Back off,kid.
Pairing : Gojo Satoru x Reader
Note ₊˚⊹♡ : (Teen)Gojo is jealous over (kid) Fushiguro having a crush on you.
Fushiguro Megumi always wonders if he made the right choice every time a white-haired sunglass wearing teenager walks into the house.
The tall older boy would grin as his hands form a salute. “You doing good Megumi and Tsumiki?”
He was as useful as the indoor plants. Fushiguro thought.
Gojo wasn’t much good at cooking and neither helped with cleaning, probably because of his rich background—but he did spoil them with lots of food and pocket money but he wouldn’t ever admit that.
As much as Fushiguro would love to throw insults at Gojo, he holds back his tongue each time; Tsumiki would send sharp glare and nag him if he did.
The first friend he brought to visit them was a girl; it was after Gojo went missing for a while and when Tsumiki inquired about it ,he simply said one of his dear friend went cray-cray as his finger twirls at the temple of his head.
The girl had short, brown hair with a distinct smell of cigarette; her name was Shoko Ieiri. She wore an impressed look when she entered the house as she looked over to Gojo. “Heh— The place is pretty neat,Gojo.”
Fushiguro looked to Gojo who placed some groceries on the counter top with a proud smile on his face. “I know right!” Gojo replies.
The young boy frowns. “It’s Tsumiki who keeps the place clean.” Shoko gives Gojo a stare before she cackles.
A week later when Tsumiki was still in school with club activities, another person makes an appearance ,you. He could faintly hear conversations between you and Gojo through the front door on how you’d actually wanted to visit them sooner but was bombarded with mission before it swings open.
The first thing Fushiguro noticed was how Gojo seemed to make you enter first— other times he barges in without a care for Shoko— his hands near your back with a slight space, without touching it. Why was Gojo being nice?
You blink at the dark haired boy. “Fushiguro Megumi, right?” Gojo peers from behind as you smile. “Did you eat?”
“Not yet. Waiting for Tsumiki to get home.” Fushiguro thinks you’re the first person who is kind of decent.
You nod take plastic bag from Gojo’s hands and lift up it, your smile widen. “I’ll make you some good stuff then.”
“I want to eat your cooking too,y/n.” Gojo chirps in only to be ignored. And to your credit, it was actually good. He didn’t remember the last time he had something this good home made.
After that, your visits seemed to increase which Fushiguro Megumi did not mind, in fact he was getting fond of your presence. You helped with food, cleaning which lessened the load on Tsumiki plus you also helped him with his studies.
“You seemed to get it now, Megumi.” Poor kid, blushes a bit hearing your compliment. “Practice this set of questions and I think you’ll do pretty well on your tests.” You smile.
Fushiguro nods as he does as you say, face still heated up. He looks up at you, who was reading a book. Your hair slightly in your face, lips slightly parted with eyes focused. You were extremely beautiful and as much as he wouldn’t admit it , he had a big fat kid crush on you.
“Megumi-chan.” Suddenly he is shoved to the side as a body makes way in between you and him. It was Gojo who sat in between. “Move over~ This seat is mine.”
The boy frowns and so did you, not liking Gojo’s action. “Don’t interrupt the kid, who is studying.” Kid? Ouch…You huff as your move over, despite you complaining you make space for him, focus back on your book.
Fushiguro watched as Gojo leans closer to you, almost resting his head on your neck as he looked over to your book; after a while eyes slowly moved over to you, his expression softens.
Gojo smiles as he tugs a piece of hair behind your hair, to which you don’t react as if it was normal. Thee older man then turns his head to Fushiguro—oops,he got caught staring.
The white haired boy then grins, a condescending one in fact as he mouths out the following words.
‘y/n-is-mine.” Fushiguro huffs. ‘back-off.”
·:*¨༺ Part 2༻¨*:·
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Terry Pratchett about fantasy ❤
Terry Pratchett interview in The Onion, 1995 (x)
O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy?
Terry: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question.
O: It’s a rather ghettoized genre.
Terry: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre.
O: It’s certainly regarded as less than serious fiction.
Terry: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus.
Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy.
Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that.
(Pauses) That was a bloody good answer, though I say it myself.
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