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the-moral-of-the-rose · 1 month

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It is crazy that so many of L. M. Montgomery's girls have "inherited" Philippa Gordon's traits/plotline:

1. EMILY STARR

both cherish the people they eat with more than the food itself:

Phil Gordon:

“Better a dinner of herbs where your chums are than a stalled ox in a lonely boardinghouse.”

Anne of The Island by L. M. Montgomery

Emily Starr:

"Better a dinner of herbs where Cousin Jimmy is than roast spare-ribs and Aunt Ruth therewith," she said."

Emily Climbs by L. M. Montgomery

2. ILSE BURNLEY:

-both are popular with boys:

Phil Gordon:

"She had all the “beaux” that heart could desire, for nine-tenths of the Freshmen and a big fraction of all the other classes were rivals for her smiles."

Anne of the Island by L. M. Montgomery

Ilse Burnley:

"Nonsense," said Emily reassuringly. "Nine out of ten men will fall in love with you."

Emily Climbs by by L. M. Montgomery

"But Ilse, though she told many a tale of lovers forlorn whose agonies seemed to lie very lightly on her conscience, never mentioned Teddy's name."

Emily's Quest by L. M. Montgomery

-both like the boys who are in love with someone else:

Phil Gordon:

"But, of course, the one I like best I can’t get. Gilbert Blythe won’t take any notice of me, except to look at me as if I were a nice little kitten he’d like to pat. Too well I know the reason."

Anne of the Island by L. M. Montgomery

Ilse Burnley:

"There's never been anybody for me but Perry Miller. And you've got your claws in him."

Emily's Quest by L. M. Montgomery

-neither of them can hate a girl their crush likes:

Phil Gordon:

"I owe you a grudge, Queen Anne. I really ought to hate you and instead I love you madly, and I’m miserable if I don’t see you every day."

Anne of The Island by L. M. Montgomery

Ilse Burnley:

"Emily, I wonder I don't hate you. Rejecting with scorn what I want so much."

Emily's Quest by L. M. Montgomery

-both are willing to change their ways of life for the men they love:

Phil Gordon:

“You’ll have to give up a good many things you’ve always had, when you marry Mr. Blake, Phil.”

“But I’ll have him. I won’t miss the other things."

Anne of the Island by L. M. Montgomery

Ilse Burnley:

"I think you'll have to ask Perry sometimes if you can do things."

"I won't mind that. You'll be surprised to see what a dutiful wife I'll make."

Emily's Quest by L. M. Montgomery

3. RACHEL "RAE" (CUDDLES) GARDINER (Pat of Silver Bush)

-both have the same trouble (choosing which one of two man would be better and then):

Phil Gordon:

"Alec and Alonzo are two dear boys, and I like them both so much that I really don’t know which I like the better. That is the trouble."

Anne of The Island by L. M. Montgomery

Rae Gardiner:

"Of course I mean to make up my mind permanently some day. I feel sure I'll marry one of those boys. They are both good matches."

"And I'm not mercenary...I'm only through with being a sentimentalist. It's just that I find it hard to decide between two equally nice boys."

Mistress Pat by L. M. Montgomery

-both end up marrying "the third man":

Phil Gordon:

"Anne, I’m the happiest girl in the world,” confessed Phil suddenly.

“So Mr. Blake has asked you to marry him at last?” said Anne calmly.

“Yes. And I sneezed three times while he was asking me. Wasn’t that horrid? But I said ‘yes’ almost before he finished—I was so afraid he might change his mind and stop."

Anne of The Island by L. M. Montgomery

Rae Gardiner:

"Fancy any one not knowing who Brook Hamilton is. I can't believe I didn't know him myself three weeks ago. I met him the first night you went away at Dot's dance..."

"Rae Gardiner, you don't mean to tell me you're engaged to a man you've known only three weeks!"

Mistress Pat by L. M. Montgomery

-both end up marrying a rather ugly man:

Phil Gordon:

“He is a very ugly young man—really, the ugliest young man I’ve ever seen. He has a big, loose-jointed figure with absurdly long legs. His hair is tow-color and lank, his eyes are green, and his mouth is big, and his ears—but I never think about his ears if I can help it."

Anne of The Island by L. M. Montgomery

Rae Gardiner:

"I suppose," said Pat sarcastically, "he's extremely handsome and you've fallen for..."

"But he isn't. I think he's ugly really, when I think of his face at all. But it's such a delightful ugliness."

Mistress Pat by L. M. Montgomery

#lm montgomery #anne of green gables #emily of new moon #pat of silver bush #mistress pat #anne of the island #phil gordon #ilse burnley #emily starr #jonas blake #perry miller #emily climbs #emily's quest #rae gardiner

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batrachised · 1 year

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Of all of LMM's work, Pat of Silver Bush never stuck with me. What's odd is that I remember reading it a lot as a child, but as an adult I remember very little of it (I even thought there were 3 books instead of 2!) After an ask by the wonderful @daydreamingandprocrastination, I went back and reread the books, thinking will I like Pat? Wasn't she annoying? What did I see in these books as a child?

Well, I have my answer. And my answer, ladies and gentlemen, is the most wonderful, adorable, sweet, little boy LMM ever wrote: Hilary Gordon. If Gilbert is charming, and Barney is swoonworthy, Hilary is precious. He doesn't feature in the series very often as an adult, but he's written so well as a child that it doesn't matter. To be clear, I'm not really referring to Hilary as one of the romantic interests here, even though he is, but as a character in his own right. He doesn't need Pat to be interesting.

Hilary Gordon is a little boy who is unloved. He wears glasses so thick they cover his eyes, worn out pants too short for him, and has a little dog that accompanies him everywhere as his only friend until he meets Pat. He loves his mother very much and writes her letters he never sends--for the best, because, although Hilary doesn't know it yet, his mother does not love him. She abandoned him as a baby for a new life and a new husband, carelessly flitting into his life exactly once and trampling over her little boy's heart without a second thought. After the single time Hilary meets his mother after she left him as a baby, he burns the letters he wrote her. Pat watches with the audience, not knowing what to say.

Hilary Gordon is awkward. He's the type to bump into a door and apologize to it (yes, this actually happens with this poor little boy, something that little Pat looks down on and Judy approves of because it shows he's a true gentleman at heart). His clothes are ill fitting, his mannerisms are uncertain, and his movements clumsy. He's a little boy who isn't taken care of, and it shows.

Hilary Gordon is...honest. Honest to a tee. From the beginning, he loves Pat. But when Pat rejects him--and rejects him again--and rejects him even when she begins to see him differently--Hilary doesn't cast it against her. Unlike with Anne and Gilbert, where they don't remain friends after the rejected proposal, Hilary does. He's not content with Pat's friendship, per se, but he respects her decision.

After my reread, I can say: while I found Pat a lot more bearable now than I did as a child, even relatable as a fellow non-romantic homebody who hates change, Hilary is far and away what makes the books for me. The reason I didn't remember most of the books is because, well, I only reread Hilary's scenes haha. I do also love Cuddles aka Rae, who is the the spiritual successor to Philippa Gordon, I love how Pat is a heroine who doesn't dream of romance but instead is fine with being an old maid, Sidney's mistaken marriage fascinates and depresses me...but Hilary makes these books. He's a clumsy, sweethearted little boy who the audience falls in love with long before Pat does.

#pat of silver bush #hilary gordon #mistress pat #lm montgomery #i hope ya'll are ready for the hilary passages #i have several #there's one in particular I love SO much

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raspberryzingaaa · 2 years

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SID YOU DARE YOU. HOW COULD YOU.

#im so mad i could shoot him #mistress pat (of silver bush)#mistress pat #MAY BINNIE?!??!?! OF ALL THE HAREFUL PEOPLE

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constantvigilante · 6 months

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I still have a ton of Pat of Silver Bush quotes and thoughts to get through, but I started rereading Mistress Pat today. Discussion of fatphobia behind the cut! What a fun time!

I don't like the episode with Uncle Tom and his old sweetheart. I possibly hate it. It could definitely be worse -- she could be unpleasant or lazy in addition to being fat -- but the fact that her appearance is so immediately and strongly portrayed as hilarious, and Uncle Tom as someone to be pitied, is bad. It's really uncomfortable.

"You were...thinner...then," said Uncle Tom slowly. Mrs. Merridew shook a pudgy finger at him. "We've both changed. You look a good deal older, Tom. But never mind...at heart we're still just as young as ever, aren't we, honey boy?"

Ultimately she ends up rejecting him a second time because he looks older, and she's never portrayed as a bad person: she insists on helping with housework during her stay, she's charming and chatty and undeniably knowledgeable... though that too is made ridiculous by the way she never stops talking. But she's a good guest, likes the animals and even the picky Gentleman Tom likes her. Everyone likes her. But the text cannot stop poking at her size. It can't stop underscoring the ridiculousness of the situation, and doesn't seem to sympathize with her as it keeps highlighting how disappointed Uncle Tom is at not being able to rekindle his past romance and find love, and how much she likes a snack.

As they emerged from the bush the shadow of a fat woman was silhouetted on the kitchen blind. "Look at it," said Uncle Tom with a hollow groan. "I never imagined any one could change so much, Patsy. Patsy..." there was a break in Uncle Tom's voice... "I...I wish I had never seen her old, Patsy."

Sir??? You are 59. You've never noticed time work before? You live with your sisters, do they still look like teenagers to you?? The woman has children and grandchildren and you think she'll still have a perfect figure?? IT'S BEEN FORTY YEARS MY MAN AND YOU ARE BALDING

I'm glad Merle rejects him, and does it kindly. It had to happen for it to resolve neatly. I'm glad that she's confident, but I wish LMM hadn't made that confidence seem so ridiculous. I'm glad Uncle Tom isn't heartbroken by her leaving.

And I don't know that it could have been handled respectfully and still get resolved neatly. Would it be better if she immediately caught his shock upon seeing her, knew he was disappointed and didn't want her anymore because she was old and fat, and had to get through the planned length of the visit anyway, being a good guest, friendly and helpful, talking incessantly out of nerves and to be good entertainment, because if there's one thing she knows how to do it's entertain an audience? Dreading the humiliation if he didn't propose after all, and planning how best to respond if he did, in a way that preserved both their dignity, because she's a good-hearted woman who can maturely handle her own disappointment? Wishing he could still love her?

More realistic, but not better. There's no way to make this better, and it doesn't improve the book. Cut the storyline entirely.

#mistress pat #lm montgomery

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marietheran · 1 year

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No, you don't get it: the most tragic thing to ever happen in any of Lucy Maud Montgomery's books is that Anne would have been around 90 by the time The Lord of the Rings was published - and she would have loved it so...

And she absolutely did live to read it (look, I get to make the rules; it's canon from now on) but imagine her having access to it as a teen! Then, she definitely wasn't there to read The Silmarillion and these books were just written for her, you know...

(sad noises)

#Now that you think about it Anne was born *far* earlier than you'd think #like apparently in 1865 #(oh wait #that's nearly the same year as Laura Ingalls but the lives were so different)#(anyway the wild west was in full swing)#but then LMM's books all have this timeless quality #Anne of Green Gables (1870s) or Emily of Silver Bush (1990s) and Pat of Silver Bush/Mistress Pat(1920s-30s) feel quite similar #and the only things to place the various series on a timeline (aside from a few mentions of technology/fashions) are references to WW1 #(aside from Rilla of Ingleside rather offhand ones)#.#(having mentioned the Pat duology in the same sentence as the word “timeline”#(i can't not reference)#(the fact that the second book starts around the time it was published and takes place during 11 years)#(yes - 11!)#(which does pose a danger)#(because the author has unknowingly positioned the ending right in the middle of WW2)#original post #anne of green gables #lucy maud montgomery #theory of literature #tt

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uwmspeccoll · 2 years

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First Feminist Press!

Shameless Hussy Press

With the stress of Roe vs Wade potentially facing a repeal this summer, we want to let the women in our lives know they are not alone in their frustration. The fight women have been waging for their intellectual and bodily freedom has been a long one, so we wanted to revisit some history about the first women-owned feminist press in California, the Shameless Hussy Press! Poet and soon to be publisher Alta Gerrey founded the press in Oakland, California, in 1969, and would publish four women who later became prominent feminist writers: Pat Parker, Mitsuye Yamada, Ntozake Shange, and Susan Griffin. Alta published her own titles under her Shameless Hussy Press imprint, including three poetry collections preserved in our collection: Letters to Women, published around 1970; Song of the Wife; Song of the Mistress, published in 1971; No Visible Means of Support, published in 1971.

Alta’s sarcastic and straightforward writing style is reflected in the Shameless Hussy Press aesthetic. In her first collection, Letters to Women, she includes the iconic feminist symbol of a fist within the symbol of Venus and her copyright statement reads:

for underground reproduction without profit, there is no copyright. for moneymakers, this is copyright, and you gotta pay.

Alta emphasizes the aid of her friends and family in producing her book, and poetry aimed at letting women know that they were not alone in whatever injustices and hardships they faced, whether gender inequality and sexism, marriage and divorce, rape, mental illness, or raising children.

Alta’s second collection, Song of the Wife; Song of the Mistress, with drawings by Martha Kuech, reflects the intimacy the poet felt with her readers and how she used poetry as the outlet for emotions that could be a burden too heavy to carry at times. Letters to Women is dedicated “to every woman who is as isolated as i,” but Song of the Wife; Song of the Mistress "isn’t dedicated to anybody. eat yr hearts out.” Alta had a love for improper grammar, punctuation, and unconventional spelling. The first half of this second book reproduces a handwritten cursive script, presumably Alta’s handwriting, and the second half switches back to typewriter print. This title and Alta’s third collection, No Visible Means of Support, were both published after the Shameless Hussy Press had moved down the Bay to San Lorenzo, California, from its original location in Berkeley. Alta made the choice to move her independent press after the sabotage of a friend’s press in the same area, as well as to protect her daughter and herself from death threats she received for her work in the lesbian, feminist, and activist communities.

Shameless Hussy Press was the first to publish Ntozake’s Shange’s poetic performance work, For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf, which was later adapted into an Obie award-winning Broadway theater production. In 1976, Shameless Hussy published Camp Notes and Other Poems by Mitsuye Yamada, revolving around her experiences in the internment camps and the pain she felt at being perceived as an outsider.

The formation of the Shameless Hussy Press by Alta and the Women’s Press Collective by Judy Grahn, with aid from Pat Parker (who I posted about earlier), was quite inspirational for second wave of feminism. The four women who brought the feminist and lesbian publishing community to the foreground in California, Alta, Susie Griffin, Judy Grahn, and Pat Parker, had all met originally as neighbors over tea, but decided it was time to take action in their communities. Alta said in an interview that the group would often argue over how political their writing should be, wondering whether they should, “stick to the personal. [but] Susie kept saying, ‘the personal is political.’”

Griffin’s works were said to have launched ecofeminism in the United States as she rose to become one of the most influential American feminist writers of the 20th century. Alta’s Shameless Hussy Press gave these influential women the opportunity to be published outside the patriarchy of mainstream publishing, allowing them to completely claim their work as their own. Shameless Hussy ran from 1969-1989, despite being a one-woman-publishing house, publishing over fifty titles in its 20-y3qr existence.

–Isabelle, Special Collections Undergraduate Writing Intern

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gravity-rainbow · 2 years

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#love this #charlie haden #pat Metheny #the moon is a harsh mistress #jazz #Spotify

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alwayschasingrainbows · 3 months

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Pat of Silver Bush by L. M. Montgomery timeline (well, kind of):

"For those curious about such small details—like I am!—Pat was born in 1913. “I was five when the armistice was signed,” [p. 197] Pat recounts in Pat of Silver Bush. Working from other dates provided throughout the series, the ending of Mistress Pat technically takes place in 1944, but as it was published nine years prior to that date, obviously Montgomery couldn’t have foreseen that Silver Bush—and the rest of the world!—would have been engulfed in World War II by the end of the story."

Quote is from this review:

I find it so interesting... and scary. How much the world may change in just few years...

#lm montgomery #pat of silver bush #mistress pat

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differenthead · 10 days

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Volume 300

0:00:00 — "The Dream of the Island" (Edit) by Jeff Johnson (1990)

0:03:59 — "Lost at Shore" (Edit) by Clifford White (1989)

0:07:12 — DJ

0:10:55 — "If I Could" (Edit) by Darrell Barnes (1993)

0:17:12 — "Vinterpassage" by Tom Wolgers (1987)

0:21:47 — "Les Animaux" by Jean-Louis Murat (1989)

0:22:36 — "Depressions" (Instrumental Edit) by Gregorian (1991)

0:23:42 — "Buzz Off" by Cyborgasm (1993)

0:24:13 — "Serenity, Pt. 1" (Edit) by Ariel Kalma (1989)

0:30:42 — "Absolute Sadist" by Mistress Kat (1993)

0:31:24 — "A Vampire Dances (Symmetry)" by Jon Hassell & Farafina (1988)

0:35:35 — "As Falls Wichita, So Falls Wichita Falls" (Edit) by Pat Metheny & Lyle Mays (1981)

0:43:12 — "Tantric Sexuality" (Edit) by Llewellyn (1999)

0:49:20 — "After I Said Goodnight" (Edit) by Kevin Braheny (1980)

0:54:33 — "Beyond Skin" (Edit) by Germán Bringas (1992)

0:56:19 — "Synergistic Perceptions" (Edit) by Robert Rich & B. Lustmord (1995)

0:57:36 — "Mkwaju II" by Vasilisk (1988)

1:00:37 — "An Echo of Night" (Edit) by Harold Budd & Brian Eno with Daniel Lanois (1984)

1:02:38 — "Eternal Dusk" (Edit) by Clifford White (1985)

1:03:15 — "For Those Who Ponder" by Jeff Johnson & David Friesen & Dave Hagelganz (1987)

1:08:15 — "幻惑" by Yukiyo Nakamura (1994)

1:10:18 — "Allegra" by Hans-Joachim Roedelius (1989)

1:14:40 — "Hope (Time Is Up?)" by Bo Stief (1987)

1:18:22 — "Peace of Mind" by Danny Gottlieb (1987)

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mzannthropy · 2 months

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I see now why some of you guys say the Pat books should have been horror... In Mistress Pat, especially, she gets pathological with how she loves the house. It's actually fascinating.

#pat of silver bush #mistress pat #l.m. montgomery #lmmblogging #mypost

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avtrbee · 9 months

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the prince [2]

✢summary: what happens when your husband brings home a son that is not yours?

✢tags: arranged marriage gojo satoru x reader, reader is a clan kid, she’s v traditional, obvious cat and jon snow references

✢tw: implications of cheating, mentioned abuse, misogyny ig, fanfic gojo, ooc gojo

✢ a/n: here's part 2! i'd like to emphasize that depsite this being a gojo x reader fic, the main realationships i'll be focusing on are y/n and the kids gojo brings home lmao. also im raw dogging the lore as we go so if there are any inconsistencies, please lmk. as always, have fun and lmk what you think!

i don’t do taglists.

part one ✢ masterlist

If it were up to you, you would have shut the gates of the Gojo estate as soon as the child entered the grounds, but your husband had given him the the maids so quickly that you’re sure they have spread the word around already. You could hear the rumors in your head. Gojo Satoru has brought home a child out of wedlock. Gojo Y/N is barren. Gojo Satoru has a mistress.

You expected Gojo to be frantic, stumbling over his words in explanation as to why he has a son- it was his son, there was no doubt about that- reassuring you about his vows remain unbroken, or whatever else but silence. You are silent too as you watch the child get scurried away by the estate staff to scrub the dirt off his face and to get a change of clothes.

Even as he is being escorted away from you, his cursed energy did not fade. You feel it like how everyone feels Gojo’s, but more raw and untamed. Whoever this child is, it is Gojo Satoru reborn again.

Silence. Silence is what took the Gojo estate into a chokehold as the maids finish bathing the child and then put him in a spare bedroom a good distance away from yours. The maids must think you resent him.

Satoru pretends like everything is the same as if the boy had been there since the beginning. During the first night, you watch with a blank face as the cake you've baked for him is eaten by the child. Neither the boy nor Satoru expresses their gratitude towards you. You doubt they even know you baked it.

To his credit, Satoru had treated the child better than you had expected. He is blossoming into fatherhood, you realize and you feel the rage and anger burn in your stomach.

He pats the boy's head and messes his hair, before pointing to his own messy mane exclaiming, "See? We match!"

Satoru had tried to include you in conversations with the boy, even daring to seat him on his right at meals. Satoru would blab after seeing the child gobble mochi. "Mochi is Y/N's favorite too!" He turns to look at you with a bright smile. "Right, Y/N?"

You want to point out that the boy had gobbled everything served to him, but you just give a brief nod.

At night, you sleep like a log- rigid, straight, and quiet. Satoru, on the other hand, remains comfortable, snoozing the day's exhaustion behind him.

Tonight will be the same as it has been for the past few weeks. You stare at yourself in the mirror of your vanity, wondering if your reflection is the perfect example of a foolish woman. How stupid of you to think he was different.

There was nothing but quiet as you prepare yourself to sleep, brushing your hair quietly. You hear the door creak but you do not turn and greet him with a smile like you used to.

“I expected you to be more emotional about this,” came Satoru's words beside you. Me too, you want to reply but held your mouth shut.

You had expected yourself to scream, and let your anger flow through your voice. You wanted to cry until your tears were dry and there wasn't any left. Neither you nor Satoru would be surprised if you use your technique against him in a fit of fury, and if you truly knew your husband, you know he'd take your anger like it was penance. You want to be the fire that burns him badly. But you did none of those.

You are as cold as their blue eyes. You are quiet.

You continue to brush your hair.

"Do you want me to get rid of him?" offers Satoru. "Just say the word, and I will."

You blink in surprise. You meet his eyes in the mirror. Satoru looks nonchalant in his posture with his hands in his pockets. But the fact that his glasses were nowhere to be seen tells you he is not joking.

Your ears recall the promise he made months ago. My wife, my equal. A promise to try, to try to be happy to spite everyone who was determined to make your lives miserable.

The sudden exhaustion hit you, your shoulders slumping from your previous postures. You lean back, letting your nape rest on the back of the chair. You stare at the ceiling, your head forbidding you to forget how the child looked like. White hair. Blue eyes. You hear Satoru sigh somewhere near you. You hear his footsteps come. From your peripheral, you see his figure beside you. A feather-like hesitant hand touches your shoulder. “I was not unfaithful to you.”

Satoru moves to kneel in front of your sitting figure. He reaches out to your head, and touches his forehead against yours. You find yourself looking up at his eyes, the same shade of eyes that he shares with the child. His hands cradle your face, desperate for you to believe him. “Please. Please, Y/N.”

You remain silent.

“You’re the only one I have left, Y/N, please.” He begs. There are tears threatening to spill down to his pretty face, and you find some sick satisfaction in them.

That is not true. Your husband has his clan, his estate servants, his high school friends, and his teachers. It is you that has no one but him. By your culture’s traditions, you do not belong to your clan anymore. You know that some elders have begun to doubt their choice in choosing you as the wife of Gojo Satoru with the obvious lack of children, but with the sudden appearance of Gojo-sama’s bastard child, they might annul your marriage by force- or, god forbid, cast you aside for another, more fertile woman.

You do not wish to share your thoughts, but your husband grips your head so desperately. You have made a god beg.

“I know.” You say. The child may be young, but he was old enough to walk and talk small phrases on his own. He must be at least two years old. The child is older than your marriage.

His shoulders immediately drop in relief before quickly detangling himself from you and wrapping his arms around your waist. He slides his head to hide in your neck and like instinct, you welcome him wrapping your hands around his waist.

"Where would you leave him?" You manage to ask, still not believing his offer.

"The cabin," he says. You can see the cracks on your husband now. You spot his hand making a fist inside his pockets, like it pains him to speak. “The one by Nagasaki, remember? I’ll send a maid and give him money every month. We can send him right now. The maids will not say anything outside the estate, not if I threaten to chop their tongues off. We can send him off with a caretaker to a cabin somewhere and leave him there. I- I can visit him a few times a year- just to make sure he’s fine.”

You blink. You did not expect Satoru to offer that. You let the fantasy linger in your head. You imagine the boy’s life so far- abandoned by his mother and unknown by his father. Children do not understand things the way older people do, so it is up to the adults to help and explain certain things. But he has not had an adult in his life before. Would you be happy if you were left alone in the cabin in the middle of the woods with no one but a caretaker for company? Better yet- will the caretaker even stay to care for him without anyone around?

That sounds incredibly lonely, you realize. The premise sounds all too familiar to you- an empty house with no one but servants. But this boy will only get one.

He needs people to protect him, but you are unsure if you’d like to. Your instincts tell you to agree, get rid of the boy before he becomes more of a threat.

“Satoru,” you say slowly, thinking of your next words carefully. “He is just child. He is no danger to me.”

You hold your breath, suprised to hear the words out of your mouth. From your lap, Satoru holds your gaze- piercing eyes trying to read your mind. If he caught your lie he does not show it.

"Are you sure?"

No. "Yes."

Hiroki. Satoru had names him Gojo Hiroki.

He spends most of his days inside the estate surrounded by maids or inside his room playing with the toys you off-handedly ordered the day after he arrived. The maids gush about him already, the older ones excitedly murmuring how the little lord acts so much like your husband as a child. You would be a fool not to agree.

Hiroki runs barefoot through the estate, tracking mud on precious tatami floors before a servant finally catches him. He likes people, likes the maids and the servants, and thus has migrated to the kitchen a few weeks after his arrival like he was addicted to places were people are the most. He draws. He draws so much it’s almost ridiculous. You could have a library full of childish scribbles.

Like your husband, he devours his dessert the best before any dish. He eats mochi, ice cream, cookies and whatever sweets there are on the table like it was his last meal. You recall one of the maids gasp as a drop of cream lands on your cheek when he slammed his fork in his cake.

Satoru is free in his affection for the boy, unexpectedly flourishing in fatherhood. He remains firm in his belief that children should be children and makes an effort to see Hiroki out. Satoru becomes known to sneak the child away from the estate to parks, to mini-vacations you begrudgingly join after Satoru’s incessant pestering. And of course- school. Hiroki made history once again when Satoru announced his decision to enroll Hiroki in a totally normal, public Japanese preschool.

You realize that Satoru was meant to be a father. And one good one at that. It brings you comfort that any children that he is at least good to his son after he confessed his plan to be a teacher after graduation.

Tokyo’s jujutsu highschool would be blessed with his presence, thought one of Satoru’s female seniors would disagree.

“Yo, Y/N-chan,” came a voice.

You twist your body over to the source of the voice, and your face lights up at the sight of a familiar face. “Getou-san!”

If Satoru's presence is an overwhelming force, making everyone and everything bow to him as if he is god, Getou is a dark, uneasy, slinking feeling. His cat-like features morph into a happy expression with a polite smile on his lips.

“Is there a mission today?” You ask as Getou comes nearer. Satoru would try his best to keep any of his classmates away from his estate, but there is nothing he can hide from Getou and Shoko. "Can I come?"

After you had let slip that you wanted to become a licensed sorcerer, Satoru had made it a habit to sneak you into some missions with Getou. You had fretted about the technical legalities and questioned the safety of the public when an inexperienced sorcerer like you enter the battlefield but Satoru merely shrugged and simply gestured to his best friend. We're the strongest!

Getou leans his shoulder on the wall. "Nope, not this one Y/N."

“I see,” you say, failing to hide your disappointment. Sometimes you wonder why you enjoy the missions so much. Was it the thrill of doing something you never would? Perhaps it was the freedom of it all, unleashing your power to poor curses who quiver beneath your feet?

Your ears perked at a familiar high pitched laugh, and your eyes immediately lock to the window where Hiroki soon runs across. He has dried soil on his feet. His pale hair is slicked back with sweat and it glistens against the sun like snow.

A maid forces a laugh in panic as she tries to catch him with his shoes on one hand.

Away from him. That’s why you enjoy it.

Getou follows your line of sight. “How is he?”

You glare at him. “How would I know?”

Everyone knows that Hiroki is a taboo topic if it’s within your earshot, lest they want the you in a foul mood. But Getou does not shy away from his question and only raises an eyebrow, calling your bluff.

“You’re telling me you do not know your own household?”

“The garden is his place,” you sigh., and admitting it felt like defeat. “He likes the grass on his feet and likes big spaces. He gets angsty when a room is too small.”

“Mmhm,” Getou agrees. “Did you know Satoru plans to enroll him in a daycare?”

Your eyes widen in horror. “In a- what?” You shriek. “He has a dozen of servants here willing to serve him-! Does he even realize the risk he’s putting the boy in? Assassins, curses, cursed users…” you trail off, remembering your own childhood. It was strange to be surrounded by servants but feeling so alone at the same time. “I see.” A daycare meant potential friends, friends that you never got to have. “Does…does the boy like it at least?”

“Me?” Getou barks out a surprised laugh. “Shouldn’t you know that?”

You glare at him. Getou meets your gaze unapologetically, almost as if he was challenging you. Finally, he sighs. “Have you ever talked to him at least?”

You roll your eyes. Your sharp tone echoes around the room. “And why would I do that? He is no concern to me.”

"He needs you."

"He does not need me," you snap, suddenly impatient for Satoru to come out of wherever he’s hiding so Getou and him can go. “He will resent me when he’s older, I know it.”

You have seen this same scene over and over again. Children and the wife of the husband do not get along. Both suffer at the existence of the other. This is the fate that Satoru had subjected you to. This is the fate you have set upon yourself when you refused to send him away. You wonder if your kindness will cost you one day.

“Well,” Getou shrugged nonchalantly. “You haven’t given him any reason to like you either.”

You opened your mouth to retort, only to be interrupted by Satoru.

“Getouu,” he whined, comically trudging towards his best friend with a hunched back. “Why are you so early?”

You see Getou open his mouth to reply, but you are lost in your head. You watch Getou ignore Satoru’s childish gimmicks, already dragging him out of the room and towards the door. You feel Satoru kiss your cheek before waving goodbye, but your head was in a daze mindlessly repeating Getou’s words. You feel shiver creep down your spine before shifting your gaze towards the garden where Hiroki’s presence was last.

thank you so much for reading guys! i’d love to hear all criticisms and suggestions for this universe <33 please lmk through comments :>

here’s my masterlist

#gojo satoru x reader #gojo satoru imagine #gojo x reader #gojo satoru x y/n #gojo satoru #gojo satoru x you #jujutsu kaisen #satoru gojo x reader #jjk #gojo imagine #satoru imagine

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