#A Brief History of Seven Killings

[quotespile]

That’s what happens when you personify hopes and dreams in one person. He becomes nothing more than a literary device.

Marlon James, A Brief History of Seven Killings

[quotessentially]

From Marlon James’s A Brief History of Seven Killings

[venusintheblindspots-blog]

“Is nineteen seventy fucking eight and a woman must know that sometimes the only way forward is through.”

- Nina Burgess, A Brief History of Seven Killings, by Marlon James

“Sometimes the only way forward is through. So I walked through. I was not afraid.”

- Tracker, Black Leopard, Red Wolf, by Marlon James

[philosophybitmaps]

[justforbooks]

This decades-spanning novel looking into the attempted assassination of Bob Marley in Jamaica in 1976 has rapidly become a modern classic. Since its publication in 2014, it has won the Man Booker prize, sold more than half a million copies, seen its author congratulated on millions of letters with a Royal Mail stamp and won over readers and critics alike around the world. The New York Times described it as an “epic in every sense of that word: sweeping, mythic, over-the-top, colossal and dizzyingly complex”. The Irish Independent called it a “vast, ambitious, burning mansion of a book, designed to reflect all the languages of its teeming island and the chambers of the human heart”. The Hindustan Times called it “gripping.”

It’s been a worldwide sensation, in other words. And that in spite of the fact that it appears superficially challenging; readers have not minded that it features more than 75 characters who speak in voices ranging “from Jamaican slang to Biblical heights”, in the words of 2015 Booker judge Michael Wood. Nor have they cared that it is uncompromising in both subject and style. Writing in the Guardian, Kei Miller warned: “Despite its title, this isn’t a brief novel and neither are there a mere seven killings. Readers will flinch many more times than that.” The Irish Times also counselled that “it’s not for the faint hearted”. That’s fine with me. In fact, it makes me look forward to it all the more. I hope you’ll join me.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[joshcockroft2]

A Brief History of Seven Killings – Marlon James 

13.1.2023

I wasn’t sure about starting this as I really don’t like Bob Marley’s music, but luckily neither did many of the characters here either. Being written mostly in Jamaican patois, this was a slow read, but as with most books that require some concentration (and one where the list of characters was frequently needed), it was rewarding. 

[goldencrownofsorro]

#4

[harrison-abbott]

if you get to the ending. it’s odd that, in the final act of violence, it almost seems like retribution, despite being so horrific. it’s that unsettling and violent a novel, that the finale is almost righteously vengeful. 

either way, it’s just great writing. 

[macrolit]

The 100 Best Books of the 21st Century.

As voted on by 503 novelists, nonfiction writers, poets, critics and other book lovers — with a little help from the staff of The New York Times Book Review.

NYT Article.

*************

Q: How many of the 100 have you read? Q: Which ones did you love/hate? Q: What's missing?

Here's the full list.

100. Tree of Smoke, Denis Johnson 99. How to Be Both, Ali Smith 98. Bel Canto, Ann Patchett 97. Men We Reaped, Jesmyn Ward 96. Wayward Lives, Beautiful Experiments, Saidiya Hartman 95. Bring Up the Bodies, Hilary Mantel 94. On Beauty, Zadie Smith 93. Station Eleven, Emily St. John Mandel 92. The Days of Abandonment, Elena Ferrante 91. The Human Stain, Philip Roth 90. The Sympathizer, Viet Thanh Nguyen 89. The Return, Hisham Matar 88. The Collected Stories of Lydia Davis 87. Detransition, Baby, Torrey Peters 86. Frederick Douglass, David W. Blight 85. Pastoralia, George Saunders 84. The Emperor of All Maladies, Siddhartha Mukherjee 83. When We Cease to Understand the World, Benjamin Labutat 82. Hurricane Season, Fernanda Melchor 81. Pulphead, John Jeremiah Sullivan 80. The Story of the Lost Child, Elena Ferrante 79. A Manual for Cleaning Women, Lucia Berlin 78. Septology, Jon Fosse 77. An American Marriage, Tayari Jones 76. Tomorrow, and Tomorrow, and Tomorrow, Gabrielle Zevin 75. Exit West, Mohsin Hamid 74. Olive Kitteridge, Elizabeth Strout 73. The Passage of Power, Robert Caro 72. Secondhand Time, Svetlana Alexievich 71. The Copenhagen Trilogy, Tove Ditlevsen 70. All Aunt Hagar's Children, Edward P. Jones 69. The New Jim Crow, Michelle Alexander 68. The Friend, Sigrid Nunez 67. Far From the Tree, Andrew Solomon 66. We the Animals, Justin Torres 65. The Plot Against America, Philip Roth 64. The Great Believers, Rebecca Makkai 63. Veronica, Mary Gaitskill 62. 10:04, Ben Lerner 61. Demon Copperhead, Barbara Kingsolver 60. Heavy, Kiese Laymon 59. Middlesex, Jeffrey Eugenides 58. Stay True, Hua Hsu 57. Nickel and Dimed, Barbara Ehrenreich 56. The Flamethrowers, Rachel Kushner 55. The Looming Tower, Lawrence Wright 54. Tenth of December, George Saunders 53. Runaway, Alice Munro 52. Train Dreams, Denis Johnson 51. Life After Life, Kate Atkinson 50. Trust, Hernan Diaz 49. The Vegetarian, Han Kang 48. Persepolis, Marjane Satrapi 47. A Mercy, Toni Morrison 46. The Goldfinch, Donna Tartt 45. The Argonauts, Maggie Nelson 44. The Fifth Season, N.K. Jemisin 43. Postwar, Tony Judt 42. A Brief History of Seven Killings, Marlon James 41. Small Things Like These, Claire Keegan 40. H Is for Hawk, Helen Macdonald 39. A Visit from the Goon Squad, Jennifer Egan 38. The Savage Detectives, Roberto Balano 37. The Years, Annie Ernaux 36. Between the World and Me, Ta-Nehisi Coates 35. Fun Home, Alison Bechdel 34. Citizen, Claudia Rankine 33. Salvage the Bones, Jesmyn Ward 32. The Lines of Beauty, Alan Hollinghurst 31. White Teeth, Zadie Smith 30. Sing, Unburied, Sing, Jesmyn Ward 29. The Last Samurai, Helen DeWitt 28. Cloud Atlas, David Mitchell 27. Americanah, Chimamanda Ngozi Adichie 26. Atonement, Ian McEwan 25. Random Family, Adrian Nicole LeBlanc 24. The Overstory, Richard Powers 23. Hateship, Friendship, Courtship, Loveship, Marriage, Alice Munro 22. Behind the Beautiful Forevers, Katherine Boo 21. Evicted, Matthew Desmond 20. Erasure, Percival Everett 19. Say Nothing, Patrick Radden Keefe 18. Lincoln in the Bardo, George Saunders 17. The Sellout, Paul Beatty 16. The Amazing Adventures of Kavalier & Clay, Michael Chabon 15. Pachinko, Min Jin Lee 14. Outline, Rachel Cusk 13. The Road, Cormac McCarthy 12. The Year of Magical Thinking, Joan Didion 11. The Brief Wondrous Life of Oscar Wao, Junot Diaz 10. Gilead, Marilynne Robinson 9. Never Let Me Go, Kazuo Ishiguro 8. Austerlitz, W.G. Sebald 7. The Underground Railroad, Colson Whitehead 6. 2666, Roberto Bolano 5. The Corrections, Jonathan Franzen 4. The Known World, Edward P. Jones 3. Wolf Hall, Hilary Mantel 2. The Warmth of Other Suns, Isabel Wilkerson 1. My Brilliant Friend, Elena Ferrante

[quotespile]

You ever feel like home is the one place you can’t go back to? It’s like you promise yourself when you got out of bed and combed your hair that this evening, when I get back I’ll be a different woman in a new place. And now you can’t go back because the house expects something from you.

Marlon James, A Brief History of Seven Killings

[quotessentially]

From Marlon James’s A Brief History of Seven Killings

[venusintheblindspots-blog]

“Women like me don’t sleep. We know that the night is no friend of us. Night does things, brings people, swallows you up. Night never makes you forget but it enters dreams to make you remember. Night is a game where I wait, I count off until I see the little pink streak cut through our window and I go outside to see the sun rise over the sea. And congratulate myself for making it, because I swear, every night. Every night.”

- Nina Burgess from ‘A Brief History of Seven Killings’, by Marlon James

[philosophybitmaps]

“When you come into the real truth about yourself, you realize that the only person equipped to handle it is you.” – Marlon James, A Brief History of Seven Killings

[inthedayswhenlandswerefew]

When The World Is Crashing Down [Chapter 1: Am I More Than You Bargained For Yet]

Series summary: Your family is House Celtigar, one of Rhaenyra's wealthiest allies. In the aftermath of Rook's Rest, Aemond unknowingly conscripts you to save his brother's life. Now you are in the lair of the enemy, but your loyalties are quickly shifting...

Chapter warnings: Language, warfare, violence, serious injury, a brief history of burn treatments, alcoholism/addiction, references to sexual content (18+), a wild Sunfyre appears, catching feelings for literally the single most inappropriate man on the planet.

Series title is a lyric from: "7 Minutes in Heaven" by Fall Out Boy.

Chapter title is a lyric from: "Sugar, We're Goin' Down" by Fall Out Boy.

Word count: 5.3k.

Link to chapter list (and all my writing): HERE.

💜 I’m going to tag like a bazillion people since this is the first chapter of a new fic, but I WILL NOT TAG YOU AGAIN unless you ask me to. I hope you are all doing well, wherever you are in the world! 💜

@doingfondue @catalina-howard @randomdragonfires @myspotofcraziness @arcielee @fan-goddess @talesofoldandnew @marvelescvpe @tinykryptonitewerewolf @mariahossain @chainsawsangel @darkenchantress @not-a-glad-gladiator @gemini-mama @trifoliumviridi @herfantasyworldd @babyblue711 @namelesslosers @thelittleswanao3 @daenysx @moonlightfoxx @libroparaiso @burningcoffeetimetravel-fics @mizfortuna @florent1s @heimtathurs @bhanclegane @poohxlove @narwhal-swimmingintheocean @heavenly1927 @echos-muses @padfooteyes @minttea07 @queenofshinigamis @juliavilu1 @amiraisgoingthruit @lauraneedstochill @wintrr13 @r0segard3n @seabasscevans @tsujifreya @helaenaluvr @hiraethrhapsody @backyardfolklore

Let me know if you’d like to be tagged in future chapters! 

You scream when he grabs you, this lightning strike of a man with a grip like an animal trap that splits bones. He pulls you away from the soldier you’re soothing—a young dark-haired Norcross, disoriented, doomed, his intestines spilling out onto the grass and blood on his lips—and through the forest of smoke and corpses and pine trees. Your eyes sting and water, your boots snag on gnarled roots. When you yelp and stumble to the earth, the man drags you upright again. You struggle like a beast with a blade at its throat, cold, serrated, pressure on the jugular. You shove and scratch at him, trying to plant your boots in soil strewn with gore and glowing embers.

“Stop, stop it, you’re hurting me!”

“Hurry up.”

“You’re going to break my wrist—!”

He wrenches you around to look you full in the face, and only now do you know who he is. A gasp hisses through your teeth; the acrid air in your lungs vanishes. Every muscle and tendon and ligament of you is taut with horror, tight enough to snap. It’s like meeting one of the Seven, the Warrior or Stranger or Smith, a shade you know only from myths and nightmares. It’s like being led to the executioner’s scaffold. His long silver braid hangs over one shoulder. His eyepatch conceals the childhood maiming that left him half-blind. There’s blood and ash on his scarred face, a ruthless breed of fear in his remaining eye, icy blue, creek-shallow, soulless. The man clasping your wrist is Prince Aemond Targaryen. “I’ll break your neck if you don’t come with me now.”

He does not wait for your protest or acquiescence. You couldn’t give it anyway. Your muddied boots move numbly as he tugs you forward, this man they call Aemond One-Eye, a monster, a murderer, a kinslayer. The earth is littered with carnage from the battle, charred ribcages and disemboweled horses, scattered armor and severed limbs. Ashes fall from the smoldering treetops like dark snow.

What does he want from me?

Rape seems unlikely; everyone knows Prince Aemond’s deviancies do not run in that direction. He is cold, hateful, dispassionate, made of stone. He does not lust for anything but power and retribution, fire and blood.

To kill me?

But why not do it here, now? There is a sword hanging from his belt, a dagger in one fist. There is no reason to wait.

To take me prisoner? To feed me to his dragon? To torture me for information?

Surely there are more knowledgeable people around to torture. What use could you be, a healer, a woman? Unless…

Unless he knows who my father is.

You glance down at the fabric band looped around the upper half of your right arm, the only mark you wear of your house, stark white banner, skittering red crabs. It is soaked through with blood. It is unreadable.

Someone is shrieking, but not like a dying man. He has too much fight in him for that, too much glass-clear agony, unwanted blistering consciousness. He screams like someone being flayed, gutted, burned alive. You’ve only ever heard this sound once before. You choke on the greasy, putrid, metallic sweetness of scorched human flesh as it sears down your throat, not knowing if it is real or remembered.

There is a tent in the midst of the pine trees, fluttering canvas that’s green like emeralds or jade. The wind is picking up; you will need to evacuate soon. The cinders will spread and the forest will blaze. Somewhere a dragon is roaring, wounded and mournful like the cry of a lost child. The screams of the man grow louder; they fill your skull like a fever, scalding and senseless and red. Aemond yanks the tent flap aside and pulls you in. And when you breathe it is nothing but the sickening miasma of burnt flesh, coppery blood, suffering, sweat, ruin.

He’s writhing on a wooden table, the man the Greens call king. It has to be him: white-blond hair down to his shoulders, blue eyes and fine aristocratic bones. Two ancient, shaky-handed maesters—hastily commandeered from the defeated House Staunton, you assume—confer nearby, clutching glass bottles of milk of the poppy. A man in armor is cutting tatters of clothing from the so-called king. When he lifts the fabric away, skin sloughs off with it. Aegon wails, struggles, begs him to stop. Aemond goes to his brother and carves away scraps of melted leather and charred cotton with the swift blade of his dagger.

“Shh, shh, don’t fight us, we’re trying to help—”

“Aemond, let me die,” the burned man rasps. He is trembling violently, he is half-mad with pain. Meleys’ flames claimed a swath of his right cheek, his neck and chest and back, his arms down to his wrists, his belly to the crests of his hip bones. “Please. I don’t want to be here. I don’t want it to hurt anymore. Don’t try to help me. Just let me die.”

Aemond looks back at you. “Can you treat this?”

He thinks I’m a Green, you realize with panic, with relief, with terror. And of course he would: you had wandered into the Greens’ side of the battlefield and therefore did not surrender or flee or die with the other Blacks, you were tending to a Green soldier when he found you. Aemond the Kinslayer would not comprehend the notion of service to humankind without a line drawn down the middle of it, of uncategorical compassion.

“Can you help him or not?!” Aemond shouts; and you know that he is not just afraid but shattering, spider-leg cracks inching across a window or a mirror. Perhaps the Greens have souls after all.

You shed your paralysis like daylight erases the stars and approach to examine the so-called king. You do not touch him; still, he whimpers, sobs, quakes like waves in a storm. “He needs more milk of the poppy. A lot more of it.”

“Yes,” Aegon agrees immediately. His streaming eyes—a bleak, murky blue like the sea off Claw Isle—list to you, agonized and grateful.

The maesters gape. “More could kill him,” one says. And they are petrified of being blamed for it. They are plagued by visions of Aemond hacking off their heads and displaying them on spikes above the stone walls of captured Rook’s Rest.

“No drawbacks at all then?” Aegon manages between moans.

“If his pain does not abate, he will die of shock,” you say. “He must be unconscious.”

“Knock me out,” Aegon pleads, pawing at Aemond. “Tell them, tell them.”

Aemond looks to the man in armor: dark-haired, olive-skinned, Dornish. Sir Criston Cole, you realize. The Hand of the King. The Kingmaker. After a moment, Criston nods. “Do it now,” Aemond orders the maesters.

Grimacing, grim, they pour the opalescent liquid into Aegon’s mouth. He gulps it down as quickly as he can. “Enough,” you tell the maesters. Instinctively, you reach out to comfort Aegon: a palm rested lightly on his forehead, fingers threaded through silvery hair that’s filthy with soot and blood. You should hate him, but you don’t. When you look at the Greens’ broken king, you cannot see a murderer, a usurper, a depraved hedonist, a consumer of innocence. You can only see a man worn threadbare by ill-advised bravery.

“Hello, angel,” Aegon murmurs as he gazes up at you, a ghost of a smile on his lips. His eyes really do remind you of home: ocean currents like iron, fog like flint. “Welcome to the end of the world.” And then he’s out, extinguished, eclipsed.

Servants bustle into the tent carrying heavy buckets. “What is that?” you ask.

“Pork lard,” one of the maesters says. “For his wounds.”

“No, no, no, some of these burns are nearly down to the muscle. They’re too deep, too fresh. Lard is for later, to help with scarring, although olive oil or rose oil would be better. He needs to be cleaned with vinegar diluted with water. Or red wine, if that’s all that can be found.”

“Vinegar?!” one of the maesters exclaims.

“It helps prevent infection. Nobody knows why.”

The same maester turns to Aemond, imploring him. “My prince, I can assure you, the Citadel recommends pork lard or cow dung as topical cures, or both used alternatingly. There are also reports of cases where frogs have been helpful, warmed in oil and then rubbed on the affected area.”

Criston blinks. “I’m sorry, you do what with the frogs…?!”

They’re going to kill him, you think. Not with malice, but with stupidity. A wasted life, a wasted death. You demand of the maester: “When was the last time you treated burns this severe?”

He glowers at you, sharp dark eyes like flecks of onyx in a nest of wrinkles. And you know you’ve won when he replies: “When have you?”

“My brother was burned in a housefire started by an upturned lantern. It was five years ago, but I remember the direness his injuries. And what was done to save him.”

Silence in this tent the color of summer: green grass, unsinged trees. Aemond waits for the maesters to produce some astute rebuttal. When they cannot, he orders the servants: “Vinegar, water, rags. Now.” They dash off to oblige him, wide-eyed and quivering like small dogs. Then Aemond looks to you. “What next?”

“His wounds should be treated with honey and then bandaged. The dressings must be changed frequently, at least once per day. He must be repositioned so the scar tissue does not immobilize his joints. He will suffer, it cannot be avoided, but he should suffer as little as possible. Listen to him when he says the pain is too much. Let him sleep. When he is awake, he must drink plenty of fluids. He is losing water through his burns, and it must be replaced. Milk is preferable. Tea and fruit juices are good as well. Some wine is acceptable if that’s what he likes best.”

“And it certainly is,” Criston mutters. You’ve heard the same: that the Greens’ king is a drunk, an adulterer, a coward, a ghoul. You cannot speak to any of this. You know him only as someone who is horrifically pained and sick to death of fighting. Again, without thinking, you comb your fingertips distractedly through his hair as he lies unconscious on the table, bleeding from everywhere. He’s so young, so breakable, so unlike the monster you’ve been led to believe he is.

“Get honey and bandages,” Aemond tells the maesters. They depart, casting each other incredulous glances: Are these our new overlords? Men who heed the wisdom of impetuous young women filthy with blood and earth?

“I’ve heard salt can be helpful for wounds,” Aemond says. “They used it on me when…” He gestures to his eyepatch, to his scar. Lucerys Velaryon took that part of him in self-defense; at least, that is what you have always been told. But you’ve read enough to know that for every event, there are at least two stories. Whatever the truth is, Luke paid for that eye. He paid, Rhaenyra paid, the world continues to pay the price over and over again.

“Because it dries. It absorbs moisture.” You skim your palm over Aegon’s forehead, without lines of fear or anguish as he sleeps. There is a ring on his left hand, a gold dragon with glinting dots of jade for eyes. You twist off the ring so it will not hinder circulation as his fingers swell and give it to Aemond. “But burns weep as they heal. They need to be wet. If they get too dry, they will crack open and fester.”

“Is that what happened to your brother?” Aemond asks.

“Where we did not pay enough attention. The backs of his knees, the soles of his feet.”

“But he survived.”

“Yes,” you tell Aemond; and you can see how desperately he is searching for hope in your face, your words. “He did.”

The servants return with buckets of water, handfuls of rags, glass bottles of vinegar that is cloudy and rust-colored.

“What’s it made from?” you say.

“Fermented a-a-apples, my lady,” one of the boys sputters. He watches Aemond out of the corner of his eye like sheep look for the shadows of wolves. He shivers, he sweats. This boy, who last night was fetching meat and mead for Lord Staunton, has heard the same stories you have: the degenerate king, his murderous brother.

“That’s fine then.” You haul over one of the water buckets and Criston helps you lift it up onto the table. You empty half a bottle of vinegar into the water, mix it by wobbling the bucket back and forth, and then soak a rag in the pungent liquid. “You can help,” you tell Aemond and Criston. “Dip a rag in the bucket, wring it out, then press it to his wounds. Remove any dirt or scraps of fabric. But don’t rub. Try not to damage the skin he has left.” You demonstrate: dabbing at flesh that is torn and bloody and blistered, a black-and-ruby wasteland that at best will leave him irreparably scarred and at worst will swallow his life like ships sink in storms.

Tentatively—with hands at ease with killing but not tenderness—Aemond and Criston join you, studying your movements and imitating them with great care. There is a sniffle, a teardrop that falls onto Aegon’s filthy but unburned left hand and glistens there like a splinter of glass; you are alarmed to see that the Kingmaker is weeping.

“Criston,” Aemond says gently. “We are doing everything we can for him.”

“Since the day he was born, I promised…”

“I know.”

“Your mother…”

“I know,” Aemond says again, and you think: The Greens aren’t demons, they aren’t savages. They’re just patchworks of memory and flesh and suffering, the same as any of us. “He will live. And his sacrifice won us a victory today.”

As you tended to wounded men caked with blood and pine needles, you saw them tangled above in the overcast sky, scales of scarlet and gold and an ancient muddy viridescence. There were flames and shouts, and then all three dragons hurdled towards the earth and out of view. “The Red Queen?” you ask Aemond, mindful to keep your voice perfectly level.

“Dead,” he says: dark satisfaction, fearsome pride. “And so is her rider.”

“The gods are good.” You are amazed at how easily it slips out, a reflex of self-preservation while your mind is elsewhere. Does my father know yet? Does Rhaenyra, does Daemon, does Corlys? People will be searching for you soon. If you do not appear from the smoke and chaos of the battlefield, your eldest brother Clement will come looking with his sword in hand. Everett, scarred and unagile but clever, will be pouring over maps to see where you might have ended up.

There is no suspicion in Aemond’s face when he glances over at you. He is gingerly cleaning soot and charred strips of ruined skin from Aegon’s chest, which rises and falls in deep, slow breaths. “Which family is yours?”

House Celtigar, but you can’t tell him that. You scramble for a noble family of the Crownlands whose accent you share, whose history you have been taught, whose men fight for the Greens but are not so distinguished that Aemond will know them well. “House Thorne.”

He nods. “Are you one of Sir Rickard’s sisters?”

You startle. Perhaps you have chosen the wrong disguise. “Far less illustrious than that. Just a cousin.”

The two maesters return, their archaic hands piled high with linen bandages and glass jars of honey, a fiery gold like sunset. “Set them down over there,” Aemond orders, pointing. He has a presence, it cannot be denied. He is tall, fierce, swift yet calculated. He moves like a man who has killed once, twice, again until it is no longer something that keeps him awake at night. It is something that has become a part of him like arteries or bones. “Prepare a room in the castle.”

“For Prince Aegon?” one of the maesters says, then quickly corrects himself. “I mean, for the king?”

“For until we decide what to do with him.” Aemond stares at Criston. Criston stares back, his dark eyes huge and shiny. There is a war to be waged, but Aegon will not be able to help them. Not for months, at least. Not ever, if he dies. The maesters disappear again, grumbling to each other. Unwelcome tasks, unwelcome guests.

Rhaenys is dead, you think as you work. It doesn’t feel real. Meleys is dead. Hundreds of Black soldiers are dead. Rook’s Rest is the Greens’ greatest victory yet, and one they desperately needed. This war is nowhere near over. And the betting odds keep changing.

You say to Aemond and Criston: “Help me turn him. We must clean the burns on his back as well.”

They listen, they obey, they help you because helping you means helping Aegon. When he is washed as well as he can be, you spread a thin sheen of shimmering honey over his wounds—an amber river that will trap moisture and discourage inflammation—and wrap him in bandages. The only burn you leave uncovered is the one on his right cheek. It creeps up over his pale face like red tentacles, curling and grasping, hungry, insatiable. They match now, you think. Two brothers, two scars.

Criston assembles a group of Green soldiers and Aegon is carried in a litter to the castle that serves as the seat of House Staunton, once allies of Rhaenyra, now traitors, now dead men walking. Outside rain has begun to fall, putting out flames born from dragonfire. The pine forest is saved; wounded men lie in the dirt with their mouths open hoping to quench their thirst. By the time Aegon is placed in an opulent bedroom with a view of Blackwater Bay, he has already bled through his bandages. You clean him again, bandage him, dribble milk of the poppy down his throat when he begins to stir and whimper. Aemond gives you command of a makeshift fleet of caretakers: the two requisitioned maesters, three maids, servants to bring food, drink, bandages, wood for the crackling fireplace.

My family is searching for me, you know as you battle to save their enemy’s life, this maybe-king with silver hair and eyes like deep water.And then: I cannot leave him. Not now, not yet.

In the night, as cool rain patters against the ocean and Aemond and Criston are slaughtering House Staunton men down in the castle courtyard, you dose Aegon with milk of the poppy every few hours. The maesters refuse to take responsibility for it; if the king is poisoned, it will be you who swings from a rope for it. You hold cloths dripping with cold water to his forehead. You feed him nibbles of bread and venison when he is conscious enough to eat, cinnamon tea, pomegranate juice, goat milk. You inspect him for any signs of infection. You braid a small lock of his hair before you’ve stopped to consider why you’re doing it.

And when no one else is watching, you untie the bloodstained armband of your own house and burn it to ashes in the fire.

~~~~~~~~~~

Someone is jostling you, grabbing at you. You fell into an exhausted, sporadic sleep in the next room long after midnight. It’s morning now; warm sunlight blooms like flowers on your face, yellow roses and buttercups and daffodils. When your eyes open, they are sore and unfocused. Aemond is a blur of white hair and black leather. He is tugging on you again, his lithe fingers like a vice around your forearm.

“Stop it, get off me!” You shove him away. He waits, bemused. “You can’t keep dragging me around like this!”

“Why not?”

Because my father is one of the wealthiest men in the Seven Kingdoms. Because I may not have silver hair or a dragon, but if you cut me open the blood of Old Valyria would spill out like red waves. Because the man I am pledged to marry is good at killing, very good at killing, maybe even better than you. “Because I’m a noblewoman. I’m a lady.”

“You don’t act like one,” Aemond counters. “Ladies flee from blood and gore. Ladies are nowhere to be found on battlefields.”

“I like being useful.”

“Then I have brought you a gift. You are needed now. Aegon is asking for you.” And then, when you hurry out of bed, finding your footing on chilly wood floors: “Well, that certainly got you moving quickly.”

“He’s in pain?”

“Not especially, from what I can tell. I think he just wants you.” Aemond glides out of the bedroom. You follow him to Aegon’s chamber. The Greens’ king is propped up in bed on a great mass of pillows, bandaged, limp, eyes glazed and barely open. There are men huddled around him. You recognize Criston, though not the other ones, some old and some young and all in armor. You hope that none of them are Sir Rickard Thorne.

You feel Aegon’s forehead for fever. To your relief, he is no more than modestly warm. He catches your hand, holds it tightly, doesn’t let go. After a moment’s hesitation, you sit down beside him on the edge of the bed. There is a curl of his lips, just a whisper of a smile, just a phantom of one. Aemond glances at you and Aegon with mild interest, then turns his attention to Criston.

“Aegon,” Criston informs the king, patiently, like a good father would. “We have to move you back to King’s Landing.”

“No,” Aegon says. His voice is so low and weak that he’s difficult to hear.

“Your recovery will be long and arduous,” Criston explains. “Aemond and I will be needed in combat. We cannot stay to guard you. The Blacks may try to retake Rook’s Rest. You staying here is not an option. King’s Landing is safer. It is well-supplied, it is protected. And we have our own maesters there who will help tend to you.”

“Can’t leave,” Aegon croaks. “Sunfyre.”

“Aegon—”

“I can’t leave without Sunfyre,” he forces out with immense effort. Then he gasps and moans, tears pooling in his eyes. You offer him milk of the poppy; he guzzles as much as you’ll allow him to have.

Criston sighs. “You can’t stay. And Sunfyre can’t leave. One of his wings was nearly ripped off, he’ll never fly again. We have no way to transport him, he’s too heavy.”

One of the armored men mutters: “And that’s assuming he wouldn’t incinerate anyone who ventured close enough to try.”

“Where is he now?” Aemond asks the man.

“Down on the beach, my prince. Eating dead soldiers.”

Criston shudders. Working in close proximity to dragons has not given him a liking for them.

“Can’t leave him here,” Aegon whispers, shaking his head.

“You must,” Aemond says.

“What if it was Vhagar?”

“I’d leave her. I’d have no choice.”

Aegon frowns, squeezing his eyes shut. It’s all too much for him. “Not the same.”

No, perhaps not; Aemond’s dragon may be the largest and most lethal in the world, but Aegon’s bond with Sunfyre is said to be what legends are built of, words written in ink and stone. You watch the agonized confliction on Aegon’s drawn face: can’t leave, can’t stay, can’t fight, can’t run. You say softly: “Could Sunfyre be assigned a detachment of guards?”

Aemond looks at you as if just remembering you’re here. “What?”

“Men could be tasked with ensuring the dragon is secure and fed. From a safe distance, of course. They could report on his health. Then perhaps when he is stronger, he can be reunited with the king.” The king. Again, it stuns you how easily the treason rolls out, like waves bubbling over rocks and sand.

Aemond turns to Criston. “Could it be done?”

“I don’t foresee many men volunteering for the task. But it could be done, yes. Sure.”

Aemond asks his brother: “Would that make a difference?”

Aegon’s eyes drift to you. They are churning with sluggish, clunky thoughts, heavy burdens to bear on raw shoulders. The braid that you wove absentmindedly into his hair is still there. “Alright,” Aegon agrees at last. “I’ll go.”

“Good,” Aemond says. “We leave at dawn tomorrow.” Then he looks to you. “You will come south with us.” His tone invites no argument. He doesn’t even conceive of it as a possibility. Why would you refuse? Why would you, a purportedly devout Green, shy away from the opportunity to nurse your king back to health? You bow your head in compliance. You wonder what is being discussed in the Black Council; you wonder what your father is thinking, what Everett believes happened to you.

“But I have to see him first,” Aegon says.

Aemond does not understand. “See who?”

“Sunfyre.”

“But you can’t walk to the beach,” Criston says. “You can’t walk anywhere.”

Aegon grins, showing his teeth. His dazed, deep blue eyes glitter mischieviously. His hand has not disentangled itself from yours. “Then carry me.”

The deal is struck, like a face minted onto a coin or a bolt of lightning meeting the earth. Soldiers transport Aegon down to the stony, mist-sopped shoreline. Blade-sharp agony is flooding back into his face, but he refuses more milk of the poppy. He wants to be awake when he gets there. He wants to be himself.

The soldiers cannot get too close to Sunfyre; no one besides Aegon can. He is helped off the litter and then tries to amble across the wet, grey sand. After a few steps he collapses. You rush to him, dodging Aemond and Criston’s grasps as they try to stop you.

“No,” Aegon says when you attempt to help him to his feet. He is panting from the pain, his face flushed with torment and exertion. His white-blond hair whips in the wind. “Do not follow me. Not even if I pass out, not even if I’m dead. I don’t know what Sunfyre would do to you.” And then he crawls forward alone on his hands and knees.

Waves crash, spraying saltwater into the air. Crabs scuttle over rocks. Gulls swoop low to claim mouthfuls of flesh from bloated corpses in worthless uniforms. The dragon known as Sunfyre the Golden is curled up on the beach. Many of his metallic scales are singed; the pink membranes of his wings are tattered like lace. His right wing hangs at a ruinously odd angle. You would know how to set that if he was a human. And you could do it without the threat of being reduced to ash and history.

Sunfyre unravels as Aegon nears him, long angular face rising, frayed wings settling by his sides. You have seen dragons before, of course—Syrax, Caraxes, Arrax, Vermax, Meleys—though never from this close. They horrify you. You cannot look at them without thinking of the devastation they sow like a plague, of how they so unmistakably no longer belong in this world.

Sunfyre’s head stretches out towards his rider, a half-dead man kneeling in wet sand and wearing only bandages and loose cotton trousers. Beside you, Sir Criston Cole sucks in a noisy, nervous breath. Aemond watches Aegon, his face like stone. His hair hangs in long, damp waves.

Aegon embraces Sunfyre, clinging to him, resting his face against the dragon’s. They stay like that for what feels like a very long time. Then Aegon crawls back to you, sobbing with pain by the time he is lifted into the litter. You give him milk of the poppy and he accepts it eagerly. He is unconscious again within seconds. Down the beach, Sunfyre looses a soft desolate cry like a plea: Don’t go. Don’t leave me. You might never come back.

~~~~~~~~~~

The drivers have been instructed to proceed slowly and with caution; still, the carriage pitches and jolts as you traverse the Rosby Road towards King’s Landing. In addition to the caravan’s most precious cargo—the Greens’ fragile and intermittently sentient king—it transports also two severed heads: Lord Simon Staunton’s in a basket, and Meleys’ in the bed of a mule-drawn wagon. High above in slate-grey clouds, Aemond and Vhagar are safeguarding your progress. Criston rides on a monstrous warhorse just outside the carriage. You are leafing through a book that you found in the castle library at Rook’s Rest: anatomy, surgery, sicknesses and cures. Aegon is bandaged and heavily medicated in the cushioned seat across from you. While servants flit in and out frequently, you are the only passengers in the carriage at the moment. You do not know that Aegon is awake until he speaks.

“Sinful,” he says. His voice is groggy, only half-here. He is gazing blearily at the illustration on the open pages of your book: a quite detailed naked man, his arteries and veins mapped like the roads of Westeros, his cock bare and sizeable.

“It’s informative,” you reply in your own defense, smiling.

“My father would have hit me for looking at something like that. If he’d noticed.” Aegon smirks, resting his head against the back of his velvet seat. His hair has been scrubbed and rinsed by servants, the braid you made for him undone. “He probably wouldn’t have noticed.”

“Mine has a great love for all books.” Bartimos Celtigar is eternally turning pages: computations, records, revenue. He does not just sit on Rhaenyra’s council. He is her Master of Coin. He funds her war effort, he fuels her like wood to a fire. “Besides, I have seen naked men in person. No book can scandalize me now.”

A little twitch of his silvery eyebrows: fascination, amusement. “He does not lose sleep over your spent innocence?”

“He has other things on his mind presently.”

“Like what?”

Like helping Rhaenyra win the war. You find a different truth to tell him. “Some men consider one daughter to be too many. My father has four. His attention is thoroughly divided.”

“He doesn’t like you?”

“He likes me plenty. He just doesn’t need me.”

Aegon nods. His eyes travel over you slowly and meditatively, not leering but learning, memorizing slopes and angles, taking you in like he’s never been able to before. He is in the brief lull between doses of milk of the poppy: lucid enough to speak but not so much that he can feel the full extent of his injuries. “Are you married?”

This is a bit of a fraught subject. “I am betrothed.”

“Oh,” he says, with what might be disappointment. “And he wouldn’t rather have you home right now? Putting all that knowledge of male anatomy to good use? That’s difficult to believe.”

You peer evasively down at your book. “He has a role to play in the war. I’ve been given permission to serve in my own way until it is over.”

“Permission,” Aegon echoes. He finds this interesting. He studies you for a while before he asks, his voice gentle: “What’s wrong with him?”

“Nothing. He’s honorable, he’s brave. He’s marvelously formidable. He could carry you around like a sack of potatoes.”

Aegon chuckles, a slow reflective laugh, curiosity, intrigue, something to think about besides the fact that he’s missing half his skin. “Do you fear marriage?”

What is the answer to that question? Do you even know yourself? “I fear being possessed. And having no remedy if the circumstances are not to my liking.”

“You can’t get one of your three superfluous sisters to marry him instead?”

You smile faintly. “No, we’ve met. He chose me, he favored me. I’m not sure why.”

“Probably because you’ve read all there is to know about cocks.” Aegon grins, drowsy and crooked and playful. “Who is he?”

“Just a man,” you say. You can’t tell Aegon more than that. It would give your Black affiliations away.

You are betrothed to the Warden of the North, Lord Cregan Stark.

[strangeshoepatrolbandit]

Batfam x GN!Bat!Reader.

Summary: Bruce had another kid in Arkham asylum that nobody knows about.

Warnings: Murder, Arkham asylum, Reader can see the dead, Bruce being a bad father, hallucinations, delusions

Yes, I know that a psychiatric visit wouldn't go like this, I also know that hallucinations don't normally work like this, but it's a fictional world with a bat inspired vigilante, use your imagination.

Part one

~☆~

"Bruce, what the fuck!" Tim had yelled as he ran into the Manor.

Dick had abandoned the thought of taking Damian and going to get both Tim and Jason. Even if they showed up at the asylum with proof that they were your adoptive siblings and half sibling, they would still have a slim chance of getting to meet you.

"Calm down, Matster Timothy.." Alfred had tried his best to make the tension die down. He himself only knew of you from the brief explanation Bruce gave him five years ago.

"Calm down?!"

"Listen, I mean I could go in there with my badge and get to at least meet them." Dick proposed, searching his brain for a way to meet you.

"Yeah, we all could with our reputations." Jason made himself known by talking about their vigilante personas. He was weirdly calm throughout this entire thing. "Why have you never mentioned them?" Oh, now they could see it. He was acting... he's seething.

"I-" Bruce thought of something to say. "When they were fourteen, their mother was murdered. I was asked to survey the scene, and they had told me about how they weren't even there-"

"Where is this going, father?" Damian interrupted.

"And then we looked inside one of M/N's journals. Y/N has a history of delusions that they fully believe."

"So you shut them out because of that?" Tim asked, genuinely trying to grasp ahold of what was going on.

"I know that they wouldn't want me in their life, M/N didn't, so why would Y/N?" Bruce sighed.

Jason opened his mouth to speak but was beat by Dick speaking first. "We're going up there. We are going to meet them!"

×

"So you're Y/N's family." Dr. Conley spoke. "Bruce Wayne... I would not have called that."

"Can we see Y/N or not?" Damian asked, boredom evident on his face.

Dr. Conley took in a breath before setting a file on the table in front of herself. "Y/N is plagued by hallucinatory delusions. They believe that they can see the dead."

"Can they? I mean, we have aliens roaming around." It was Dicks turn to speak.

"No, they can't. They claim that two of the "people" they see are named Alice and Mathew, old residents of the asylum." Dr. Conley sighed. "We've never had any residents named Alice and Mathew Hallows."

"Are those her friends?" Tim asked.

"Yes."

×

"Y/N, you have some visitors." Dr. Conley told you, a small smile tugging at her dark skin.

You got up from where you sat, silently gesturing both Alice and Mathew to follow you. Dr. Conley guided you out of the main building and into a sanctuary that you had never been in.

"I'm still in isolation." You told her, afraid that you would get in trouble for being out of your room.

"We've made an exception." She smiled again, now opening up a door for you. As you walked in, you immediately noticed the one face you hoped you'd never see. Bruce Wayne.

And his little ducklings all sitting with him.

Dr. Conley pulled out a chair for you to sit in, but you never noticed that. All you could focus on was Bruce avoiding eye contact.

"Y/N." She snapped you out of your daze, finally letting you sit down. All seven of you sat awkwardly, not muttering a single thing. The boys just gave you small smiles.

Just as Dick was about to say something you spoke.

"You think I killed her, don't you?"

The room remained silent, offering Bruce's avoidance on a silver plater. "I would never, I loved her."

"You don't know what it was like out there, I was hungry, and so was she...I was getting us food-" You cut yourself off as you began shouting. "and when I came back, she was....dead."

Tears had started to unwillingly fall from your eyes, something that Bruce noticed as he finally looked up at you. "And I'm not crazy." You whispered.

You noticed the weary looks that everyone around the room shared. "What?" You asked.

When none of them answered you turned to look at Dr. Conley, taking notice of her frown.

"Y/N.." She whispered, "There are no records of an Alice and Mathew Hallows."

"What?" You laughed.

"We've looked at computer documents and paper documents... they just aren't real."

You looked at everybody in the room, hoping to find a smile on one of their faces, signifying that this was all a joke.

You whipped your body around to face Alice and Mathew. The young man, whom you've grown to know very well, only looked at you with a sorry look, and Alice stared at Dr. Conley with wide eyes.

This couldn't be real. She was lying.

You quickly turned to look at Dr. Conley, before going back to look at Alice and Mathew. This time, Mathew was nowhere to be seen, seemingly having turned to air.

"Y/N, no, she's lying, I'm real!" Alice yelled, grabbing at her face to convince herself.

"I know, I know!" You tried to make her feel better, but the hysteria under your skin started to break free.

"No, I'm real!" She was crying now. "I'm real!"

You turned to look at everyone in the room, about to ask them for help, only to stop yourself when you noticed their wide eyes. You heard Alice's cries die down but never turned to face her again. You were sitting there just staring at the people around the room.

When you came back to your senses you tried to mutter out, "We need to he-" you paused, "-lp her?"

Alice was gone.

~☆~

I know that people wanted a "holy shit you can see the dead" reaction, but I strive to suprise.

Also, I think I'm going to post a follow-up of this fic, just to see how Y/N's dealing with it and how their relationship with the batbros turns out.

I have another two part Asylum!bat!Reader in the works if you're interested.

Taglist:

@godknows-shetried @cookielovesbook-akie

@kinkmaster96 @sen-nes @bbnny

[pepperf]

Genuinely can't decide if the writers intended the Five and Lila relationship to be toxic, or if that's just their idea of romance - just like Rochester, Heathcliff, Darcy, and that dude from Twilight, right???

Okay, let's have a readmore. Note tags, ppl, and curate your experience.

Lila has a relatively sensible approach to relationships, which is consistent, despite her somewhat Machiavellian approach to getting what she wants out of them - she put Diego in his place about having realistic expectations back in s3. She's pretty clear about who she is and where her lines are drawn, and is "weirdly self-actualised", according to Klaus. And Five - romantically inexperienced, thinks everyone should do what he says at all times - tries to impose his notion of How This Should Go onto her, from nearly the start of their brief romance, but leaning hard into it once it starts going sour - which also checks out: he was alone for 45 years and his previous relationship was all in his head, giving him full control, so that's what he's used to. But I couldn't tell if they genuinely intended to show it as him being incredibly selfish in prioritising his feelings over her wishes, or if they honestly thought it was romantic. I mean, the barbed wire-style bracelet is a little on the nose, and there's some symbolism that I'll get into in a sec. Truthfully, I'm not inclined to give them the benefit of the doubt - I think SB at least thought it was hot, judging by what he's said about identifying with Five, and about how he finally gets to have a romance. This seems to have been his pet project for the season, blergh.

It's that tedious old misogynist chestnut, that all women secretly want A Man to take control. It's frustrating, because they already established that Lila likes to be in charge, she wants to be free to make her own choices, she'd already had twenty-plus years of being told what to think and do. And yet she has to remind Five, who really ought to know her better by now, "You do not get to decide what I do with my life!" It's also very disconnected from reality. It's not actually fun or sexy to be gaslighted, to be lied to by some insecure asshole who thinks they know better about what's good for you, that they have a right to stick their nose into your personal relationships or keep you away from your kids. Not cool, Five, not cool. He's lucky she didn't kick him in the nuts on the way out. But another reason I think they didn't do this consciously is that Five doesn't seem to realise his assholery - there's no hint that he's regretting anything other than being dumped.

Lila was trapped for seven years in an intense, claustrophobic situation with Five - and if they'd continued to exist, she could have worked through the feelings that come out of that. Like Ritu said, of course there's going to be love there: they've spent seven years together, on the run. If nothing else, it would be a matter of survival - either you find a way to get along, or you kill each other. And they went in with a fair amount in common already (although being adopted by the Handler at age four is not at all the same as being recruited by her at age fifty-something). So I'm annoyed that Lila's whole arc this season is one of frustration about having to be the grown up in her relationship, taking a break to reassess, going off to do something a bit crazy and fun - and promptly getting stranded with someone considerably less emotionally competent.

Okay, I'm being somewhat harsh - Lila unexpectedly getting the timeout she wanted could've been a decent storyline, she could have some time to reflect, live the child-free life without consequences, and have some adventures (she actively enjoys danger!). And she and Five got to bond, that had lots of interesting potential, especially with their complicated history. But it tipped over from being a potential opportunity into an immensely over the top punishment for her impulsivity, and took them so far from where they'd started that there's a total emotional disconnect with the main story. Which is a fucking weird choice for one episode in such a short season, ngl.

And then, ugh, she's right back to dealing with the apocalypse, visibly thrown by a Diego who has unexpectedly thought about what she said and is trying to be a better husband, and dealing with a Five who has decided to get territorial. It's deeply uncomfortable, Five is gearing up to start trouble, so wrapped up in his own hurt feelings that he's functionally useless for the actual problem in front of them - leaving Lila to deal with the mess he creates, and then leverage said feelings to get him to put on his big boy pants and help. She still reaches out to him in the end, I think she knows him well enough by this point to understand what makes him tick...and she's having to be the sensible one up to the end of her existence. Can't she have someone who's willing to meet her halfway? The reflecting that Diego did, him making a start on making amends (given that it was only a few hours for him, that's about as much as they could squeeze in) was basically just wasted. They start to reconnect at the end, and mutually apologise for the damage they've done - but that's all they get, and it's a travesty.

Personally I think the whole storyline should have been cut, but if - if - they really felt it added something, they could have given it some time in the real world, see how this shaky new romance holds up against a serious relationship that's been massively fractured. In a different show, that might have been a fine story. But they don't do that. Whatever she might have wanted, Lila doesn't get time to even think about her choices. She gets to stop existing. (Or they could just have not gone there in the first place, god I hate love triangle plotlines, they do no favours for anyone involved!)

Given a continued existence in which to do so, I'm sure Five would have moved on pretty quickly. It's his first romance with a real person, he feels it intensely - but once the dust settled, he'd see that they were in very different emotional places (she wanted to get back to her family, the break from reality is way overdue to end - and he wanted to stay in their little bubble and leave all that behind). The actual romance part was actually pretty brief, and lacking in any deep communication - as Lila says, it wasn't real. They're playing house in an attempt to feel normal - in a greenhouse (a fragile structure, not a real home), eating strawberries (a treat more than real sustenance), like children...hey, maybe I'm wrong and the writers DID intend to do that, bc that's some choice visual metaphors. And they're playing roles: all their normal antagonism - what made them so fun and sparky in previous seasons, and even during the earlier part of their adventure! - disappears. Lila is a chameleon, taking on a character is her happy place - and this was how Five kept himself going, last time he was in this situation, so he's slipping back into that method of survival (although he's not as good as she is at separating reality from fiction). So while all that is totally understandable, it's insubstantial. If Five had the space to do some self-reflection, or if one of his more rational siblings (Luther maybe, or...um...or a friend, if he can make one...or maybe that dude in the Losers Department at the CIA...) sat down with him and explained that you need to treat a partner as an equal, maybe he could do better next time - or double down and keep being an asshole, that's also a strong possibility.

idk - I still don't honestly think the show intended it that way, unfortunately. I think they shoehorned the characters into the scenes they wanted, regardless of sense or even plot requirement. There are a LOT of badly-explained or badly-thought out moments in this season, and this whole mess just adds to the incoherency. Or maybe it's just a consequence of TV - you get multiple creative people involved, and the reasoning gets muddied, especially over time. Maybe it was SB's intention from the start, but he didn't inform the actors until the final season, so they've been playing it straight.

This show has an...interesting tendency to do something that you think is totally unacceptable and just gloss over it at the time, and then address it next season (like Luther apologising to Viktor), as if the writers all brought it up in their respective therapy sessions during the break, and worked through the issues - so maybe if they'd had another season, they would have gone into all that. Maybe. But we're clearly not going to get that, and they're all gone from existence so I can't headcanon that in this universe, they eventually sort it out. So I'm putting it down to one thing:

Break out the dodgy facial hair (I see you're ahead of me, Five) and let's get kicking babies!