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2025-11-20 03:45 pm
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A while ago's darling

Purple prose.

When Jiang Cheng broke up with him, Lan Wangji’s world imploded.

It was only fitting, Lan Wangji supposed, because when Jiang Cheng had asked him out, his world had exploded, into a riot of color.

Truly I lived as in black and white before I first laid eyes on you.

It had been in the first minute of his first class on the first day of his junior year, at his new high school in this California suburb so different from what he’d known on the East Coast. Yet all homesickness and discontent had been driven from his mind when he’d noticed the brilliant-eyed, perfect-skinned, small-waisted boy sitting one desk over and three desks up. Lan Wangji had seen the tiny waist first, and his body had done something complicated and unprecedented in response which had so discomposed him that when the boy turned and revealed a profile both sculpted and delicate, and a skin like glass yet also like cream, Lan Wangji had gasped aloud. The sound had been as a summoning, because the boy had turned further around, and met Lan Wangji’s eyes, and whatever he made of what his own eyes like stars beheld turned them wide and wondrous.

Thus had been born the palest shades of purple.

Lan Wangji had done the only thing he could, in order to keep breathing: he’d looked disdainfully away.

He hadn’t let himself look toward the boy—Jiang Cheng, he’d learned upon roll call, and taken the name home to whisper into his pillow upon nights, and stifle against his wrist upon dawns, all unknowing until made all at once aware upon an orgasm not only exquisite but also amethyst that each invocation was further empurpling the world—again, until the day came in mid October when the object of his fantasies both fevered and sweet had approached him, and asked to speak to him, and beseeched him with those eyes like stars.

“My name is Jiang Cheng,” he’d said, “and I’m in love with you. I know I am, because I’d die for you. My brother told me not to say it so plain, but I decided to speak my heart. Lan Wangji: you have my heart. What will you do with it? Will you reject it, and by doing so break it? Or will you accept it, and have me for your boyfriend, and make me the happiest boy in the world?”

But the world had exploded into a riot of purples.

“I knew your name,” Lan Wangji said into their royal profusion. Lilacs and lavenders—violets and veronicas—plums and amaranths and aubergines—he gazed through them, past them, around them, into those eyes like stars.

But then he could say nothing more.

But then he found himself saying it all.

“I love you too,” he said. “I loved you at first sight, because you are the most beautiful boy in the world. You have my heart, and I will cherish yours. Yes. I will have you for my boyfriend, and make you as happy as you are beautiful.”

Those eyes like stars had shined like stars.

“Kiss me,” Jiang Cheng said. “Say my name, and kiss me.”

“Jiang Cheng,” Lan Wangji said, and kissed his boyfriend.


From their royal profusion (1419 words).
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2025-11-17 07:04 pm
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Yesterday's darling

I am also a virgin, Lan Wangji hadn’t said when Jiang Cheng had dropped his casual bomb.

But in his white bed, guided by a primeval intuition, at one with the cosmos, he found that he knew exactly how to take Jiang Cheng to pieces.

Sex was as old as flesh. Desire was as old as gravity.

The planets, he thought, move in adoration around the sun; and we are of such stuff as stars are made of.

“This is what you want, isn’t it?” he crooned, fingers deep and assured. “To be taken to pieces?”

Jiang Cheng moaned, long and low. Every noise he made was as exquisite and as carnal as he was and blazed Lan Wangji’s blood. What ran red in his veins now was fire. The world had narrowed to his white bed.

“Use me,” begged the angel, the feast, spread on his white sheets. “Abuse me.”

“I’ll ravish you,” Lan Wangji promised, and withdrew his fingers, and shifted and poised himself for his angel’s deflowering, his feast’s devouring. “I’ll ruin you.”


From the newly renamed the glory, the beauty.
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2025-11-15 10:39 am
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This moment's darling

Lan Xichen hadn’t meant to do it: to steal his didi’s boyfriend.

He of all people knew what it was to do, quietly, the reprehensible on purpose. He knew, at nineteen, the exact number of hearts he’d broken, of attachments he’d severed, of egos he’d wrecked, all in service of bolstering his own. Or so a therapist would say, or so he imagined. He himself knew the truth: his ego needed no bolstering. All he had to do in order to stroke it was to look in the mirror, whether that mirror be made of glass, reflecting to him his incomparable visage, or made of the words he wrote, reflecting to him his own brilliance. No. He did what he did, he committed his acts of quiet reprehensibility, for the sake of art. Where Lan Wangji was an artist of ivory and ebony keys, drawing from them strains and streams of glory and beauty, Lan Xichen was an artist of the human psyche, drawing it to its utmost lucidity—to its taut extremity—to the point of death. And he played it, this fine instrument of his, with as much love, and more, loving kindness, as Lan Wangji played the piano.


From the next part of Sonata Pathétique.
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2025-11-13 03:23 pm
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Today's darling

They had agreed to meet at the courtyard fountain ten minutes after the last bell, and when Lan Wangji saw Jiang Cheng, arrived first, lighted by the winter sun which seemed unable to determine whether it loved more his ethereal beauty or his carnal appeal, he decided on the Appassionata.

“Jiang Cheng,” he said, upon reaching the boy looking at him as if he was something worth looking at.

“Wangji,” Jiang Cheng responded, soft and low.

“Let us walk to the parking lot,” Lan Wangji said. “I have called a car.”

So they made the short walk, and when the car arrived, Lan Wangji opened the rear passenger-side door and gestured. Jiang Cheng smiled his thanks, and then getting into the car he took the seat not behind the driver but behind the console. Getting in next to him, then, brushing his thigh when he fastened his seatbelt, Lan Wangji felt his heart in his throat.

And then, as the driver pulled into the line of cars waiting to exit the lot, Lan Wangji drew on some untapped because unknown—until it was needed—and it was needed now—reservoir of courage deep inside himself and reached out to take Jiang Cheng’s hand.

He did so without trembling, and with the certain knowledge that Jiang Cheng would let him. It wasn’t doubt that made him brave to do it. It was his no less certain knowledge that he was changing the world despite himself, despite itself.

Jiang Cheng let him take his hand. More, he laced their fingers together.

Lan Wangji knew perfect happiness.

“You said you like to talk,” he said. “Talk to me.”

“Of shoes, and ships, and sealing-wax,” Jiang Cheng said, as if quoting. “Of cabbages, and kings. Yes, Wangji. What would you like me to talk about?”

“Of beauty,” Lan Wangji said. “Talk to me about beauty.”

“Beauty,” Jiang Cheng said thoughtfully. “All right. Beauty is an absolute. One of Plato’s Forms, illuminating the Good. I’m not as susceptible to Beauty as to the Good, which is the Form that rules me, that draws me toward itself, daily and irresistibly. Though I stumble it’s patient. When I fall it rights me, and it beams on me when I resume my ascent. Beauty, on the other hand, has no care for its beholders. Beauty is self-complete, and revolving in its own splendor it contemplates only itself. It’s not cruel, merely divine. Its worshippers break themselves against it, and will for the rest of time. Like people break themselves against you, Wangji. They do, don’t they? All the boys and the girls? Against your beauty, high and solitary and most stern?”

In a world that for exemplars of beauty had both Lan Xichen and Jiang Cheng to choose from, there was no response that Lan Wangji could make to such preposterousness.

So instead of addressing it he said, “You know your own beauty. You must.”

“Yes,” Jiang Cheng said, “I do. I have no choice but to know.”

His tone more than his words evoked for Lan Wangji an impression of the myriad petty dramas that had all too likely dotted his life alongside the gross encroachments on his virtue attempted by predators like Jin Zixun. Beauty had its consequences, or its price. Yet—

“I must be truthful,” Lan Wangji said. “I would not wish it away—your beauty—even to secure your peace.”

He raised their entwined hands to his lips, and kissed the back of Jiang Cheng’s hand.

He meant the kiss to be a sweet thing, a tender thing. An apology for the truth.

It was. But—

Oh,” Jiang Cheng breathed, and visibly quivered—

And between one second and the next he bloomed into the very picture of arousal.

Arousal parted his pretty lips—flushed his clear skin—looked come-hither out of his exquisite eyes.

Lan Wangji spent all of one second being shocked, before he caught the flame, or it caught him.

Aflame, he held himself very still—

To forestall his falling on Jiang Cheng like a pack of wild dogs.

But Jiang Cheng saw it, his desire—

And unlaced their hands, and reached into Lan Wangji’s lap.

When he touched what was there for him, hard for him, huge for him—

And made a noise as if he was the one who had come to heaven—

What could Lan Wangji do, but let him explore his heaven?


From the next part of Sonata Pathétique.
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2025-11-09 05:03 pm

Today's darling

Quiet devastation had never looked more beautiful.

That was a corollary of beauty, Lan Wangji thought. It should never wear any expression but the one it’s wearing now.

Until its mood shifted with the winds of change—

And then this one, this new expression, at this new now, should be the one it wears for all eternity.

And ever and onward into eternity—

Or until beauty fades.

But Jiang Wanyin’s beauty would never fade.

And his allure would never pale.

Up close, in full flower, both were otherworldly.

Lan Wangji, beholding them in their blinding radiance, knew truth for truth: beauty like that, allure like that, was a high and lonely tower.

Outside, men would kill themselves scaling it to try to pluck the prize it held.

Men would kill each other.

Inside—

It had never been so clear to Lan Wangji as it was now, what lay on the other side of Jiang Wanyin’s too-beautiful eyes.

Need.

The too-ordinary need for ordinary human connection.

If Jiang Wanyin was unique in his need, it was only in how exquisitely he wore it and bore it.

Lan Wangji felt a wave of unfeigned tenderness—

No one loves you, Wanyin, more than life.

No one cares to give you what you need.

—followed by a swell of lust.

It’s my turn now to give you what I want.

Thus, “As I undress you, then,” he said, “and touch you, you will please me by hiding nothing from me. Let me read you; let me eat you: all of you, in the light of the waning day.”

Like a skin-bound book, he thought. Like a feast of meat.


From the next part of Ten Thousand Swords.
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2025-11-08 07:56 pm
Entry tags:

Villanelle #xuexiao

It isn’t heaven you’re not dreaming of
When chained to my bed you fuck me dead
Because there is no other way to love.

White and radiant you fell to lust. Cov-
eting your might and right and height I said
It isn’t heaven. You’re not dreaming. Of

Course you have to pay for it. Strip me glove
First, show me the money, give me head,
Because there is no other way. To love

You obeyed me meek as a fucking dove.
That much gold will get you this much cock-fed.
It isn’t heaven. You’re not dreaming of

Enlightenment in my ass are you? Shove
Off. Find it jaw first on my cock instead
Because mmmthere. Is no other way to love

Better than mine better than yours? Above
Love rules death and we are redly wed.
It isn’t heaven you’re not dreaming of
Because there is no other way to love.
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2025-11-07 09:28 pm
Entry tags:

New story: Bavarian Gentians #zhancheng

Rating: Mature
Archive Warning: Creator Chose Not To Use Archive Warnings
Category: M/M
Fandoms: 陈情令 | The Untamed (TV), 魔道祖师 - 墨香铜臭 | Módào Zǔshī - Mòxiāng Tóngxiù
Relationship: Jiang Cheng | Jiang Wanyin/Lan Zhan | Lan Wangji
Characters: Jiang Cheng | Jiang Wanyin, Wei Ying | Wei Wuxian, Lan Zhan | Lan Wangji, Lan Qiren
Additional Tags: Alternate Universe - Modern Setting, Bottom Jiang Cheng | Jiang Wanyin, Top Lan Zhan | Lan Wangji, Lan Wangji is 16, Jiang Cheng is 25, XianCheng - Freeform, CuckXian, Lan Zhan | Lan Wangji Has a Big Dick

Summary:

Jiang Cheng’s latest babysitting charge was bigger than he was.

That was a first. Though willowy, Jiang Cheng was six feet tall. Which was to say, much taller than most children.

“Yes, of course, sir,” he’d said to Professor Lan. “I’m available.”

And he was. He just hadn’t expected this nephew, this Wangji, to be sixteen years old, much less six feet two and broad and muscled.

Bavarian Gentians (3,464 words)
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2025-11-04 01:52 pm
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Josephine Tey

The Daughter of Time

Inspector Alan Grant "solves" a 400-year-old "mystery," flat on his back in hospital, with the help of a woolly-lamb researcher. The premise and motivation are unique: the rehabilitation of Richard III from a hospital bed.

I love Marta Hallard. "She picked a bunch of narcissi out of a glass that was much too large for them, dropped them with one of her best gestures into the washbasin, and proceeded to substitute the lilac."

Brat Farrar

This novel sets two types against each other: one is careless and selfish and charming, and the other is strong and silent and an old soul. They're nearly identical and both beautiful--blond and fair and male--and twenty/twenty-one. There's an inheritance at stake. There's a mystery.

Tey is a snob of the first order but I love her for it.

Miss Pym Disposes

Speaking of Tey's snobbery. We tolerate the discourse of taste in Jane Austen, but there are no murders in Austen, no "face-reading," no all but explicit claim that the life of an unattractive, smarmy girl who cheats on exams is "not worth" the life of a contrarily intense, proud, and brilliant girl who is "too fine to throw away"--a girl whose level eyebrows and bone structure inspire Miss Pym to the meditation that "it was round faces like that that history was built."

But I've loved this book since I first read it. Tey's wonderful knowingness, which she embodies in this novel in the graceful Brazilian Teresa Desterro; her clever humor; her appreciation of fineness which is the light that casts the shadow of snobbery—I love these.

To Love and Be Wise

I love this one for the extraordinary, preternatural, disconcerting beauty of one character and its descriptions—"something of inhuman beauty that had walked out of some morning of the world beyond our remembering"—"'You middle-west Lucifer!'"—"a left-over from Eden, an escapee from Atlantis."

The Singing Sands

Zoë Kentallen is lovely because she's simple and unselfconscious (Grant's, Tey's, and my appraisal); and Grant's matter-of-fact reflection that he's been "saved" by a matter of hours from falling in love with her is delightful.

The Man in the Queue

Clunky, compared to Tey's later work. The first third or half, alternating between cogitation and description (of different parts of London at different times of day) was tedious.

But the description of Ray Marcable on stage was worth the price of admission: she steals the spotlight with absolute, unerring, ruthless, and—unless you're Inspector Grant—undetectable deliberation.

excerpt )

tl;dr

I love Tey for her sensibility and knowingness and wit.
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2025-11-03 01:25 pm
Entry tags:

Alphabet Game

A: Appassionata. “In my experience, hands don’t lie,” Lan Xichen said. “Yours say you’re beautiful behind that mask. Will you take it off? Let me see you? Before you kill me?”

B: The Body Electric. I work with my hands, it reads, with my body, with animals. They sense my comfort and my love; they calm, because they find their center. Ideally you work with your mind. Ideally you work with words. I speak, but my love language is touch. You speak words enough for both of us. You speak wit, intelligence, eloquence. You speak your love for me, while I press my love into you. Let me press my love into you.

C: Conversations in Therapy. It's not that Jiang Cheng doesn't know he has daddy issues. It's just that he doesn't really mind them anymore, ever since he started seeing his awesome new therapist who works with his issues rather than enabling him in trying to eradicate them.

D: Dreams Come True. Jiang Cheng read the prose and wept. He wept because it was honed to gleaming, spare perfection. He wept because he wanted to live in the world that prose promised, and not in this world of mud and mess. He wept because he would never write anything half so fine and it was all he wanted to do with his life: to write, to craft, to change the world for the better one novel at a time.

E: Equilateral. I am the damned, Jiang Cheng thinks, walking in my chamber. Come to me not, melting melodious words to lutes of amber.

F: Fly me to the moon. Wen Zhuliu finds that his new charge must have made an impression on him, because one day, walking the bazaars on his rounds, he stops short at a pearl merchant's stall. What's caught his eye is a necklace of lavender pearls. What mollusks tortured those, he thinks, aided by what machine? Yet the shade and sheen of each perfect purple pearl puts him irresistibly in mind of Jiang Cheng's alabaster skin.

G:

H: Homewrecker. Jiang Cheng knows himself to be the sluttiest cockslut who ever took a cock in his hungry hole, who ever begged, prettily and irresistibly, to be fucked like the slut he is. No man has ever been able to resist him. Jiang Cheng knows himself beautiful. He knows his marvel of a face, high and fine and stern, for what it is; and his feast of a body, tiny of waist and lean of muscle and long of limb. He knows how to look at a man, to hook him and make him his.

I: Intuition. Math had always been Jiang Cheng's worst subject; his B's in freshman geometry and sophomore-year algebra II had been eked out by the skin of his teeth. On the subject of skin, Father and Mother would have skinned him alive if he'd done any worse. Even the B's, so hard-earned, had warranted only "I'm very disappointed in you, son," from Father and "You're simply not trying, are you?" from Mother. Jiang Cheng could have cried. He did cry. He had tried so hard.

J:

K: Killer. “They want to kill someone, they go buy a gun to shoot them with or, worse, they hire someone like me to do the killing for them. There’s no respect for the art of murder, much less appreciation for artistry in the instrument of murder. There’s no understanding that outsourcing the kill does more damage to the immortal soul than willing someone dead in the first place. I mean, we’re not talking affairs of state here. That’s above my pay grade, and yours as well, my pretties. Affairs of the heart, however—those require the knife, the dagger, the sword. You don’t know someone until you’ve stabbed them in the heart. You don’t hate someone until you’ve bled them dry. Most of all, you don’t love someone until, pierced by your steel, they’ve drawn their last breath in your arms. After all—I would know.”

L: love and lust. If the boy was shy yet enticing beyond bearing—if he’d looked at Lan Xichen with trusting eyes that then too soon turned knowing—if he’d woken up to his own allure and learned to wield it without scruple—if he’d taken to offering himself up to be relished—ravened—ruined—then How, Lan Xichen despaired, am I to resist him—temptation incarnate?

M:

N: Notes Toward a Minor Fiction. It’s not just Jiang Cheng’s lyrics that enthrall. His voice is sex, low and throaty, with a grain to it. His control over it is total, he bends it to his will. And his will, it seems, is seduction. Seduction beyond the flesh: seduction of the soul.

O: only love. Their romance is the event of Jiang Cheng's life. It shouldn't be. The burning of his home—the murder of his parents—the destruction of his core—the miracle of its restoration—all these have greater claim. But when Jiang Cheng is in Nie Mingjue's arms, he knows the truth. The truth is that love is greater than death—and greater, too, than life. The golden core glowing inside him is the source of his life—of the part of his life worth the name. Or so he used to think. Now he doesn't know. Now he thinks he could live without it, his core. Now he thinks he could live on love alone.

P:

Q:

R: Roses. So he does it. He posts an ad on Craigslist. For five hundred roses, he writes, because why not aim high if you're gonna aim at all, you can have this. The photo is both artistic and filthy, Nie Huaisang is as talented as he's thirsty. Jiang Cheng sends the post into the ether and waits.

S: suns' blood and stars' milk. Wei Wuxian remembered the nine months of the pregnancy simply as a blur of confusion. He’d just lost his parents and been moved out of the cozy home he’d shared with them, even if only to the next suburb over, even if to a much nicer house. He’d still been acclimating to his new surroundings, and his adoptive parents had still been acclimating to him too—while cooking their own little bun in the oven. Had they taken pains to ensure that he felt welcome and loved by them regardless? Had he believed their gestures? Had he understood why they made them? Sixteen, he didn’t remember. Sixteen, he didn’t remember his mind at four, because his life had started at five, or rather five days after he turned five: on that day, his new parents’ little bun had come out of the oven fully baked—sweetly swaddled—black-eyed and tiny-fingered and perfect—and Wei Wuxian had fallen in love.

T: The Tale of Psyche. Jiang Wanyin was so beautiful that, as he grew, and grew only more beautiful, the populace neglected worship of the goddess of beauty, whose name was Weinasi, to worship him instead. Word of his beauty spread far and wide. People from kingdoms near and far made pilgrimages to fill their eyes with his beauty, and traveled home thinking of nothing but his beauty, and returned to their families to speak hushed and awed encomiums, soliloquies, orisons, upon his beauty.

U: Utah. He’s alone in the world, a friend to all and therefore to none. He’s been alone since death in the form of an orange Corvette driven by a drunkard decided to plow its way into a crowd and yet kill only two. If those two hadn’t been Lan Xichen’s brother and his uncle, then the crossed flags of the car’s emblem—one checkered, one lilied—wouldn’t to this day kill him to see. If Lan Wangji and Lan Qiren were still in his life, Lan Xichen wouldn’t dream those flags almost nightly. He wouldn’t dream himself reaching out his hand, freeing the fleur-de-lis from the red flag, turning its point toward his ribcage, and carving out his own heart.

V: Vermont. A-Die and A-Niang adopted Jiang Cheng when he was five, and Jiang Cheng has never recovered his memories of his time on the streets and before - or if he has, he's never spoken of them. It breaks Wei Wuxian's heart to think about it, so he doesn't think about it. Instead he follows Jiang Cheng to Vermont. The campus is beautiful, all ivy and stone and fall foliage, and Jiang Cheng enrolls in advanced Greek and Latin while Wei Wuxian scours the catalog and decides just to take survey courses to start.

W: whore & hundredth. "You want," he said, "to be treated like the whore you are."

X:

Y: Your Life's Desire. “Wen Zhuliu,” Wen Chao says. “You’re up. Go ahead: take him. This prize is all yours.”

Z:
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2025-11-03 10:15 am
Entry tags:

Dynamics

my parents
practiced too much forbearance

faced with their wild
and only child

so my husband
is being threatened

with a knife
by his wife.
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2025-11-02 10:06 pm
Entry tags:

Desert Island Books, top ten edition

You know, where the desert island isn't an actual desert island (I'm looking at you, Boatbuilding for Beginners people) but just an occasion to make a list, one that might be different a different day.

1. The Nightmare Factory

I have a sense that Thomas Ligotti attracts—or attracted, before Penguin Random House picked him up—mostly a certain kind of reader that I definitively am not, being neither a man nor a nihilist—but I just love this omnibus collection. Ligotti writes a baroque prose, thinks up and fills out clever conceits, and can be very funny. For the record, I like the versions of the early stories collected in The Nightmare Factory much more than the edited versions published later, including in the Penguin edition.

Incidentally, I have this book shelved next to Penguin's edition of the Bible.

2. Wuthering Heights

I said this out loud once and was gently corrected—for obvious reasons—by my most wonderful professor, but I stand by it: I feel no guilt for loving this novel's extreme violence, because it truly is personal. It's not structural. It's not about systems of power around race, class, gender. It's just Catherine being Catherine, and Heathcliff being Heathcliff, (which are the same thing if you take Catherine's word for it,) and Emily writing her id.

3. Villette

I love Emily but Charlotte is the greater Brontë, for this novel. It's merciless. Charlotte's eye misses nothing and her pen spares no one, and Villette leaves no reader with a soul untouched.

4. The Bloody Chamber

The title story is a lush and feminist retelling of Bluebeard. It has a high tone but also a heart, and the prose is to die for.

5. The Fall of the Kings

Of the Riverside books Swordspoint is I think the fan favorite, but I love this one even more. It's got the mannered poses, the drawing-room repartee, the political intrigue, that make Swordspoint so compelling, but it's also got a university setting! I read somewhere that Delia Sherman wrote the university sections, and I'm here imagining her imagining medieval/scholastic institutes of learning, if the scholastics had Kings that fell instead of Christ that rose. Sherman writes in an undergirding debate about historiographical methodology, and the debate shows up in the plot as an actual scheduled event which turns out to be the novel's climax where all the plot lines that have been drawn over five hundred pages converge.

One thing I have to say, though, in comparing The Fall of the Kings to Swordspoint, is that I don't care about the central romance in the former: to me it feels like a cofunction of the plot. Whereas I couldn't love more than I already do Swordspoint's Richard and Alec and their dynamic; they break my heart.

Last thing: The Privilege of the Sword is wonderful too! I feel like the three books make something of an equilateral triangle, just the same amount of different from and similar to each other, trilaterally!

6. We Have Always Lived in the Castle

A short novel, creepy af and also perfect. I hear there's a visual adaptation; I can't imagine that it works. The novel is untouchable.

7. Sula

Another perfect short novel. I have no idea how Toni Morrison manages to be creepy-dark-twisted with a heart. Eva's murder of Plum embodies both, yet because it does have a heart it ends up being all heart, and I end up not being able to appreciate the masterly rendering of a mother setting her grown son on fire, because I'm too busy crying into my hands.

I can, however, fully appreciate this masterly rendering of a hot day: "a day so hot pregnant wives leaned up against trees and cried, and women remembering some three-month-old hurt put ground glass in their lovers’ food and the men looked at the food and wondered if there was glass in it and ate it anyway because it was too hot to resist eating it—"

8. The Praise Singer

If I had read more Mary Renault, and I intend to, this entry might be a different novel from her oeuvre. As it is, I've read The Charioteer, The Persian Boy, and The Praise Singer; I love them all, but The Praise Singer is special, because in my view it most examples this about Renault: her characters excel at reading each other through the lens of tact and dignity, imputing to each other always the motives most in keeping with the plain fact that they are all decent men (yes, they're all men in these books). Decent is the wrong word, it's too English. Good is also not the right word, it's too Christian. Noble is too Homeric (is that right?). I don't know the word to use. Whatever the word is, call it X, Renault's characters navigate the tacit undercurrents of interpersonal relations, and read and respond to social cues, always, in the very moment, in the very most [superlative of X goes here] way.

9. The End of Everything

I mentioned Emily Brontë's id, above; now is a good time to clarify that I'm using it wrong, the word id. I'm not referring to desires the subject may harbor, to fuck his mother or strangle his boss, because in these instances there is a subject. I'm referring to, like, the dark playground in the psyche where we entertain and relish and aestheticize notions of how wonderful the whole world would be, how beautiful and fascinating, if it were twisted just a few degrees to the left or turned entirely upside down.
(major spoiler)As here, in this book, in Megan Abbott's playground, where the thirteen-year-old girl everyone thought had been kidnapped turns out to have known her supposed abductor had been watching her—inflamed him on purpose—gotten into his car. And this is how she tells it later, back home, weeks later, her v-card punched to confetti: "he loved me so much those nineteen days I thought I might die from it." And this is how she describes their parting to her friend: "he said, No one will ever love you like this again, and I knew he was right." That's delicious, that's the kind of stuff the id, in my usage, feeds on, subsists on, adores. Abbott hits my id with every book. This one is my favorite.

10. Gone Girl

This one's film adaptation worked, and how, Rosamond Pike idly flying pens out the window on the highway... I love Gillian Flynn's sandboxes too; I wish there were more of them.
(major spoiler)I fucking love Amy Elliott Dunne, who coolly and meticulously plans the suicide she'll commit in order to provide the dead body that will guarantee her lying, cheating husband the death penalty he deserves. I will sign up for a booze cruise—something to get me out into the deep end but nothing requiring identification. I will drink a giant ice-wet shaker of gin, and I will swallow sleeping pills, and when no one is looking, I'll drop silently over the side, my pockets full of Virginia Woolf rocks. It's magnificent.
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2025-10-30 06:52 pm

Inaugural

I believe my fic is art, and comes not from myself but from the universe. Reading my stories, and sometimes while writing them too, I know the words, images, and ideas don't originate in me.

This detachment frees me from a kind of anxiety and ego that might otherwise plague me.

My job when I write is to tune in and transcribe.

And, of course, to hone my prose like poetry.