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sowingseedsandshootinghoops · 10 months

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Love Without Freedom: Dysfunctional Families

Note on the text: I used D.H. Lawrence’s Sons and Lovers as published by Penguin Books in 1994

This is one of the most realistic and psychologically complex depictions of an emotionally unhealthy relationship between a mother and her son. While Mrs. Morel is definitely not a traditionally abusive woman, she is an extremely unhappy one. As a result of that she decides to pour all of her energy into her kids (especially her son, Paul) and forms her life around them in such a way that it creates an unhealthy dynamic between her and her kids.

This is a beautiful book about a deeply dysfunctional family. When we first meet Gertrude and Walter Morel it’s clear that they are a match made in Hell. That whatever their feelings for each other might have been in the past, those feelings have long since died. Mrs. Morel is an extremely unhappy woman for whom the “world seemed a dreary place, where nothing else would happen for her” (13). While her husband isn’t an evil man per say, they are ill suited for each other and serve, despite their best intentions, to aggravate each other. However they have four children (Paul, Arthur, William, and Annie) who are the absolute apples of her eye, especially Paul, and she makes them into the center of her universe. No matter what else was going on in her life, she knew that she always “had the children” (25). Everything comes to head when she tells her husband that she is only staying with him for the sake of the children:

And I would’, she cried, suddenly shaken into tears of impotence. ‘Ah, wouldn’t I, wouldn’t I have gone long, long ago but for those children. Aye, haven’t I repented not going years ago [when] I’d only had the one’- suddenly drying into rage. ‘Do you think it’s for you I stop- do you think I’d top one minute for you’.

‘Go then’, he shouted beside himself. ‘Go!’

‘No!’ She faced round. ‘No’, she cried loudly. ‘You shan’t have it all your way. You shan’t do all you like. I’ve got those children to see to. My word’- she laughed- ‘I should look well to leave them to you’

‘Go!’ He cried thickly lifting his fist. He was afraid of her. ‘Go!’

‘I should only be too- I should laugh, laugh, my lord if I could get away from you’” (33).

Although she loves all her children, she has an especially close relationship with Paul. In fact, it’s when Paul is born that we start to see the fanatical, obsessive, quality of her love take shape. As much as she hates her husband, and the world at large, she decides when Paul is born that “with all her force, with all her soul, she would make it [up to Paul] for having brought him into [an unloving world]. She would love [him] all the more now that [he] was here, [she would] carry [him] in her love” (51). And therein lies the problem. Kids are meant to grow up and make their own way in the world. They can’t be children forever. They have to grow up and make their own way in the world. They leave their parents behind, in some way, and create their own lives. However, the vice grip which Mrs. Morel has on the emotional lives of her children, makes it impossible for her to really let them go. This becomes obvious when Paul accepts a job offer in London, far away from her:

It never occurred to him that she might be more hurt at his going away, than glad at his success. Indeed as the days drew near for his departure, her heart began to close and grow dreary with despair. She loved him so much. More than that, she hoped on him so much. [She almost] lived by him. She liked to do things for him: she liked to put a cup for his tea and to iron his collars, of which he was so proud. It was a joy to her to have him proud of his collars. There was no laundry. She used to rub at them with her little convex iron, to polish them, till they shone from the sheer pressure of her arm. Now she would not do that for him. Now he was going away. She felt almost as if he [was] going as well out of her heart. He did not seem to leave her inhabited with herself. Tha was the grief and the pain to her. He [was taking] nearly all of himself away (78-79).

Again later, when Paul falls in love with, and wants to marry, Miriam, Gertrude finds herself complaining that Miriam is taking Paul away from her and that she is “not like an ordinary woman who can leave me my share in him” (230). Even now, she doesn’t know how to let Paul go. And Paul is starting to resent her.

Paul starts sensing that his relationships (with both Miriam and later Clara) is hurting his mom and he starts resenting her for it. He doesn’t understand why she can’t just be happy for him, and instead he feels guilty for having unintentionally hurt her: “Paul hated her because, somehow, she spoilt his ease and naturalness” (217). It’s natural that he should fall in love, it’s natural that he should want to live a happy life, and he resents the fact that his mother cannot allow him to do so. It’s only once he breaks off his engagements with both Miriam and Clara that he starts to get a sense of just how emotionally unhealthy his relationship with his mother is. Which is why he tells her that he “shall never meet the right woman while she is alive” (395). Unfortunately, he winds up being more right than he intended to be. He breaks off both engagements as a result of the emotional pressure resulting from his relationship with his relationship with his mother, which means that when she dies he is alone.

This is a great, realistic depiction of an unhealthy relationship between a mother and her son. She clings to him so tightly that at the end she winds up destroying everything, including that relationship. In order for love to flourish it has to be free, otherwise it dies. This even applies, to some extent, to a mother-son relationship. Mrs. Morel wasn’t willing to give Paul the freedom that he needed and that, in the end was what did them both in: she, in a very real way, lost her relationship with him. There’s a lesson to be learned in that for every person, in every walk of life.

#dysfunctional families #dysfunctional relationship #DH Lawrence #sons and lovers #love

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satin-carmin · 6 months

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There she remained - sad, pensive, a worshipper.

D.H. Lawrence, Sons and Lovers

#d. h. lawrence #d h lawrence #sons and lovers #dark academia #dark academia quotes #classic literature #classic lit #british literature #light academia #modernism

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tonsillessscum · 11 months

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Recklessness is almost a man's revenge on his woman. He feels he is not valued so he will risk destroying himself to deprive her altogether.

-D.H. Lawrence, Sons and Lovers

#dark academia #literary quotes #literature #contemporary literature #contemp lit #english literature #English lit #quotes #poems #d. h. lawrence #sons and lovers #books #book tumblr #writing tumblr #academia #feminist #feminism

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theimmortalityofliterature · 2 years

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"It doesn't interest me much".

"Because you don't understand it," he retorted.

"Then why ask me about it?"

"Because I thought you would understand."

- Sons and Lovers, D.H. Lawrence.

#aesthetic #books #literature #quotes #poetry #history #dh lawrence #writer #sons and lovers

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davidpatrickjohn · 2 years

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...Everything seemed so different, so unreal. There seemed no reason why people should go along the street, and houses pile up in the daylight. There seemed no reason why these things should occupy space, instead of leaving it empty. His friends talked to him: he heard the sounds, and he answered. But why there should be the noise of speech he could not understand.

He was most himself when he was alone, or working hard and mechanically at the factory. In the latter case there was pure forgiveness, when he lapsed from consciousness. But it had to come to an end. It hurt him so, that things had lost their reality....

The realest thing was the thick darkness of night. That seemed to him whole and comprehensible and restful. He could leave himself to it...

DH Lawrence, Sons and Lovers

#DH Lawrence #Sons and Lovers

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zelihatrifles · 2 years

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Sons and Lovers

A friend used to be a great fan of D. H. Lawrence's short stories, she said his language was incomparable. Another secretly scoffed at her because she thought that it was actually rather dull. What i believe though, is that, we were at that age when the only language we liked was aesthetically pretty, something that Lawrence's language is of course not. When i was reading Lady Chatterley's Lover, it was with a teenage rebel heart, that i was reading a book that has been repeatedly banned (big deal!), and i remember being shocked by the obscenities, but more so by the forthrightness. Lawrence describes, but almost with a disinterest and a detestation for frilly words. And nonetheless, you get an exact sense of what he wants to tell you.

This book too is like that in some sense. Not so outrageously obscene, it is very sensual as it follows the eponymous son Paul Morel through his pre-life and life. One gets to know Paul mostly through the women around him, predominantly his mother, but also his two failed loves, spiritual farm-girl Miriam (who was prepared for the big things and the deep things, like tragedy. It was the sufficiency of the small day-life she could not trust.) and suffragette almost-divorcee Clara (with white heavy arms that Paul loved to paint), and also some of the spiral girls, his sister Annie, and other women in the book. Which is not to say that Lawrence is a total feminist though, but he does recognise occasions where Paul is defined solely by his sense of male egoism. Frankness is the word that comes to the mind when you read Lawrence. And come to think of it, Paul couldn't possibly have given himself totally to any woman while his mother was alive, and when she died, life would have been too meaningless for him to make an effort for another woman. It hurt him so, that things had lost their reality, when his mother was no more. The shocking thing, though, is for Paul (and don't forget Annie too) to have done what he did to ensure his mother's fate. But if you think about it, it was inevitable if not expected. Because Paul, even with a woman, was vulnerable to living rather than living happily:

'Eh my dear - say rather you want me to live.'

'But i want you to be happy,' she said pathetically.

... He had that poignant carelessness about himself, his own suffering, his own life, which is a form of slow suicide.

Lawrence therefore is both dull and beautiful in a very candid sort of way, which you learn to appreciate, even if you are a post-Victorian not-so-prudish 21st century reader.

#sons and lovers #d h lawrence #books #reading #currently reading #modernism #modernist literature #impressions not reviews

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inkiedraws · 26 days

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He's so cool.

#one piece #jinbei #jinbe #first son of the sea jinbe #jimbei #this is a jinbe lover blog

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dcxdpdabbles · 11 months

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DC xDP idea: Misplace Baby

Danny makes a mistake.

He was messing around in Clockwork's lair-specifically the one with all the various clocks- when he accidentally broke a glowing gold hourglass on himself. It was the size of a house, so as the sand practically drowned him, he didn't notice his body shrinking until he dug out of the shimmering sand.

Danny stumbles on chubby little legs, panicking when he notices his clothes are suddenly too big and his hands are tinny. He fumbles to one of the old grandfather clocks to check his reflection in the glass. A small three-year-old stares back at him.

Danny screams, pushing away from the old clock. His actions cause him to trip over the leg of his pants, and he falls. Just as he tries to catch himself, the clock starts to ding.

Danny briefly recognizes the old melody of a Westminster before the clock's glass case swings open, revealing a portal, and he falls through. He catches a glimpse of Clockwork with a hand on his forehead, shaking his head in the doorway as he falls.

His face is dragged against the carpet as the Westminster chime rings behind him in the otherwise silent room. Groaning at the burn on his nose and cheeks, Danny sits up.

He turns around, watching in horror as the portal closes.

"No! No, no, no!" He opens and closes the glass door, but all he sees is the slightly swinging pendulum. Repeats his actions again and again. "Clockwork! Help! Clockwork!"

His mentor does not answer, and Danny can't feel him in the air. Can't sense his new father figure's gentle control over the flow of time. If he's learned anything in the last year he's been working as his appearance, this means Clockwork isn't in charge of this timeline.

He's in a universe so far from his original that not even the god of Time is the same. Moby Dick, he's gone and goofed now.

"Who's there?" A voice demands, and Danny whips around to see a startled man in a suit. A fine black two-piece suit that looks more expensive than Danny's house and car. Oh no, a rich man.

The man's blue eyes soften when he sees Danny. "Hey there, chum. What are you doing in my study?"

Danny blinks up at him as the man walks closer. At the closeness, the halfa's body betrays him. He starts to sob. Strong, painful sobs that wreck his whole body, and he can't breathe from how much he's crying.

The man's arms are around him in seconds. "Oh, Chum, it's okay. You're okay."

He lifts him up, pressing his wet face against his neck as he pats Danny's little back. It is humiliating, but Danny can't help but cling to the strong shoulders and curl against the warm chest as he cries. His tears and snot are all over the man's suit, but he doesn't seem to care as he comforts Danny.

Eventually, he cries to sleep, tear-stained face still pressed against the stranger's neck and his little head leaning against a strong shoulder. The rich man carefully tilts his head to ensure the toddler is fast asleep.

Once confirmed, he takes the small boy to the guest rooms. He needs answers- who is the boy? Where did he come from? Is he the son of one of the Gala attendees? What had the boy been doing at the clock guarding the Batcave?- but he will find those later. Right now, he needs to tuck this small child into bed.

"Master Bruce, your guests are waiting for you to give the speech," Alfred says, catching him at the stairway. The butler's eyes zone in on the small child in Bruce's arms before nodding. "I shall inform Marster Dick to speak for you. Who may this young lad be?"

"I'm not sure. I just found him crying in the main study." Bruce tilts his head to the upper floors. "I'm going to tuck him in."

"I'm afraid I only prepared the room next to Master Damian in preparation for Master Jon's visit. Thankfully the lads would not be opposed to sharing a room for the night if I request it of them."

"Thank you, Alfred. I'll be down as soon as I-"

"Who's child is that!?" Jason demands, stomping his way up the stairs. He's missing his suit jacket, and there is a nasty red stain on the front of his white shirt. Likely he's come for a change after "accidentally" dumping it on himself to get away from the Gala.

The toddler's nose wrinkles, indicating his sleep may be interrupted. Quickly, Bruce pats his back, humming a lullaby before the child can wake. The boy settles after a small sigh. He gives Jason a warning glare that the young man has the decency to look remorseful.

"Jason," Bruce starts, voice hushed. "I found him in the main study. He looks distressed, but a few minutes ago, I got an alert that someone had gotten into the manor. When I followed the motion detectors, it led me to this little guy."

"A baby broke into the manner? That's hardcore." Jason replied, peering at the sleeping child only to gasp. "It's another mini-you!"

"No," Bruce tells him, but secretly he thinks the same when he first finds the little boy in the main study. He had already taken a lock of the boy's hair. Just, you know, in case.

"Nice try, old man." Jason pulls out his phone, his thumb flying over his screen. A soft ding comes from the pockets of Bruce and Alfred. He doesn't have to look to know his son has just told all his siblings about the child.

A series of dings follow shortly after.

Bruce sighs, choosing not to answer, nodding to Jason and Aldfed as he quickly goes up the stairs. At least Alfred delays Jason from following by scolding him over the red stain.

Once the boy is safely placed into the bed, he carefully changes him into a pair of Damian's smallest pjs. They are still far too big for the boy but better than the jeans and white shirt he wore. He's happy to find that besides the red on his face- it looks like carpet burn- and a small bruise on his knee, the boy is unharmed. He places a stuffed octopus in the toddler's arms- smiling as the little one automatically clings it to it - before rushing down to the Batcave.

There he runs the DNA tests just as he reviews the camera footage. There he catches the toddler walking out of the woods, pushing himself through a small gap in the metal fence and wandering around the manor until he finds an open window and crawls in.

The window was opened by one of his Gala guests taking a smoke break. Bruce felt a small annoyance that they didn't follow his "no-smoking" rule even when he had explained on multiple occasions it was due to Tim not having a spleen and being worried about his health. He'll have to blacklist that man.

The child had not gracefully fallen into the manor, and Bruce winced as the boy slammed against the carpet floor as tripped. It explains the marks on his face. The boy had then cried for a few minutes- his cries must have been drowned out by the music of the Gala- but then he must have realized that no one was coming for him, so the baby had gotten up and wandered through the house crying.

He had found himself in the main study, where a few minutes later, Bruce had seen him.

Rewinding the camera, Bruce's eyes narrowed at seeing a piece of paper pinned to the boy's clothes. It looked like it fell off when he crawled through the window. Checking on the DNA test, Bruce left the cave to look for the paper.

He found in the hands of Cass, whose eyes were going over the words with fascination. She looks up at him, unsurprised by his approach- no one could sneak up on Cass- and smiles widely. "Baby brother?"

"What?"

She hands him a letter. It's short and to the point; it claims to be an old fling that gave birth three years ago, but she doesn't want anything to do with the child. She's sending the boy to the manor and is out of the country by the time he arrives.

She leaves no name.

Bruce can't remember anyone with whom he had a fling three years ago, so he knows it's a lie. Still, he would rather not find her if the child was abandoned like this. He's not sure he wouldn't break all her bones.

"I don't think he's mine," Bruce tells Cass. She tilts her head with a frown, staring at him with a soft glare until he sighs. "But I won't mind keeping him."

She beams.

The two make their way to the Batcave and find Dick already there. He's staring at the screen displaying the DNA results with a stupefied expression.

"Chum?" Bruce asks, but Dick doesn't respond. He only gapes at the screen. Cass skips next to him before she, too, freezes, and Bruce is slightly worried about what he will find.

There is a match between the boy and someone in the manner alright. But it's not with Bruce.

It's a match with Dick.

"Holy rapid-ranging ravens, I'm a father." Dick gasps.

Clockwork runs his fingers through his idiotic son's hair three floors above them. Kronos stands guard at the door, arms cross as he watches the visiting time god carefully whip the dimension travelers' memories.

Kronos is in charge of this universe timeline, but when he was approached by Clockwork asking for a favor, well, it was not hard to shift some events and make Danny a legit background.

He was now the son of Dick Grayson and Stacy Quinell. One was a boy who had been born in a circus but was forced to leave it after the death of his parents. When life got too rough, the boy would join the circus for short trips under the name Dan Danger.

The other was a girl whose parents were so determined to control every aspect of her life and were going to force her to marry a man twice her age she left home at sixteen.

She joined a traveling circus-Haley Circus- where she had a fling with Dan Danger. The night Dan was meant to go, she had seen him without his mask and learned it to be Dick Grayson.

Upon discovering her pregnancy, Stacy feared being kicked out of the circus, so she took a short break, gave birth to the boy, and kept him until he was three, thus demeaning him old enough to be without his mother.

She took him as close as she could to Wayne Manor and left. She intended to return to Haly's Circus, unaware of the fate that waited for her. Unaware of the Cout that needed new talons.

"Are you sure about this?" Kronos asks, "I'm all for discipline, but having the boy forget everything about himself for going into the timeline room?"

"It's not a punishment," Clockwork says. "It's a gift. Danny had lost so much when his parents learned the truth. His sister died trying to get him out of the house. His best friends were crippled when trying to hide him. His town was blown to pieces when his parents decided that no one in Amity Park could have a family if they could not have their children. Danny had spent years wishing to forget but mostly wishing to be a normal child. I will forever be grateful if a lifetime here grants him that."

Kronos frowns. "You have no power here. You do not know what awaits him."

"True, I know not of the trials and tribulations Danny will face, but I know you do. And you would not let anything happen to him, won't you." Clockwork looks at Kronos through his lashes and the other god of time swallows.

"Of course, my love. I will protect him. But unlike you, I can not get involved with mortals as easily. I will not be able to shield him."

"His new family will," Clockwork says, pressing his face against Danny's hair one last time to breathe him in. It will be a lifetime before he can hold his son. "The bats have faced worst odds."

Kronos tilts his head in agreement. "They have rewritten fate on numerous occasions. Even the Flashes have only been able to overturn fate but never truly go against it."

"The Court of Owls?"

"Danny will deal with them in time. His new mother is on her way to becoming a Telon. He will erase them from the timeline once he learns what they have done to her." Krono answers, eyes glowing as events of the future play before him. He watches a glowing figure battle against the king of the dead, his white hair shining brightly. "He seems to take the throne from the king of dead even here. Remarkable."

"My son is the most remarkable being around," Clockwork says proudly. He flouts from the bed, leaving behind a child with only memories of three years and a few false imprinted glimpses of the circus trailer his mother hid him in. He presses a kiss against Krono's lips. "I find myself wishing for another child. Will you assist me with that love?"

Kronos snaps them out of existence just as Danny opens his eyes and feels a small loss. It's quickly forgotten as his new father runs into the room to gasp. "Hey there, buddy, do you know who I am?"

Danny Grayson is introduced to his uncles and aunts later that night. He also meets John Jones and his niece Megan Morse who ask him a few questions about his past. Danny gets a funny feeling around them, as if someone was running their fingers through his hair but inside his head.

Thankfully they find everything to be alright.

And a new generation is born.

#dc x dp crossover #dcxdpdabbles #Misplaced Baby #Danny is Dick's son #bad parents jack and maddie #Haly's circus was a front for the Court of Owls #Kronos and CLockwork are longtime lovers #accidental baby acquisition

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apocketfullofpoesis · 5 months

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D.H. Lawrence, Sons and Lovers

#sons and lovers #d h lawrence #writers on tumblr #for you page #foryou #explore page #dark academia #for you #light academia #foryoupage #literature

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byneddiedingo · 2 years

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Dean Stockwell and Wendy Hiller in Sons and Lovers (Jack Cardiff, 1960) Cast: Dean Stockwell, Wendy Hiller, Trevor Howard, Mary Ure, Heather Sears, William Lucas, Conrad Phillips, Ernest Thesiger, Donald Pleasance, Rosalie Crutchley, Sean Barrett. Screenplay: Gavin Lambert, T.E.B. Clarke, based on a novel by D.H. Lawrence. Cinematography: Freddie Francis. Production design: Thomas N. Morahan. Film editing: Gordon Pilkington. Music: Mario Nascimbene. Dean Stockwell has had an interesting career, or rather three careers. He started as a child actor in movies like Anchors Aweigh (George Sidney, 1945) and The Boy With Green Hair (Joseph Losey, 1948), then matured into a handsome actor of considerable resources, holding his own in the company of Katharine Hepburn, Ralph Richardson, and Jason Robards in Sidney Lumet's 1962 filming of Eugene O'Neill's Long Day's Journey Into Night. He never quite made it as a movie star, however, and did most of his work in television before re-emerging in the 1980s as an off-beat character actor, most memorably in Paris, Texas (Wim Wenders, 1984), Blue Velvet (David Lynch, 1986), and Married to the Mob (Jonathan Demme, 1988), earning an Oscar nomination for the last film. Sons and Lovers is probably Stockwell's most impressive work as a young leading man. He maintains a credible British accent and stands up well to such legendary actors as Wendy Hiller and Trevor Howard. The film itself is more solid than impressive. It was originally envisioned by producer Jerry Wald with Montgomery Clift as Paul Morel, but fell afoul of the Production Code enforcers' strictures on extramarital sex: For the story to make any sense, or at least to cohere to something like D.H. Lawrence's vision of the characters, Paul has to deflower the repressed Miriam (Heather Sears) and have a passionate affair with Clara (Mary Ure), who is married but separated from her husband. So the film was shelved and Clift grew too old for the role. When the Code was on its last legs, Wald revived the project and commissioned a fresh screenplay. The film version tosses out a lot of the novel, but tries to evoke Lawrence's vision of the somewhat Oedipal relationship of Paul and his mother (Hiller) and her still-simmering sexual attraction to Paul's father (Howard), as well as the frigidity instilled in Miriam by her pious mother (Rosalie Crutchley). The relationship with Clara is a bit more sketchy, suggesting that social pressure rather than psychosexual incompatibility leads to its breakup. All of these relationships encumber the film with a lot of talk, though Freddie Francis's cinematography gives it a good deal of visual interest. Francis won a well-deserved Oscar for his deft use of the often unwieldy CinemaScope aspect ratio, coming up with some impressive compositions, sometimes placing the actors off to the side in long-shots and often posing one figure in the foreground and another recessed into the frame. It may also be noted that the director, Jack Cardiff, was himself an Oscar-winning cinematographer.

#Sons and Lovers #Jack Cardiff #Dean Stockwell #Wendy Hiller

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riumeri · 10 months

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150% love for cats!

#mob psycho 100 #mp100 #hanazawa teruki #kageyama ritsu #kageyama shigeo #dimple #reigen arataka #based on last month's merch bc teru's art shot me right in the heart #albeit late now bc new merch dropped as i was finishing this up aha h a #i retain the right to draw my son outshining everyone in the animal lover department

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yandere-writer-momo · 8 months

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🦇New Profile Pin🦇

Welcome to my Domain of Debauchery

Hi, I’m Momo. I am a writer for a fantasy yandere blog. My request blog is only open for original work now, it’s not longer for fandom (once in a blue moon I will dabble).

What you can request: anything. There are no rules because it’s all original work now. For Baki, my rules are simply no incest or Noncon.

This is a fantasy/ horror/ Yandere blog now so I now have creative freedom without worrying about keeping a character ‘in character.’ They can be as insane as anyone wants.

But I still will be writing Baki fanfics/ head canons. (Love my muscular men +Kozue)

If there is a specific original character you have in your head that you’d like to come to life, just let me know. I’ll do my best to make it 🖤

Please Buy Me a Coffee? 🖤

Master list:

Original Work:

Immortal

Insatiable 🌶️

The Sponser

Love Me More

Pinky Promise (Part 1)

Baki Short Stories (Not Yandere):

A Hug (Jack)

Eat (Retsu)

Don’t Push It (Jack)

A Piece of Me (Shiba Chiharu)

Oppai (Katsumi)

Yandere Baki Short Stories:

Mine (Hanayama and Kizaki) 🌶️

Family (Katsumi and Jack)

Him & Him (Katsumi and Retsu) 🌶️

Later (Yujiro)

Pet (Baki) 🌶️

Hold on (Baki)

Extra Eyes (Baki and Hanayama) 🌶️

I’m Here Now (Katsumi)

Promise (Part 1) (Katsumi and Katou)

Promise (Final Part) (Katsumi and Katou)

Katsumi Yandere fluff (Katsumi)

The Edge (Hanayama) 🌶️

Loco (Jun)

Fantasies (Katou)

Training (Katou) 🌶️

All Bark, No Bite (Katou) 🌶️

More (Katsumi)

A Miracle (Katsumi)

Wake Up (Jack)

Awake (Jack and Hanayama)

Three’s A Crowd But Four’s A Party (Pickle)

Belonging (Jack) 🌶️

Fate (Jun)

Baby With My Baby (Katsumi) 🌶️

The Spectator (Hector and Katsumi) 🌶️

Change of Fate (Retsu)

A Game of Cat and Mouse (Hanayama)

Rent-a-girlfriend (Harem)

Courtship (Pickle)

Saccharine Kisses (Matsumoto Kozue)

My Beloved Best Friend (Hector Doyle)

Paparazzi (Hanayama Kaoru)

Covet (Hanayama and Katsumi)

Longing (Part 1) (Katsumi) 🌶️

Longing (Final) (Katsumi) 🌶️

Delusion (Baki)

Destiny (Hanayama)

Genderbend Baki

Bambi, Jackie, and Kaori 🌶️

Head Canon

Suzuna (Sukune)

Jackie

Bambi 🌶️

Taste (Kaori)

Juliana and Oliva

Sonia and Gaia

Humdah Ali Jr

Pickle

Violet Kisses (Kasumi and Jackie)

Violet Kisses (2) (Kasumi, Jackie, & Kaori)

Violet Kisses (Final) (Jackie, Kasumi, & Kaori) 🌶️

Monster Baki

Haunted (Retsu) 🌶️

Little Mate (Katsumi) 🌶️

The Dragon’s Bride (Prelude) (Hanayama)

The Dragon’s Bride (Hanayama and Jack)

The Corpse Husband (Katsumi)

Harpy Hanayama

Moth Man Pickle

Merman Pickle

Merman Pickle (Part 2)

Merman Baki

How Deep is Your Love (Jun and Katsumi)

Merman Hanayama

Werewolf Jack

Lamb to the Slaughter (Jack)

Lost and Found (Part 1) (Jun and Oliva)

Wonderland AU:

Down the Rabbit Hole (Harem)

Tea Party (Retsu)

The Red Knight (Hanayama)

Yandere Baki Book:

Heart Shaped Wound (novel)

Baki Kinktober 2023:

Day 1: Hector Doyle 🌶️

Day 2: Shinogi Kureha 🌶️

Day 3: Katsumi Orochi 🌶️

Day 4: Doppo Orochi 🌶️

Day 5: Gaia & Sikorsky 🌶️

Day 6: Jack Hanma 🌶️

Day 7: Baki Hanma 🌶️

Day 8: Kaioh Retsu 🌶️

Day 9: Biscuit Oliva 🌶️

Day 10: Katsumi Orochi (lime)

Day 11: Kiyosumi Katou 🌶️

Day 12: Biscuit Oliva 🌶️

Day 13: Hanayama Kaoru 🌶️

Day 14: Nomi no Sukune the 2nd 🌶️

Day 15: Yujiro Hanma 🌶️

Day 16: Pickle 🌶️

Day 17: Hanayama Kaoru 🌶️

Day 18: Izou Motobe 🌶️

Day 19: Pickle & Jack 🌶️🌶️

Day 20: Jun Guevara

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