[PSL] in this sense the open jaws of wild beasts will appear no less pleasing than their prototypes


The bread that is over-baked so that it cracks and bursts asunder hath not the form desired by the baker; yet none the less it hath a beauty of its own, and is most tempting to the palate. Figs bursting in their ripeness, olives near even unto decay, have yet in their broken ripeness a distinctive beauty.

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"You'd be quartermaster to Captain Monkey, is where you'd be," he says, smile on his face. What a tale, even if it certainly involves dozens of dead merchant sailors and pirates alike. (Is it so bad? People taking at the point of a sword what England takes with taxes? More end up dead at the feet of starvation and debtor's prison alone than pirates could ever kill. To say nothing of slavery, asylum, war and conscription...)
Thomas is sure his insides are a mess to put his outsides to shame, a china dish shattered a dozen times and glued back together, fissures and cracks to trip over everywhere. He's sure, too, that mines and knives lay beneath Odysseus's waters, even if he hasn't stumbled directly onto one yet. He smiles and he means it, with more lines around his eyes than ten years ago, his fingers splayed against James's hand as he touches him, without shying away.
"Mm. Rationality is just the application of logic, so isn't it flexible by nature? As logic is. She gracefully adjusts herself to whatever context is present. Which is why isolated men are susceptible to.. ghost stories and politics, in equal measure."
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It's a purposeful lightness. It's perfectly possible, he thinks, to ignore the sharpest parts of this place for a handful of minutes if necessary. If there's some end to achieve by doing so. And steadying Thomas's hand or making him smile seems like a good enough reason. This may be a transient kind of pleasure, but there's certainty under his fingers and in the gentle heat of Thomas's touch; anything can be shifted into a state of reality. Like this - alone in a preciously quiet room -, this is the most solid thing in the whole world and it has been for ten years.
"Personally," --he lifts Thomas's hand, but is too close to smiling to really kiss his knuckles-- "I'd prefer being done with both of them. For right now." They're a thing meant to be shed. Give him a week. Two weeks. Give him a month and they'll have put themselves in the position to never think on ghosts again.
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Thank you for telling a ridiculous story. The way James takes his hand is almost unbearably sweet and he thinks it's been well over a decade since he felt - what is that feeling, flustered, flattered, touched? They're slaves, reality horrible and suffocating, and James can do that to him.
In a voice that won't reach past the two of them, "What would you like, right now, then?"
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It should be an oppressive thought -- (How much blood was drawn in that sorting? What was buried? What was burned?) --, but it isn't. Those things happened to another man who doesn't exist and in a world they've been removed from. Are removing themselves from. If that version of the world doesn't belong to them, then this one where Thomas is smiling and all his parts are overlapping to briefly make a person who seems temporarily whole doesn't belong to anyone else either. That's fine. He'll take that.
So what else does he want? Right now?
There's a pause as he studies the fraying cuff of Thomas's shirt, then meets his eye. He doesn't-- know. Some part of that must show in his face: a moment of being at loose ends or standing in the familiar doorway of a dark room without a light. It's been a long time since he's been in this place and he doesn't trust himself not to bash his shins on something.
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in a volcano, or something.
The two of them stand right here.
(In purgatory.)
It shows and Thomas sees it, able to - somehow - read him still, no matter how many years it's been, and no matter how short their time together before that was. He steps in close, leaving his hand in James's care and moving the other to circle his shoulder, palm coming to the back of his head. Protective. More illusions, because what can Thomas protect him from-- nothing, not even the things going on in his own mind, removed from the constant physical peril they are in here with men who control their every minute. But he wants to, he wants to reach in and shelter him from uncertainty and dark thoughts and the echoes of the past and the encroaching talons of this place.
"Alexander took Tyre," he says, his voice low, as steady as the overseers tell him his hands are. (Despite the tremor that sometimes haunts him; but that shows how close attention they pay, truly.) "And it was such a frustrating battle that, in the aftermath of his victory, he executed thousands of men. Slaughtered them in the streets and crucified them on the beaches, out of nothing but spite for the trouble it cost him to have to build a bridge to break them. And then he marched to Gaza, where again it was so frustrating a victory that the survivors were massacred. When he finally reached Egypt, he held festival games, and honored his lover, Hephaestion, who while also a warrior, had spent most of this time designing those bridges, and convincing Persian liaisons to capitulate to the advancement of the Macedonian army."
Thomas's thumb describes gentle circles against the short hairs on James's head, rubbing with slow affection, fingers of his other hand squeezing his. "They loved each other joyfully and had nothing to say about the paths they walked because that was just life, it was a part of them, those things painted on like the color of a shirt and not like anchors, and I... I don't have words for how I love you, not in any language I know, but before I saw you there, again, every inch a pirate, bloody, I thought I was still alive purely because I'm stubborn. Now I think it's my love that's kept me alive, some unknowable force reaching through time and across oceans that put a hand on my heart and-- stilled it-- until I saw you again."
He doesn't care what James has done. He doesn't care who he's been. It doesn't matter how long it takes for them each to learn how to be people again, even if they never do. Thomas just loves him.
totally codependent..............................................
He's holding Thomas's hand against his chest more tightly than he means to. Thunk, thunk, thunk - his own pulse against his ribs and under Thomas's palm. He loosens his grip considerably. "I knew." He sounds uneven. A second ago he'd been solid and now he's shrapnel and parsing why slips between of his fingers as he forces his grip to soften. "I knew because I recognized it."
Because Flint had been a person made up of three ghosts since the day he and Miranda had left England. The pieces of those ghosts had driven Flint before them - bound by some vicious kind of love that was incapable of gentling while possessed but always certain of its course. Leading him inexplicably here and with the tools to make it as right as the world would allow it to be. James McGraw couldn't have come to a plantation North of Spanish Florida and lever Thomas out of it.
That is somehow tempering. Catches whatever's about to shake loose and fixes it so that when he bows his head and breathes out into the narrow space between them, it isn't crooked. It's just present.
"I see in your face what I've felt every day since we left you."
Fuck, he's so glad they both made it this far.
https://68.media.tumblr.com/01e6aa06839827a06fd5d9529bca7920/tumblr_os4mj1hkjW1td5kqzo2_1280.jpg
We.
The pain of being taken from his wife and his lover had been crippling, but Thomas had never let himself wish to see them, knowing how completely severed he was from the real world and knowing how it would endanger them. He saw them in his dreams regardless, and prayed, how he prayed to anything and everything that they were happy together. Oh, Miranda. If he and James are one soul in two bodies then there's a piece still gone from both of them, ripped away and left untended, never to heal.
Thomas presses his forehead against James's. They're both in shambles but they have each other, more than either could have ever believed possible. Looking back it seems obvious, if no less torturous-- why else would he have kept on, if not for this end? He is so thankful. Not to God or fate or a universal power, but to James, for burning.
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"What do you want? Right now."
(Was that a question Flint had ever asked Miranda? It must have been. It had to have been. --Or maybe he hadn't needed to ask. Surely he'd known her mind like his own.)
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What would James take with him? Blood and teeth, perhaps. Could they have survived in another combination? James and Thomas together, Miranda spirited away? James executed instead of dismissed, the Hamiltons in exile? Maybe this is the only way-- maybe there is no misstep to retrace, and it is this or total annihilation and nothing but the emptiness of unmaking after, barred from heaven, with the kindest outcome still demanding their suffering.
Thomas's hands find James's back, arms around him, moving into that touch like he needs it to survive.
"You with me," he tells him, eyes clear. "You against me as we sleep, so I can feel your heartbeat, and your breath."
An achievable, heartfelt goal. Does he want to burn this place down, does he want to step into some other reality, does he want to convince James their flighty plan is suicide. Yes. But those are abstract desires and-- he can't, just like he can't say I want us to be back in my salon together and expect it not to taste like ash in his mouth. They're here and they're together. They're going to be alright.
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"Done," he says as his fingers shift through the short strands of Thomas's hair. The light here in this room is so gentle it's as if there's no gray in it at all.