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ravenFic:: Come Morning, Come Night
by Raven
PG-13, Life On Mars, gen
Written for![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
lozenger8 in versaphile's Life On Mars ficathon, and she wanted gen, scenic surroundings and missed opportunities. Argh omg this is so bad. But it's also really late, so I'm compelled to post as-is.
When Sam Tyler gets back from work, he closes the door, locks it behind him – he’s a copper, he knows all about Safety In The Home (government initiative, courtesy of Labour, 1997) – kicks his shoes off, listens to the satisfying clumps they make, throws off the leather jacket that he’s getting too fond of, and ambles barefoot to the stove.
The jacket looks like an oily puddle in the dim light, shining rainbow tar, and he picks it up, hangs it off the back of the door and thinks, suddenly, about where it came from. It’s been well-worn, well-loved, his tears, sweat, blood are ground into it, softening the shine, but he didn’t buy it, doesn’t know who did. The tag’ll tell him, he can ask around if he doesn’t recognise the name of the brand, find out where it’s available, but that’s only a kind of knowing; he won’t know, for example, if it was bought, given, stolen, fell off the back of a lorry, what, and that’s the point of it right there, you’re not supposed to do detective work on your own life, you’re supposed to know.
But he doesn’t. So he hangs it up, and reaches for his kitchen cabinets. He’s not been a fan of chicken and mango since that latest humiliating incident, and he hasn’t got anything so fancy lurking on his shelves this time anyway. He grabs a bottle of olive oil – Nelson, bless him, got it for him somewhere when he hadn’t the time to be chasing ingredients – some peppers, anything he can dice up, he’s got a good hand with a knife, shoves them in a pan, swishes them about with some sort of wooden spatula. It’s not much, but it’ll do, and at least he won’t be dead of a coronary before he’s forty. He remembers Gene telling him something about soss and chips most nights, courtesy of his wife, and Sam believes it. He feels sorry for Gene’s wife, sometimes, but then think she must give as good as she gets. Lord knows Gene doesn’t dare shove her up against a wall.
He aims the pan at the sink, once he’s done with it, and tosses the food on a plate. At least, that’s the plan; somehow he makes a hash of it and has to make a leap with the plate held in one loose hand. The peppers with their slight sheen of polyunsaturate cascade nicely onto the china, but he lands heavily, jarring his ankle. Something’s changed about the way he moves, something shifted in his centre of balance. Food momentarily forgotten, he runs his hands through his hair, over his closed eyes and cheeks, over his chest and belly, and takes a deep breath. Probably something about weeks of running criminals to the ground the old-fashioned way, but he’s lost weight. He gives a small, twisted half-smile that only the mirror sees – of course he’s lost weight, he’s been on a feeding tube in a hospital bed for five months.
Annie, and Maya, would say he needed feeding up. He sits on the chair the wrong way round, picks listlessly at his food. He’s not as hungry as he thought he was, and he gets up, closes his eyes, stubs his toe, walks into the table, gets it all the wrong way round, ends up sitting on the bed with his hands over his eyes. There is, he thinks, more than a slight possibility that he went nutty as one of Annie’s fruitcakes a few months ago, and he’s got a garden variety of delusion that he’s bypassed thirty years of history single-handedly. Maybe he was born here, in Manchester, as he knows he was, thirty-seven years ago, which would be – and he has to pause to work it out – 1936, and Christ, that’s before the war. But lying there, leaning back on his bed that he can’t remember buying with his hands over his eyes, he knows, he knows in his heart and body and mind, and yeah, in his fucking soul, that that’s not right. He can remember buying his first record, in 1979, on the shop on the corner, clear as day; he can remember being eighteen and getting knocked on the head by a Reds fan; he can remember the year 2000, Manchester’s sky exploding in fireworks and radiant flame, he can remember 1996, Manchester’s sky exploding.
He doesn’t, actually, remember that very well. He remembers being up at five am and not getting to bed until two days afterwards, he remembers there were people crying, himself included, he remembers a lot of glass shards, in his hair and in his shoes and his skin, and he remembers doing his job. He remembers his girlfriend at the time made him take a day off after that, a weekday, spent sitting in bed and resting and recovering and watching Eastenders repeats. He remembers that the city wouldn’t stand for it, that everything they’d rebuilt was better than what the Irish Republican scumbag bastards took away from them.
How can he remember that, he thinks through closed eyelids and curling fingers. How can he remember carnage that won’t happen for twenty-three years? And how, at the same time, can he remember turfing tapioca pudding on his beef yet again the day before yesterday and getting laughed at by Annie Cartwright?
Maybe – and his eyes squeeze tighter shut – he’s in a modern loony bin after all, and his mum and Maya take vigil over his broken body through shatterproof glass. He can’t say it’s not true. He can’t say that about anything.
He doesn’t remember the accident. He thinks it was a hit-and-run driver, which seems ironically appropriate, that the death of a police officer happened in the pursuit of a crime, although in his case it probably wasn’t a hit-and-run so much as a hit-and-run-and-run-and-run-but-you-can’t-hide-because-you’ll-be-tracked-down-inside-
a-month-and-have-your-head-politely-kicked-in-by-Sam’s-mum. Then he remembers all at once that there was no death, he isn’t dead yet, and he laughs a bit at that, a strangled sort of laugh that makes him sit up, ruefully wipe his eyes and decide that even crazy people have to pull themselves together sometimes.
He stands up, sits back at the table, has another go at his stir-fried peppers. It isn’t always like this. Usually he’s too tired for this, too bone-deep-exhausted by a long day of reading people the wrong set of rights, and then he dreams and cats and clowns and little girls come out of the television. The first few nights he used single malt, stashed in bottles below the bed, to get him somewhere amber-tinted and fuzzy-edged, where the chintz decade didn’t matter because nothing did. But it does matter, sober; in this nick it matters when old ladies lose their handbags and young men lose their lives and Labour loses the election and Sam Tyler’s lost himself.
Sam told Annie that once. That the unions will push the government to breaking point, that Callaghan loses control, that they’ll be working three days a week and dead bodies will pile up in the streets. She only laughed, told him he was bonkers. He thinks she’s probably right.
He remembers her being upset, almost crying, when she finally got him down off the roof. She left him after a while, trying to pour himself into the bottle, and he woke up hungover and alone, but – and it’s a hard thing for a straight copper to admit – he can’t really remember whether there was drunken sex, or not. He thinks not, on the balance of it – for one thing she’s still talking to him, and for another, there wasn’t any of the relevant debris. He doesn’t know, didn’t ever know where to get condoms in 1973 – little Sammy Tyler used to find them, unwitting, in the gutter, at least before his mum told him to stop playing down there – and besides, he’s probably not going to need them now. They’ve gone somewhere beyond the place where that would make sense, because Annie’s a bright girl; she knows that’s not the way to save him. She got him off the roof, and that’s the problem; she’s seen him up there at the edge, which is probably worse than naked and handcuffed to the bed, although he remembers that with painful clarity, too.
He’s getting used to the edge, the spreading cityscape falling down below him; he’s learned to live there, sending postcards forwards through time. Cast against a greying sky, Sam Tyler commits suicide every night.
Most nights since the first, since the definitive moment, he hasn’t made it all the way up there. But he can’t shake the temptation, that a hundred feet of nothing and then concrete might leave a bloody mess on the pavement but it wouldn’t matter; it would leave his body destroyed but his soul free. Somewhere out there in another place, another time, his body is already reeling from its own destruction. It wouldn’t matter, and it would be enough.
Out there in the real world he is getting closer and closer to death. When the dark and chintz get too oppressive, he stamps outside and doesn’t lock the door behind him. It doesn’t matter if anything gets stolen; there’s no one going to fence imaginary goods. He leaves the peppers to get cold and sits out on the roof, thinking about it.
In the spread of early morning light over a skyline he barely recognises, over a Manchester he was too young to love, he looks down at the hundred feet of nothing, and shivers a bit, only from cold. The peppers are congealing in his flat, and the night’s gone, sleepless. If he stays out here long enough – and he does – he’ll hear it, sad and bleak through the noises of urban morning: the slow, mournful bleep-bleep-bleep of a heart monitor a long, long way away.
“Sam, sweetheart?” says a fragile, distant voice. “Darling, I know you can’t hear me.”
“I can hear you,” he murmurs.
“I know you can’t hear me, but I want you to know we’re here.”
She will, he knows; she will and they will, all of them. He remembers Life On Mars; he remembers it as a song in the background of his childhood, a shifting jukebox record, he remembers buying it like a fragile jewel for 79p late at night, he remembers the pinging sound as the data transferred. He remembers it, and he’ll remember it, as there’s life up there in the sky, all the people he’s ever loved, who have ever loved him, his angels of the silences, his Ziggy Stardust.
But there’s washing-up to do, and criminals to catch, and this, after all, is not the night Sam Tyler falls to earth.
finis
by Raven
PG-13, Life On Mars, gen
Written for
lozenger8 in versaphile's Life On Mars ficathon, and she wanted gen, scenic surroundings and missed opportunities. Argh omg this is so bad. But it's also really late, so I'm compelled to post as-is. When Sam Tyler gets back from work, he closes the door, locks it behind him – he’s a copper, he knows all about Safety In The Home (government initiative, courtesy of Labour, 1997) – kicks his shoes off, listens to the satisfying clumps they make, throws off the leather jacket that he’s getting too fond of, and ambles barefoot to the stove.
The jacket looks like an oily puddle in the dim light, shining rainbow tar, and he picks it up, hangs it off the back of the door and thinks, suddenly, about where it came from. It’s been well-worn, well-loved, his tears, sweat, blood are ground into it, softening the shine, but he didn’t buy it, doesn’t know who did. The tag’ll tell him, he can ask around if he doesn’t recognise the name of the brand, find out where it’s available, but that’s only a kind of knowing; he won’t know, for example, if it was bought, given, stolen, fell off the back of a lorry, what, and that’s the point of it right there, you’re not supposed to do detective work on your own life, you’re supposed to know.
But he doesn’t. So he hangs it up, and reaches for his kitchen cabinets. He’s not been a fan of chicken and mango since that latest humiliating incident, and he hasn’t got anything so fancy lurking on his shelves this time anyway. He grabs a bottle of olive oil – Nelson, bless him, got it for him somewhere when he hadn’t the time to be chasing ingredients – some peppers, anything he can dice up, he’s got a good hand with a knife, shoves them in a pan, swishes them about with some sort of wooden spatula. It’s not much, but it’ll do, and at least he won’t be dead of a coronary before he’s forty. He remembers Gene telling him something about soss and chips most nights, courtesy of his wife, and Sam believes it. He feels sorry for Gene’s wife, sometimes, but then think she must give as good as she gets. Lord knows Gene doesn’t dare shove her up against a wall.
He aims the pan at the sink, once he’s done with it, and tosses the food on a plate. At least, that’s the plan; somehow he makes a hash of it and has to make a leap with the plate held in one loose hand. The peppers with their slight sheen of polyunsaturate cascade nicely onto the china, but he lands heavily, jarring his ankle. Something’s changed about the way he moves, something shifted in his centre of balance. Food momentarily forgotten, he runs his hands through his hair, over his closed eyes and cheeks, over his chest and belly, and takes a deep breath. Probably something about weeks of running criminals to the ground the old-fashioned way, but he’s lost weight. He gives a small, twisted half-smile that only the mirror sees – of course he’s lost weight, he’s been on a feeding tube in a hospital bed for five months.
Annie, and Maya, would say he needed feeding up. He sits on the chair the wrong way round, picks listlessly at his food. He’s not as hungry as he thought he was, and he gets up, closes his eyes, stubs his toe, walks into the table, gets it all the wrong way round, ends up sitting on the bed with his hands over his eyes. There is, he thinks, more than a slight possibility that he went nutty as one of Annie’s fruitcakes a few months ago, and he’s got a garden variety of delusion that he’s bypassed thirty years of history single-handedly. Maybe he was born here, in Manchester, as he knows he was, thirty-seven years ago, which would be – and he has to pause to work it out – 1936, and Christ, that’s before the war. But lying there, leaning back on his bed that he can’t remember buying with his hands over his eyes, he knows, he knows in his heart and body and mind, and yeah, in his fucking soul, that that’s not right. He can remember buying his first record, in 1979, on the shop on the corner, clear as day; he can remember being eighteen and getting knocked on the head by a Reds fan; he can remember the year 2000, Manchester’s sky exploding in fireworks and radiant flame, he can remember 1996, Manchester’s sky exploding.
He doesn’t, actually, remember that very well. He remembers being up at five am and not getting to bed until two days afterwards, he remembers there were people crying, himself included, he remembers a lot of glass shards, in his hair and in his shoes and his skin, and he remembers doing his job. He remembers his girlfriend at the time made him take a day off after that, a weekday, spent sitting in bed and resting and recovering and watching Eastenders repeats. He remembers that the city wouldn’t stand for it, that everything they’d rebuilt was better than what the Irish Republican scumbag bastards took away from them.
How can he remember that, he thinks through closed eyelids and curling fingers. How can he remember carnage that won’t happen for twenty-three years? And how, at the same time, can he remember turfing tapioca pudding on his beef yet again the day before yesterday and getting laughed at by Annie Cartwright?
Maybe – and his eyes squeeze tighter shut – he’s in a modern loony bin after all, and his mum and Maya take vigil over his broken body through shatterproof glass. He can’t say it’s not true. He can’t say that about anything.
He doesn’t remember the accident. He thinks it was a hit-and-run driver, which seems ironically appropriate, that the death of a police officer happened in the pursuit of a crime, although in his case it probably wasn’t a hit-and-run so much as a hit-and-run-and-run-and-run-but-you-can’t-hide-because-you’ll-be-tracked-down-inside-
a-month-and-have-your-head-politely-kicked-in-by-Sam’s-mum. Then he remembers all at once that there was no death, he isn’t dead yet, and he laughs a bit at that, a strangled sort of laugh that makes him sit up, ruefully wipe his eyes and decide that even crazy people have to pull themselves together sometimes.
He stands up, sits back at the table, has another go at his stir-fried peppers. It isn’t always like this. Usually he’s too tired for this, too bone-deep-exhausted by a long day of reading people the wrong set of rights, and then he dreams and cats and clowns and little girls come out of the television. The first few nights he used single malt, stashed in bottles below the bed, to get him somewhere amber-tinted and fuzzy-edged, where the chintz decade didn’t matter because nothing did. But it does matter, sober; in this nick it matters when old ladies lose their handbags and young men lose their lives and Labour loses the election and Sam Tyler’s lost himself.
Sam told Annie that once. That the unions will push the government to breaking point, that Callaghan loses control, that they’ll be working three days a week and dead bodies will pile up in the streets. She only laughed, told him he was bonkers. He thinks she’s probably right.
He remembers her being upset, almost crying, when she finally got him down off the roof. She left him after a while, trying to pour himself into the bottle, and he woke up hungover and alone, but – and it’s a hard thing for a straight copper to admit – he can’t really remember whether there was drunken sex, or not. He thinks not, on the balance of it – for one thing she’s still talking to him, and for another, there wasn’t any of the relevant debris. He doesn’t know, didn’t ever know where to get condoms in 1973 – little Sammy Tyler used to find them, unwitting, in the gutter, at least before his mum told him to stop playing down there – and besides, he’s probably not going to need them now. They’ve gone somewhere beyond the place where that would make sense, because Annie’s a bright girl; she knows that’s not the way to save him. She got him off the roof, and that’s the problem; she’s seen him up there at the edge, which is probably worse than naked and handcuffed to the bed, although he remembers that with painful clarity, too.
He’s getting used to the edge, the spreading cityscape falling down below him; he’s learned to live there, sending postcards forwards through time. Cast against a greying sky, Sam Tyler commits suicide every night.
Most nights since the first, since the definitive moment, he hasn’t made it all the way up there. But he can’t shake the temptation, that a hundred feet of nothing and then concrete might leave a bloody mess on the pavement but it wouldn’t matter; it would leave his body destroyed but his soul free. Somewhere out there in another place, another time, his body is already reeling from its own destruction. It wouldn’t matter, and it would be enough.
Out there in the real world he is getting closer and closer to death. When the dark and chintz get too oppressive, he stamps outside and doesn’t lock the door behind him. It doesn’t matter if anything gets stolen; there’s no one going to fence imaginary goods. He leaves the peppers to get cold and sits out on the roof, thinking about it.
In the spread of early morning light over a skyline he barely recognises, over a Manchester he was too young to love, he looks down at the hundred feet of nothing, and shivers a bit, only from cold. The peppers are congealing in his flat, and the night’s gone, sleepless. If he stays out here long enough – and he does – he’ll hear it, sad and bleak through the noises of urban morning: the slow, mournful bleep-bleep-bleep of a heart monitor a long, long way away.
“Sam, sweetheart?” says a fragile, distant voice. “Darling, I know you can’t hear me.”
“I can hear you,” he murmurs.
“I know you can’t hear me, but I want you to know we’re here.”
She will, he knows; she will and they will, all of them. He remembers Life On Mars; he remembers it as a song in the background of his childhood, a shifting jukebox record, he remembers buying it like a fragile jewel for 79p late at night, he remembers the pinging sound as the data transferred. He remembers it, and he’ll remember it, as there’s life up there in the sky, all the people he’s ever loved, who have ever loved him, his angels of the silences, his Ziggy Stardust.
But there’s washing-up to do, and criminals to catch, and this, after all, is not the night Sam Tyler falls to earth.
finis
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
on 2006-07-02 08:23 pm (UTC)no subject
on 2006-07-04 01:13 pm (UTC)no subject
on 2006-07-02 08:32 pm (UTC)Those last two paragraphs were brilliant.
no subject
on 2006-07-04 01:14 pm (UTC)no subject
on 2006-07-02 08:52 pm (UTC)no subject
on 2006-07-04 06:12 pm (UTC)But you didn't sign up to hear about my writing issues! I'm glad you liked it, and yes, you must see LoM if you get the chance, it's marvellous.
First things first:
on 2006-07-13 04:42 pm (UTC)I'm interested in your analysis of your writing process for this fic that you gave above. I actually don't have a lot of time for discussion at the moment, but... arrgh. Can't resist, sometimes. ;-)
>I can't actually look at the finished product of this story without bias; it's just that I know I wrote it in workmanlike fashion, by numbers
I think this relates, to some degree, to the reason I don't do challenges, ficathons and the like anymore. I'd much rather write about the things that come to my mind unasked, without a conscious prompt from outside. (There's also the time issue, of course - the fact that usually, I need more than a couple of weeks to not just write a story, but revise and polish it enough to post it... Okay, I'll admit it: I need months, or *years*. But I *can* finish fics in a shorter time - I'm just never happy with the result if I do. They always feel badly flawed to me.)
However, this statement confuses me a bit:
> - prompt here, angst there, now a bit of imagery, then some more metaphor, now a specific unusual image, then a mention of the theme -
Isn't that pretty much exactly what you *do* when you write with a concept/plan in mind? That is to say: isn't that how writing normally goes, and even *has* to go, if you want to create a story that has a real *structure* to it? Make a plan, and then assemble the pieces accordingly. (Of course, you often need to adjust your plan as the story evolves.)
Maybe I'm misunderstanding you, and that is not what you meant. But I really can't imagine any other way of writing. Well, okay, except for the very rare cases of overwhelming inspiration where a story just sort of writes itself. But that's so rare that it's not very wise to rely on it. Also, it doesn't guarantee quality, either (the only story I've ever written while being kissed, nay, ravished ;-) by a muse was rather crap, with hindsight). Much better to make do with craft, if you ask me. To me, there is a strong craft aspect to writing, and while there should be something deeply felt at the heart of a fic - otherwise, why would you write it? - that does not mean that you can't, or shouldn't, work on it with all the conscious, and often detached, deliberation of a carpenter making a table.
>rather than doing it properly.
So, what would 'doing it properly' involve? I'm really curious, because your writing philosophy seems so different from mine. (Maybe mine's shaped a bit by the fact that I'm a trained crafstperson. I tend to approach everything I make from a perspective of 'what do I want to achieve, and how can I use the tools available to me to achieve it?' *g*)
Re: First things first:
on 2006-07-13 10:11 pm (UTC)And moving on to talk about the issues you brought up. Some - okay, lots - of ficathon fics cause me problems of this sort. But I love running them and taking part in them, so I carry on signing up regardless. And sometimes a ficathon request leads me to a fic I'd never have written off my own bat, and that's always fabby.
> - prompt here, angst there, now a bit of imagery, then some more metaphor, now a specific unusual image, then a mention of the theme -
Isn't that pretty much exactly what you *do* when you write with a concept/plan in mind?
Ah, yes. Well. This involves my baring my secrets. :) To begin with, you're right, that is what you do, but in my case it's what I end up doing rather than what I do. I've got to admit that as a writer, I have had no formal training beyond doing a lot of it; I analysed a lot of literature at school, did A-levels in picking texts apart, and I enjoyed it and I think it did me good. But mostly, all I know about writing I've learned from doing it myself - and getting betas in to help me - since I was about ten. (I'm nineteen now.)
Going back to the point, I don't approach my writing from the craftsperson's perspective. I usually have an idea fermenting in my mind for a while - maybe a scene I'd envisaged, maybe a theme, sometimes just one line of dialogue. (Sometimes, it's even a plot! But not often.) Fairly often I don't even want to write about it, but feel like I have to because it's dominating my thoughts.
And I think about it and think about it, and after a while, usually after dark, I sit down and write. And write, and write, and I really hate admitting this, but themes, metaphors, unusual images, all the stuff I mentioned above - they just... well, they just happen. I write everything down as it comes to me. As I edit, I refine it, making explicit the themes, adjusting the metaphors, making sure it's in-character, all the rest of it, but the raw material comes out in that first rush of writing. If I try to write from scratch, so to speak, thinking consciously about every word, then the resulting story is like the one above - not superficially different from my other stories, perhaps, but feels forced and contrived to me.
I've thought in the past that I should attempt to craft my writing in the manner of an artisan, but I just can't write like that. Or rather, I can write like that, but I can't write well like that. The editing process is something very different - once I've got something written down, I can tease and refine it into something better. And somtimes the editing process will completely alter the fic, but not often. (This happens most often when I want to write to a rigid structure; it takes a lot of work to force it to cohere in that way.) Most of the time it's like the fine detail on a painting - you can tell what it is already, but it just needs better delineation.
So, in short, "doing it properly" means a story that I've really written with single-minded passion. I know what makes my successful stories work because of the basic training I have had, and when I'm writing by numbers, so to speak, I deliberately use the tools that I should be able to deploy unconsciously.
I hope this has explained what you wanted explained. I'm always interested to hear about other people's writing philosophy, particularly when they're so different from mine. *g*
Thanks for the long reply!
on 2006-07-13 10:46 pm (UTC)For me, the beginning or the core of a story usually comes by unexpected inspiration. So, I write down the bit of fic that miraculously has appeared in my head - usually between a couple of sentences and a page and a half, never more than two pages, so far. This is the seed. And then, almost invariably, I hit a brick wall.
So then I put the fic away for a while, and pull it out occasionally to work on it, which is a slow and weary business. Even if inspiration visits again, it rarely gives me more than a paragraph. The rest... is like feeling your way around in a fog. Finding the next sentence is always a struggle, and I frequently hit walls again.
But, I persevere (usually), and so, after six months or two years or however long it takes, I end up with a story.
Which then undergoes several dozen rounds of revising, rewriting, rearranging (this is where the blu-tack comes in), and polishing. This can take up to another year, but usually it's 'only' a couple of months.
And we're not talking stories of epic length here. The longest story I ever wrote was eleven pages or so. I recently finished one of eight pages after three years, and another of less than 200 words after a year and a half.
As I said, in the past I've felt insecure because from what I gathered, writing wasn't supposed to be *that* much of a struggle. But, I seem to be getting somewhere with my 'method', too, I like most of my stories (though they're still far from perfect, and certainly not as good as some of the more inspired writers' offerings), and lately, other people seem to like them, too, so I guess I must be doing *something* right! And anyway, it's the only method that works for me. :-)
Re: Thanks for the long reply!
on 2006-07-19 11:51 pm (UTC)Re: First things first:
on 2011-12-30 10:48 am (UTC)And now I'm going to go, sorry again to butt in, just had to - and BTW I LOVE the story. It's the kind of introspective stuff I love to write and read, and is really thought-provoking. Its the kind of fic that sets my plot bunnies hopping (and I don't need any more of those, LOL). Great stuff.
no subject
on 2006-07-02 09:32 pm (UTC)*loves*
no subject
on 2006-07-04 06:14 pm (UTC)no subject
on 2006-07-03 12:26 am (UTC)I liked it a lot. You got the prompts and used them in an interesting and intelligent way.
Fantastic characterisation of Sam.
no subject
on 2006-07-04 06:14 pm (UTC)no subject
on 2006-07-03 01:33 am (UTC)...although in his case it probably wasn’t a hit-and-run so much as a hit-and-run-and-run-and-run-but-you-can’t-hide-because-you’ll-be-tracked-down-inside-
a-month-and-have-your-head-politely-kicked-in-by-Sam’s-mum...
brought a big smile to my face. I so like Sam's mum!
no subject
on 2006-07-04 06:16 pm (UTC)no subject
on 2006-07-03 10:05 am (UTC)no subject
on 2006-07-04 06:17 pm (UTC)no subject
on 2006-07-03 03:53 pm (UTC)it probably wasn’t a hit-and-run so much as a hit-and-run-and-run-and-run-but-you-can’t-hide-because-you’ll-be-tracked-down-inside-
a-month-and-have-your-head-politely-kicked-in-by-Sam’s-mum. Then he remembers all at once that there was no death, he isn’t dead yet, and he laughs a bit at that, a strangled sort of laugh that makes him sit up, ruefully wipe his eyes and decide that even crazy people have to pull themselves together sometimes.
That paragraph is excellent because it captures really well the poignancy of the series, the way it balances on that sharp edge of humour above a long drop of sadness.
Most ex'lent.
no subject
on 2006-07-04 06:19 pm (UTC)no subject
on 2006-07-03 07:59 pm (UTC)She only laughed, told him he was bonkers. He thinks she’s probably right.
Aw...he's so lost the poor soul!!
Beautiful!
:-)
no subject
on 2006-07-04 06:20 pm (UTC)no subject
on 2006-07-04 01:35 am (UTC)Oh Sam. *hugs Sam*
This was just wonderful.
no subject
on 2006-07-04 06:21 pm (UTC)no subject
on 2006-07-07 04:05 am (UTC)no subject
on 2006-07-09 01:05 am (UTC)no subject
on 2006-07-07 06:48 am (UTC)Nice and quiet and a bit of humour over despair. Love.
no subject
on 2006-07-09 01:06 am (UTC)no subject
on 2006-08-06 09:35 pm (UTC)That is just so beautiful. I'm not sure why I think that, but I do. This whole fic is wonderful. I love it.