E - Everyone

The Eternity Curse - Chapter 1

by Zoom
PreviousNext

"A house divided cannot stand."

—Matthew (12:25), Bible

The city looked miniscule behind them, though they had not been on the road for long. Henrik peered at the fading metropolis between two stacks of luggage in the trunk, astonished that something so imposing could be reduced to a mere smudge on the horizon.

“Why do we have to move?”

His father stiffened from the driver’s seat. “We’re starting anew.”

There was something about his toneless voice that didn’t invite a follow-up question, otherwise Henrik might have asked what was wrong with the life they already had. In situations like this, he often continued the conversation in his mind.

“Your mother is dead. That’s what’s wrong.”

Though his father would never outright say such a thing, Henrik suspected he thought this—sometimes when he rehearsed a conversation, the other person would veer off script, words spilling from their mouth as if they had been force-fed truth serum.

Could they really be fleeing the city because his mother passed away? It had been months, but Henrik knew grief made people act in unpredictable ways. Hakishi-sensei, his chemistry professor, near went insane trying to concoct a cure for his terminal wife, who had been diagnosed with a rare brain disease. When she eventually slipped away in her sleep, he laid beside her until passing away himself. That wasn’t a logical way to behave, Henrik thought. If grief could befuddle an esteemed scientist to such an extent, then it could surely cause his father, a successful businessman by any standards, to uproot their life and move to the countryside. By comparison, his father’s behaviour was downright ordinary.

Except, mother will be dead no matter where we go.

His imagined father did not respond to this; a good indication that Henrik shouldn’t find out how his real one would.

“I’m happy we’re moving, Daddy,” Conrad chirped beside him. “It will be like an adventure!”

“Yeah, that’s right,” their father encouraged. Henrik briefly met his gaze in the rear-view mirror.

“The countryside is beautiful,” Conrad continued, pointing out of Henrik’s window and then turning his blond head to gaze out his own.

Henrik had focused so closely on the world they were leaving behind that he failed to notice the one they were entering. For miles ahead, the road was hemmed with evenly-spaced cherry blossoms, their bittersweet aroma wafting through the open windows. They had reached full bloom, delicately shedding their pink leaves into the atmosphere, perfectly mimicking snowfall. Had she still been alive, their mother would have told them that the sakura symbolised the fragility of life, how the leaves fell shortly after bloom to serve as a reminder that, even though life was limitlessly beautiful, it was often cut short. Her voice began to say something like this in his head, and he felt the sudden urge to speak over her.

“The city had sakura, too.”

Conrad pouted at him. “You didn’t like the city.”

This was true, he didn’t. But he knew the city. He knew the pollution-stained buildings, the neon lights shimmering in every storefront, the people’s incessant need to string lanterns over everything. Things were better when they were predictable, like when conversations replicated the ones he already practised in his head.

Henrik stole one last glance over his shoulder. The city had all but vanished, lost to the distance they’d put in front of it, veiled by the swarm of gentle leaves caught in the car’s slipstream.

#

“Here we are, boys.”

Henrik started awake, and for one glorious second forgot where they were—or rather, where they were going.

The cherry blossoms had long since been abandoned, replaced by scratchy tufts of yellow grass and miles of barren, rolling landscapes. A narrow bridge lay a short while away, offering an unsure path over a winding river. It was the only notable landmark in any direction. The peeling struts were painted toolbox red, and atop the guardrails were many tarnished lanterns providing an easy glow in the waning daylight. Henrik wondered who would bother to come out here and light them.

Perhaps the countryside won’t be so different after all.

Gravel crunched underneath as their father slowed the car to a crawl, lining up his passage onto the deck. Conrad stirred and lifted his head, rubbing his powder blue eyes.

“Oh, a river!”

The bridge groaned as they passed over. Conrad peered outside, straining to get a good look. “Can we stop, Daddy? I think I saw a jellyfish!”

Henrik sighed. Conrad had a wild imagination, even for an eight-year-old.

“We’ve almost arrived at the new house,” their father said. “We’ll have a river in our own garden.”

“And jellyfish?”

“Maybe. You’ll have to check for us.”

The bridge indeed seemed to announce their re-entrance to civilisation, for no more than five minutes later, the landscape fell away, and they found themselves delving into the heart of a wide valley. The road divided a hamlet nestled on the bottom. On the far side of these dwellings, a river ran perpendicular, shimmering as it reflected the sun’s departure from the pink sky. The opposite wall of the valley was spread with evergreens, their canopies linked together seamlessly, as if in effort to hide the hill on which they stood.

The people who lived here must be arable farmers, Henrik decided. The near riverbank was checkered with rice paddies; staggered parcels of land that would be used to produce grain crops.

It’s not like they will have much else to do out here.

“Why do the houses look like that?” Conrad asked as they passed the first set. The thatched gable roofs were overbearingly prominent, like giant books that had been propped into steep triangles. The top half of each house was lined with white panelled windows, which indicated how many floors the building contained.

“They’re called minka houses,” their father said, slowing the car until they came to a stop beside the last two. “Don’t be tempted to climb the roofs, Conrad.”

A warm glow appeared to their right; a hunched, elderly woman ambled out of the last minka, clutching an andon lamp. Her straw sandals grated on the pebble-strewn road as she closed the distance to the car. When she arrived at the driver’s window, she bowed her head lower than it already was and held this pose for several seconds (their father also did this). She then straightened up, regarding them with a determined expression.

“Welcome to Shinpi farm. My name is Miiko,” she said. Henrik was surprised by the sharpness of her voice. She gestured to the end of the road with a sweep of her arm, her grey kimono fluttering in the breeze. “You must continue the journey to your house on foot. The bridge hasn’t taken the strain of a vehicle for quite some time.”

Henrik and Conrad stiffly exited the car and waited beside the woman, who stared down at them with a neutral expression. “Tell me, children, are you prepared for life on the farm?”

Henrik decided not to answer the question because what he wanted to say would surely be ruder than not saying anything. Something about the woman unnerved him. Though he could tell from her question that she meant well, she seemed to have an edge, a calculated gleam in her glassy eyes. Perhaps it was the way the lantern cast unflattering shadows over her face, but he wasn’t able to read her like he could most people.

“Yes, Miiko,” Conrad said, bowing almost into the shape of a minka roof. The woman chuckled, though it sounded reserved. This was one of the only aspects Henrik liked about his younger brother. His ability to capture the positive in most situations seemed to resonate well with the elderly and often spared Henrik the laborious exchange of pleasantries.

Their father appeared from behind the car clutching rolls of bedding material over one shoulder. With his other hand, he swung a lumpy parcel over to Henrik. He hoped it contained snacks of some description because his stomach had started to beckon.

“Please, this way,” said Miiko. The bridge was much like the one they crossed before, except the lanterns were unlit, and if the red paint peeled any further, it might’ve been impossible to tell it had ever been painted at all. Everyone remained quiet as they traversed across, as if this would prevent the bridge from collapsing. The silence was broken by the decking as it groaned under every footfall, and the occasional trout breaching the river. A foul stench permeated the air, emanating from Miiko’s smoking lantern.

“You’ve come at an appropriate time,” Miiko said, leading them onto the opposite bank. “Spring is a time for new beginnings. Can I trust your children will help prepare the rice paddies for seeding?”

“They will be glad to,” their father said.

“I’m pleased. The families of Hato village are reluctant to send us their children, though I don’t begrudge them.”

“Their fear is understandable.”

The woman stumbled slightly in spite of the unencumbered path. “I didn’t expect a city dweller to be aware . . .”

Henrik’s mind raced as he scrambled to memorise their conversation. He was just as taken aback by his father’s awareness of what Miiko was referring to, and he was confident that a few carefully worded questions would help him fish for more information at another time.

They came to a stop before one last minka on the forest edge. Two rows of white panelled windows confirmed it bore a generous attic space. The dwelling seemed haunting and unnaturally shrouded, as if it clung greedily to the shadows cast by the evergreens.

“We kept the house maintained for the previous owner,” Miiko said. “They sent us payment from time to time, though they never appeared in person. May I ask how you came to acquire it?”

Henrik noted the pause his father took before answering.

“It’s a very uninteresting tale,” he began. Henrik could tell he was being deliberately cagey, as if politely prompting a change of conversation.

“Please excuse a prying old lady,” Miiko said, offering an apologetic bow. She handed the lantern to Conrad. “You may borrow this if you return it to me tomorrow. The fish oil will burn for several hours.”

“Thank you,” their father said. They both dipped their heads respectfully one final time, and then Miiko departed.

Their father took a moment to survey the house, a hint of satisfaction curling the corners of his mouth. “What do you think of our new home, boys?”

It doesn’t look so new.

“It’s awesome, Daddy,” said Conrad, rushing to the front. The lower section was panelled with translucent paper walls, latticed with bamboo. He slid one of them open, revealing the entrance area.

Once they were all inside, Conrad set the lantern on a wooden bench whilst their father steered the door back into place. The earthen-floor kicked up a musty smell as Henrik shuffled around, inspecting their new home. The area was littered with metal tools and equipment that were unrecognisable in the deceptive light of the lantern. Some of them looked oddly skeletal, like the ancient husks of creatures that had long ceased to exist.

A corner of the room had been reserved for the preparation of meals; a clay stove sat beside a tall table, and hung above were an assortment of battered pots. Again, his stomach beckoned. He yearned for the days his mother would serve cuisine that had been perfected through a long lineage of imparted knowledge. He could not imagine this crude kitchen would enable them to produce such culinary eloquence.

The second portion of the house was raised a foot off the ground. The bamboo wall slats were already open, exposing the central living quarters. They removed their footwear before stepping up onto the smooth, wood plank floor. Henrik flinched—the decking was ice cold and numbed the soles of his feet.

The centre of the room was dominated by a square, sunken firepit. A metal rod was suspended over it, the end curled into a dull hook. Cushions were dotted around the edges of the hearth, inviting them to take a seat.

“We’ll sleep here, on this occasion,” their father advised, placing the rolls of bedding on the floor and taking a seat with his back to a vast, timber pillar.

Henrik started to settle on his father’s left, but was immediately directed to sit with Conrad on his right instead. The instructions sounded oddly sombre, as if this caused his father a great deal of agony.

The lumpy parcel indeed contained food. Henrik passed a steamed bun to Conrad and then tore into his own. Usually they would wait for their father to start his meal first, however, he had busied himself with lighting the hearth and Henrik could not restrain himself.

It took a while for the fire to dispel the shadows from the exposed upper levels of the house. The orange blaze gleamed off the many timber posts that crisscrossed each other, creating the framework that supported the thatched roof. Overhead, a balcony led to twin attic rooms on either side. A disturbing sense that someone was up there crossed Henrik’s mind, and it seemed to cross his father’s, too, as he left his sons to explore.

The twisting flames hypnotised Henrik and Conrad into lethargy, though the long journey had not left them with much energy to begin with. They watched the occasional spark rise from the pit and snag on a bamboo shelf above the hearth.

Their eyes grew heavy until they could no longer follow the movements of the flying cinders and their thoughts slowed to a nonsensical haze.

#

Henrik woke to the sound of his brother whimpering beside him. They shared a futon beside the dying fire, though he could not remember moving there.

Conrad often roused them like this, as it had been since their mother’s passing. Henrik stroked the back of his brother’s hand until he settled, telling himself that he only did this to quiet him. But the truth was that it brought him his own measure of peace. He could almost feel his mother watch over them, and the smile that would surely warm her face if she could see him care for Conrad in her absence.

Once Conrad’s breathing plateaued, Henrik rolled over and pulled the blanket over his head, shutting off the last vestiges of light flickering in the firepit.

Inside this makeshift tent, he slowly peeled away his left sleeve, exposing his forearm. As he did this, a soft, azure glow spilled throughout the enclosed space, staining his black hair with a blue hue. The light emanated from five intricate symbols etched into his skin, strange characters he had not seen before the day he had been branded with them.

He gazed, transfixed by the radiant symbols, allowing his mind to wander back to the final time he saw his mother alive.

#


A/N:

  • Henrik and Conrad are German names, the setting clearly is not Germany. I don't spend too much time selecting names for first drafts, will fix later.
  • Henrik has absolutely no influence over the plot. Where even is the plot?
  • This is a very slow starting novel, I go a bit heavy setting the scene here.
  • Took a tad too long to introduce Conrad at the beginning.
  • Extremely lame title
Comments & reviews · 3
Note: You are not logged in, but you can still leave a comment or review. Before it shows up, a moderator will need to approve your comment (this is only a safeguard against spambots). Leave your email if you would like to be notified when your message is approved.

User avatar
Panikos
Review
Panikos wrote a review · Fri Sep 07, 2018 2:51 pm

Hiya, Zoom! Just dropping in to review, as promised.

Small Comments

The city looked miniscule behind them, though they had not been on the road for long.


Nice opening line. I really like the quote at the beginning, as well - it's rather ominous.

Though his father would never outright say such a thing, Henrik suspected he thought this—sometimes when he rehearsed a conversation, the other person would veer off script, words spilling from their mouth as if they had been force-fed truth serum.


I don't really get why you have a dash between those two clauses? Maybe I'm missing something really obvious, but I don't get how Henrik's father thinking about the mother dying ties into people veering off script in Henrik's imaginary conversations. The two topics don't seem closely related enough.

Had she still been alive, their mother would have told them that the sakura symbolised the fragility of life, how the leaves fell shortly after bloom to serve as a reminder that, even though life was limitlessly beautiful, it was often cut short.


Hmm, this is such an overused bit of wisdom. Literature is full of metaphors about plants and fragility and the speed with which life passes us, so I just found this tedious. Obviously, humans do speak in clichés, but I think it's a cliché in and of itself to have a dead parent who's remembered for spouting symbolic turns of phrase. The woman would feel way more real if, for example, Henrik remembered her complaining about cherry blossoms wafting in through the kitchen window and getting all over the floor she just cleaned for god's sake. When it comes to memories about dead relatives in fiction, I say go for the mundane over the metaphors every time. It feels far more sincere.

The city had all but vanished, lost to the distance they’d put in front of it, veiled by the swarm of gentle leaves caught in the car’s slipstream.


Gorgeous line and a brilliant way to close the first scene.

The thatched gable roofs were overbearingly prominent, like giant books that had been propped into steep triangles.


Another great line. It's an odd comparison, but I instantly understood what you meant.

A foul stench permeated the air, emanating from Miiko’s smoking lantern.


I think GoldFlame is right here about the overly-powerful verbs - also compounded with a powerful noun like 'stench' - but I also would've preferred more specificity here. You mention the lamp burning on fish oil later, but at this point in the story, I didn't know what kind of foulness we were dealing with. I'd just like you to be more precise about the smell, really.

He yearned for the days his mother would serve cuisine that had been perfected through a long lineage of imparted knowledge. He could not imagine this crude kitchen would enable them to produce such culinary eloquence.


Sometimes, your prose gets a bit too flouncy for its own good. Henrik's a kid, right? I'm picturing a late-ish teen. And while he does seem like the kind of kid that would use pretentious words on occasion, having 'cuisine', 'lineage', 'imparted knowledge' and 'culinary eloquence' in the space of two sentences is a bit much.

Conrad often roused them like this, as it had been since their mother’s passing. Henrik stroked the back of his brother’s hand until he settled, telling himself that he only did this to quiet him. But the truth was that it brought him his own measure of peace.


Don't think you need that line. The fact that you have 'telling himself' in there makes it clear that he's not just comforting Conrad for Conrad's benefit.

Overall Thoughts

The setting is beautifully bleak in this. You do a great job of creating atmosphere, something that so many writers struggle with, and your description in the first scene is particularly beautiful. There's something automatically haunting and unsettling about the hamlet where they're living, too, and I just know instantly that there's something bad about the place. Not in a predictable or heavy-handed way - it's just a creeping sense of dread.

Your characters do seem pretty good so far, even though there hasn't been much dialogue yet. Conrad is adorable, Henrik is believably sullen, and the father, while he's still quite a mystery, feels like he's going to be interesting. The exception is the mother, who I worry is falling prey to the Deceased Parents Are the Best trope as opposed to having a definable personality of her own. She doesn't really feel like a person yet, just a plot device and a tragic backstory. You've got plenty of time to address that issue, obviously, and with a few subtle changes it wouldn't be present in this chapter at all. It really just comes down to how Henrik remembers her. Obviously his view of her is going to be rose-tinted, but that's different to over-romanticisation. Rather than having her remember her as a master cook and someone who spouted (overused) metaphors about the fragility of life, give her some more down-to-earth traits as well.

You're obviously already aware that this is a bit on the slow side. You held my attention well through the first scene and most of the second, but once we made it to the new house I started to feel a little restless for something to happen. You do have that nice, subtle moment about the fear of the villagers, but it doesn't develop into anything. I don't think it's a bad thing to leave that in mystery for now, but there needs to be something else too. Henrik needs to do something else, I think. You're right that he's rather too passive, even though his listlessness is very convincing given the situation he's in.

I will mention that the opening is a bit tropey, as well. A family moving to a rural community possibly plagued by supernatural forces in the wake of the death of a family member doesn't feel like the most original premise, but I'm happy enough to let it slide based on the strength of the writing. It's just something to be aware of, because you never get a second chance at a first impression.

That said, the positives far outweigh the negatives. It's a solid start, it does have intrigue, the characters feel interesting, it's written beautifully and the setting makes my skin crawl. With a few tweaks and a faster pace, I think you'll be on to something good. Let me know when you post the next bit, even though I must be mad to start following more novels when I've already got about six to keep up with. All in the name of RevMo, I guess?

Keep writing! :D
~Pan

Thanks so much for your review, Pan! The concerns youve raised about the dead parent trope is my biggest concern at the moment, so Ive got my thinking cap on. Im writing a flash back scene of her death, which I guess is my main opportunity to sell her three dimensional-ness and bring the story away from that cliche. Not sure if I%u2019ll use that scene as chapter two or later on in the story. Thanks for all your advice, that%u2019s given me so much to think about <3

User avatar
Ventomology
Review

Hello!

I saw the title and was intrigued. I enjoy stories that deal with life and death and eternities and all that, so of course I had to see what was up.

But down to business:

Craft:

1. Honestly I don't have much to add on to what GoldFlame said already. You matched the tone to the story very well, and you have strong flow in and between action, dialogue, and description. I personally think the descriptions could use a bit more literary play, like with poetic device and such, but that's mostly a preference.

2. It kind of throws me off that you don't use any exclamatory punctuation for Conrad, even though his dialogue is supposed to be excited. I mean it does fit with the tone of the overall narrative, but it was still odd.

Plot and Characterization:

1. Again, I agree with GoldFlame on most parts! You do an excellent job setting up a first impression of each of the four characters we've met so far, and even giving strong impressions of characters we (maybe?) will never meet, like Henrik and Conrad's mother. That's pretty cool!

2. Plot-wise, this is a fantastic first chapter. Without even really poking at the problems at hand for the protagonists, you've managed to cultivate a ton of moments of suspense, as well as hint at multiple fantasy/supernatural threads. It'll be super exciting to see how you combine and reveal it all.

3. I'm not sure it's wise to go into flashback(?) stuff this early. At least, it seems like the next chapter will do that. For all that it's good to set precedent that flashbacks are a thing, you still want to give time for your audience to settle into what is the present time of the story.

In response to your author's note:

1. On the names, I figured the family was either mixed (with the kids being half and taking European names), or of European decent. It's not uncommon for expats and their families to live in East Asian or Southeast Asian nations. Do with that information what you'd like, but it really isn't that strange to have a likely white family in an Asian country. If you want the kids' ethnicity to be local though, then you might want to research names, yes.

2. I don't think this novel is actually very slow-starting. Yes you're taking time to establish the setting, but you have plenty of instances that already generate suspense. Mysteries and suspenseful novels tend to start a little more slowly than, say, an action/adventure. Your pacing feels fine thus far; no need to worry!

Overall, this is super awesome! I don't see enough non-western fantasy around, so I'm really excited to read this and see where you take it. If you don't mind, would you be able to tag me when you put out chapter 2?

Thanks for the epic read! Catch you later!
-Vento

Thanks for such a detailed review! Appreciated <3 Thanks for the advice about using more literary play / poetic devices, that is definitely an area of development for me so I will keep that in mind. I was also worried about going right into a flash back, if most of my reviewers end up not liking the placement of it then I have an idea of where I can put it later on in the story :) Thanks again!

User avatar
GoldFlame
Review

Hello! (It's been two years since my last review, so feel free to let me know if anything needs clarifying. ^^)

The writing possessed a really nice rhythm. The backstory was smoothly incorporated--and I love how interjection-bits were diced into the dialogue to contribute scene-setting and characterization; I could receive Henrik's perceptiveness through his analyzing the actions of the people around him. The body language and imagery balanced each other off, where one never threatened to feel too heavy, as third person limited POV's susceptible for. And the pace was really well-measured. So far there hasn't been much action, but I think the andante-ish tempo you've set suits the sinister tone; there's enough left unsaid that it sustains the reader's interest. It's also the exposition chunk of the novel, so it's better to go slower than faster to enable the reader time to digest the setting, plot, characters, et cetera.

The characters' voices in dialogue also sounded distinctive, which is hard to pull off. It's a good shortcut for yielding suspension-of-disbelief, and it did; the narrator snared my focus from the start. I love how Conrad's young age is depicted through exclamations, and the father's fatherliness in his brief responses. Their sentences being so clipped helped to sell the authenticity--the way people genuinely talk with short clauses, frequent pauses, inarticulate reactions to things occurring. The speaker's tags were really well-done, too--cooked al dente, not so dense as to distract from the speaking and not so simple as to make the flow stutter--and the breaks in dialogue lent gorgeous fluidity, as said before. I love the interactions between Miiko and the family, especially; everything clicked. Miiko's cool, hostly, and stiffly formal tone provided sharp contrast to the father's and Conrad's dialogue--where they possessed more of a casual-ness.

The tone corresponds to Henrik's grief--it constructs a kind of helplessness, as if Henrik's observing everything from behind a wall of glass.

Overall, it was amazingly well-written. Most of the nitpicks I have are concerned with grammar--which doesn't speak to the piece's overall-ness, so feel free to take what I say with a grain of salt:

There was something about his toneless voice that didn’t invite a follow-up question, otherwise Henrik might have asked what was wrong with the life they already had.


This jumps out a bit in the beginning: comma splice, or two independent clauses strung together insufficiently with a comma. Maybe a semicolon, or breaking them off into separate sentences?

If grief could befuddle an esteemed scientist to such an extent, then it could surely cause his father, a successful businessman by any standards, to uproot their life and move to the countryside.


Just commenting--this was a gorgeous way to introduce the situation and establish the father's identity. It also sets the reader off wondering about the kind of world this is set in (the mention of truth serum--even if it was an offhand fragment of figurative language--and the scientist striving to bring a loved one back from the dead).

Mortality's established as a recurring theme. Which works not only literature-ly, but also in the sense that the main character's mother's death is branded into his mind and he starts realistically seeing it everywhere--unable to escape the fact of it wherever his attention strays, that he applies the concept of death to even inanimate things like cherry blossoms. The beginning's genius. <3

Except, mother will be dead no matter where we go.


Forgot to capitalize "mother" here. ^^

A warm glow appeared to their right; a hunched, elderly woman ambled out of the last minka, clutching an andon lamp.


Since a dependent clause succeeds the semicolon, it should be swapped out for a colon.

Side-note: The way the narrator introduces "sakura" and "minka" was well-done--it assumed the reader was unfamiliar with the words, but the way it explained them didn't jar with the flow.

A foul stench permeated the air, emanating from Miiko’s smoking lantern.
As he did this, a soft, azure glow spilled throughout the enclosed space, staining his black hair with a blue hue.


The strong verbs sometimes feel over-the-top--especially in participle phrases where the description would feel richer if it was extended/more fleshed out. "Permeated" paired with "emanating" is potent itself, and the explanation for the foul stench placed in the participle phrase--loads of information squished in a tiny space--increases that. Although it doesn't significantly affect the flow. But it'd still help to smooth things out, and the imagery would benefit; it'd provide more ease of visualization.

I'm really intrigued about what kind of world this is set in; the enigmatic tone laced through everything crafts such suspense. And the cliffhanger. That cliffhanger, frick on a stick. Sudden symbols on the skin is a traditional occurrence in fantasy stuff, but the way the narrator wove it into everything was so masterful, and just worked so well.

I tried to rummage for more criticism, but I thought it was genuinely really well-written. The piece got its stride as it went on--the beginning's atmosphere shuffled around a bit, but the writing was still solid enough to induce a spark of intrigue; I might recommend playing around with imagery to flesh the paragraphs out more--to better establish a strong voice. Still, though, it was really well-done.

Looking forward to reading more from you!
~Gold

<3 Welcome back, Gold! Thanks so much for writing such a detailed review. This has given me a great deal to think about, both in terms of how I will revise for draft 2 but also improvements I can be mindful of as I continue draft 1. You%u2019re amazing <3 Really appreciate this!

No problem! <3 It was an enjoyable read.



We are dreamers, you and I.
— Leya