#there will be a chapter exploring jo and laurie's childhood days in a lighthearted manner

[dylanlila]

LITTLE WOMEN FANFICTION

CHAPTER 2, PART 1: INVISIBLE STRING

Horizons and Sunsets

 

"Time, curious time, gave me no compasses, gave me no signs"

- invisible string, Taylor Swift

Concord, Massachusetts, 1868

 

Rays of sunshine playing on her skin. Soft grass under her fingers. Little specks of dirt scattered across her face. Leaves tangled up in her hair. It's not a common happening to be able to see yourself in such a way. A way that makes it seem like you are not you, but somebody else wearing somebody else's clothes, guarding somebody else's heart, owning somebody else's thoughts. Like you are only an observer, a background noise in your own life. These descriptions are usually used in unpleasant connotations, usually as metaphors, usually as another way of saying you feel transparent, forgotten and small. But in Jo's case, the phenomenon is not even a tiny bit metaphorical. Maybe it's the impact of the books. Maybe it's her imagination. Maybe it's just her. Whatever it is, Jo has always been able to see her life as a theatre piece, herself an audience member, her past self, no matter how far back she might travel to reach a certain memory, a performer.  And Jo craves those moments of remembrance. She craves the feeling of transparency. She craves to exist less.

 

Everything she remembers, she remembers in flashes. Her memories do not understand concepts such as "chronology" or "order". Her brain resembles an unsolved puzzle. Every piece of information she has makes sense. But when to be put together with another aspect of her being, it does not fit. Nothing about her ever seems to fit. And now, she doesn't fit within herself.

 

No, Jo March is not a puzzle. Puzzle, no matter how difficult and complex, can be put together.

 

She's a living breathing contradiction.

What else to describe the utter ridiculousness of her mind? She is not happy and she is not sad. One second she is completely content with her life, the other, she is not. She wants to receive love, love and love, but she is afraid to offer it.

 

When Josephine March loves someone, she does not tell them. She does show, but never tells. She never uses the famous simple phrase. Never not once.

 

Her best friend burns for the people he loves. Jo burns for them in secret.

 

And here, as she is seeing herself splattered in sunlight, Jo March is preoccupied with three actions of extraordinary importance.

 

One is chasing ghosts.

Other is rearranging thoughts,

Final is accepting sunsets.

 

***

 

Paris, France, 1868

Theodore (yes, he is "Theodore" now) is not exactly sure where he is or how did he get there. His vision is blurry and his body feels heavier than usual. What is fascinating about his situation is the fact that consuming certain "substances", (and substances being of alcoholic nature), were supposed to prevail him from feeling like this. From feeling the way he's been feeling his entire life. Like everything around him was frozen and he was the only one moving. He was just too fast, too warm, too different. Enormous in emotion, reckless in thought. All of this often led to conclusions too horrific to comprehend, so he tried to avoid thinking.

The thought of having too many emotions might be terrifying. But the thought of having too much love for everything and everyone but himself was rather paralyzing. It was ridiculous to expect anybody to feel with as much passion as he did. It was ridiculous to demand such a thing from people. Why would anyone put all of their energy into someone else when there were so many things to be done in the world? But those other things rarely sparked an interest in him. Adventures, boarding schools, trips and experiences seemed irrelevant and hollow unless they were intended to be shared. It's funny how he always craved the one thing he never had. And when he finally got a glance of the love he so desperately wanted, he lost it because of his stupid absurd annoying emotions.

When Theodore Laurence loves someone he does not tell them. He screams it until his lungs are on fire.

 

His best friend loves with her whole entire heart. He loves with his whole entire being.

 

And now, vision blurry and body heavy, Theodore Laurence finds himself preoccupied with three actions of extraordinary importance.

 

One is chasing ghosts.

Other is rearranging thoughts,

Final is accepting sunsets.

 

***

Concord, Massachusetts, 1862

 

Step one: chasing ghosts

Sand beneath her bare feet. Water. Silent whispers of the sea. Birds. Colors. Nothing. Everything. Oh, to be crafted in such a way to believe you shall always be sixteen and silly and reckless and real. That is how Jo feels right now. Real. Right here, observing, enjoying, doing nothing but existing. And the sea! So mystical and wide, appearing endless in its presence, it looks like something in possession of a dream rather than this time and place. And the best part of this? Her family. They all resemble a painting in their natural messiness. Amy with her hair half wet, positioned in a way she believes to be ladylike, smiling at the horizon, sketchbook in hand. Meg, holding her hat so that it doesn't leave her in its desperate wish to follow the wind, shoes untied, eyes glistening from laughter she experienced seconds before. Beth, oh sweet Beth, kneeling by the water, touching the shining surface, mouth moving as though she is singing to the sea itself. Teddy is by her side, like he always is, sitting with his eyes closed, head held high up to the sky. He would probably refer to his current position as a way to "suck out all the marrow out of life", which always sounded a bit inappropriate coming from his mouth, but Jo loved the symbolism of the phrase, so she decided to put her friend's foolishness to the side.

 

"Isn't it simply ethereal, dearest Teddy?"

 

"Yes, I did indeed think my face had a particular glow to it this morning, your kind remark is very well appreciated, Miss March" came a teasing response shortly followed by a light smack to the arm (because Jo, being an experienced bookworm, always had a book weapon down her sleeve).

 

"Oh Teddy, you're such a boy sometimes. I find it quite disappointing really." said Jo being perfectly aware of the effect the comment might cause. Teddy shot her a look of a supposedly hurt individual, put a hand over his heart and exhaled loudly, as though he was a character in a Shakespearean tragedy. Jo rolled her eyes at the glamorous gesture, but pretty quickly, her features were changed with a thoughtful expression. She turned her head to Teddy timelines after, only to be greeted with a no longer playful, but a reassuring smile. He knew her too well.

 

"You know, it doesn't make it any less beautiful. The fact that it's all going to end one day, I mean. Quite the opposite actually."

 

She does not answer that. She gets up from the ground and extends her hand to him.

 

"If it's going to end, we might as well suck all of the existing marrow out of it."

 

"Oh, what a wonderful choice of words, dearest Jo!" he exclaims theatrically while gladly accepting her hand

 

"Oh, what a wonderful life, dearest Teddy."

 

And with that, they run to the sea, their lungs almost too full, smiles almost too big. Spirits almost too free.

 

 

Childhood is a thing of dreams.

 

 

Concord, Massachusetts, 1863

 

Step two: rearranging thoughts

 

Trousers under skirts. It's scandalous. Scandalous and inappropriate. At least that's what society will label it as. And society loves labels. But Laurie finds a solace of sorts in his friend's choice of clothes. He isn't sure how to explain it (he is not as good with words as Jo is), but it's comforting to see someone be so unapologetically themselves, whoever that person might be. He tells her this one day because he's Laurie and he isn't familiar with the concept of "silencing your emotions".

 

"Teddy, don't flatter, I told you I do not enjoy nor support such doings. You might as well go practice your gentlemanly manners on Amy, I'm sure she will accept your words of so called admiration with much more enthusiasm than yours truly." says Jo, her voice a tiny bit too loud, her thoughts meeting the outside world in grave speed. Laurie often finds himself wondering how one speaks with so much passion and rush, it's like Jo's sentences are running instead of flowing. She shares her mind without looking at him, her hands busy with rearranging the dining table previously covered with Amy's unfinished drawings and Beth's beloved dolls.

 

"I meant what I said, Jo. But since you believe I'm incapable of offering sincerity, I shall escort myself out."

 

He gets up from the place he was sitting at and rushes out of the March house, leaving his waistcoat behind him. Jo knows better than to follow him right away. She will bring him the forgotten object later, once he's ready to start unravelling burdens.

 

 

***

 

Night.

 

Light.

 

 

These two nouns aren't supposed to get along very well, yet here we are. Jo finds herself awake in the middle of the night, which circumstance she is no stranger to, but this time it is not her restless mind that steals her from the arms of dreamland. It's light. Jo gets up, careful not to make a noise, and looks out the window to further investigate the strange occurring. And the sight her eyes are met with is a sight so undoubtedly Teddy-like that she isn't sure if she will be able to forgive herself for not coming up with such a conclusion sooner. The house of her neighbour, who happens to be her dearest friend, is shining with what she presumes is light of about two dozen candles. The scene would've been inspiring, if not captivating, especially for a person of her making, but Jo knows Teddy and this cannot mean anything pleasant. Therefore, she decides to pay her fellow pirate a visit, armed with a forgotten piece of clothing as a faithful enough excuse.

 

Proud of herself for avoiding all the obstacles successfully (and the obstacles being sleeping family members who have yet to be introduced to the pleasures such as "sleepless nights" or "windows"), Jo runs to the construction once known as a house, now as a gothic castle and knocks. Her efforts are answered with a voice of not a person, but a peculiarly human like ghost.

 

"Who is it?"

 

"Do you really think I will dare share information of an importance so big, oh so grand, without seeing your face, kind sir?" says not Jo, but a righteous, noble knight, his devotion as admirable as amusing.

 

Laurie opens the door only to be met with a grinning Jo.

 

"I believe you have forgotten this, my friend."

exclaims an unlike lady, kneels down and offers him his waistcoat in a way so grandiose, some might think she actually was a knight in shining armor, sharing sunlight, providing hope.

 

"Don't be a goose Jo" came a gentlemanly response followed by an annoyed sound and indifferent expression. Laurie turns around, but leaves the door wide open. Jo, understanding the message quite well, follows him inside to a candle lit room. Laurie approaches the piano and sits down as though he is about to start playing the instrument, but he doesn't confirm the logical assumption. Instead, he closes his eyes and remains like that for what feels like eternity, looking like a human statue. It would've been comical if it were anybody else, but Jo was familiar with Teddy's passion for extravagance. His behaviour does not spark laughter, but concern.

 

"Teddy, I think you should start explaining whatever it is you need to explain. Keeping it in won't do anybody any good despite you believing it will. I promise, you won't be a burden."

 

Laurie shifts in his position and exhales loudly, his eyes still closed. When he starts to speak, his voice is not his. It's distant and decorated with occasional trembles which he is desperately trying to avoid.

"When I told you today how I find solace in the way you carry yourself and how you wear trousers and don't care about what people think of you, I wasn't trying to mess around or anything. Sometimes... Sometimes I feel like I am not me... Like I'm not a good match for myself and I..." he opens his eyes at that, not sure if he wants to receive a response to any of the things he has just said.

 

"I am deeply sorry Jo, this doesn't make any sense, you can go, I don't know what came of me."

 

"Oh Teddy, but it does make sense! It makes so, so much sense." Jo doesn't say that like she wants to comfort him. She really seems to mean it. Their gazes meet at the exact same time, their eyes glossy (which observation they will both dismiss in immense respect to one another), their faces now beautified with soft smiles.

 

"You do realize you are wearing a night gown right?"

 

"I am not the one randomly lighting up candles, impersonating ghosts now, am I?"

"It's called dramatic effect, Jo! Dramatic effect! And keep the waistcoat, I never really liked it anyways."

***

After that day, Jo and Laurie's closets were left grieving for lost members of their separate societies. Blouses, neckties and waistcoats were introduced to the idea of travel and adventure. And even though the closets were left in grief, their owners were more than satisfied with the not so sudden change.