i'm writing poems about you, and they're not very nice
you could do so much better (you said it in your letter)
R, rated for grief!sex. ~5500 words why and how.
THEATER-DYNASTY CRACK AU: Lucrezia, August to December after Alfonso Bisceglie's assassination, all the way up to Christmas, wherein you realise that actually this is ridiculous/emotionally-self-indulgent holiday fic. I make no apologies for ( Read more... )
R, rated for grief!sex. ~5500 words why and how.
THEATER-DYNASTY CRACK AU: Lucrezia, August to December after Alfonso Bisceglie's assassination, all the way up to Christmas, wherein you realise that actually this is ridiculous/emotionally-self-indulgent holiday fic. I make no apologies for ( Read more... )
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HOW DOES THAT EVEN HAPPEN
WHAT, WHAT, WHAT AM I DOING. I CANNOT EVEN. CHEZZA, I CAN'T.
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First, the whole opening sequence is amazing - really viscerally gripping and claustrophobic. And Lucrezia's grief and anger is handled so perfectly - and Cesare, oh, you know how overly invested I am in him but the balance you strike between his regret at what he's done to Crezia and his utter lack of repentance is absolutely perfect. The office pens miss you, he writes. The paperclips miss you, oh, guess who definitely teared up at that, ME. And the whole confrontation between them is so sharp and mean and perfect - He is at his most soft-spoken when there’s blood in the air, yeah, um, MY HEART.
And then when they come together, oh, your prose is just at its most exquisite and heartbreaking. Her fingers on his throat, but she does not have to steal his breath. Her hand is small, a palm; his own nearly covers the expanse of a parted thigh. Infinite asymmetries, enjoined. When he is inside her, she thinks she might shatter, but her bones are true-proven and ( ... )
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you know how overly invested I am in him
I DO I DO, AND THUS THIS IS WONDERFUL TO HEAR. OUR TWO. I love that we split obsessive adoration neatly between us, because SIBLIIIINGS, THEY ARE PERFECT, and I love them both for all of time and space and so do you, but your mind dovetails perfectly with his and mine with hers and oh oh let us write them forever, okay, balance and necessity and SIBLINGS~ for all.
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&hearts &hearts &hearts
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stick around. :D
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His mouth is warm and tastes like hers, his tongue soaked in the strawberry-vinegar of the wine. She feels him bending in toward her and she pulls and pulls his body like a bow, to bow to her, her teeth catching his lips and biting until she can feel blood edging against her teeth. Blood they share, her hands tangling in his hair, her vision is blurry and wet, so she closes her eyes. She doesn’t have to open them to know how he looks, to know the structure of skin and muscle and tendon and bone. The couch is too small for him, and she pulls him astride her anyway, blood on her tongue and broad palms pressing along the small of her back. Their bones match up, for all their asymmetries: she feels herself in the empty spaces of him, the hungry hollows of his skeleton which she can almost touch under his skin. His face pulls back, and one hand delicately cups the curve of her face.Long section, I know, but I love how she blames him but not for too long because unlike Cesare, Lucrezia is capable ( ... )
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And o yes you've more or less captured why their dynamic is so intricate and so endlessly gorgeous right there. SO. ♥
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This AU series is really inspired. I love that you've created this incredibly layered, theatrical modern world for the characters to live in and I especially appreciate the way the Borgias (or at least Lucrezia and Cesare) always seem somehow quintessentially Old Hollywood. There's just something about modern-day Lucrezia watching It's a Wonderful Life that completely delights me ( ... )
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