is thinking now of dream-Oscar, who is slipping from her mind, dropping, like a poorly initiated painting, but he must have obstreperously been maintaining something about inevitability. He always did.

“No,” Myka agrees. “And it still isn’t. So let’s be careful.”

“You remember that part? Despite my stenographic failure?”

“Even if I didn’t—but I do—I’d know it’s important.”

Helena turns and touches her right hand to Myka’s right hip. She would certainly not be able to do this now if she had not done so in the night... the night’s ontogeny recapitulating the phylogeny of their shared history. Myka covers Helena’s hand with hers, and there is healing in the simple fact of their sitting. But eventually that is not enough, and another kiss ensues, longer still, and lips outweigh quiet hands—or no, lips add to quiet hands, but hands are not content to remain so calm, and so this continues and might continue—

Myka makes a noise that is clearly not of pleasure; she moves entirely away, her right hand pressing protectively at her left shoulder. “We’re going to need to be careful about this stupid shoulder too. I’m so, so sorry.”

“You’re sorry? I’m the one who can’t keep my hands to myself.” Ontogeny, phylogeny.

“It’s not like I’m some paragon of self-control... and I am sorry, because I’d like to be able to participate fully. But also I’d like to not have to hurry on account of catching a plane. In good news, eventually my shoulder will heal. I know we can’t stay here till then, but...”

“It would help,” Helena supplies.

“If only because we have to come up with how this supposedly happened. I still think maybe I should take your picture. Or you could take mine? Because by the way, here’s a funny thing: I was trying to write a novel.”

“You were?” More that is new... “Speaking of icosahedra,” Helena notes.

“I want to tell you about it.”

“You do?” Trying to convey her incredulity. That Myka would allow her such... access.

“I want to tell you everything. But in the meantime we have to tell Artie something... I guess we’ve got both flights plus the layover in Denver to get our story straight.”

Stories. Narrative. Novels? “But we’ll tell Steve the truth. Won’t we?”

“Of course we will. And Claudia, right?”

“Also necessary. Although most likely mockery-inducing.”

Myka smiles. It’s a sunrise. “Stress testing. If we can take it from her, we’ll be fine. Then again we might need the time on the planes to rest up for that.”

“Weren’t you able to sleep, this past while?”

Myka shakes her head, and just as Helena opens her mouth to express regret and apologize again for her own sleep, Myka silences her with a kiss, one that lingers, lingers, lingers... still half against Helena’s lips, she says, “The un-touching part really is difficult. But don’t worry about my not sleeping: for the first time in a long time, I was happy to be awake.”

END

#bering and wells #warehouse 13 #fanfic #Asleep #part 2 #B&W holiday gift exchange #kla1991 #also anniversary! #which this year arrived a bit unexpectedly #so I decided to do this mashing up of occasions #because I apparently cannot work fast or well anymore #but as for this story #something something sleep and wakefulness #and when one finds oneself in those states #and whether one recognizes the state one is in when in it #or when finally out of it #and of course there are also the transitions

[transsexula]

Some Christian popped up on my dashboard this Easter, and I'm still unsure how. Their post detailed the story of Jesus and the "historical facts" of the situation. While I'm not a theology major or anything. I do have enough well-researched information to disprove multiple of their claims (such as the Bible being written within 25 years of the events they describe)

But. As soon as they are confronted with facts that do not align with their beliefs, it's like they stick their fingers in their ears and start sob-screaming "LALALALALALALALA" so they can't register anymore. It's kinda horrifying how quickly they shut down, and their minds flip into a feedback loop.

No matter what you say. What tone you use. The wording used- it doesn't matter. As soon as they realize they can't refute what you're saying, and that what you're saying shakes any core pillar of their belief system- it becomes not a "hey, maybe I should do some more research to back up my claims and/or find the actual truth" but instead a "you won't even CONSIDER my position why is it so scary huh??? You scared Jesus is real and I'm right???? What's so scary about the lord Jesus christ????"

My guy. Nothing. Absolutely nothing is shaking, shocking, or new that you are saying. I'm actively telling you that you need to try harder, because your "proof" takes logical leaps so fucking wide, I'm convinced you've fallen INTO that gap.

Idk, interactions like this remind me of how thankful I am to not be wrapped up in this circular logic bullshit. I'm so glad I had the brain power as a child to see how much horse shit adults were hawking at me.

I mean. My whole journey out of Christianity started because of how these people are. I looked around at family, at friends, at respected leaders, and asked why every reason they pointed to sucked so damn hard. You ask a simple question- "what proof do we have on our side? What can I use in this spiritual war against the enemies to show them they are wrong and the church is right?"

Suddenly, you get told to shut up. Some of the bolder ones tried to convince me- there's science behind it. Here's a creationist website. There's history behind it. Here's the bible- The same book we are trying to prove is the written word of God. Here's apologetics. They all point to the Bible and blind faith. Stories aren't grounded in reality. The creation scientists lie. The supposed Christian historians destroy context for artifacts so they can buy and trade religiously important museum-worthy archeology finds. Christian parents want to ban books. My church doesn't want me reading anything other than the approved list. Why do you have so many questions kid? Just stop asking. It's making everyone uncomfortable. Just have faith. Just stop asking, you don't need to know, leave it in God's hands, have faith. Stop asking questions. Why would you question that? God said it, it's true. That's how this works- hey! Wait! Why don't you want to listen to this Sundays sermon? It has the truth you seek. It doesn't matter that the pastor is raving about his own politics again. Maybe you should just try a different church- hey, why do you have questions again? Maybe this isn't the denomination for you. Everyone knows baptists are a little crazy. Try seventh day adventist teachings. Not for you? Did you grow up catholic? I'm sure you just didn't find the right truth. I guess you aren't trying hard enough. Wow I can't believe you're such a non-believer. I can't believe you've lost faith. Why so many fucking questions? Again. Just look at the Bible. No stupid. Not THAT bible. The other version is the correct version. Hey why do you keep asking questions-

#anyways i was a little autistic kid who was SO religious #it was a special journey for me. you really cant say i didnt try literally everything to understand and have faith #i did the work! and sorry but your religion has jack and shit ! #it would be cool if more christians actually spent time reading the real confirmed history weve been able to uncover #because while we cannot prove god or jesus as a divine being. we have a lot of cool historical stuff surrounding some of the events depicted #and thats neat!!!!! #but again christians like to point at the smallest thing and take it as the single pillar to prove god is real #like okay debra. just because the bible depicts bread and bread is real doesnt mean the bible is automatically 100% true #i also use real things in my fiction stories. that doesnt make sky whales and mermaids real tho just because i wrote it #anyways imma stop ranting about stupid shit and go back to sleep

[amaraudermind]

And like.. my headcanons for dick are so very specific and almost certainly projecting to some degree but I also can like. Point to a comic and go this is where you can find evidence that supports my claims you know. Like yeah I am sooo projecting about the aro ness of it all but like. The idea that he knows there's nothing inherently wrong with not having a romantic relationship but also having internalized that romance could fix what's wrong with him is something I could definitely support with at the very least his solo series in the nineties. And that series also shows that he has to actively put thought into the idea of having a romantic relationship because it's not natural for him but he thinks that's a flaw and a failing on his part. And I could reference back to ntt on the fact that he internalizes and blames himself for every relationship downfall and the fact that he just has to do it better somehow. Like he treats romance like a skill to learn and master the way that seduction can be a part of a toolset and thinks that's how it always is. And like. The way he talks about falling in love makes it sound like a choice or a checklist. Even when he talks about how he could have fallen in love with Donna, but he's so glad he didn't because he loves her more than he ever could've as a lover. Not just because of how incredibly close they are but because romance has always failed him and he's so much better at friendships and I think he feels he would have lost her and so much sooner if he'd dated her.

Anyway I'll stop my insane rambling now but I know I'm right.

#the void screams #ohhh i am not tagging this one lads #this is rambling that is not getting to the main tags i am not that brave i do not want to argue with people about how #OBVIOUSLY he's bi. or he's CLEARLY pan. do you see him. #because like. first of all i don't believe even current dick is bi/pan i just canNot see it ykno #but also i understand that New52 and rebirth and beyond has a lot of grounds for dick being hypersexual and whatnot and that's what people #are basing ideas off of. and then they can take individual older stories to further prove their point. which i GET. #but also it's just not true<\3 he's aroace i really really really believe it and i may be the ONLY one but i am going to cling to this #til i DIE #anyway

[burntoutdaydreamer]

To Write Better Antagonists, Have Them Embody the Protagonist's Struggles

(Spoilers for The Devil Wears Prada, Avatar the Last Airbender, Kung Fu Panda 2, and The Hunger Games triology).

Writing antagonists and villains can be hard, especially if you don't know how to do so.

I think a lot of writers' first impulse is to start off with a placeholder antagonist, only to find that this character ends up falling flat. They finish their story only for readers to find the antagonist is not scary or threatening at all.

Often the default reaction to this is to focus on making the antagonist meaner, badder, or scarier in whatever way they can- or alternatively they introduce a Tragic Backstory to make them seem broken and sympathetic. Often, this ends up having the exact opposite effect. Instead of a compelling and genuinely terrifying villain, the writer ends up with a Big Bad Edge Lord who the reader just straight up does not care about, or actively rolls their eyes at (I'm looking at you, Marvel).

What makes an antagonist or villain intimidating is not the sheer power they hold, but the personal or existential threat they pose to the protagonist. Meaning, their strength as a character comes from how they tie into the themes of the story.

To show what I mean, here's four examples of the thematic roles an antagonist can serve:

1. A Dark Reflection of the Protagonist

The Devil Wears Prada

Miranda Priestly is initially presented as a terrible boss- which she is- but as the movie goes on, we get to see her in a new light. We see her as an bonafide expert in her field, and a professional woman who’s incredible at what she does. We even begin to see her personal struggles behind the scenes, where it’s clear her success has come at a huge personal cost. Her marriages fall apart, she spends every waking moment working, and because she’s a woman in the corporate world, people are constantly trying to tear her down.

The climax of the movie, and the moment that leaves the viewer most disturbed, does not feature Miranda abusing Andy worse than ever before, but praising her. Specifically, she praises her by saying “I see a great deal of myself in you.” Here, we realize that, like Miranda, Andy has put her job and her career before everything else that she cares about, and has been slowly sacrificing everything about herself just to keep it. While Andy's actions are still a far cry from Miranda's sadistic and abusive managerial style, it's similar enough to recognize that if she continues down her path, she will likely end up turning into Miranda.

In the movie's resolution, Andy does not defeat Miranda by impressing her or proving her wrong (she already did that around the half way mark). Instead, she rejects the values and ideals that her toxic workplace has been forcing on her, and chooses to leave it all behind.

2. An Obstacle to the Protagonist's Ideals

Avatar: The Last Airbender

Fire Lord Ozai is a Big Bad Baddie without much depth or redemptive qualities. Normally this makes for a bad antagonist (and it's probably the reason Ozai has very little screen time compared to his children), but in Avatar: The Last Airbender, it works.

Why?

Because his very existence is a threat to Aang's values of nonviolence and forgiveness.

Fire Lord Ozai cannot be reasoned with. He plans to conquer and burn down the world, and for most of the story, it seems that the only way to stop him is to kill him, which goes against everything Aang stands for. Whether or not Aang could beat the Fire Lord was never really in question, at least for any adults watching the show. The real tension of the final season came from whether Aang could defeat the Fire Lord without sacrificing the ideals he inherited from the nomads; i.e. whether he could fulfill the role of the Avatar while remaining true to himself and his culture.

In the end, he manages to find a way: he defeats the Fire Lord not by killing him, but by stripping him of his powers.

3. A Symbol of the Protagonist's Inner Struggle

Kung Fu Panda 2

Kung Fu Panda 2 is about Po's quest for inner peace, and the villain, Lord Shen, symbolizes everything that's standing in his way.

Po and Lord Shen have very different stories that share one thing in common: they both cannot let go of the past. Lord Shen is obsessed with proving his parents wrong and getting vengeance by conquering all of China. Po is struggling to come to terms with the fact that he is adopted and is desperate to figure out who he is and why he ended up left in a box of radishes as a baby.

Lord Shen symbolizes Po's inner struggle in two main ways: one, he was the source of the tragedy that separated him from his parents, and two, he reinforces Po's negative assumptions about himself. When Po realizes that Lord Shen knows about his past and confronts him, Lord Shen immediately tells Po exactly what he's afraid of hearing: that his parents abandoned him because they didn't love him. Po and the Furious Five struggle to beat Shen not because he's powerful, but because Po can't let go of the past, and this causes him to repeatedly freeze up in battle, which Shen uses to his advantage.

Po overcomes Shen when he does the one thing Shen is incapable of: he lets go of the past and finds inner peace. Po comes to terms with his tragic past and recognizes that it does not define him, while Shen holds on to his obsession of defying his fate, which ultimately leads to his downfall.

4. A Representative of a Harsh Reality or a Bigger System

The Hunger Games

We don't really see President Snow do all that much on his own. Most of the direct conflict that Katniss faces is not against him, but against his underlings and the larger Capitol government. The few interactions we see between her and President Snow are mainly the two of them talking, and this is where we see the kind of threat he poses.

President Snow never lies to Katniss, not even once, and this is the true genius behind his character. He doesn't have to lie to or deceive Katniss, because the truth is enough to keep her complicit.

Katniss knows that fighting Snow and the Capital will lead to total war and destruction- the kind where there are survivors, but no winners. Snow tells her to imagine thousands upon thousands of her people dead, and that's exactly what happens. The entirety of District 12 gets bombed to ashes, Peeta gets brainwashed and turned into a human weapon, and her sister Prim, the very person she set out to protect at the beginning of the story, dies just before the Capitol's surrender. The districts won, but at a devastating cost.

Even after President Snow is captured and put up for execution, he continues to hurt Katniss by telling her the truth. He tells her that the bombs that killed her sister Prim were not sent by him, but by the people on her side. He brings to her attention that the rebellion she's been fighting for might just implement a regime just as oppressive and brutal as the one they overthrew and he's right.

In the end, Katniss is not the one to kill President Snow. She passes up her one chance to kill him to take down President Coin instead.

#writing #creative writing #novel writing #writer problems #writers of tumblr #writers on tumblr #writing advice #writing community #writing problems #fantasy writing #on writing #writer #writerscommunity #fantasy writer #writing a book #writing about writing #writing characters #writing villains #writing antagonists #long post

[csuitebitches]

Fearless Social Confidence: Strategies to Live Without Fear, Speak Without Insecurity, Beat Social Anxiety, and Stop Caring What Others Think - Patrick King book notes

Socially confident people:

expect to be accepted. When they meet strangers, they expect to make a good impression. They never approach situations thinking, “What if they don’t like me?” Instead they think, “I hope I like them.”

evaluate themselves positively. Socially confident people are encouraging, positive, and accepting of themselves. They give themselves leeway not to be perfect and don’t beat themselves up too harshly when they are not.

feel comfortable around superiors. Socially confident people feel comfortable because they don’t feel threatened, or that their flaws and vulnerabilities will be highlighted by the other person’s qualities.

With a lack of social confidence, you are usually choosing the thought that is cruelest to yourself.

when navy SEALs recognize that they are feeling overwhelmed, they regain control by focusing on their breath—breathing in for four seconds, holding for four seconds, and then out for four seconds, and repeating until you can feel your heart rate slow down and normalize.

Core beliefs: 

Steps in a thought diary entry can be arranged in the easy-to-remember A-C-B format—

Activating Event. Note down the event/ situation. This is simply the origin point of your emotional change. It’s whatever caused your emotional status to change from calm to agitation (a memory, a song, etc).

Consequences. In this step you identify the specific emotions and sensations that arose. These could be simple feeling words— “anxious,” “unhappy,” “sickened,” “panicky,” “melancholy,” “confused,” and so forth.

Beliefs. This is where the action begins. How do you link the activating event with the consequences? What unconscious narrative or story about yourself was told to achieve the consequence? (“What was I thinking?”  “What was going through my head when this happened?”  “What’s wrong with that?”“What does this all mean?”  “What does it reveal about me?”)

Now you’ve gotten to the bottom of your situation and figured out what your core beliefs are.

The first step is writing down one of the core beliefs you’ve just uncovered. Ask yourself what experiences you’ve had that prove your core belief wasn’t always true. Generate as many experiences as you can and be very specific about what happened.

Write down the core belief you’re examining.  Think of ways that you can put that belief to the test. These are actual tasks that you can perform.  Then, write down what you expect or predict will happen after conducting these tasks if your core belief was true.  Perform the tasks.  Write down what really happened after you completed your task.  Compare and contrast your predictions with what actually happened. Finally, document what you learned from the task and come up with a new, more reasonable core belief that goes in line with your discoveries.

Bushman’s results imply that sometimes the best course of action after being provoked to anger is to just sit quietly and let it pass.

There’s a direct link between social anxiety and negativity. A 2016 Australian research study showed that “elevated social anxiety vulnerability is characterized only by facilitated attentional engagement with socially negative information.” Obsessing over negative details—including by constantly talking about one’s problems—only reinforces one’s social fears and does nothing to inspire real confidence in a social setting.

Personalization is the mother of guilt. In the cognitive distortion of personalizing, you feel responsible for events that cannot conceivably be your fault. While it is admirable to take responsibility for your actions, there are things completely out of your control: the subway schedule, other people’s actions, and a million day-to-day factors.

Common cues of overgeneralization are “always” and “never.” When starting a sentence or a thought with “always” or “never,” consider whether you have the experience or evidence to back up the statement.

Other people aren't only what they are showing to the world. Most people put on a good show. But do you really know what might be going on in their private life? Take comfort from the fact that while there will be many people who are better at certain things than you are, there are also most certainly things that you will be better at.

If you are self-conscious and worried that people will judge you if you say something stupid or “off,” there's an easy workaround to that. The best approach is simple preparation. Create answers to predictable questions and conversations. Run that mental videotape in your mind about your past 10, 20, or 30 social conversations. I guarantee they are not all that different from each other.

Figure out the general questions that people will ask and the topics that will come up in normal conversation and be prepared with story-answers. For example, How was your weekend? What are you doing this weekend? How was your day? What do you do for work?

How can we ease ourselves into social confidence little by little? 

List the social situations you avoid. Ask yourself what kinds of gatherings or circumstances you steer clear of and write them all down in a list. Your list should include both physical situations—parties, family gatherings, work presentations, and so forth—and personal experiences that you don’t want to face.

Give each situation a SUDS level from 0 to 100.

Plan your goals.

Build your goal stepladder. You’ve planned a goal and have decided to start work. Remember, situational exposure is a bit-by-bit process.

#powerful woman #c suite #ceo aesthetic #personal growth #strong women #productivity #that girl #getting your life together #balance #Book #social #social anxiety #confidence #speaking

[lukecastellanshandholder]

I think that the one thing that I will always absolutely loathe the movies for (other than single handedly screwing up the whole plot of the story) is for making up that bullshit rule about Zeus declaring that no god can have any kind of contact with their children. That’s completely not true but now a huge chunk of people in the fandom believe that rule as canon( because most like to pick and chose what is canon and what is not, and sell head canons as being canon to the books ).

The only rules that are stated in the books relating to demigods and their parents is that 1). Gods cannot blatantly and outwardly help their demigod children during a basic quest (such as help them fight monsters or help them travel somewhere for the quest). 2). That as of the time right after WW2 the big 3 gods are not to sire any demigod children as part of their oath that they made on the River Styx (which Zeus and Poseidon definitely didn’t break ). Gods are still able to spend time with their demigod children and mortal lovers on times out side of quests. However, it’s seen as taboo mainly because the other gods use them having to much to do, and too many demigod children as an excuse to just not do anything for them. Not send them a birthday card, not a visit, and not even being claimed in most cases.

That’s giving the gods too much slack! People like to say "well, they’re gods. They’re trying their best." No they’re not! And this is what Luke’s character blatantly points out!

Hermes not even bothering to visit every once and a while? Hermes not trying to help in even any little way with Luke and May's situation? It’s a main reason why Luke becomes so angry at the gods and even thinks about saying yes to Kronos’ proposal.

And who is the example of what could’ve happened if Hermes would’ve done literally anything? Anything at all? Percy.

Percy didn’t like the gods and Poseidon very much in the beginning ( he doesn’t really like them much now but, you know) but Poseidon at least helps Percy in little ways that can fly under the radar of Zeus and the others. The Pearls to help Percy escape from the underworld? Tyson? Poseidon even crashes Percy’s birthday party ffs! Sure Poseidon isn’t there every time Percy scrapes his knee or fights a monster, but he still shows Percy that he somewhat cares about him.

All Hermes does is tell others how much he cares for Luke and "really truly loves him", but does nothing to prove to Luke that he truly cares. But it’s not just Hermes who does this, almost all of the gods do this! Why? Because they know that they can just say "oh, well I was busy and I tried my best" and others will just believe them and carry on. Or worse, they’ll take what the gods say to heart and demonize anyone who would try to oppose the gods so that it’s seen as a bad thing to hold the Gods accountable for the way they act.

And this is a clear example of the overarching theme that the gods are actually just an oppressive establishment that won’t ever really change unless it’s destroyed or overthrown.

In this essay I will…

#I swear that I’m actually going to write an entire essay about this series #one day #but seriously #it annoys me so much that the movies made everyone think this #and that now it’s harder for others in the fandom to see that the gods aren’t all good themselves #they’re just the lesser of 2 evils when it comes to the titans or giants #another rant about (mostly) Luke? #yeah but what’s new? #luke castellan #percy jackson #pjo #percy jackon and the olympians #pjoverse

[cerastes]

This is absolutely the Lack Of Reading Comprehension Website, but there's another issue I've noticed that I never see brought up, and it doesn't exist completely excised from lacking reading comprehension, but it's definitely it's own topic.

Tumblr's a Bad Faith Website as well. Like the above, it's not something exclusive to Tumblr, but it definitely defines it in my opinion. A lot of people want to be Right, and disagreements are seen by a bunch of people as something to "win" rather than something to "have". You'll have randos that frame their entire argument against you based on latching onto technicalities to try to prove why you are wrong rather than actually engage with your argument to try and propose something else or turn it around. As someone who was in a debate club during university, I call it "debate-poisoned people" who see arguments and conversations as a sport more than an interaction or, well, an actual conversation to be had, or in other words, that consider every argument as a debate to be had, when a lot of the time, it's not that deep fam, and also the other person never really agreed to play under your rules, because, here's the thing, a debate is a very specific kind of interaction. In a debate, bad faith interaction and trying to erase the very floor the other party is standing on is a valid tactic, it's part of the game. In a conversation or an argument, bad faith interaction and trying to erase the floor the other party is standing on gets you rightfully called a moron who cannot use inference or extrapolation to actually engage with the topic at hand. I had one such weirdo like a week or so ago, even, who used so many words to say absolutely nothing, that I thought I accidentally performed a digital necromantic ritual and had actually found myself face to face with the spirit of Jacques Lacan.

Even in more innocuous, non-hostile scenarios, this still applies: A lot of people are so, so eager to Be Correct On The Internet, that they'll reblog something with a correction or an opinion seemingly so hastily that they did not in fact read the entire post or comprehend it. This feeds into the lack of reading comprehension, but in my opinion, it does also have to do with seeing something that they believe they can correct, and immediately chomping at the bit to correct it without stopping for a second to ask themselves, "Did I read this right? Does this need correction?", and a lot of the time, it turns out, yes, you did not in fact need to correct it, you just had to read it a bit slower without letting your quickdraw hand get the best of you, cowboy. The way I consider this to be Bad Faith, even if it's not really hostile or confrontational, is the long-held belief that The Internet Is Inhabited By People Stupid Enough To Actually Think Or Say Something This Stupid.

I'll be real with you: Yeah, you've seen wild stories on the internet, plenty of them true, about how stupid people can be. No, they do not define the majority of people that aren't you. A wild, flabbergasting story about idiocy gets traction because it's funny and wild. We don't hear stories about how User A made a compelling argument that seemed stupid at first but then turned out that their rationale was incredibly sound as much, because that's not funny and wild and doesn't make us feel good about ourselves, because we'd never make such a stupid mistake. You aren't a sage wearing the floatie of wisdom in an ocean of idiots, no matter what your echo chamber and/or carefully curated internet space makes you think. You are not exempt from having to think about things, and you are not exempt from having to acknowledge people that know things you don't, people wiser than you are out there. This isn't "you are dumb as shit, actually", because I personally believe most people are smart, this is "you are being superficial and too eager to be Correct, which only works to your detriment in the long run and makes you a rather unlikable person".

It's as simple as engaging in good faith, even when you disagree or dislike the other party. Rip apart their arguments properly, instead of trying to disqualify them with cheap gotchas from the get go just because you want to own someone. Yes, sometimes people don't make sense, period, but that's absolutely not as common as people like to claim it happens. Inevitably, you'll run into someone that will actually call out your bullshit and there goes your entire argument. And in less intense settings, really, no one likes a pedant who really wants to be Correct on fucking Tumblr of all places.

[h4venpha]

i think i find comfort in vashwood because of their unwillingness to say outloud how they care and love for one another. like CANONLY, theres so, so much they dont say, yet their actions reflect everything.

i’m pretty sure i’ve spoke on this before but i like to think that they never say more than they need to because of the world they live in, the type of people they are, the type of upbringings theyve had. it all stems back to them not really feeling worthy of the love they are offered.

wolfwood who only thinks of himself as some fucked up modified killing machine and that he believes theres no chance someone as kind hearted as vash would see the good in him, or what little there is left of the good in him. he’s done nothing but kill, he could never redeem himself, and yet vash isn’t scared nor shuns him for it even with his pacifistic ideals.

vash who has seen the brutal truth of wolfwood’s being and still decides he loves him to the very end.

vash who doesnt believe he deserves any ounce of love or commitment because he only hurts those he gets close to. it’s happened before and itll happen again, like hes a walking time bomb and everything will blow up again and the people close to him will die no matter what he does. and wolfwood who canonly sticks beside him until the end! literally calls himself his guide.

vash who has never had true companionship in his 150 years of living, and wolfwood who follows him to the ends of gunsmoke.

just up until vol10, theyre still toeing the line of the relationship theyve created. but the exact moment vash shows up and chooses to prioritize wolfwood over going after knives (the fucking thing he’s been working towards since the big fall, over a hundred years ago) is the moment he steps past that line. its so extremely open and explicit, even wolfwood asks him ‘why are you here?”

while what he says here is true yes, it also sounds like “you cannot die, i’m here to ‘save’ you because i want to live.”

then to this when wolfwood knows and accepts he will die— the sheer HORROR on vash’s face when he realizes wolfwood wont allow him to save him.

few pages ahead, vash’s monologue starts and these old panels come up. “deep down, he had become very close to me.” basically implying that back then, during the ‘shoot’ moment, they weren’t really close. and when vash accused him: “you’re the coward here.”, “you give up all hope so easily”, it was almost surface level in a way? talking to him at surface level

but now, so many chapters later when wolfwood really does give up hope, vash, with all of his developed love through out the story realizes how differently he feels now. wolfwood made him put a fucking gun to his head (giving up hope), and vash who only scolded and accused him, vs vol10 where when wolfwood gives up hope, vash feels straight terror, that he’s really going to lose him. (also the inverted panel is just so gorgeous.)

the whole “isnt that right, wolfwood?” just proves my entire point that vash’s presence here in this fight steps over the line of vulnerability they had created. he knows how he feels, and he knows that wolfwood feels the same, even if hes speaking to him indirectly.

#im just rambling #okay #i dont know where i was going. w it #no fics u only get vashwood rambles sodrry #vashwood #vashwood angst #trigun maximum #trigun maximum wolfwood #trigun maximum vash #vash the stampede #nicholas d. wolfwood #vash angst #wolfwood angst #h4venpha

[msperfect777]

how to know you are only consciousness

⭐️part one of the understanding consciousness & non dualism series

you are consciousness. you are not the body or the mind or the ego or the thoughts or experiences; those are what you think you are, they are the false self because the real you is....consciousness.

nothing can exist without you being conscious of it first. things exist because you are aware of them and as consciousness, you are always aware and can only be aware. for example, you are aware of these words right now right? 10 seconds ago you were not aware of the wall or sky above you so it did not exist to you 10 seconds ago. most likely, you are now aware of the wall/sky bc i pointed it out so now, the wall/sky exists to you. you are consciousness/awareness and you are always aware of something.

since you are always aware and things only exist when you become of aware of them, the only thing you are is awareness = consciousness.

"you" are looking at your screen right now and "you" read these words but what is the thing that acknowledges or notices that the screen is there or that the words are there? consciousness, awareness. look at "your" shirt or hand or an object and tell me how do you know its there. you might say its because you see it with "your" eyes or you feel it on "your body" but that would be incorrect. you are only consciousness; you are not the human body. the shirt and words are there bc you are aware of them; you (consciousness) are observing them. i use quotations on the "you" to emphasize the fact that this human body is not you, that is your false self:

(human body, ego, emotions, thoughts = false self ; consciousness, awareness, the observer, imagination = your true self, identity)

let me give you another scenario: let say you cannot see anything, you cannot hear, touch, taste, or smell anything. you would still be aware and know that you are still present because you are always consciousness and you are always aware. the removal of the five senses and human body cannot remove the fact that you are awareness. the five senses do not matter because consciousness is all there is. if there was no human body, you would still be aware because consciousness / awareness is your true identity. think about it though: if there were no five senses, you would still be aware. this proves that the five senses are not you, the human body is not you, consciousness is what you really are and only are.

let me speak more about the human body and thoughts, emotions, etc. when "you" (your false self / human body) experiences pain, that comes and goes therefore its temporary. you, consciousness, is only aware of that pain and when you think you are the human body, you think that you are experiencing this pain which is false. let me give you a personal example: one day i was sitting on my couch doing my homework and everything was quiet but i got up and i kicked down my big ass metal water bottle that was on the floor and it fell over and made a really loud noise. since i forgot the water bottle was there and because i got scared of the sudden noise, i literally heard and felt my heart beating so loud. at the same time, it was raining quietly outside and i remember hearing my heart beating but i thought no, i hear it bc im aware of it so i turned my attention to the sound of rain outside (i became aware of the rain) and when i did, i literally didnt hear my heart beating anymore bc i was not aware of it and i was aware of the rain instead; my beating heart did not exist in that moment. then i became aware of my heart beating again instead of the rain and i heard and felt my heart again and not the rain.

the point of this story is that, that "pain" or "feeling" left once i was not aware of it anymore. it was temporary because my true self (consciousness) was not really feeling that pain; the false self felt the pain of "my" heart beating only because i was aware of it. same thing applies with thoughts, they are temporary, they come and go while consciousness never leaves. "you" think you are the one who thinks these thoughts which is false. why? ... because you are only awareness. these thoughts exist only bc you are aware of them. as consciousness, you can only be aware, you can only be the observer; you cannot experience pain, pleasure, etc. you only observe, be aware of that pain and pleasure. the ego is also the false self. ego = thoughts, beliefs, emotions. when you think that learning about non dualism is hard, that the ego that makes it seem hard to understand, thats not the real you (consciousness).

now you know that you are not the human body, you are consciousness that is observing, being aware of the human body and those so called experiences and feelings, etc.

© msperfect777

#nonduality #nondualism #non duality #non dualism #consciousness #conscious awareness #advaita #observer #spirituality #enlightenedconsciousness #enlightenment #self care #self love #manifesation #manifesting #law of assumption

[bunnyshideawayy]

a rumored bastard and a proven, disinherited, legally illegitimate recognized bastard are not the same.

Rhaenyra’s sons are rumored bastards, i know the show has a lot of team green stans feeling bold but just as in the books, they are never legally considered bastards in the show either. they are speculated to be via their physical features and Laenor’s apparent sexuality, but since Laenor and the KING (btw Westeros is a absolute monarchy, meaning the king IS law) both claim all three boys as legitimate heirs, unless someone demands a medieval dna test, those kids are legally Laenor’s true sons.

this is apparently a very hard concept to understand for some, hell even Alicent in the show says something like “we can all tell” which fair point, but that is not proof enough. looks, accusations, and rumor are not the same as actual proof of adultery or bastardy.

someone i was having a “discussion” with used Joffrey as an example to point out a flaw in my logic, but ultimately proved my point. Joffrey was a rumored bastard. Ned himself had no more proof than Alicent does, just hair color and a hunch, so Joffrey was never legally disinherited from the line of succession. I hate to defend either of these men but King Robert never publicly disowned him and called him bastard, which is why Joffrey ascended to the Iron Throne. now the rumors did hurt, and caused huge political issues leading to the War of 5 Kings, which is exactly why Alicent and Team Green is so insistent that Rhaenyra’s children are illegitimate, they know they cannot legally or physically prove her children are bastards, especially when Laenor and the King are claiming them are true born, but they can spread the rumor and call into question Rhaenyra’s honesty and morality. think episode 8 when team green takes their chance with Vaemond to attempt a coup of sorts for the Driftmark Throne, why would the succession of Driftmark need to be settled if Rhaenyra’s sons are true born? why would Alicent / Otto need to make this decision in place of the sick king and mia lord of tides who both had already been stating Luke would inherit for years. it’s all apart of the scheme to tarnish Rhaenyra’s reputation as Vaemond has no other proof either, and promptly loses his head (both metaphorically and literally) by calling the recognized heir to the throne a whore and her children bastards with no proof in front of the whole court.

it is a political scheme on both sides, Alicent cannot prove anything, and Rhaenyra cannot disprove the rumors no matter how many times they are claimed as true born sons. Rhaenyra has to live in the comfort the law gives her, as legally her sons are seen as legitimate, and thus legally they are protected. and from an unbiased pov with both in universe and historical references, those kids might be bastards in actually but not legally.

Rhaenyra goes through hell to keep her children legally protected, not only for their sake but for hers because should the truth come out both her and Laenor would be seriously punished, i wouldn’t go as far as executed but that would depend on if Viserys was old and bed ridden or dead. which is why im making this incredibly long post repeating myself in every point. you can argue all day about Rhaenyra’s children and their parentage but i am making this to make it clear that her children are not *legally* bastards by Westeros law. in order for Jace, Luke, and Joffrey to be illegitimate bastards Laenor, Rhaenyra, Harwin, and/or Viserys would have to publicly acknowledge them as such and disinherit them. no, Laenor and Viserys dying do not magically make Rhaenyra’s children legal bastards either. they would, again, need to be claimed and proven as such and disinherited.

and at the end of it all, true or not true, the rumors made a lasting impact on the story. so much so this fandom is still debating this topic, and frankly i am dreading the season 2 release when all the bad takes and bad faith arguments start up again.

anyway other famous rumored bastards are in Targ history are:

Maegor

Daeron II

#asoiaf #fire and blood #pro rhaenyra targaryen #show rhaenyra #hotd rhaenyra #book rhaenyra #rhaenyra targeryan #pro rhaenyra #queen rhaenyra #rhaenyra targaryen #princess rhaenyra #jacaerys velaryon #jacaerys targaryen #hotd jacaerys #prince jacaerys #jacaerys strong #pro lucerys velaryon #lucerys velaryon #lucerys targaryen #lucerys valeryon #prince lucerys #hotd lucerys #lucerys strong #lucerys and arrax #joffery velaryon #joffrey velaryon #joffrey targaryen #team black #hotd #house of the dragon

[jay-wasreblogging]

Okay but the way Sherlock kept reassuring Mariana that she doesn't need to do anything she's not comfortable with?? That he would do it instead so she wouldn't have to?? Like? EXCUSE ME SIRRR?? 😭

I hear the talk about Mariana and John this, Mariana and John that - but let's talk about Sherlock and Mariana!!

This case had Sherlock encouraging Mariana to speak up and NO don't say you shouldn't talk when you got smt to say to the team! Your input is just as valuable and needs to be heard!! You're a part of this team and this is a team effort!

And when they were about to find the bodies, the way he talked her through an extremely traumatic situation? 😭 That shit got me fr like yes what you're thinking is horrible but whether you like it or not it is true and we cannot change this to suit the reality we want, we can only accept it and continue from there - and he was kind!! He didn't look down on her or mock her for wanting to not believe what was true, because it was traumatic and something she wasn't accustomed to.

HOWEVER what I really loved was that she didn't need to do smt she didn't want!! Im so glad it didn't take the 'but you have to do this' bullshit route that many stories do because it's okay not to, it's okay to know your limits and stay in it, it's okay to not want to do something you don't want to!! There's nothing you have to prove because you shouldn't have to!!

This podcast mannn.

#an adaptation where ppl are HEARDDD #sherlock and marianas relationship hits deep in this case and i love it! #im sick n tired of 'weak' character needs to do smt traumatic to prove smt and build 'character' like no! characters don't have to do smt #they dont want or go through trauma to be strong!! or to grow in character!! let ppl be weak! let ppl be comfortable staying in their zone! #let people be happy with where they are and not pushing ppl to do things that you believe is best for them when its just you projecting!!! #it got a bit personal for me but i just love that ANOTHER character said 'nah i can do it - u dont have to' !! 😭 #the way they all understand each other and try their best is so endearing #sherlock & co #sherlock and co #sherlock #sherlock holmes #john watson #goalhanger podcasts #mariana ametxazurra

[ugh-yoongi]

about u | jjk

❝ this song is about a love that you can’t reconcile—wanting to make a home out of a person that has proved to you time and again that they are not a home; they are just a person. it’s about retracing scars, negative patterns, all with the silent belief that moments of communion and understanding might justify months of misfiring and regret. we’re all just trying to get back to that ‘first high’ feeling—an honest endeavor, however futile. ❞

✤ PAIRING jungkook x f. reader ✤ GENRE exes to fwb to strangers, college/grad school au; angst, smut ✤ RATING explicit. minors do not interact. ✤ WARNINGS toxic & self-destructive behavior (inc. jealousy and possessiveness). infidelity (with an external partner). reader is bisexual (which is not a warning but a general statement so the homophobes stay away) and there is a brief mention of coming out. two people who are both too honest and unable to communicate. swearing. cigarettes and alcohol use. kissing, some spitting, fingering, oral sex, protected vaginal sex. every time i asked jess to read this over for me she always came back with "jfc jewel" so i guess this is angsty. unhappy ending. ✤ WORDCOUNT 7.3k ✤ LISTEN TO this was based off of "winterbreak" by muna, but there are bits and pieces of the entire about u album in here, "everything" and "outro" especially. ✤ THANK YOU to muna for writing the album, @the-boy-meets-evil and @hot-soop for reading over this for me multiple times and putting up with all my brainstorming and my beloved @here2bbtstrash for the extra set of eyes. ✤ AUTHOR'S NOTE hi, thank you for reading! i cannot emphasize enough how much more sense this story will make if you listen to about u in the background. i would also like to reiterate that these two are maybe not all that likeable most of the time, but i hope they're still human. as i once saw in an ao3 tag, you are more than the worst thing you've ever done.

[ the first. ] You’d read an article once—something about the second time you fall in love.

It’s going to feel different, it’d said. The first time felt like a dream.

As you stare across the kitchen at Jeongguk, you think that might be true. The part about it feeling like a dream, because it used to be a pinky-lavender haze and everything that has come after hasn’t felt so good. Not a nightmare, but close. At least with nightmares you can force yourself awake. You can tell yourself it wasn’t real. You can pretend.

This is as real as it gets, watching him smile over the rim of a plastic red cup. Someone else’s hand on his arm. The girl it belongs to looks nothing like you, and you wonder if she’ll be the second time he falls in love. You also wonder why you didn’t stay home. You wonder about fault and regret and if either of them even matter. No, you eventually decide: there’s just you in Taehyung’s kitchen and Jeongguk on the other side of it and the result of a million decisions in between you.

There had been a plenitude of reasons you’d fallen in love with Jeongguk, but he’s undoubtedly beautiful. Soft, tinkling laugh; a smile that reaches his eyes. Not all that long ago you used to be responsible for both, so there’s a lingering, bitter sting beneath your wonder. Jeongguk is beautiful and no longer yours, and that’s enough to have you retreating to the living room.

Jimin’s at your side immediately. Wraps an arm around your shoulders and presses a kiss to the top of your head that does little to alleviate your guilt. Missing someone is always easier with thousands of miles in between you. All those distractions. Just like a nightmare, distance lets you pretend. Not so easy to do when all those ghosts come back to haunt you; when you can still hear Jeongguk’s soft voice in the kitchen. The music is so loud but you’d be able to hear him anywhere, you think.

Even places he’s not.

Jimin leans down, forces his way into your personal space. “Are you doing okay?” he asks, and his words are warm and wrapped in alcohol, but you nod. You’re scared you might start crying if you open your mouth. Afraid of what might come out besides shuddering breaths, which just makes you feel stupid. Baby’s first breakup, you chide yourself. Maybe Jimin can get you a commemorative ornament.

Taehyung is turning twenty-four and it should be joyous. It is joyous. People that aren’t you are laughing and dancing and pressing their cheeks together as they huddle close to take selfies. Someone you don’t recognize is cackling wildly as they wrangle Taehyung into a headlock and smear cake frosting on his face. Someone else is tutting and running a rag under the tap to wipe it off and then the frosting is gone. It’s hard not to draw parallels.

There one minute and gone the next.

Gently wiped away.

But the feeling lingers, doesn’t it? The tack of the frosting, all the love that transpired between you and Jeongguk. Sometimes you fear it’s permanent—not able to be wiped away with a rag run under the tap, not able to be wiped away at all. Just this burden you’re cursed to carry, because Jeongguk isn’t and can’t be yours but knowing does nothing to erase the past. Doesn’t help you forget. It’s fucked and it’s unfair, but that’s just the way it goes.

“I think I should leave,” you say, watching another scene play out in the kitchen. Jeongguk fills a cup and hands it to a different pretty girl. Everyone here is so pretty. Makes sense; so is Taehyung. Pretty people are drawn to one another like that. “Is it too soon? Will it be obvious?”

Jimin sighs, wraps you in a hug. Says, “Oh, love,” in a way that’s too sympathetic. Makes you sound too pathetic. “No one will blame you. These things are hard.”

You squeeze your eyes shut. Not that you don’t appreciate Jimin’s reassurance, but sometimes it all feels a bit silly. Weren’t you the one to walk away? Call it off? Are you allowed to mourn the very thing you destroyed?

And Jimin, bless him, is so patient with you. Asks if you need a ride home and you wave him off, remind him your parents’ place isn’t far, that the cold might do you some good. You tell him you appreciate him and his night shouldn’t be ruined on your account, and you just laugh when he tries to protest, tell him to go get himself another drink.

“Text me when you get home,” he says, voice stern, and you brush that off, too. “I’m serious. It’s late and it’s dark and anyone could be out there—”

“Maybe I should walk you home, then?”

All those articles you read about the second time you fall in love didn’t mention this. Said nothing about the way a voice will always be able to turn your world on its axis and how to right it again. Said nothing about how to coexist with ghosts. Said nothing about what to do with all the yearning and the pain and the stupid, selfish strands of hope. There are paragraphs about an overarching, general grief, but nothing about the specific one living inside of you.

The shock on Jimin’s face is reflecting your own. It’s nice to not be the only one caught off-guard and stammering over their words. It’s nice to have a friend when it feels like your entire world is on the edge of collapse. “I don’t…” he begins. Swallows thickly and turns to look at you, an obvious question biting at the back of his teeth.

You know the answer.

You know that what you should say isn’t what you want, just like you know it isn’t fair, this thing you’re doing. Because you turn to Jeongguk and say, “Are you sure?” which might as well be a yes, because you’re selfish and suspended in this liminal space and don’t want him to go home with anyone else. You don’t want him to move on.

He shrugs. “It’s on the way.”

You say okay. Let Jimin help you into your coat, hide his face in your neck as he tells you to be careful, and that stings. You’ve never had to be careful around Jeongguk before. The two of you never, ever hurt one another—until you did. The kind of hurt your heart hasn’t easily forgotten, is still stubbornly clinging to.

Your heart wants Jeongguk, always.

You want Jeongguk, always, so you let him grab your hand, link your pinkies together. You let him lead you out of the house and don’t turn back to see who might be watching. God, you want to, though. Want all those pretty girls to see that he’s leaving with you. Want them to know it’s your name that’s branded on his heart; your name beneath his skin. For once, you want someone to want what you have.

It’s strange. The two of you have been apart for eight months, and there’s a lot of things you might want to tell someone in that amount of time, but you find it hard now. Don’t know where to start, which words to use. Don’t want to say something stupid, because Jeongguk is just walking you home but you’ve assigned a lot of meaning to it, and eight months is a long time to yearn for something and finally get it.

So you say, “You didn’t have to do this, you know,” because it’s something that’s true and easy to say.

Jeongguk doesn’t answer right away. Drops your pinky so he can hold your hand properly—fully, all five fingers intertwined—and squeezes. “Is it weird for you?” he asks, and he doesn’t sound nervous. Almost sounds like he’s smiling a little, giving you shit. He sounds familiar.

“No. I don’t know. Maybe a little.” He asks why? at the same time he passes under a streetlight. Lights up golden and amber. He’s beautiful—“I don’t know. It’s just… I guess it’s just been a long time. We didn’t leave things the best.”—and no longer yours.

The Jeongguk walking beside you is not the same Jeongguk that walked out of your dorm eight months ago, tears staining his cheeks, the smell of a goodbye fuck still clinging to his clothes, his skin, sweat still dotting his hairline. This Jeongguk is sharper, more selfish with his laughter, and you wonder about all the ways heartbreak can change a person. How you’re changed for facilitating it. You wonder if Jeongguk blames you before deciding you’re too much of a coward to find out the answer.

“Was it that bad?” When you look over at him, he’s chewing on his lip ring, trying to bite back a smile. “You’ll have to remind me. I don’t remember.”

You stop walking, jerking forward when Jeongguk is left unaware and keeps going. “That’s not funny,” you say. “Jeongguk, that’s not—I did what I thought was best, okay? I thought I was doing the right thing—”

The smile drops from Jeongguk’s face. “Hey, hey, look at me,” he says, and he’s hesitant to reach out and touch you but he does it anyway. Cups your face in both hands. “I know, it’s okay. That’s just—it’s just life, right? You did what you had to do, babe. It’s okay.”

You did what you had to do, babe.

Did you?

Jeongguk is selfish with his laughter but never his affection, and knowing that feels like an albatross around your neck. You have broken him so entirely, but he’s still kind to you, finds it a worthwhile thing to be.

His eyes go to your lips. Tattooed fingers dimple your face just a little more, dig in deeper. When you dare to take him in, he looks… different. No longer amused, the way he was just seconds ago; now, there’s something dark there. Longing, anger, hunger. Jeongguk looks like he wants to swallow you whole and make you suffer; looks like he wants to cage you beneath him and worship you through the comedown.

I’d let him, you think as you bury your face in the crook of his neck. As you smell the smoke that lingers, the sweat and the alcohol. I’d still let him.

It’d be so easy to press a kiss there. To feel his skin beneath your lips: flushed, still warm from the party, not all daunted by the bitter winter wind biting at your cheeks. As you lean in further, you wonder if it’ll taste the same. You wonder how much can change in eight months and if all those old comforts change, too. If it’s something inevitable.

Jeongguk moves his hands to your waist. Crawls his fingertips beneath your jacket and finds bare skin. Sucks in the smallest bit of air, and you would’ve missed it had it been any other time, but winter is always quiet and subdued. Always smells transitional, something dangerously close to hope and redemption.

And eight months is a long time to miss the feel of someone’s lips, isn’t it, so you think you can be excused for reaching for something you thought you’d never have again.

The first kiss is hesitant, testing; pressed to the spot just beneath his ear. Maybe you don’t know this Jeongguk, but you know the version of him you used to love—the one you still do—and you know the way he’ll sigh. You know the way his hands will grip tighter. You can still hear it, the way you used to kiss him there and he’d say, don’t start something you can’t finish, baby, and the way you’d laugh and always, always finish it. Can still feel the warmth that used to bloom in your chest. The love.

Jeongguk won’t say that now, you know. Wonder if it’d sound more like don’t start something you already finished if he did. He huffs a small laugh, more an exhale than anything, and asks, “What are you doing?”

And you answer, “I don’t know,” because it’s honest. You admit, “I guess I just miss you,” because it’s true.

A war wages within Jeongguk. You can see the storms, the white flags that are close to being thrown out. Can see the way his gaze flits between your lips and your eyes. What he’s looking for, you don’t know, but the storm rages on. And just like real life, just when you think it’s at its worst, there’s a break in the clouds: a tangible beam of silvery-warm light when Jeongguk tangles his hands in your hair, thumbs at the hinge of your jaw. Jeongguk tilts your head back and looks ethereal in the amber glow of the streetlights.

He says, “We shouldn’t,” and you nod, because you know and the anguish on his face is surely mirrored on yours, but when he follows it with, “let me take you home, let me take care of you,” you find it impossible to care.

You nod.

Everything is amber.

Eight months is a long time to go without the way Jeongguk kisses you: intentionally, demandingly, insatiably. He still tastes the same. Tastes like the first time you’d ever dared to kiss him, back at that party freshman year, tongue flavored with cheap liquor. Jeongguk tastes forbidden and feels like coming home.

You couldn’t say how you make it to Jeongguk’s apartment, but the way you stumble over the threshold feels familiar. The way the door is barely locked when Jeongguk crowds your space; picks you up, wraps your legs around his waist, presses you against it, hips moving on their own accord, rutting, all those little sounds spilling from his lips—everything is familiar. This is not just a practiced song and dance but something memorized. Something instinctual. You could be apart from Jeongguk for years instead of months and your body would still know what to do.

He carries you to his bedroom and you don’t think about who else has been between his sheets, because he puts you down so gently. Kisses your lips, your jaw, your neck—all gentle, powder-soft. Sounds like spring when you paw at the velvety cashmere of his sweater, pull it over his head, and he sighs. Feels like he’s breathing fresh life into something he shouldn’t, something long dead, but then you skim along his warm skin and your world is reduced to the way it feels like silk beneath your fingertips.

“I still love you,” Jeongguk whispers against your mouth, his inked fingers toying with the button on your jeans. Pops it open, pulls the denim down your thighs. Doesn’t bother pulling them off, only goes as far as your knees. And it’s uncomfortable, the way it’s bunched there, but the way Jeongguk says, “Fuck, missed you so much,” is so sweet.

Everything happens too fast.

Jeongguk leaves your shirt on. Drags it up and over your breasts and kisses at the newly-exposed skin. Sinks his teeth in, lets it hurt for a second before he laves over the marks. Settles between your legs and coaxes an orgasm out of you with his mouth and his fingers. Speaks his praise into the juncture of your thigh, breathless as he touches himself, strokes his cock with the wetness lingering on his fingers. Looks so, so pretty when he sits back on his haunches and says, “Just wanna look at you,” and makes it sound wistful and longing.

Makes it sound like it means something.

He’s still touching himself, still slicking himself up. There’s a split second where he goes to move and thinks better of it. Looks to the side before looking back at you. The storm kicks up again. “Have—” he begins before he swallows thickly. Dares to look hopeful, even through the squall. “Have you been with anyone else? Since…?”

You haven’t. Tried to, once—another stupid party, more cheap liquor passed to your mouth from someone else’s, but it hadn’t gone anywhere. They hadn’t tasted like Jeongguk; hadn’t felt the same. Two puzzle pieces that fit together all wrong.

Jeongguk has, though. Something you’d heard from a friend of a friend that you weren’t meant to. They’d called it a rebound, and it had bloomed so many ugly thoughts in your head. Five months had passed. Jeongguk was fucking someone else in his bed while you were in yours, torturing yourself over whether or not to tell him happy birthday. Whether it was allowed to or not, it’d stung.

(You had. You’d reworded the text a million times, plucked up all the courage you could find before you sent it. It’d gone unanswered, just like you expected it would, and you thought it was because Jeongguk didn’t want to talk to you. Thought you were digging your fingers into wounds that had yet to heal, so it’d stung but you understood.

But Jeongguk hadn’t answered because he was fucking someone else. Had someone else’s taste on his tongue; was panting someone else’s name into the dark. The embarrassment had been the worst part.)

Still does, if you’re being honest with yourself, so you lie. “I—yeah,” you answer. “Just one.”

Looks like it stings Jeongguk, too. “Right,” he responds, blinking back tears, and he’s got a lot of nerve, you think. “Yeah, okay, I’ll just—a condom. Are you…”

“Jeongguk—”

“Are you sure? Maybe this isn’t…” He huffs. Drops the condom on the bed, hangs his head. “What are we doing?”

You stare up at the ceiling. Nothing up there but the swirls in the plaster. “I don’t know,” you admit. “Hurting each other, probably.”

Jeongguk walks his fingers down your thigh. Grips at your skin, wants it to bruise. Wants you to have something to remember him by come morning. “Sometimes I’m really mad at you, you know?”

“Yeah, trust me, I know.”

He nods. Refuses to look you in the eye now that you’re watching him. “I still love you so fucking much and I’m still so angry. What am I supposed to do with that? What am I… fuck, I thought I was over it. I thought I’d see you and not feel a fucking thing.” There’s fresh ink on the back of his left hand. You hadn’t noticed it earlier, but you notice it now, when he runs his hands down his face.

You also notice the way the atmosphere shifts, the split second in which his heartache bleeds into something else—resolve, maybe. Obstinacy. Like he knows how this is going to end and he’s going to do it anyway. He’s going to find the most painful part and press on it, dig his fingers in, and it’s just an inevitable, foregone thing. Something he can prevent and something he’s choosing not to.

“You fucked someone else,” he sneers. Rips the foil open with his teeth, flashing too white in the dark of his bedroom. Rolls the condom on like it’s an inconvenience. Like you’re an inconvenience. “Was it good? Was it worth it?”

You roll your eyes. Feel the way your breath catches in your throat, because you’re not going to cry. Jeongguk fucked someone else and is vilifying you and it’s hypocritical and ugly and unfair, but you’re not going to cry over it. You’re going to press the gas pedal as far as it can go, say, “Yeah, it was,” and find some wicked delight in the way his eyes squeeze shut, as if it can spare him from the pain.

The two of you used to love each other. Jeongguk used to smile down at you when you were naked beneath him like this. Used to lean in close and whisper that he loved you just as he pushed inside even though you knew, you could feel it in everything he did. Now, there’s no smile. Now, he leans down and spits on your pussy and pushes inside and doesn’t tell you a goddamn thing.

Not with words, anyway.

Because the way he fucks you says it all. Impersonal, desperate, bitter. He grips your hips and fucks into you frenzied and fast. Takes your hand and puts it on your clit and tells you to get yourself off. An inconvenience. Tells you he misses your tight cunt, tells you he misses the way it milks his cock, tells you he misses watching the way you come undone underneath him, but he doesn’t tell you he misses you.

There’s a moment, just after he spills into the condom and stays inside, just catching his breath, when you think he might say it. Might tell you he loves you around the lump in his throat, might apologize, might ask if you two can’t figure it out.

There’s only a moment.

Jeongguk doesn’t say anything. Lets the moment pass. Pulls out and ties off the condom and wordlessly gets up to throw it away. It’s the silence that pisses you off. The disregard. Jeongguk hates you for something you’d lied about doing that he’d done for real, so you can be wordless, too. You can treat him like an inconvenient, cheap fuck, too. You can get up and find your clothes and pull them on and let him watch, words biting at the back of his teeth, and you can tell yourself to feel nothing.

You can say, “You’ve got a lot of fucking nerve,” and not shy away from the resentment in your voice, because it’s properly placed. “You fucked someone else, too, so you’ve got a lot of fucking nerve, Jeongguk.”

Eight months is a long time to miss someone, to play at daydreams. To think of all the things you want to say, the things you’ll do. In not one of them did you think about this: you, fully dressed and stinking of sex, saying, “It’s late. I’ll show myself out.”

Jeongguk, tears glistening on his cheeks, saying, “No, let me—baby, I’m sorry, please—I’ll drive you.”

A shake of your head. Jeongguk doesn’t push it.

Roll credits.

[ the second. ] Jimin wants to talk your ear off about it—the girl you’re seeing.

It’s new and there isn’t much to say. You tell him the two of you met at one of the student showcases put on by the art department and leave off the part about all of Jeongguk’s old friends being there, that he would’ve participated, too, if he hadn’t dropped out after you broke his heart. Leave off the part where you would’ve been there to support him instead, in another life. Leave off the part where it’d just been morbid curiosity: you, not an art student, wandering those halls to see if Jeongguk’s photographs were still framed on the wall.

“Is she nice?” Jimin asks, head nearly knocking into yours as someone shoves by him. “Fucking asshole.”

You nod. “Why would I date someone that wasn’t nice?”

Jimin, perpetually unbothered until he decidedly isn’t, sends you a look that he hides behind the rim of his cup. “Because you’re in your self-destruction era and aren’t thinking clearly.”

“The fuck does that mean?”

“Exactly what I said. You know I’m happy if you’re happy, but…” He pauses as he trails off. Tries to wrap his words in something delicate. “It’s pretty clear you still aren’t over it. That’s all.”

You snort. “That’s all?” you repeat, like it’s some small thing. Like it’s normal and fine.

“I’m sure it’s easier to pretend when the two of you are thousands of miles apart,” Jimin amends, and he must see how you bristle, stung by the callout, because his eyes soften. “Tell me about her.”

She’s beautiful and kind and smart. Smokes clove cigarettes and the smell is always clinging to her skin. You know how to make her come but don’t know what she’s majoring in—fashion, you think, because she’s always holding fabric swatches against your skin. Tells you what suits you and what doesn’t. Tells you which textures don’t work, what’s too warm, and she doesn’t need to tell you what’s too cold because you already know it’s you.

She’s beautiful and kind and smart and has no idea you’re still in love with someone else.

But you can’t tell Jimin that, can you? Can’t tell him about how she’d dragged you to a private corner in the gallery and kissed you breathless; the way she made you come on her fingers; the way Jeongguk’s name nearly slipped out of your mouth as you shook. Can’t tell him that she’s got arms full of art. Delicate patchwork; nothing like the harsh, bold colors inked into Jeongguk’s skin, but it feels the same to trace the lines.

You can’t tell him much of anything, so what you settle on is, “She’s nice—good for me,” and it doesn’t sound convincing to either of you.

Jimin doesn’t call you on it, though. Not again. Instead, he keeps his gaze steady, staring into the fire, the flames dancing wildly when you meet his eye. “You need to be careful,” he says. “You’re going to hurt her, too. Maybe worse than you hurt him.”

“Jimin—”

“Just be careful,” he reiterates, and all you can do is nod. What else is there to do besides wait for the inevitable crash and burn?

And it’s a little unfair, you think, that Taehyung grows older every single year. A little unfair that guilt won’t let you decline the invitations. A little unfair that you can still pick Jeongguk’s laughter out of a crowd. A little unfair that these hometown friends-turned-acquaintances still throw sideways glances whenever someone else touches him, as if he still has someone to answer to; as if they’re expecting something.

An hour. You’ve survived an hour longer than you did last year, and it’s not much but you’re still proud of yourself. You’ve had a drink, talked to someone other than Jimin. Managed to ignore the way Jeongguk is ignoring you; the way he immediately leaves a room as soon as you enter.  Maybe it’s better like this, you reckon. Maybe it’s what you need.

An hour is long enough. Jimin doesn’t comment on the way your bones crack when you stand to leave. No one needs a reminder of growing older. He doesn’t ask if you’ll be okay, either; if you need a ride home. Instead, he stays quiet as he studies you, clearly wondering if lightning strikes twice. If you’re going to be able to walk past Jeongguk and out the door without making another mistake.

You can at least make it across Taehyung’s sprawling yard and to the house. You can dodge the sweat-slick bodies and the girls sitting in laps. You can toss your empty cup in an overflowing trash can. You can pretend the eyes on your back are well-intentioned.

You can make it to the bathroom.

Annoying, the way your phone has been vibrating all night only to disappoint you. Irrational. You scroll past the emoji-laden messages, the coy flirting, because they’re from the person you’re actually dating—the person you told you were going to sleep early—and not from Jeongguk. You should feel guilty. You should feel guilty, but the face staring back at you in the mirror doesn’t look guilty at all.

She looks tired. A little beat-down, but that’s life.

Maybe that’s just what happens when you’ve spent the last two years of your life chasing after ghosts.

A knock at the door startles you. Sends your phone tumbling to the floor, screen probably cracked to hell, and you swear under your breath. “Just a minute!” you call out, a little stunned from how threadbare you feel all of a sudden.

Still, the knocking continues, and you’re on your knees on this bathroom floor and all you want to do is cry. You don’t want to be on this floor in this house. You don’t want to keep putting in the effort of maintaining the facades of all these friendships. You don’t want to keep coming back to this town, don’t want to keep being confronted with the harsh reality of all your mistakes.

“Just a fucking min—”

The words die on your tongue, because there Jeongguk stands, all the air in your lungs dissipating at the amount of space he takes up. Even worse when he steps inside and locks the door behind him. You feel like you’re going to drown. You feel like you’re going to scream or cry or both, and you’re still on the floor, still on your knees, and it feels too much like penance when you look up at him. Feels like you’re groveling, praying for forgiveness.

You stand quickly, ignoring the rush of blood to your head, the way your legs tingle. Jeongguk still hasn’t said a word, doesn’t seem like that’s going to change, either, and it’s really all you can do to stay on your feet when everything in you is screaming to collapse.

Eventually, he says, “You’re seeing someone,” and it isn’t a question, not really, but it borders on one. It’s a question and a confirmation and somehow sounds a lot like he’s asking for permission for something.

“I—yeah.” You swallow. “It’s new.”

He hums. Steps a little closer. Leans against the sink. Darts out his tongue to swipe at his bottom lip before he tugs his lip ring between his teeth. “Yeah? Does he treat you well?”

“She,” you correct, and there’s a flash of something in his eyes. Surprise, maybe. Jeongguk, at one point, had known everything about you, but not this. “And yeah,” you add on, barely a whisper, “she does.”

Part of you feels embarrassed. Jeongguk had known everything about you but not this, and you shouldn’t feel embarrassed or guilty but it still sits there in the middle of your chest. Feels like you’ve been keeping secrets. Feels like shame, even though you aren’t ashamed. Feels like you’re awaiting judgment. But the surprise in Jeongguk’s eyes disappears and something else settles in its place—uncertainty, if you had to guess.

“Are you happy with her?”

You shrug. “Like I said, it’s new.”

And Jeongguk is as emulous as ever, because he asks, “Does it feel like what we had?” and you already know the answer is no.

“I’m not sure anything will.”

It’s honest; you hadn’t said it to appease him, but he looks pleased anyway. You’re starting to understand why so many people write about their first love. Why it’s such a powerful role to fill. Because you and Jeongguk are standing in a bathroom behind a locked door, feet apart from one another, and you think, I don’t think there’s anyone I will ever love more than him even though it’s been two years. You think, I don’t think I’ll ever recover from this.

You think, I would try over and over and over again if he asked me to.

Later on, when you’re alone in your childhood bed and your face is streaked with tears, only your shame and guilt for company, you won’t be able to figure out who moved first, but one of you had.

Once upon a time, you had known everything about Jeongguk, too. You could recite his taste from memory, but it’s different this time. He licks into your mouth and it tastes like ash—nothing like the clove cigarettes your girlfriend smokes, but close enough that the parallel burns like acid in your throat. It’s close enough that you can keep your eyes shut and pretend again.

This time there’s no softness to be found. There’s just Jeongguk’s mouth pressed to yours, barely letting you breathe, not wanting anyone to hear. There’s just the sink digging into your back. Jeongguk’s hands gripping at your waist, pulling at the hem of your skirt. There’s the frustration and desperation of two people who love each other but will never, ever get it right.

There’s Jeongguk asking, as he spits into his hand and slicks you up, if you’re going to tell her.

There’s you, already too far gone, saying you don’t know.

There’s Jeongguk asking, as you’re clenching around him and dragging him with you to the edge, if you’d come back to him if he asked you to.

There’s you, already knowing the answer to this, too, saying you would.

But this isn’t that and Jeongguk doesn’t ask. When it’s over, he tosses the condom and does a half-assed job of helping you clean up and he doesn’t ask. He splashes water on his face and fixes his hair and he doesn’t ask. He tucks his cock back into his briefs and zips his jeans and he doesn’t ask.

Jeongguk has one hand on the doorknob and he doesn’t ask you to come back. Instead, he asks, “How long are you gonna keep doing this?”

For once, you don’t have an answer.

[ the third. ] You go even farther away for grad school.

You try to put more distance between you and Jeongguk, more distance between you and all the skeletons in your closet, but you just pack them up in different boxes and bring them with you.

You spend New Year’s Eve chain-smoking in your parents’ back yard—that same brand of clove cigarettes, because hearts are easy to break but some habits are not. Sometimes it’s a comfort to hurt yourself in the same way you hurt others, so you chain-smoke and you don’t go to to Taehyung’s birthday party because you weren’t invited and it doesn’t sting in the same way that it doesn’t sting that Jimin doesn’t call you once you’re home because he hasn’t spoken to you in a year.

The clock ticks down to midnight. Someone sets off fireworks. Absolutely nothing changes.

There are no half-baked resolutions. There’s no hope that this is going to be the year you get your shit together. There’s just you and the bed you’ve made for yourself; the autopilot you can’t—won’t—turn off, because you don’t know where you’re going anyway so you might as well just go wherever it’s taking you. There’s guilt and there’s shame and there’s baggage, but they’re all old friends. Those are old scars.

The sweatshirt you’re wearing doesn’t belong to you, and it does little to protect you from the bitter cold that bites at your skin. Jeongguk doesn’t belong to you, either, but he keeps coming back to you like he does.

“Mind if I sit down?”

You shrug, gesturing to the empty chair beside you. The small fire you’d built is down to its last embers, and it’s what you focus on, because you can’t focus on Jeongguk anymore.

“You weren’t at Tae’s.”

“Wasn’t invited.”

“Oh,” he breathes. “Sorry, I didn’t know. I would’ve—”

“It’s fine. I wouldn’t have gone anyway.”

He seems to hear what you don’t say. I wouldn’t have gone because I can’t be around you anymore. I wouldn’t have gone because I don’t trust myself with you. I wouldn’t have gone because I’ve burned down every good thing in my life trying to keep you. “Oh. Yeah, that—that makes sense.”

He’d texted you. Asked if he could see you. Just wanted to talk, and you’ve never cared much for symbolism, but nearing midnight on New Year’s Eve had seemed as good a time as any to let it go, so you’d said yes. Now, when there isn’t much to say, all of Jeongguk’s flimsy excuses are laid bare. Transparent.

“Was Jimin there?”

Jeongguk nods. “You didn’t know?”

You shake your head. Feels like it’s made of concrete. “No. We haven’t talked since last winter break.”

“Because of—”

How cruel, that you’d confessed to Jimin instead of the one person who deserved to know. “Yeah.”

“I’m sorry.”

You shrug again. “It’s okay. I don’t think it’s permanent, just until I can get my shit together, I guess. Wasn’t fair to drag him into my mess anyway.”

“It’s not that easy,” Jeongguk says, and it sounds like something he wants to be true. It sounds like something he’s said countless times in defense of himself. “We’d—I’d do it if I could.”

“Yeah,” you agree, “of course.”

Silence creeps up again, so you dig another cigarette out of the pack and offer one to Jeongguk that he waves away. “Cloves? That’s a weird choice.”

“Just something I picked up along the way.”

He hears you again: They’re what she used to smoke. It helps me heal to hurt myself with something that reminds me of her. Sometimes I chain-smoke clove cigarettes and I don’t wash the smell from my hands, my clothes, my hair, because it makes me feel less alone.

So he asks, “Was it real?”

“Doesn’t matter,” you answer, flicking the wheel of your lighter, words spoken around the cigarette stuck between your lips. “It never had a chance. Not a real one, anyway.”

“Do your parents know?”

“Know what? That I went away to college and started fucking women?” Jeongguk shrugs. Has the audacity to look embarrassed. “What are you trying to ask me? You wanna know if I keep coming back to you because I’m scared to come out to my parents?”

“No. I don’t know. I just—”

The laugh that escapes you is scorched and bitter. Sounds the way the tobacco tastes. “No, Jeongguk. I keep coming back to you because I keep hoping you’ll ask me to.” I keep hoping you still want me.

“I almost did,” he admits, and you can hear how he swallows around the lump in his throat. “The first time.”

“When you were a dick about me sleeping with someone else? Yeah, okay. You didn’t want me back, you just didn’t want me to be with anyone else.”

He huffs. “How the fuck do you know what I want? You’ve never bothered to ask.”

“Because it doesn’t matter,” comes your response, stilted and practiced. “It doesn’t matter what we want, because we’re just going to keep hurting one another trying to get it right.” You suck in a breath, wipe furiously at the tears on your cheeks. “And we’re never going to.”

“You don’t know that.”

“Then ask.” Jeongguk startles, looks at you with wide eyes. “Ask me to come back for real, Jeongguk, and I will.”

A beat of silence.

Two, three, four.

Someone sets off another round of fireworks. A dog barks. It’s so cold that you can see Jeongguk’s breath each time he exhales, each time he breathes out instead of speaking. All the words he isn’t saying. And it’s exactly how you knew it would go, but it does nothing to tamp down the devastation in your chest.

You’d confessed your transgressions to Jimin and thought your silence to your ex-girlfriend was a gift, that it was sparing her the pain of what you’d done. Now you understand that someone’s silence can be the most vicious thing of all.

[ the last. ] Graduation looms. It’s the last winter break you’re spending at home.

Your therapist suspects you get your compartmentalism from your parents.

They don’t mention it. They see the stack of boxes and your bare bedroom walls and they don’t say a word about any of it. They watch you pack everything in your car and don’t offer to help. They process their grief silently, and when you can’t stand it anymore, you say, “I dated a woman my senior year of undergrad, you know.”

They don’t say anything to that, either, but it feels good to tell them. Feels a little like freedom and reclamation, like you can be who you are in front of others.

When you leave for good, you don’t want to repackage all those same skeletons.

So you meet Jimin for lunch and you take it in stride that everything is weird, that there’s nearly two years of silence to fill. You don’t ask for forgiveness and he doesn’t demand it of you, just asks if you’re doing better. “I’m doing the best I can,” you answer, and it’s human and honest enough that he accepts it with a warm smile.

Jeongguk is more difficult.

There’s no way to neatly box up that kind of baggage.

You’d intended to stop by his apartment to talk, tell him you aren’t coming back anymore. There’s nothing left here for you, you’d told him, and there was a flash of something. A there’s me, isn’t there? that had gone unsaid, destined for the same fate as a million other unspoken words between you.

Because there is him, but there’s also the way you’re desperately trying to claw back into something resembling normalcy. You’d lost yourself when you also lost Jeongguk, and you need to figure out who you are without him. You need to know who you are once you stop running and let your demons catch up with you. You need to hear what they have to say.

Maybe Jeongguk had said it best last year—“It’s not that easy. I’d do it if I could.”—because you’re nothing if not predictable and self-destructive.

You’re nothing if not naked and on your back beneath him, your fingers threaded through his hair as he rocks his hips into you, more tender than you deserve. His lips are ghosting along your skin and every press feels like a brand. Feels like he’s both making a mockery of you and declaring you ruined for anyone who might come after him. Feels like you’ll love him until you die.

(Some version of you must exist outside of Jeongguk’s grasp—outside of his orbit, his bed—but right now, as he twines your fingers together and pins them above your head, you can’t figure out who she might be.)

Eight months had been a long time to think of all the things you wanted to say, and four years is worse. Four years, and you still can’t bring yourself to ask him to try again, but there’s nothing after this, nothing to lose, so your voice is hoarse and raw when you say, “Jeongguk,” and he groans a little, nips at the column of your throat because he loves the way you say his name. “Jeongguk,” you repeat, because he senses the urgency, hears what you aren’t saying.

“Yeah, baby, say it. Whatever it is, tell me.”

He rolls his hips faster. Before, he would’ve tried to prolong the ending, but he’s hurtling towards it now. There’s nothing after this, you know, but you need the confirmation. You need to finally put all of this to rest. “I want to—” His cock strokes someplace that whites out your vision. “Fuck, want to—want you to come with me.”

He laughs, full of himself, probably smirking out the side of his mouth. “Keep squeezing me like that and I will soon.”

“No,” you insist, shocked at the conviction in your voice, “when I leave. Come with me.”

Everything slows. Jeongguk pulls back, moves his hands to cover himself, and there’s nothing but cold confusion in his absence. “What?”

“I didn’t ask you before. Last year. I just—I left it up to you, and you’re right, I didn’t ask what you wanted, but I didn’t tell you what I wanted, either. But I’m telling you now. I’m asking—”

There was never going to be anything after this.

Jeongguk’s silence says it all.

The way he pulls out and rolls you onto your stomach. The way he fucks as fast and as hard as he can. The way he used to love you openly and honestly and now holds whatever’s left close to his chest like it’s something to be ashamed of.

Someone’s silence can always be the most vicious thing of all.

Roll credits.

thank you so much for reading, and an additional thank you in advance if you decide to reblog my work. as always, my inbox is always open for any feedback! ♡

#jungkook x reader #jungkook x you #jungkook x y/n #jungkook imagine #jungkook angst #jungkook smut #jungkook fanfic #bts x reader #bts x you #bts angst #bts smut #bts scenarios #bts imagines #bts fanfic

[skyeslittlecorner]

not sure if this was posted before. can we get the classic scenario of some brave (read:unfortunate) soul trying to flirt with the mc and how will the kings (+sitri and belial if it's okay) react to it? thank you :3

Ahh, that's one of my fav kind of headcanons! And! Sitri!!! Belial!!! I love kings, but I'm a noble's girlie~ Let's make them jealous. See them doing their best, it's not enough to be hot to win our hearts... ok maybe it is BUT, it doesn't change anything!

Assume that some cutie like our Dong-gyun is flirting with us. Nobody dangerous or slick. This way they will only be jealous, not mad, and we will see how they want to prove themselves.

꧁:･ ✡ ･:꧂

Satan will be ready to fight at first, but when he sees that you are having fun and no one is trying to hurt you, he will let go. Of course, he will be jealous. You are his. He will make sure to remind you, and do everything to impress you and win your attention back. Over time, he will get to know you better and learn what you like best. If his strength turns you on and you want to see him fight for you, he will. If you'd rather see a room strewn with roses when you return to the palace, then be it. If a devil flirts with you too intensely (in his opinion, always), he will come and grab your waist. We know he has guts, and anyone who allows himself too much deserves a kick. Unfortunately, he can't kick them because it's like a reward, and he doesn't want any more devils hanging around you.

Mammon won't care too much if you're flirting with someone. Everything his master does is perfect. If this is your wish, he will choose the best lovers in the country who will fulfill your desires. He will make every dream come true. You own him, not he you, and he waits patiently until one day you want to be his. You are free and can do whatever you want. As long as no one tries to get their hands on you against your will, Mammon is going to watch with amusement those poor attempts. After all, that funny little devil who thinks he has a chance with you is his too.

Beelzebub has a whole story dedicated to the cute guy who flirts with us. On the outside, he looks as chilled as ever, but there's an underlying menace lingering in the air. “Don't cross the line, or you'll be devoured.” You have to have some restraint, if you don't want this poor devil to end badly. Actually, no one knows what Beel is capable of, because the surrounding rumors say that he deprived one devil of the hand he used to hug you, and sewed another's mouth shut for daring to kiss you. But you know how exaggerated the rumors surrounding him are. He himself always behaved impeccably (as much as you say it about him) around you, and the fact that he clearly showed that you belonged to him... it only makes you wet, admit it.

Leviathan, oh well. If anyone *dared* to flirt with you near him, they would not only hang, but fly out the window and land on a wall. The only people he would not hang, because he cannot, are those who are equal in status to him, i.e. other kings. If he saw you flirting with one of them... remember how in ch4 Satan's wrath was so tremendous that it began to choke his subjects? This is exactly what would happen with Levi's jealousy. Except not only the devils who stand close will suffer, but half of Hades. Since he can't hang other kings, he could hang you... but with each king the scenario would be different, so it's hard to say in general. Either way, prepare for chaos.

Belial is very composed. He'll let you do whatever you want, after all, you're not married to him or anything. He just respects you and your freedom. You'd even think he didn't care when Jiyu stepped in. Without Belial's consent, of course. You only managed to hear “Know your place, your fucking maggot-!” before the noble catch him and silence him, blushing furiously. You see how he squeezed poor little thing so much that their eyes popped out of their sockets. You can't help but giggle, because it looks like someone is jealous after all.

Sitri will be both jealous and sarcastic. Very openly. He doesn't even try to hide it, the poor devil will be scolded and sent to help clean up the rubble or in the medical tent. War is neither the place nor the time for flirting! Especially if he's trying to flirt with you. Why did you even want to waste your time on him? You have so many nobles to choose from, aren't they good enough? Isn't he good enough? He needs to try even harder... And his spiral of overthinking continues until you dispel his doubts with a kiss.

#whb #what in hell is bad #whb satan #whb beelzebub #whb leviathan #whb sitri #whb mammon #whb belial #skye's little talk

[cybrsan]

Treasure — J.WY [Pt. 1]

STORY SUMMARY: Wooyoung is moon-blessed, a waterbender born under the Siren Moon that rises once every 88 years. His blessing is believed to be his unique and powerful healing abilities that he has coined “Wavesong.” However, his true gift is that of his prophetic dreams, glimpses of futures yet to unfold—and you just happen to be the subject of his recent visions.

PAIRING: Waterbender Jung Wooyoung x Non-Bender F!Reader

RATING/GENRE: M ; angst, fluff, eventual smut ; ATLA au, enemies to lovers

WORD COUNT: 2.6k

WARNINGS: Minor POV switches

A/N: This story has been a long time coming. It is the second addition to my "Ode To ATEEZ" series and the first to my "Together in Harmony" series. I decided to split it into chapters because I believe it will flow better that way. I hope you enjoy!

LINKS: Ode To ATEEZ Masterlist | Together in Harmony Masterlist | Cross-posted on AO3

Masterlist | Next ↠

Crossing the Desert of Eden is not for the faint of heart. It is one of the world’s greatest paradoxes, a place where nature's most wonderful and most dangerous creatures coexist in a delicate balance. Even the sand itself is an example of this—crystalline and beautiful, ever sparkling under the light of the sun, yet each granule is as jagged as splinters of glass. Without proper foot bindings, your journey cannot even begin.

Amidst the harsh landscape, pockets of life burst forth in brilliant defiance. Rare desert blooms dot the barren terrain with bursts of color. Some hold the power to heal, their petals emitting a fragrance that soothes both body and soul. Others are laced with deadly venom, capable of stopping a heart with but a single touch.

Sand serpents slither through the dunes, their scales nearly translucent, giving them the ability to blend in seamlessly with the landscape. One bite is all it takes for total paralysis to overtake you, rendering you incapacitated for mere minutes to hours at a time. Celestial birds soar overhead, searching for prey, their wings casting shadows on the ground below.

And even if you’re able to avoid those threats, blinding winds carry grains of sand like lashes, stinging skin, obliterating landmarks, and disorienting even the most skilled navigators. The desert swallows the unwary, erasing their footprints from existence.

It is in this very place that Wooyoung finds himself, accompanied by seven of his fellow benders. In normal circumstances, he would avoid a place like this at all costs, his sense of self-preservation persevering over the curiosity of what secrets the desert holds. But things haven’t been normal for a long, long time. 

He feels like he’s been walking for days, his legs heavy and leaden. Despite his protective robes, the wind and sand have whipped at his skin, leaving it battered and raw. Just one look at the faces of his companions is enough to prove he isn’t the only one feeling this way. The only one who seems miraculously energized is their de-facto leader, Hongjoong. He moves forward with ferocity, a tinge of madness in his eyes.

To his left, Yeosang stumbles, nearly falling onto the sand below. Wooyoung reaches out for him, a second too slow, but luckily San reacts quicker, catching him by the arm. The exhaustion has begun to take its toll. Everyone comes to a stop, nervous energy flowing between them. Everyone except Hongjoong, that is. Seonghwa, the eldest of the group and the one with the most power after their leader, places a hand on his shoulder.

“We need to rest, Joong. Look at the kids—they’re exhausted. Yeosang almost collapsed.”

‘The kids.’ Wooyoung frowns, the endearment not sparking the same joy that it used to. Seonghwa and Hongjoong may only be a year older than the rest of them—two in Jongho’s case—but they’ve always referred to them that way. Wooyoung used to find it cute, often teasing them about how they acted like an old married couple. He supposes that the recent distaste for the nickname comes from the fact that Hongjoong hasn’t been the same ever since he told him about his dream.

It takes a moment for Hongjoong to comprehend what Seonghwa said, thoughts still elsewhere. Yet once his eyes find Yeosang, he immediately acquiesces, apologizing for not stopping sooner. His entire demeanor seems to soften, making him seem more like himself. Wooyoung already feels like he can breathe better because of it. 

“Hopefully we aren’t too far from a Dweller community,” Hongjoong says, taking out his compass. “Let’s go.”

The Dune Dwellers are natives of Eden, having found ways to thrive in even the most unfavorable conditions. They aren’t particularly fond of outsiders, regarding any so-called adventurers as naive and stupid more than anything else. They often find the remains of the less fortunate, bodies lost to the sand. Dwellers are some of the only people who know how to navigate the desert and survive, but even they won’t wander into it aimlessly, searching for a treasure that may or may not exist.

Luckily, it isn’t long until they find one of their communities with Hongjoong’s guidance. Tracking their location becomes easier when you familiarize yourself with the signs the locals leave for one another, like a carving in a rock or some shimmering paint on a cactus. Things that are easy to miss when you don’t know what you’re looking for. 

The town is small, cut through the middle by a bustling market area teeming with vendors trying to pawn off their goods. Wooyoung immediately feels some of his tension fade away, the lively environment making him feel more at home. You wouldn’t expect any place in such a barren landscape to be so full of life, but the Dwellers have a thriving community of their own despite their living conditions.

The sounds of haggling and bartering are music to his ears, and he quickly finds himself imbued with newfound energy, eager to start talking to people and fishing for information. Maybe he’ll be able to find some clues as to Pandora’s location, and Hongjoong can finally be appeased. He makes a quick plan with the others to meet at the town’s small inn at sunset before wandering off on his own. 

The scent of spices, freshly baked bread, and cooking meat mingle in the air as he walks, making his mouth water. He stops at a stall selling juice made from prickly pears, kept cool by the waterbender who continuously refreezes the ice it sits upon. In exchange for a few copper coins, he buys a glass and greedily gulps it down.

He shivers, the cold drink a shock to his system in the hot, dry climate. It is both tangy and sweet and he hums, pleased, as he wipes his mouth with the back of his hand and returns the glass to the merchant. Just as he goes to pull his hand back, the man grabs his wrist. Wooyoung's heart jumps in his chest and, though he tries to keep his composure, he is sure the shock shows on his face. Dwellers may not greet outsiders with open arms, but they’ve never shown any outward acts of aggression toward them before.  

“What are you doing here, nakuto? You’re a long way from the Water Tribe.”

Wooyoung gently removes his arm from the man’s grasp, though he is no longer fearful. The term nakuto, a respectable term for ‘young one,’ brings back memories of his home and instantly puts him at ease. “How did you know I was a waterbender?” 

“I don’t see many of my own kind out here; most are exiles from the Fire Nation or native sandbenders. Your necklace gives you away.”

Instinctively, Wooyoung reaches up, fingers caressing the delicate shells around his neck. He supposes it is reminiscent of the Water Tribe, but he’s worn it for years and barely remembers that it’s there. It was a gift from his brother, a good luck charm given to him when he left for the Fire Nation seven years ago. 

The man continues, “Did something happen to your Tribe, boy? It’s not safe out here.”

“No, it’s not like that. I’m here with a group of other benders—we’re looking for the eternal library, Pandora.”

“Pandora,” the man scoffs. “A myth. You should turn back while you still can.”

“I’m afraid turning back isn’t an option. Come on, pakana. Surely you must know something.” 

The man harrumphs, though Wooyoung can tell the use of the honorific pleases him by the slight smile that tugs at his lips. “You can call me Marok.”

“I’m Wooyoung.”

“Well, Wooyoung, there really isn’t that much information out there about Pandora; I probably don’t know much more than you do.” Marok creates a small stream of water from the melting ice, absent-mindedly spinning it around his fingers as he talks. “I’ll tell you what—go talk to ol’ Nadira. She’s a sandbender, and been here almost all her life. If anyone were to know something, it’d be her. Go west of town and look for a purple tent with yellow flags.”

“Thank you, Marok—I appreciate your help. Yui remoi.”

“Bayui jilok.”

Wooyoung nods, acknowledging Marok’s blessing, and starts to head west. The sun has begun to set, and he suspects he has less than an hour before he has to meet the others at the inn. Hopefully, whoever Nadira is, she’ll be cooperative. With the town being as small as it is, it doesn’t take him long to reach the outskirts, and the bright purple tent is easy to spot, a beacon of color amongst the sand. Just as he reaches the entrance, a girl pushes the flap aside, nearly bumping into him as she exits in a hurry. 

“Sorry,” she mutters, barely acknowledging him as she rushes back to town. 

The hair on the back of Wooyoung’s neck stands up. He doesn’t get a good look at her face, but her voice and white robes… He stops himself, shaking away the uncomfortable feeling of familiarity. Her eerie similarity to the girl he’s been seeing in his dreams for the past few nights is of little importance. He’s not trusting his visions ever again and will do whatever he can to avoid those uncertain futures. He quickly enters the tent, ready to get some answers so that he and the others can leave this town and the girl behind come morning.

You rush past the boy entering the tent, barely sparing him a glance as you hurry back toward town. Your conversation with Nadira was unsatisfactory, to say the least. She couldn’t tell you much more than you already knew, which is that Pandora is near impossible to find and even harder to get into, especially as a non-bender. It’s rumored to be buried far under the sand, sealed shut by an elemental lock. However, she was surprised by the map you carried with you, saying she hadn’t ever known there to be someone who successfully cataloged all of Eden. She couldn’t confirm whether or not the entirety of it was correct, though she did verify that certain locations lined up with her own knowledge of the desert.

You relax your steps, an exasperated laugh slipping from your lips as you realize you were practically stomping out of frustration. You take a moment to center yourself; as tempting as it may be to sell the map to the nearest street vendor, you’ve traveled too long and too far to give up now. Freedom is nearly in your grasp—you can feel it. You will claw your way to it if you must.      

Double-checking that the map is secure inside your sling bag, you tighten the strap around your torso and head through the doors of the inn. The atmosphere is much livelier now that it’s late afternoon, with talking and laughter nearly drowning out the small band playing in the corner. The bar area seems to be where most people are congregating, chugging down mead and ale. The one serving maid is busy juggling orders from all directions, delivering filled mugs to rowdy drinkers who seem to enjoy cheering each other on for every sip taken. 

As you weave through the crowded tables in search of a seat, you can’t help but notice a group of travelers that stand out from the crowd. You could sense their disharmony from a mile away—two members seem to be locked in a heated argument, heads close together as they speak in hushed voices. A few of the others seem to be playing a drinking game that involves making silly gestures and mimicking one another while one boy gazes off into the distance, lost in thought. Your interest peaked, you take a seat at the bar, right next to a man who has several empty tankards in front of him. He doesn’t seem too inebriated, but surely he’s drunk enough that his lips will be loose. 

You place a few coins on the counter, ordering two drinks. You slide one to the man to capture his attention and nod in the group's direction, asking, “So, what do you know about the new guys in town?” 

The man eyes you, scrutinizing your appearance. He must see something that he likes because he decides to indulge you, taking the ale in hand and relaxing further into his seat. “Heard from the barkeep that they’re some adventurers tryna find the library of Pandora.” He huffs and takes a long drink before adding, “A buncha fools.” 

You bristle, wanting to defend them as their goal seems to be the same as yours, but you stop yourself, not wanting to discourage the man from sharing more information. “I see. Are they benders?” 

He nods. “Yeah, far as I know. One of ‘em is apparently tryna get some information outta Nadira.” 

You think back to the boy you saw entering the tent and curse yourself for not paying more attention. You could have talked to him, asked him why he was seeing Nadira, and proposed some sort of alliance. Winning one man over would be easier than winning over seven all at once. But alas, that seems to be your only option. Taking one last swig of your ale, you hop off the bar stool and give the man a two-finger salute.

“Thanks for your time—enjoy the rest of your night.” 

He raises his mug and bids you farewell as you turn around, steeling your nerves as you march right up to the group of benders. One of the quarreling men who dons a head of striking red hair notices you first, his eyes instantly narrowing upon your approach. He slides closer to the others, almost protective in his movements, seemingly forgetting his previous argument. 

“Can I help you?” 

His voice is steady, laced with none of the heat you had expected. Instead, his words are cold, punctuated in a way that cuts you like a knife. However, you refuse to let him intimidate you.

“Yes, actually. I heard you were looking for Pandora.”

He quirks an eyebrow. “Why is that of any interest to you?”

“I’m looking for it too.”

“And?”

You grit your teeth, his standoffish attitude grating on your nerves. The man he was fighting with places a hand on his arm and steps slightly in front of him, greeting you with a smile. You can immediately feel the difference in his aura, the gentleness radiating off of him. He is the water to the red-headed man’s fire. Perhaps literally.

“Sorry, Hongjoong is just a bit… on edge lately. I’m Seonghwa.” 

He takes a moment to introduce each of the others before asking for your name in return. You’re surprised to find that they’re a pretty well-balanced group, with at least one bender for each element. That will definitely come in handy when it comes to the elemental lock. You almost can’t believe your luck; after all this time, maybe things are finally turning around in your favor.

Yunho, an airbender who was a part of the group playing the drinking game earlier, chimes in. “So, you’re looking for Pandora too?” 

You nod. “That’s right. I think we can help each other.” You reach into your bag and wrap your fingers around the map. “You see, I—”

“Wooyoung!” 

You’re interrupted by San, a dimpled firebender, who gets up to excitedly greet the missing member of their party; Wooyoung must be the boy you bumped into earlier. Now that you have a moment to actually look at him, you suppose that he’s quite beautiful, with a sharp nose and full lips. His hair is like nothing you have ever seen before—silver on top with blue ends, comparable only to how it looks when the light of the moon meets the sea. 

Your lips barely part to greet him when he turns to you, eyes ablaze with hatred. “What is she doing here?”

NETWORKS: @cromernet @kflixnet @pirateeznet

TAGLIST: @nebulousbookshelf @ad0rechuu @seonghwaddict @sanniesbunnie @wooya1224 @tournesol155 @ja3hwa @pocketjoong-reads @lovandr

#wooyoung x reader #jung wooyoung x reader #ateez x reader #ateez imagines #wooyoung imagines #wooyoung smut #ateez smut #wooyoung fic #ateez fic #jung wooyoung fic #kpop writers #kpop writing #my fic

[mikami]

You seem like you know a lot about DN so I want to ask: what do you think is the deal with Yotsuba Light? I read the manga two times and it always seemed to me like Ohba suddenly started writing a different character in this ark compared to what we seen in beginning

My friend wrote a really long essay about it that I recommend if you're the type who likes reading really long character essays - but if you don't want to go through 25k words, I cannot blame you, so here's the cliffnotes version of what's happening:

Light isn't just returning to who he was in the beginning.

Light doesn't just wake up and nothing has happened - the past months very much did occur and he does remember them. His memories have just been edited so that he cannot remember being Kira. This means that this Light is under the assumption that he's been investigated for murders he didn't commit and then turned himself in over them in what he can't rationalize as anything but a temporary lapse of judgement caused by the pressure getting to him.

And now he's here. In confinement. Innocent (as far as he's aware).

At the start of Death Note, normal boy Light Yagami has his life uprooted by becoming a murderer.

At the start of the Yotsuba Arc, self-believed normal boy Light Yagami has his life uprooted by being falsely accused of murder.

In both cases, the perfect life that Light has been living up until now is completely turned on its head. Light is imprisoned, indefinitely. If he ever gets out (and that is an if to him at this point), he'll be behind in college. His mother and sister think he eloped with a girl he doesn't even like and started ghosting them over it.

His career plans and social life are both in shambles, and the very real threat of being under L's watch for life (or worse, executed) is hanging over his head.

Just like Kira!Light, this is a Light who has everything to lose.

And thus, he does his absolute best to be on best behavior. Every bit of virtuousness is on full display both for the benefit of L, who needs to declare him innocent, and his father, who is his big idol and whom he's properly working with for the first time ever.

Light's boredom and jadedness from pre-canon don't come through because he really really is not bored while he's scrambling to save his own life from a crime he does not think he committed. He's stressed, and he has a lot to prove.

Light at the beginning of the story thinks his life is guaranteed to go as planned, and he'll have a predictable existence forever. Yotsuba!Light has learned the hard way that this is not true - forces beyond his control can completely destroy everything he believed to be true and even lead his father to hold a gun to his head. He's got a sense of direction in a way pre-canon Light never had, even if he obtained it by way of traumatic experiences.

#answers #death note #light yagami

[skaldish]

Functionally speaking I actually don't think magic is in any way mystical. No more mystical than, say, the workings of the internet.

Let's say I wanted to manifest pizza. The way I'd typically do this is I'd log on to [preferred pizza place website], place an order, and wait until the delivery guy arrives at my door. Bam. Pizza.

Now, the way casting spells work—at least in the way that I understand it—is that you send a command through the interface of the Astral, prompting the relationship of cause and effect to orchestrate the outcome of "pizza=true."

Technically speaking, these two actions are identical in function. You're submitting a query through an intangible, occluded dimension which produces the tangible outcome of pizza. The difference merely lies in the interface: The internet or the Wyrd.

The reason why we don't consider the first thing "magic" is because it doesn't match the aesthetics we associate with magic, despite being mechanically identical.

Additionally, there's cognitive dissonance involved: White Western society aknowledges the existence of the internet exists, but not the Astral.* This behavior is why we don't have technology and methodology pertaining to the Astral like we do with the internet, even though a non-insignificant number of people experience the Astral and its effects in ways that suggest consistency.

"Technology" is what we produce when we notice certain patterns in life and figure out how to engineer them. It doesn't really matter whether the medium is tangible or conceptual in nature.

Naturally, we aren't going to understand patterns we choose to ignore, and once we stop doing that, things such as the Astral and the Wyrd will become clear to us the same way reading books and ordering pizza online is.

*As a fun aside: Like the astral, we cannot tangibly prove that the internet actually exists. We can look at server boxes, sure, but that's no different than looking at a book to prove the existence of the story it contains. Deriving information from these constructs requires knowing how to interface with them, which can't be learned from examining the physical structure of the book or machine. This is why "reading" and "using digital technology" is occult knowledge. We just don't think of these that way because, again, we're confusing function with aesthetics, and confusing the word "occult" with the concept of "the unknown."

#zan speaks #witchcraft #magic #philosophy