In retrospect, Clark had every right to walk away. Lois only had to think of him drugged in a glass case, of the bodies in the lab morgue, of the days he spent hiding in his flat― and all because he thought he was saving people from drowning. He could have packed up the cape, the suit, the boots, wear the geeky glasses so he wouldn’t be recognized on the street.
But Clark went on saving people who had come to the point where they did need a saviour― where circumstances dictated that he was the only one who could be just that. The malice of a few didn’t stop him from being kind.
These are clichés, but it is simply that which Lois loves about Clark: his kindness, his bravery, his determined generosity even in the face of someone else’s malice. And he’s infectious. She can’t help but share the way her husband views life: an odd mix of wry humour and awe at the world that made the pattern of his life so much like his fictional counterpart’s.
(He’d be appalled if she pointed this out, but he’s undoubtably inherited his family’s odd sense of humour)
She wishes she could pause the moments in which he’s untangling the complicated thread from one thought to another; throughout their life, she is in turns endeared by, and exasperated by his habit of writing everywhere and anywhere― the floor of her apartment, her bed, their bedroom, the kitchen, the dining hall, the study that they finally set aside for him, and it’s only when they’re both older and greyer, that he finally settles there.
There are no words for when his hand unconsciously twines together with hers, practiced with the loving habit of years.