Top Posts Tagged with #hjoo

twice fallen (chapter 1.1)

💛 taglist here 💛

pairing: joshua x (f) reader

summary: the nightmare always ends at 3:47 AM: someone's hand in yours, a desperate voice, but you don't know who it belongs to. everyone thinks you're better off not knowing what happened. but your apartment has two sinks, books marked with someone else's initials, and a locked door no one will explain.

then you meet joshua hong—a stranger at a bookstore who feels impossibly familiar. he has a kind face. you tell him so. he flinches like you've struck him. because you said those words to him once before, in a marriage you don't remember, in two years everyone wants you to forget. now he's back in your life as a stranger—kind, patient, everything he never was before.

and he has to decide: tell you the truth and lose you again, or stay silent and fall in love with his own wife for the second time.

genre: estranged spouses, second chance romance, amnesia, memory loss, strangers to lovers (again), emotional hurt/comfort, heavy angst, slow burn, angst with an eventual happy ending, star-crossed lovers

additional tags & warnings: emotionally repressed joshua, traumatized yn, childhood friends, lies and secrets, recovering from trauma (physical and emotional), depression, parallel narratives, an unreliable narrator because yn lost her memory

word count: 24,529

a/n: we are here! hope you enjoy :) chapter 1 is cut into two posts because apparently tumblr doesn't like long ones. link to part two is at the end, please don't worry <3

The dream always starts the same way.

City lights bleeding past a window. The leather seat is cold against your legs. Your own voice, distant and resigned, saying something you can never quite remember when you wake.

Then—a man's face, twisted in anger or fear or something else entirely. He’s shouting but you can’t hear the words, only the feeling of them: sharp, desperate, too late.

Then: impact.

Not sound, not pain—just the sensation of the world folding in on itself. Glass and metal and everything solid become fragile, breakable, broken.

And in that suspended moment between before and after, you feel it: the weight of something unlived. Words unspoken. A hand that never quite reached yours.

Then nothing.

Your eyes open to darkness, a single tear sliding down your temple into your hair.

You don’t gasp awake anymore. You don’t bolt upright with your heart hammering like you did in those first few months. The dream has worn grooves into your sleep, it’s now familiar as a scar, and you’ve learned to surface from it slowly, quietly, like something fragile breaking the water.

The tear is almost an afterthought now. Maybe even muscle memory. Your body is mourning something your mind can’t grasp.

You lie still for a while, staring at the ceiling you know is there but can’t see in the dark. You wait for your heartbeat to slow, for the feeling to pass—that terrible sense of having lost something you can’t name.

It takes three minutes and forty seconds. You timed it once.

When you finally sit up, the room revolves around you in shades of gray and amber—the light pollution from the city filtering through the floor-to-ceiling windows that make up the far wall. The penthouse is silent except for the ambient hum of the building, the distant sound of traffic sixteen floors below.

You push the covers back and move to the windows, your bare feet silent on the cool tiles.

Seoul spreads out before you like a circuit board, all light and geometry. You press your palm against the glass, feeling the faint vibration of the city's pulse. Somewhere down there, people are having dinner, falling in love, fighting, laughing, living lives that move forward instead of circling the same loop.

The clock on the nightstand reads 8:47 PM.

You’ve slept through the entire day again.

You close your eyes and rest your forehead against the window. The glass is cold enough to ache.

“I need to stop doing this,” you whisper to no one.

But even as you say it, you know you’ll do it again tomorrow. And the day after. Sleep until the day is gone, wake to darkness, exist in the negative space between what was and what should have been.

The doctors call it avoidance. Depression. A symptom of trauma your brain is still trying to process.

You call it numbness.

With a sigh that seems to come from somewhere deeper than your lungs, you pull on the cardigan draped over the chair—soft cashmere, sage green, a gift from Jeonghan, who actually pays attention to things like your favorite colors—and pad out of the bedroom.

The hallway is dark except for the warm light spilling from the kitchen at the end of it. You follow it like a beacon, the smell of something savory guiding you forward.

Jeonghan stands at the stove, his back to you, moving with the easy confidence of someone who’s cooked in this kitchen a thousand times. He’s humming something—you recognize it after a moment as that song he was obsessed with last month, the one he played on repeat until you threatened to hide his phone.

He must’ve heard you approach because he speaks without turning around.

“The princess awakens.” His voice is light, teasing. “I was starting to think you were going for a full twenty-four hours this time.”

You slide onto one of the bar stools at the island, tucking your feet up under you. “What time did I go to sleep?”

“Bold of you to assume I keep track.” He glances over his shoulder, expression soft, the edge of his lips curving into a smirk. “Around six this morning. You came out for water, looked through me like I was a ghost, and went back to bed.”

“Oh.” You have no memory of that. “I’m sorry.”

“Don’t apologize. That’s what I’m here for—to be ignored by zombies and cook meals for vampires who only emerge after dark.” He turns back to the pan, giving whatever he’s sautéing a practiced flip. “Besides, you said ‘thank you’ to the air next to me. I thought it was a very polite haunting.”

Despite yourself, your mouth twitches. “I’m not a vampire.”

“No? When’s the last time you saw the sun?”

“I see it in my dreams sometimes.”

“That doesn’t count.”

“Why not?”

“Dream sun doesn’t give you vitamin D. Science.” He points his spatula at you with mock seriousness. “You’re going to turn translucent. I’ll lose you in well-lit rooms.”

“You’d probably consider that a bonus,” you murmur. “More space on the couch.”

Jeonghan makes a wounded sound that sounded half a gasp, half incredulity. “Rude. I enjoy your company, ghostly presence and all.” He pauses then adds more gently, “Besides, if you were actually invisible, who would I cook for? Cooking for myself is depressing.”

“You could go home. Cook for yourself there.”

“And miss your sparkling dinner conversation and pretty face? Never.”

You watch him move around the kitchen—your kitchen, technically, though it has never felt like yours. Nothing in this penthouse has. Even before the accident. Even in the months you supposedly lived here as—

You stop that thought.

The blank spaces in your memory are vast and clean as fresh snow and the doctors said not to push. They said to let things return naturally if they’re going to return at all. But sometimes you touch something—a drawer handle, a light switch—and feel the echo of familiarity, like you’ve touched it a thousand times before.

It’s unsettling, honestly. Living in a place that knows you better than you know it.

“What are you making?” you ask, pulling yourself back to the present.

“Doenjang jjigae. Before you ask—yes, I left the mushrooms out of yours, you absolute killjoy.”

“They’re slimy.”

“They’re delicious and you’re wrong but I love you anyway.” He ladles the stew into two bowls with practiced efficiency, then grabs the rice from the cooker. “I also made pajeon. The kimchi-cheese one you like.”

Something warm unfurls in your chest. “You didn’t have to—”

“I know I didn’t have to. I wanted to. Now come sit at the actual table like a civilized person instead of hunching over the island like a gargoyle.”

You slide off the stool and move to the dining table—a sleek thing that can seat eight but usually just holds two. He sets the food down with a flourish then disappears back into the kitchen. He returns with chopsticks, spoons, and two glasses of water.

He then settles across from you, watches as you pick up your spoon.

“It’s good,” you say after the first taste and you mean it.

“Of course it’s good. I made it.” His eyes crinkle with satisfaction but then his expression shifts—still gentle, but more serious. “You had it again.”

It isn’t a question.

Your spoon pauses halfway to your mouth. “How did you know?”

“Because you always oversleep after. And because—” He gestures vaguely at your face. “You get this look. Like you’re trying to remember something just out of reach.”

You set the spoon down carefully. “It was the same as always.”

“The car?”

“The car.”

He’s quiet for a moment, his jaw working like he’s chewing on words he doesn’t want to say. Finally: “Did you see anything new? The doctors said sometimes details come back gradually—”

“No.” You cut him off but gently.

“That’s okay.” His voice turns deliberately light again. “Brains are weird. They process things in their own time. Maybe yours is just being dramatic about it. Very on-brand for you.”

You raise an eyebrow. “I’m not dramatic.”

“You once cried because a restaurant ran out of the dessert you wanted.”

“I was having a bad day—”

“You cried for twenty minutes. I had to buy you three other desserts from three different stores.”

“They weren’t the same—”

“And then you didn’t eat them because you were ‘too sad.’” Jeonghan’s grinning now. “I ended up eating all three. Gained two pounds from your emotions.”

Despite everything—the dream, the lost day, the persistent emptiness—you laugh. The sound of it surprises you even though it’s rusty and small but real.

His expression softens immediately. “There you are.”

“Where?”

“The version of you that remembers how.” He reaches across the table and squeezes your hand once, quick and gentle. “I like that version of you. You should let her visit more often.”

You look down at your hands—his tan and strong, yours pale and small in comparison. “I don’t know how to be that version of me all the time.”

“I know.” He pulls back, picking up his chopsticks. “That’s okay. You don’t have to be. I just like seeing glimpses.”

You eat in comfortable silence for a while.

“Hannie?”

“Mm?”

“Why do I live here?”

He looks up from his stew, something flashing across his face—too quick for you to read. “What do you mean?”

“This place. It’s too big for one person. Way too expensive for my liking. I don’t—” You gesture vaguely around the open-plan space, all clean lines and expensive furniture that look like they belong in a magazine. “This isn’t me. Is it?”

He sets his chopsticks down carefully. “You don’t remember choosing it?”

“I don’t remember a lot of things.”

“Right.” He’s quiet for a moment, mentally slapping himself for being obtuse for a split second. “Our family owns the building as well as several units. This one was… available. After the accident, it made sense for you to stay somewhere they could keep an eye on you… somewhere I could stay to help.”

It’s reasonable. It even feels true.

But something about the way he says it—or doesn’t say something else—makes you feel like you’re reading a book with pages missing.

“Okay,” you say anyway.

“How’s the pajeon?” he asks, his tone bright again.

“Just to my liking. As always.”

“Good.” He takes a bite. “Wonwoo called me yesterday. He asked if you were up for coffee this week.”

Your chest constricts slightly. Wonwoo is safe—your oldest friend, a face you remember from before the blank space. But lately, being around people feels like performing, and you’re so tired of performing.

“Maybe,” you say.

“He misses you. The only reason he called me was because he said you’ve been dodging him.”

“I’m not dodging—”

“You sent him a thumbs up emoji when he asked if you were okay. Just the emoji.”

“I think that’s communication.”

“It’s the emotional equivalent of a dial tone.” His voice is still gentle, chewing on a piece of meat. “I’m not saying you have to. Just… think about it? He worries and blows up my phone with messages. Like, a lot.”

“Everyone worries.” The words come out more bitter than you intend. “I’m fine.”

"You sleep eighteen hours a day and have the same nightmare on repeat. You're going through the motions. There's a difference."

You look up at him and find his expression so full of careful, aching love that you have to look away.

"The dream doesn't hurt anymore," you say quietly. "I just... wake up. Cry a little. Wait for it to pass. It's routine now."

"Yonggam-ie." The nickname comes out soft, almost broken. "That's not better. That's just… your body going through trauma on autopilot."

The nickname makes something in your chest twist. He's called you that since you were kids—brave one—because you were scared of everything but did things anyway. You've never felt less brave than you do now.

"What else am I supposed to do?" You're not defensive, just genuinely asking. "I can't control what I dream. I can't make it stop, either. So I—" you gesture vaguely, "—I wait it out. Every night. And then I get up and I try to make coffee and I try to do something with my day and—"

You stop. Realize you're saying too much.

Jeonghan leans forward, elbows on the table that’s too big. "And what?"

"And I'm tired." The words come out smaller than you intended. "I'm so tired, Jeonghan. All the time. Even when I sleep twenty hours. Even when I do nothing. I'm just—" You stop again.

"Tired," he finishes softly.

"Yeah."

He's quiet for a moment and you can feel him choosing his words carefully. Jeonghan has always been careful with you. It’s one of the many reasons why you love him.

"The dream," he says finally. "Do you remember any more of it? Than before?"

You shake your head. "Just feelings. Sounds that don't make sense. Someone saying something I can't quite hear."

"Someone?"

"A voice. Male, I think. But I can't—" You press your fingers to your temples. "It's like trying to remember something through water. I know it's there but I can't reach it."

Jeonghan's jaw tightens almost imperceptibly. "Maybe that's okay. Maybe some things stay underwater for a reason."

"You sound like my therapist."

"Your therapist is smart."

"My therapist also doesn't know what the dream is about." You look at him. "Do you?"

The question hangs between you.

Jeonghan holds your gaze for a long moment and something passes across his face—guilt, maybe, or fear, or something you can't name.

"I think," he says slowly, "that your mind is trying to process something it's not ready to process yet. And pushing it won't help. It'll come back when you're ready. Or it won't. And either way, you'll be okay."

It's not an answer. You both know it's not an answer.

But you're too tired to push and he looks too troubled to be pushed so you just nod.

"Okay," you say.

"Okay," he echoes.

He reaches over and squeezes your hand once then stands to clear the dishes. You watch him move around your kitchen with the easy familiarity of someone who's done this a hundred times, who knows where everything goes, who's keeping you afloat in ways you can't even fully articulate.

When he comes back to the couch, he sits closer this time, not quite touching but near enough that you can feel the warmth of him.

"I just want you to know," Jeonghan says quietly, "that you don't have to perform being okay for me. You can tell me when it's bad. You can tell me when the dream is getting worse instead of better."

"It's not getting worse," you say automatically.

He just looks at you.

"Okay," you amend. "Maybe it's not getting better. But it's stable. I can handle stability."

"Do you know why I call you Yonggam-ie?" He's not looking at you now. Instead, he stared at his hands clasped between his knees. "It's not because you're fearless. It's because you've always been afraid of everything—and you do it anyway."

You don't say anything. There's a lump in your throat you can't quite swallow past.

"When you were little," he continues, his voice soft with memory, "you were terrified of the ocean. You'd stand at the edge of the water and shake. But you'd walk in anyway. Crying the whole time but you'd do it."

"I don't remember that," you whisper.

"I know." He finally looks at you and his eyes are bright with unshed tears. "But I do. And that's what bravery is, Yonggam-ie. It's not about not being scared. It's being terrified and doing it anyway. You're still doing that now. Every day you get out of bed, every time you leave this penthouse, every time you try—that's bravery."

"It doesn't feel brave," you say. Your voice cracks. "It feels like I’m just forcing myself."

"Sometimes they're the same thing." He reaches over and tucks a strand of hair behind your ear, the gesture so tender it makes your eyes burn. "You don't have to be okay. You don't have to pretend you're not scared. You're my brave one but you're allowed to be afraid. You're allowed to need help. You're allowed to—" he stops, his voice thick, "—you're allowed to not be strong all the time."

You're crying now and you're not even sure when you started.

"I don't know how to not be tired," you admit. "I don't know how to want things again—" You gesture helplessly at yourself, at the penthouse, at your entire existence. "I don't know how to be a person instead of just someone going through motions."

"I know." He pulls you into a hug and you let yourself fold into him, let yourself be small and scared and held. "But you will. Little by little. You'll remember how."

"You can’t know that," Your voice is muffled against his shoulder but you try to chuckle through your tears.

"I’ll make a promise, anyway." He holds you tighter. "My brave Yonggam-ie. You'll find your way back. I know you will."

You want to believe him.

You're not sure you do.

But for now, sitting in your too-quiet penthouse with your brother's arms around you, you let yourself pretend that brave and broken aren't mutually exclusive.

Maybe you can be both at the same time.

And maybe that's enough.

After dinner, you stand in the living room for a long time, looking out at the city. Alone.

Somewhere down there, in one of those lit windows, is someone who knows you. The version of you that you can’t remember. The version who lived in this penthouse before it became a museum of someone else’s life.

You touch your ring finger absently.

Sometimes when you’re falling asleep, you rub that finger and feel the ghost of weight that isn’t there.

You turn away from the window and curl up on the couch, pulling a blanket over yourself. You turn on the TV—some drama Sooyoung recommended—and let the sounds wash over you without really watching.

And if, hours later, you fall asleep on the couch and dream of a car and a voice shouting words you can’t hear and the feeling of something ending before it ever really begins—

Well.

You’ll wake up eventually.

You always do.

The morning comes in stages.

First, the light—filtered through curtains you can't remember closing, painting the bedroom in shades of grey and gold. Then, the sounds: traffic sixteen floors below, distant and constant like the city breathing. Then, finally, awareness—sluggish and reluctant, your mind surfacing from sleep like something heavy dragged through water.

You open your eyes.

The clock on your nightstand reads 11:43 am.

You've done it again.

For a moment you just lie there, staring at the ceiling you know is white but can't quite see in the diffused light. Your body feels like it's made of lead, your limbs heavy, your head thick with the particular fog that comes from sleeping too much and somehow still being exhausted.

The dream came again. Of course it did.

You don't remember the exact moment of waking from it—the transition has become so familiar it barely registers anymore. Just the feeling after: that hollow ache in your chest, the phantom sensation of something slipping through your fingers, the echo of words you can't quite hear.

And the wetness on your face that tells you you've been crying in your sleep again.

You touch your cheek. It’s dry now but the pillow beneath your head is damp. You should change the pillowcase. You'll think about it later. Maybe add it to the list of things you'll think about later.

You sit up slowly, your world tilting slightly as blood rushes to catch up with the movement you just made. You press your palms against your eyes until you see stars then drop your hands and open them to the room that's supposed to be yours but has never quite felt like it belongs to you.

The bedroom is large—too large for one person. A king-sized bed pushed against the far wall, positioned so you can see out the floor-to-ceiling windows that make up the eastern wall. There’s a walk-in closet to your left, the door half-open, showing rows of clothes organized by color in a way that feels more like staging than living. A door to your right—the en suite bathroom, all white marble and rainfall shower and double sinks that seem to mock the singular nature of your existence.

And straight ahead, past the foot of your bed: another door.

Closed.

It’s always closed.

You look at it for a moment—that door you never open, never think about opening, except in moments like this when the penthouse is too quiet and your mind is still half-tangled in dreams. You don't know what's behind it. An office, maybe? Storage?

You'd asked Jeonghan once, perhaps months ago, in that strange period right after you'd come home from the hospital when everyone treated you like you might break if they spoke too loudly or moved too suddenly.

"Just storage," he'd said, his voice light but his eyes doing something you couldn't read. "Old files, some furniture from before. It’s nothing you need to worry about. I'll clear it out eventually."

He never had.

And you'd never asked again.

Now, sitting in your bed at nearly noon on a Tuesday, you stare at that closed door and feel—

Nothing.

Not curiosity. Not concern, either. Just a vague, distant awareness that it's there, that it's always been there, that you've been walking past it for a year without wondering what it contains.

That should probably bother you more than it does.

But you look away like you’ve always done for the past year.

The penthouse at midday is all light and emptiness.

You move through it in your pajamas—soft cotton shorts and an oversized t-shirt that might be yours or might be Jeonghan's, you can't remember anymore—and try not to think about how your body knows this space better than your mind does. How your feet find the path from bedroom to kitchen without conscious thought. How your hand reaches for the light switch in the hallway without looking.

Muscle memory is a strange thing. It tells you you've lived here a long time. Maybe long enough for the movements to become automatic and for your body to map the space in ways your conscious mind hasn't bothered to.

But in all honesty, you can't remember choosing this penthouse. You can’t remember moving in. Can't even remember the first morning you woke up in that king-size bed or the first time you made coffee in this kitchen, or any of the small, forgettable moments that turn a space into a home.

According to everyone, that's normal. The accident took two years—a clean excision, the doctors said, like someone had carefully cut out that section of your life and left the edges raw but surprisingly neat.

"You lived here before," Jeonghan had told you, sitting beside your bed in those early days when everything hurt and nothing made sense. "With family. It's safe. It's yours. You don't have to worry about it."

You'd accepted that explanation the way you'd accepted everything back then: with a vague, medicated compliance that felt less like agreement and more like the absence of disagreement.

Because what else can you do but to trust your brother?

Now, eleven months later, you accept things and explanations out of habit.

The kitchen is at the far end of the open-plan living space. The automatic coffee maker sits on the counter, unplugged, pushed slightly back like it's being politely excluded from daily use.

You look at it every morning and feel nothing except a vague sense that you should feel something.

You'd tried using it once, about four months after coming home. You filled the water tank, added the grounds, and pressed the button. The machine had started its process—that mechanical grinding, the hiss of water being forced through tubes, and something in your chest had seized up. The sound was too loud, too sudden, too—

You'd unplugged it halfway through the cycle and stood in your kitchen with your hands shaking and your heart racing and no idea why.

Jeonghan found you like that ten minutes later.

"It's okay," he'd said. His voice was so gentle it made you want to cry. "Some sounds are harder than others. We'll figure out which ones."

He'd bought you a French press the next day. Quiet. Manual. Slow.

You use it now.

The ritual of making your coffee through a French press is soothing: boil water in the electric kettle (that sound is fine, apparently—hot water is acceptable, coffee machines are not), measure the grounds, pour, wait. Four minutes. You'd timed it once with your phone and now your body just knows when four minutes have passed.

While the coffee steeps, you open the refrigerator.

Jeonghan was here yesterday. Or the day before. Time has a way of blurring when you sleep this much. He had stocked the fridge with things you like. Fruit. Yogurt. The expensive juice you'd mentioned once, months ago, that you'd liked as a child. Ingredients for meals you won't make yourself but that he'll cook when he comes over, which is almost every day, which should probably feel suffocating but instead feels like the only thing keeping you tethered.

You pull out the yogurt. Put it back. Take out an apple. Put it back.

You settle on nothing.

You'll eat later. Probably. Maybe.

The coffee is ready. You press the plunger down with slow, deliberate pressure—something about the resistance feels good—and pour it into your favorite mug. White ceramic, simple, with a small chip on the rim that your thumb finds automatically.

You carry the coffee to the kitchen island and sit on one of the high stools. You look out at the living room that opens before you like a stage set.

Everything is very clean. Very organized. Very much like a person lives here but not like a person actually lives here.

The couch—grey, modern, expensive—has decorative pillows arranged just so. The coffee table holds exactly three things: a stack of art books (yours, presumably), a small succulent in a ceramic pot (doing better than you are, thriving even), and the TV remote aligned parallel to the table's edge.

The dining table—that massive thing that could seat eight people—is empty except for a single place setting that Jeonghan insists on leaving out. "So you remember to eat," he'd said.

He isn't wrong.

The bookshelves that line the western wall are full but not cluttered. Art books, novels, some poetry. A few small sculptures—abstract things that you like looking at but can't remember acquiring. Picture frames here and there, most of them showing the same safe subjects: you with Jeonghan, you with Sooyoung, you with Wonwoo, you alone at various galleries and cafes, smiling that careful smile you've apparently perfected sometime in the years you can't remember.

No family photos. You noticed that months ago. When you'd asked why, Jeonghan had said, "You weren't close with them. After Paris. You wanted space."

Another answer you'd accepted because what choice did you have?

You sip your coffee and try to remember what it feels like to want things. To have preferences that feel urgent instead of optional. To wake up with plans instead of just the vague intention to exist through another day.

Your laptop is on the counter where you left it last night—or was it two nights ago?

You should open it.

You should check your email.

You should respond to the message from the art collective about the community exhibition they're planning, the one where they want you to submit a piece, the one with a deadline that's—you try to remember—two weeks away? Three?

You should do a lot of things.

You open the laptop.

The screen comes to life and it shows your desktop a few beats after: a photo of a gallery space you don't recognize, all white walls and natural light. You must have taken the photo at some point, must have liked it enough to make it your background but looking at it now you feel nothing except a distant, academic appreciation for the composition.

Your email loads. Forty-three unread messages. Most of them from before you'd stopped checking regularly which was—god, when was the last time you actually looked at these?

You scroll through without opening any of them.

Newsletters. Spam. A few messages from the art collective about upcoming events (all in the past now, all missed). One from your therapist's office reminding you about an appointment (that's tomorrow, you should probably go). One from Sooyoung with the subject line "READ THIS OR I'M FLYING BACK TO SCOLD YOU IN PERSON" (sent three weeks ago, still unopened).

And at the top, from two days ago, from Mina at the art collective:

Subject: Exhibition Submission - Final Reminder

Hi YN,

Just checking in about your submission for the Community Voices exhibition! We're so excited to (hopefully!) include your work. The theme is "Reconstruction" - you can interpret that however it speaks to you.

The deadline is March 7th (two weeks from today). No pressure, but we'd love to have you participate. Let me know if you need any support or want to talk through ideas.

Hope you're doing well!

Mina

You stare at the message.

Reconstruction.

The word sits in your mind like a stone dropped in still water, sending ripples you don't want to follow.

You should write back. Should say yes, you'll submit something, you have ideas, you're working on it.

You click "New Document" instead.

The blank page opens. Cursor blinking. Waiting.

You're supposed to write an artist's statement. Something about your vision, your process, what reconstruction means to you, what you're trying to say with your work.

You type: My vision is

Stop.

Delete it.

Type: I am interested in exploring

Stop.

Delete it.

The cursor blinks at you. Patient. So merciless.

You close the laptop.

"Later," you say out loud to no one. "I'll do it later."

The penthouse absorbs the words without comment.

The rest of the morning—afternoon, really, it's past noon now—passes in the usual way.

You take your third cup of coffee to the couch and turn on the TV. Flip through channels without watching anything. You land on a nature documentary about deep sea creatures and leave it there because the narrator's soothing voice fills the silence while you look at your phone instead.

Instagram: full of people living lives that look nothing like yours. Gallery openings, travel, carefully curated happiness. You scroll without liking anything.

Messages: a few from Wonwoo you haven't responded to yet, asking if you want to get coffee (again), telling you about a book he thinks you'd like, sending you a meme that's probably funny if you had the energy to find things funny.

One from Jeonghan from this morning: I made too much kimchi stew, bringing some over for dinner. You better be awake by then.

You should text back. Should say thank you, or yes, or something that indicates you've seen it and appreciate it.

You just send a thumbs up.

It's easier.

The show on TV is talking about anglerfish now. How they live in total darkness, how the females are large and the males are tiny, how the males will bite onto the females and eventually fuse with them, losing their eyes and most of their organs, becoming nothing more than a sperm-producing appendage dependent on the female's body for survival.

"How romantic," you mutter to the empty room.

You wonder if the male anglerfish remember being separate. If there's a moment when they realize they're disappearing into something else. Or if it happens so gradually they don't notice until it's done.

You turn off the TV.

At some point—you're not sure when, time has that liquid quality today—you find yourself standing in front of your art supplies.

They're organized on a shelf in the corner of the living room near the windows: sketchbooks, pencils, charcoal, paints you haven't touched in months. Everything is neat. Everything is waiting.

You pull out a sketchbook at random. One you don't recognize—sage green leather cover, soft under your fingers.

You don't remember buying this one.

But then again, you don't remember buying most things from before. The accident took your shopping trips along with everything else.

You open it.

The first page has a date in the top corner, written in your handwriting: April 2024.

Two and a half years ago. Firmly in the time you can't remember.

Below the date: a sketch.

It takes you a moment to recognize what you're looking at. Floor plans. Architectural drawings, precise and detailed in a way that surprises you—you didn't know you could draw with this kind of technical accuracy.

They're plans for this penthouse. You recognize the layout: the open living space, the kitchen, the bedroom. But different. Configured differently.

There are walls in this version that don't exist now. The living room is smaller, sectioned off. There's a separate room—

Your eyes track the labels written in your own handwriting next to each space:

Living room - needs more light

Kitchen - update fixtures? repaint?

Bedroom - our room

His office - needs more warmth

Your hand holding the sketchbook goes very still.

His office.

You flip the page.

More sketches. Interior design notes. Swatches of fabric taped to the page with notes: for the reading nook? and his chair - comfortable but not too formal and curtains - let him choose.

Another page: a detailed drawing of a built-in bookshelf with annotations about measurements and materials and a small note at the bottom that just says: try to make it ours.

You sit down on the floor, the sketchbook open in your lap now, your coffee forgotten on the island behind you.

You flip through more pages. All of them like this. Plans and sketches and notes, all in your handwriting, all clearly made with care and thought and intention.

All referencing someone.

His office.

His chair.

Make it ours.

You look up from the sketchbook then look at the actual penthouse around you.

The space where "his office" would have been according to these plans—that's where the closed door is now. The door you never open. The door Jeonghan said was just storage.

The bookshelf you'd drawn doesn't exist. There are bookshelves but not built-in. Definitely not the way you'd designed them.

The reading nook you'd sketched out—there's a chair there now but not the one in your drawing. This one is feminine, delicate. The one in the sketch had been larger, deeper.

It's like looking at plans for a different version of this space. Or—

Your chest tightens.

—like looking at plans for this space before someone had carefully erased half the people who were supposed to live in it.

You flip back to the first page and stare at the date.

April 2024.

You'd been planning to redesign this penthouse. To make it feel like home. To make it theirs.

Who was them?

Who was his?

You close the sketchbook with hands that aren't quite steady.

You sit on the floor of your living room for a long time, holding evidence of a life you don't remember, in a penthouse that's been remodeled to erase someone whose existence you didn't know about.

When you finally stand up, your legs have gone numb from sitting too long. You put the sketchbook back exactly where you found it. You slide it between two others like you can un-see what you just saw.

But your hands are shaking and the closed door at the end of the hallway seems different now. It’s not just storage. Neither is it just forgotten furniture.

It’s someone's office.

Someone who was supposed to be here but isn't.

You walk to the hallway and stand in front of that closed door.

You put your hand on the handle.

It's cool under your palm, the metal slightly textured. You've touched this handle before—you must have, hundreds of times probably, walking past it every day—but you've never actually tried to open it.

You turn it now.

The handle moves about an inch and then it stops.

It’s locked.

Of course it is.

You stand there with your hand on the locked door and something in your chest feels like it's being squeezed.

Someone locked this door. Someone has the key. Someone decided that whatever is behind this door is something you shouldn't see.

And you'd just—accepted that? For eleven months you've lived in this penthouse with a locked room and never questioned it?

What else have you accepted without questioning?

Your hand drops from the door.

You back away slowly, like the door might open on its own if you're not careful, like whatever is behind it might escape.

This is ridiculous.

It's just a room. Just storage. Just old files and forgotten furniture like Jeonghan said.

Except you'd drawn plans for his office. Except the penthouse has been redesigned.

Except nothing about this space feels like it's telling you the truth.

You go back to the living room, pick up your phone with hands that are still shaking slightly, and text Sooyoung without thinking it through first:

Are you free to talk?

The response comes immediately:

Always. Video call in 10?

You should say yes. You should talk to someone. You probably should tell someone you found something strange and can't explain why it bothers you so much.

But what would you say?

I found a sketchbook with plans I don't remember making.

Someone used to live here with me.

There's a locked room I'm not allowed to open.

I think everyone is lying to me but I don't know what about.

It sounds paranoid even in your own head.

Maybe you are. Maybe this is what trauma does—makes you suspicious of your own life, makes you see conspiracy in normal things like storage rooms and remodeling projects.

Maybe the sketchbook is from a different penthouse entirely. Maybe you're misremembering the layout. Maybe—

Your phone buzzes again.

Sooyoung: YN? You there?

You look at the message. Then at the sketchbook you've carefully put back on the shelf.

You look at the closed door down the hall and you make a decision.

Yes, you type back. Video call works. Give me a minute to look less like death.

You always look beautiful even when you look like death, Sooyoung replies immediately. 10 minutes. I'm making tea.

You set down your phone and go to the bathroom to make yourself presentable.

Brush your teeth. Wash your face. Put your hair up in a way that looks intentional instead of like you just rolled out of bed at noon. Stare at yourself in the mirror—one of two mirrors, over one of two sinks, in a bathroom built for two people—and try to recognize the person looking back.

You look tired. That's familiar and nothing new. The dark circles under your eyes, the slight hollowness in your cheeks, the way your skin seems paler than it should be. You look like someone who sleeps too much and somehow not enough.

Sooyoung is going to take one look at you and know something is wrong.

Good. Maybe that's the point.

You grab your laptop, carry it back to the couch, and open it to Sooyoung's incoming call with something that feels like relief and terror in equal measure.

Whatever is happening—whatever you've forgotten, whatever everyone isn't telling you—you're tired of living in it alone.

Maybe it’s time to start asking questions.

Even if you're not sure you want to know the answers.

The video call connects with a soft chime.

Sooyoung's face fills your laptop screen—bright and beautiful and exactly what you needed to see. She's wearing something cream-colored and expensive and her hair is pulled back in a way that looks effortless but probably took twenty minutes. Behind her, you can see the corner of what looks like a hotel room, all clean lines and muted luxury.

"There's my favorite hermit," she says and her smile is immediate and warm and real.

You manage a small smile back. "Hi."

"Hi." Her expression shifts as she takes you in—you watch her eyes track over your face, cataloging things you can't hide even through a screen. "You look tired."

"I always look tired."

"True. But today you look extra tired." She leans closer to her camera. "What's going on?"

You open your mouth. Close it. You'd had things you wanted to say, questions you wanted to ask, but now that she's here—now that you have to actually form the words—they feel too big. Too paranoid. Too much like admitting something is wrong in a way you can't take back.

"I don't know," you say finally. "I just—I wanted to see your face."

Sooyoung's expression softens completely. "Well, you've got it. All of it. Questionable hotel lighting and all." She adjusts her laptop and settles back against what looks like a headboard. "I'm in Seoul, actually. Just for a few days. Fashion week stuff. I was going to surprise you but—" She waves a hand. "You texted first."

"You're here?" Something loosens in your chest. "In the city?"

"Landed this morning. I'm at the Shilla. You know, doing my fancy consultant thing, pretending I'm too important to eat hotel buffet breakfast." She grins. "Do you want to meet up? I could come to you or we could go somewhere—"

"I don't know." The answer comes automatically before you can think it through.

Sooyoung doesn't push. Just nods. "Okay. That's okay. We can just do this. Video calls are underrated anyway."

You're grateful she doesn't make it a thing. You’re thankful she doesn't ask why or try to convince you. She just…accepts it.

"So," she says, her tone deliberately lighter. "Jeonghan says you actually left your apartment this week. Voluntarily. With your own two feet."

"He texted you."

"He worries. I worry. We're a whole worried collective." She tilts her head. "But seriously. You went out?"

"I went to a bookstore." You pull your knees up to your chest, resting your chin on them. "Just for a little while."

"That's huge, YN."

"It was just a bookstore."

"It was leaving." Sooyoung's voice is firm but kind. "After months of—not leaving. That's not nothing."

You don't know what to say to that so you just shrug.

"Did you buy anything?" she asks.

"A book. I don't remember what it was."

"That is so you. Impulse book buying with no memory of the purchase." She's smiling, trying to keep it light but you can see the concern underneath. "Baby steps, right? Next week maybe you'll remember the title."

"Maybe."

There's a pause. It’s not uncomfortable but it is weighted. You can feel Sooyoung choosing what to say next.

"The art collective emailed me," she says finally. "About the exhibition. They said they invited you to submit something."

Your stomach tightens. "Yeah."

"Are you going to?"

"I don't know. Maybe. Probably not."

"YN—"

"I don't have anything to say." The words come out sharper than you wanted. "That's the problem. They want a piece about 'reconstruction' and I don't—I don't know what that means. I don't know how to reconstruct something when I don't remember what it looked like before."

Sooyoung is quiet for a moment. "What if that's the piece? The gap, I mean."

"That's not art. That's just—" You gesture helplessly. "That's just emptiness."

"Negative space is still space. It’s still composition." Her voice is gentle. "You used to tell me that back in Paris. When I said I didn't know how to start a project, you told me to start with what wasn't there instead of what was."

You'd said that? You don't remember. But it sounds like something you might have said, back when you were a person who had opinions about art and creation and things that mattered.

"I'll think about it," you say, which means you won't.

Sooyoung knows it too. You can see it in her face. But she doesn't call you on it.

"Okay," she says simply.

There’s another pause. You want to ask her something—about Paris, maybe, about the time before, about whether you were different then in ways she's not telling you. About the sketchbook with someone else's life drawn in your own handwriting. About the locked door and the apartment that feels like a stage set and the dream that's getting louder in your sleep.

You want to ask: Am I going crazy? Is everyone lying to me? Was there someone else?

But the questions stick in your throat. Questions too big and too frightening to release into the open air.

Sooyoung's voice pulls you back. "Are you still with me?"

"Yeah. Sorry. I'm—I'm tired."

"I know." She leans forward again and her expression is so full of love it makes your chest ache. "Listen. I'm here until Friday. If you want to meet up—even for ten minutes, even just in your lobby—I'm here. Okay? No pressure, definitely no expectations. Just—if you need me, I'm close."

"Okay."

"And YN?" She waits until you meet her eyes through the screen. "I know it's hard right now. I know you're—I know you're going through something you can't quite name. But you're still in there. The you I knew in Paris, the you who stayed up all night with me talking about color theory and cried at bad poetry…she's still in there.” You see Sooyoung’s eyes shine even through the harsh lighting of the computer screen. “You haven't lost her. She's just—quiet right now."

Your throat is tight. "What if she doesn't come back?"

"She will." Sooyoung says it with absolute certainty. "Maybe different. Maybe quieter. But she'll come back. You're too stubborn not to."

You almost smile. "Stubborn."

"Frustratingly, admirably stubborn." She grins. "It's one of your most annoying and lovable qualities."

This time you genuinely smile.

"There she is," Sooyoung says softly. "See? Still in there."

You talk for a few more minutes—about nothing, really. Her work, a mutual friend's wedding you won't attend, a restaurant she tried that she thinks you'd hate. Normal things. Surface things. The kind of conversation that feels like a lifeline when everything else is too heavy.

When you finally say goodbye, Sooyoung blows you a kiss through the screen.

"Text me," she says. "Even if it's just a thumbs up emoji. Even if it's 3 AM and you can't sleep. Okay?"

"Okay."

"I mean it, babe."

"I know. I will."

You probably won't. But you appreciate that she asked.

The call disconnects and you're alone again in your too-quiet apartment with all the questions you couldn't ask still sitting heavy on your tongue.

You look at the bookshelf where you put the sketchbook back. At the hallway where the locked door waits.

Was there someone else?

But you don't text Sooyoung. You don't call Jeonghan back. You don't do anything except close your laptop and sit in the silence and try not to think about all the things that don't quite make sense.

Tomorrow, maybe.

Tomorrow you'll ask.

Today you're too tired and the questions are too big and you're not sure you're ready for the answers.

You can feel tears coming hot and fast.

But you do what you always do: you wait.

And the penthouse keeps its secrets.

You're not supposed to be here.

That's what you keep telling yourself as you walk through Insadong, your hands shoved in your coat pockets, eyes on the pavement. You're not supposed to be here. You should have stayed home on the couch with the nature documentary and the slowly cooling coffee and the safe, familiar numbness of another wasted afternoon.

But Sooyoung's words are still echoing in your head: You're too stubborn not to come back.

And Jeonghan's: You've always been afraid of everything—and you do it anyway.

So here you are. Outside.

The bookstore appears like a refuge. It’s a small one, tucked between a tea shop and a gallery you don't remember ever visiting. The sign is hand-painted, weathered in a way that suggests permanence rather than neglect. Something about it pulls at you because it feels familiar in a way you can't name.

You must have been here before because your feet seemed to know the way even though your mind didn't.

The door chimes softly as you enter and the smell hits you immediately: paper and coffee and old wood. Something in your chest loosens. This is safe. This is manageable. Books don't ask questions. Books don't look at you with careful concern and weigh their words before speaking.

The store is narrow with two floors connected by a steep staircase at the back. Shelves line every wall, packed tight, with books stacked on top of other books in that particularly chaotic way that suggests the owner loves them too much to turn any away. There's a small café counter near the entrance—currently unmanned—and a few mismatched chairs scattered in corners for reading.

It's nearly empty. It’s just you and the distant sound of someone moving around on the upper floor.

You drift toward the literature section, run your fingers along spines without reading titles. The motion itself is soothing. Mindless in the best way.

You stop at a shelf labeled "Contemporary Fiction" and pull out a book at random.

The Vegetarian by Han Kang.

You've heard of it. Maybe read it? You're not sure. Everything from before is such a blur.

You open it and skim the first page. Something about a woman who stops eating meat. Who decides to—what? Transform? Disappear? Resist?

You close it. Put it back.

Your hand moves to the next book on the shelf.

Another hand reaches at the same time.

Your fingers brush—all warm skin and unexpected contact—and you both pull back instinctively.

"Sorry—" you start.

"Sorry—" he says at the same time.

You look up.

A man. About your age, maybe slightly older. Dark hair falling slightly into his eyes which are tired in a way you recognize intimately—the kind of tiredness that comes from not sleeping well, from carrying something heavy. He's wearing a black sweater and jeans, nothing remarkable really, but something about him makes you look twice.

His face.

You know that face.

No—you don't know it. But it feels like you should. Like you've seen it somewhere or dreamed it or—

You realize he's staring at you.

Not rudely. Not intensely. But there's something in his expression that you can't read—shock, maybe, or recognition, or something deeper and more complicated that makes the air between you feel suddenly charged.

"You—" he starts then stops. Clears his throat. "You can take it."

He pulls his hand back, gesturing to the book.

"No, it's okay." Your voice comes out quieter than you expected. "I wasn't—I mean, I was just looking. I don't even know what—"

You both look at the book your hands had reached for.

The Remains of the Day by Kazuo Ishiguro.

"Have you read it?" he asks. His voice is careful and measured. It sounds like he's concentrating very hard on sounding normal.

"I don't think so." You pull your hand back from the shelf. "Have you?"

"Yes." A pause. "A long time ago."

There's weight in the way he says it; like the book means something.

Like this moment means something.

You're probably imagining it.

"Is it good?" you ask because you don't know what else to say, because leaving feels suddenly impossible even though you should definitely leave. You think you should definitely not be standing here talking to a stranger who makes your chest feel strange. You should probably leave because this stranger might think you’re just intruding in his space and quiet time.

But then his honey warm voice echoes once more.

"It's—" He seems to struggle with the answer. "It's about regret. It’s about a man who spent his whole life serving someone else and then realizes at the end that he missed everything. He was so busy being what he thought he should be that he forgot to be a person."

"That sounds depressing," you say.

"It is." His smile is small and devastating. "But it's also beautiful and true. Sometimes those are the same thing."

You don't know what to say to that. You don't know why this stranger's analysis of a book you've never read is making your throat tight.

"Are you—" You gesture vaguely at the book. "Did you want it? I can—"

"No." He shakes his head. "I've read it. I was just—" He stops. He looks at the book like it's accusing him of something. "I was just remembering."

The silence stretches between you.

You think you should walk away. Maybe you should grab a different book or no book. Perhaps you should definitely stop standing here staring at this man who makes you feel something you can't name.

But you don't move.

"I'm trying to figure out how to read again," you say suddenly, surprising yourself. "I mean—I know how to read. But I used to love it. Nowadays I can't… I can't focus. I can't remember what I read five minutes after I read it. It's like the words just—" you gesture vaguely, "—slide off."

He's looking at you with something that might be understanding. It might be pain. You can't tell.

"After trauma," he says quietly, "sometimes your brain can't process narrative the same way. It's protecting you from absorbing too much story when you're still trying to process your own."

"What makes you think I have trauma?"

"I—" He hesitates. "I read it somewhere. Or someone told me. I can't remember right now, I’m sorry."

Liar, something in you whispers. But you don't know why you think that.

"So what do I do?" you ask. "If I want to read again but can't?"

"Maybe start small." He's not looking at you now. He’s scanning the shelves instead. "Something short. Something with space built into it." His hand reaches out and pulls a slim volume from a shelf. "Here."

He hands it to you.

The Crane Wife by CJ Hauser.

"It’s more of a book of essays," he says. "Short ones. It’s about the Japanese folktale where a crane becomes a woman to repay a kindness and then is destroyed by the person she's trying to save." He stops. "Sorry. That probably sounds worse than it is."

"No, it—" You look at the book. At the crane on the cover, mid-flight. "It sounds sad."

"It is sad." His voice is rough. "But, uh, it's also about how we hurt the people who try to love us… how we take and take without seeing what we're taking. How sometimes the kindest thing is to let someone go before you destroy them completely."

You look up at him. You take a really good look at him.

He's not looking at you. He's staring at the book in your hands with an expression that makes you want to—what? Comfort him? Run? You can't tell. Again.

"Are you okay?" you ask.

"What?" He blinks as seems to come back to himself. "Yes. Sorry. I just—" He manages a smile but it doesn't reach his eyes. You think he has a beautiful smile. "I relate to the book. Too much, probably."

"Are you the crane or the person destroying the crane?"

The question comes out before you can stop it, too personal, too direct, and you immediately want to take it back. You bit your bottom lip.

But he doesn't seem offended. Just… devastated.

"I was the person destroying the crane," he says quietly. "I'm trying very hard not to be anymore."

You stand there holding a book about transformation and destruction and you don't know what to do with the sudden, overwhelming urge to know this man's story. To understand why he looks at you like you're both a miracle and a wound. To ask why your hands are shaking slightly and your heart is beating too fast and why you feel like you're standing on the edge of something you can't see.

"I'm YN," you say instead. Because it's safe. Because it's something you can control.

You extend your hand.

He looks at it for a long moment. Too long. You almost drop your hand but then—

—he takes it.

His hand is warm. Much larger than yours. It’s calloused in a way that you can’t exactly pinpoint. You don't know. You don't know anything about him except that his touch makes your breath catch and your palm feels like it's burning and you don't understand any of it.

"Joshua," he says. "I'm Joshua."

He says your name like he's learning it for the first time but his hand holds yours like it's been there before, like it knows the shape of you, like—

You pull back.

"It’s nice to meet you," you say automatically because that's what you're supposed to say.

"It’s nice to meet you," he echoes and the words sound like a lie in his mouth.

"I should—" You gesture vaguely toward the rest of the store. "I should keep looking."

"Of course." He steps back and gives you space. "I'll—I'll just—"

He doesn't finish the sentence. Just retreats down the aisle, leaving you standing there with two books you didn't choose—The Remains of the Day still on the shelf, The Crane Wife in your hands.

You should put it back. Probably grab something else. Something lighter. Something that doesn't feel like it's been selected specifically to destroy you.

But you don't.

You hold onto it and wander deeper into the store and you're acutely, painfully aware that Joshua is somewhere in this building and you're hoping you'll run into him again even though you shouldn't, even though you should leave right now, even though something about him makes you feel like you're remembering something you've forgotten and you don't know if you want to remember it or not.

But then you find him again in the philosophy section.

Or maybe he finds you. You're not sure who moved toward whom.

He's holding a book—The Art of Loving by Erich Fromm—and studying it like it contains answers to questions he hasn't figured out how to ask yet.

"Is that one sad too?" you ask and your voice startles him.

He turns and something crosses his face when he sees you. Relief. Or fear. Or both.

"It depends on your definition of sad," he says as he shows you the cover. "It's about how love is a skill. Something you practice and learn and get better at, not something that just happens to you."

"That sounds exhausting.”

"It is." He sets the book back on the shelf with a gentleness that seems disproportionate. "But maybe that's the point. Maybe the things worth having are supposed to be exhausting."

"Or maybe some people aren't worth the exhaustion."

The words come out bitter and you immediately wish you could take them back. But Joshua just looks at you with those tired, knowing eyes and says: "Or maybe some people don't realize what they have until they've already exhausted the person giving it to them."

Silence is a very uncomfortable thing sometimes. You feel like you've stumbled into the middle of his story. It feels like these books aren't random selections, but confessions.

"What are you really looking for?" you ask. "In here. In all these books."

He considers the question for a long moment.

"Absolution, maybe," he says finally. "Or understanding. Or just—" He stops. "Just proof that other people have been as cruel and stupid as I've been and found a way to live with it."

"That's oddly specific."

"I'm a specific kind of broken, it seems."

"Aren't we all?"

He looks at you then—really looks at you—and his expression does something complicated. It’s like he's seeing you and someone else at the same time… like you're an answer to a question he's been asking for a long time.

"Yeah," he says softly. "I guess we are."

You should ask him what happened. What cruelty and stupidity he's trying to understand. Maybe you should ask why he looks at you the way he does.

But of course you don't.

"I don't actually know what I'm looking for either," you admit. "I used to read all the time. Before—" You stop. "Before I forgot how. And now I'm trying to remember but I don't know where to start."

"Start with what you're feeling," Joshua says. "Not what you think you should read. What does your—" He has this habit of stopping himself, you notice. "What does your heart want?"

Your heart.

Your heart wants to understand why you're having dreams about someone saying I love you in a voice you can't place. Why you drew plans for an apartment designed for two people? Why there's a locked door and a sketchbook and books marked with initials that aren't yours. Why this stranger makes you feel like crying for reasons you can't name.

But you can't say any of that.

"I don't know what my heart wants," you say instead. "I think it forgot too."

Joshua's expression breaks—just for a second, just enough for you to see that your words have hurt him somehow—and then he schools his expression once more.

"Then…maybe start with what makes you curious," he says. "What questions do you want answers to? And find books that ask those questions."

You look at this man named Joshua who talks about regret and transformation and cranes being destroyed by the people they try to save. He looks at you like he's memorizing your face. Why does it feel like he makes you feel seen in a way that's terrifying and necessary.

"I should probably go… for real this time," you say because you should, because this is too much, because you're not ready for whatever this is.

"Okay." He doesn't try to stop you. He doesn't ask for your number or suggest coffee or do any of the things people do when they want to see someone again.

He just says: "I hope the book helps. The Crane Wife. I hope it—" He stops. "I hope you find what you're looking for."

"You too."

You turn to leave.

"YN?"

You stop. Turn back.

He's standing in the philosophy section with his hands in his pockets and he looks like he wants to say something important but can't figure out how.

"What you said before," he says. "About people not being worth the exhaustion? You're wrong."

You look at this stranger named Joshua. You look at his red-rimmed eyes and you wonder why he looks like he’s about to fall apart.

"Some people are worth every bit of exhaustion and more. Even when they—" He stops again. "Even when you don't deserve them. Even when you've failed them. They're still worth it."

The words settle into your chest like stones.

"Speaking from experience?" you ask, a small smile on your lips.

"Yeah." His smile is the saddest thing you've ever seen. "Yeah, I am."

You don't know how to respond to this stranger's confession that feels like it's meant for someone else.

So you just nod and leave.

And try not to think about how wrong it feels to walk away from him.

You buy The Crane Wife at the counter.

The owner—an elderly woman with kind eyes—wraps it carefully.

"This is a good choice," she says. "It’s a sad book, but a good one."

"So I've heard."

"The young man who recommended it has good taste. He's been coming here for months. Always reading, but never buying. He knows books."

Your hand stills on the wrapped package. "He comes here often?"

"Every week. Sometimes twice a week." She smiles. "He always looks like he's searching for something. I hope he finds it."

You take the book and walk out into the late afternoon light.

You don't let yourself think about why Joshua has been coming to this bookstore for months. About why he talked about cranes and regret and people being worth the exhaustion.

You don't let yourself think about any of it but you hold the book against your chest like it matters.

Across the store, hidden behind a shelf where you can't see him, Joshua watches you leave.

He's holding The Art of Loving in hands that are shaking.

He'd come here hoping because he knows you used to come here. He hopes the universe would be kind enough to let him see you, even from a distance, even just to know you were okay.

But he hadn't expected you to talk to him.

He hadn't expected you to ask him questions and look at him with those eyes—the ones he'd spent two years not really seeing—and make him want to tell you everything.

He'd recommended The Crane Wife because it was true. He was the person who destroyed the crane because you'd been trying to save him and he'd taken and taken and taken until there was nothing left.

And now you were standing two feet away, holding the book, asking him questions, and you had no idea.

You have no idea that you'd already exhausted yourself trying to love him.

You have no idea that he'd give anything—anything—to take back every moment he'd failed you.

Minghao appears from behind. He'd been shelving books upstairs, watching the whole thing.

"She finally came," he says quietly.

"Yeah."

"You okay?"

Joshua chuckles and it sounds broken even to his own ears. "No. Not even a little bit."

"What are you going to do?"

Joshua looks at the book in his hands. At the title. The Art of Loving.

"I'm going to learn," he says. "I'm going to figure out how to do this right. How to love her right. Even if—" His voice cracks. "Even if she never remembers and never gives me another chance. I'm going to learn how to be what she deserved all along."

Minghao is quiet for a long while. He watches Joshua with a kind of ache that only exists between two lifelong friends.

"You know she'll find out eventually," he says. "About who you were. Who you are."

"I know."

"And it'll destroy whatever you're trying to build."

"I know that too."

"So why are you doing this to yourself?"

"Right now, for the first time in a year, she looked at me and didn't see the person who hurt her."

Joshua's voice breaks completely. "She looked at me and saw someone who might be worth talking to. And I—" He stops. "I just want her to keep looking at me like that. Even if it's only for a little while. Even if it's based on a lie. Even if I'm the worst person alive for wanting it."

"Joshua—"

He sets the book back on the shelf. "I know it's wrong and I should stay away. But Hao—" He looks at his friend with eyes that are too bright. "She talked to me. She let me recommend a book. She told me she's trying to learn how to read again and she—" His voice cracks. "She smiled. Just a little. But she smiled."

Minghao's expression is pained. "This might end badly."

"I know."

"She might hate you when she finds out."

"Mm."

"You're going to lose her all over again. And maybe this time it'll be worse because she'll have trusted you."

"There’s a reason why I've been here almost every day for the past 11 months." Joshua looks toward the door where you disappeared. "But maybe… maybe if I can show her who I am now and who I'm trying to be. Maybe when she finds out, she'll—" He can't finish.

"She'll what? Forgive you?"

"No." Joshua's voice is hollow. "No, she won't forgive me. I don’t deserve that. But maybe she'll understand that I changed. That I'm not—that I'm trying not to be—" He stops. "I just need her to know I changed. Even if it's too late and it no longer matters. I need her to know."

Minghao doesn't say anything because there's nothing to say.

Joshua and Minghao stand in the bookstore surrounded by stories about love and loss and regret and Joshua tries not to think about the fact that he's living the saddest one of all.

The café Wonwoo chose is small and quiet. It’s tucked into a side street in Gangnam where the lunch rush has already passed and the late-afternoon crowd hasn't yet arrived. It's the kind of place with mismatched chairs and tables that wobble slightly and absolutely no background music to fill the silence.

You arrive first, which surprises you. Wonwoo is usually pathologically punctual—something about years of working in software development, he'd told you once, where being late to a meeting could mean missing a critical deployment window or losing hours of everyone's time. You order tea and sit at a table facing the door.

The bookstore encounter keeps replaying in your mind.

Joshua.

The way he'd looked at you. The books he'd chosen. The things he'd said about cranes and regret and people being worth the exhaustion.

You'd started reading The Crane Wife last night and got through three essays before you had to stop because they felt too close, too raw.

You don't understand why a stranger's book recommendation is affecting you this much.

The door chimes and like clockwork, Wonwoo walks in.

He's wearing his usual uniform: dark jeans, a plain navy sweater and a new pair of glasses that make him look more serious than he actually is. He's tall—taller than Jeonghan but not by much—with the kind of steady, solid presence that makes you feel immediately safer just by existing in the same space.

He spots you and his whole face changes. It’s a mix of relief, concern, something tender and complicated that you've seen a thousand times but never quite known how to name.

"You're real," he says as he approaches, setting his laptop bag down on the chair beside him. He goes over to your side to land a kiss on the top of your head. "I was half-convinced you'd cancel at the last minute."

"I thought about it," you admit, a small smile on your face.

“Don’t I know it." He returns your smile and gives you a hug. "But you're here. That's what matters."

You let yourself be held for a moment—Wonwoo gives the best hugs, always has, even when you were kids and he was all gangly limbs and sharp elbows. Now he's just solid, warm, safe.

When he pulls back, he studies your face with the kind of attention that makes you want to look away.

"You look tired," he says as he sits down across from you.

"I always look tired."

"That is true, too. But today you look extra tired." His eyes track over your features, cataloging things you can't hide. "Freshly tired if that kind ever exists."

"Is there a difference?"

"With you? Always." He gently flags down the server, orders an Americano, then turns back to you with that look—the one that says he's running diagnostics on your emotional state and has already identified seventeen problems he's trying to figure out how to solve. "What's the sleep situation?"

"Same as always."

"Which means bad."

"Which means manageable."

"YN." He says your name like a sigh. "We've known each other since we were seven. I know what 'manageable' means in your vocabulary. It means you're hanging by a thread but you've learned to make the thread look…decorative."

Despite everything, you almost smile. "When did you become poetic?"

"Around the same time you started pretending you were fine." He leans back as the server delivers his coffee. "So roughly twenty years ago."

"I was fine when I was seven."

"You were not fine at seven. You cried for three days when you found out goldfish don't actually live forever."

"That was too much for a seven-year-old to handle at the time."

"It was a fish named Mr. Bubbles that you won at a carnival."

"Mr. Bubbles deserved better than a two-week lifespan."

"Mr. Bubbles deserved a friend who didn't overfeed him." Wonwoo's voice is gentle and teasing. "You gave him an entire container of fish flakes in one day because you 'didn't want him to be hungry.'"

You do smile now. It’s small and brief. "You remember that?"

"I remember everything." He says it simply, like it's a fact rather than a declaration. "That's the problem with being friends for two decades. I have an unreasonable amount of embarrassing data about you."

"Such as?"

"Such as the fact that when you're really stressed, you pick at your nails until they bleed." He nods at your hands where you've been doing exactly that without realizing. "Such as the fact that you only order tea instead of coffee when your stomach is upset. Such as the fact that you're doing that thing with your shoulders where you're trying to make yourself smaller, which means you want to be having this conversation even less than I think you do."

You stop picking at your nails and force your shoulders back.

"I hate that you know me that well," you say but there's no heat in it.

"No you don't. You love that I know you that well because it means you don't have to explain things." He takes a sip of his coffee, winces slightly. "Ah, that’s too hot. Anyway, talk to me. What's actually going on?"

"What do you mean 'actually'?"

"I mean…Jeonghan said you left the apartment twice this week which is basically a miracle."

You pick up your tea just to have something to do with your hands. "Why do you and Jeonghan coordinate your worry schedules?"

"We don't coordinate. We just both love you and therefore both notice when you're unraveling." He leans forward, elbows on the table, hands clasped under his chin. "So. Twice out of the apartment. Where'd you go?"

"Bookstore." You pause. "And here."

"Bookstore." He nods slowly. "Voluntarily?"

"Voluntarily."

"Buy anything?"

"An essay collection."

His eyebrows rise behind his glasses. "You're reading again?"

"Trying to."

Something crosses his face—joy, maybe, or relief, or something more complicated. "YN, that's—that's really good. That's progress."

"Is it?" You set down your tea without drinking it. "Or is it just going through the motions? Trying to be the person I was before?"

Wonwoo is quiet for a moment and you watch him consider the question with the same careful attention he probably gives to code reviews and system architectures.

"The person you were before," he says after a while, "is the person who made me watch the entirety of Twin Peaks in one weekend and then insisted we analyze the symbolism of every single owl."

"Did we finish?"

"We did not. You fell asleep during episode fourteen and I had to carry you to bed." He smiles slightly. "You woke up three hours later and wanted to continue right away but I made you eat something first because you'd forgotten to eat for sixteen hours."

You don't remember this, but it sounds true. It sounds like something you would do, back when you had the energy to be obsessive about things.

"Do I still do that?" you ask. "Forget to eat?"

"Yes. Which is why Jeonghan and I have developed an elaborate system of making sure you're fed. We're like your personal meal service, except we're not getting paid and you didn't ask for us."

"I don't need—"

"You do need," he interrupts gently. "And that's okay. Everyone needs something sometimes. Even people like you who've spent their entire lives trying to prove they don't."

The words settle between you and you don't know what to do with them.

"The person you were before," Wonwoo continues, "is also the person who called me at 2 am to argue about whether Murakami was a genius or just pretentious."

"What did I say?"

"You said he was both. That genius and pretentiousness weren't mutually exclusive. That all the best artists are a little in love with their own sadness because it's what makes them brave enough to write about it."

You stare at him. "I said that?"

"Yeah. I wrote it down because it was 2 am and I was half-asleep but it sounded important." He pulls out his phone, scrolls for a moment, then shows you a note dated three years ago. The quote is there, exactly as he said it.

"You keep notes about our conversations?"

"About the good ones. And the weird ones. And the ones where you say something that sounds like it should be in a book somewhere." He puts his phone away. "The point is—you're still that person. The one who thinks about art and meaning and why people do what they do. You're just quieter about it now."

"I found something," you say quietly. "In my apartment."

Wonwoo goes very still. "What kind of something?"

"A sketchbook. It had this green cover, maybe sage. There were these plans for renovating the penthouse from two and a half years ago." You watch his face carefully. "There were plans that showed someone else living there. And these weird labels in my handwriting. ‘His office. His chair.’ Notes about making it 'ours.'"

Wonwoo's expression doesn't change but something happens behind his eyes. Something that looks like pain.

"And?" he asks carefully.

"And I don't remember making those plans. I don't remember there being an 'us' or a 'his' or any of it." You lean forward. "Wonwoo-yah. Was there someone else living with me during the time I can't remember?"

He looks at you for a long moment and you can see him weighing options, calculating costs, trying to figure out what answer will do the least damage.

"I can't answer that," he says finally.

You had expected this response from him. "Can't or won't?"

"Both." His voice is rough. "YN, I—it's complicated. And it's not my story to tell. It's yours. I don't have the right to—" He stops. "I don't have the right to give you pieces of your life without context. Without—" He stops again.

"Without what?"

"Without knowing you're ready to hold them."

You sit back, something cold settling in your chest. "So you do know. And you're just choosing not to tell me."

"I'm choosing to let you heal before you have to process things that might break you again."

"That's not your choice to make."

"I know." He looks genuinely anguished. "I know it's not. But YN, if I could go back—if I could undo what happened to you, I would. In a heartbeat. But since I can't do any of that, the least I can do is not force you to relive it before you're ready."

"What happened to me?" Your voice is barely above a whisper. "During those two years. What happened that was so bad everyone has decided I'm better off not knowing?"

Wonwoo's jaw tightens. "You were going through something difficult. Something that—" He stops, closes his eyes for a moment. "Something that made you forget how to be loud… and how to believe you deserved good things."

"Was it because of him?" you ask. "The 'his' in my sketchbook. The person whose office I was planning. Did he—" You can't finish the question because you can't voice what you're afraid of.

"No." Wonwoo's voice is firm and immediate. "It’s not like that. He… he never hurt you physically. Never. But—" He stops, and his voice drops. "But there are other ways to hurt people. And he was very good at those other ways."

Silence stretches between you. You feel like you're trying to see something through fog.

"Why won't anyone just tell me?" you ask and you hate how small and desperate your voice sounds.

"Because we love you." Wonwoo reaches across the table and takes your hand. "It hurts me to not just tell you everything, please believe me. But we watched you survive something terrible and we don't want to throw you back into it before you're strong enough. Because—" His voice cracks slightly. "I remember what you were like during that time and I remember what you were like after and the after version is better. Quieter, yes. More careful, yes. But better. And I'm scared that if you remember everything—if we force you to face it all at once—you'll—"

"I'll what?"

"You'll break." He squeezes your hand. "And I can't—YN, I can't watch you break again. If that makes me a coward or a liar or the worst friend in the world, fine. I'll be all of those things. But I won't be the person who breaks you."

You look at him—at Wonwoo, who's been your friend since you were seven, who's seen you through goldfish funerals and failed math tests and Paris and everything after—and you see the truth in his face.

He's not lying because he thinks you're weak.

He's lying because he thinks you're too strong. He’s lying because he's watched you survive things you shouldn't have had to survive and he's terrified of what will happen if you have to survive one more.

"Okay," you say quietly.

"Okay?"

"I won't push. Not today." You squeeze his hand once before pulling back. "But Wonwoo? Eventually I'm going to need to know. Eventually the not-knowing is going to be worse than the knowing and when that happens—when I can't take it anymore—I need you to promise you'll tell me the truth. Even if it breaks me. I need you to promise."

He looks at you for a long moment and something in his expression cracks.

"I promise," he says. "When you really need to know—when you ask me and I can see you're ready—I'll tell you everything I know. I promise."

"Okay." You pick up your tea, which has gone lukewarm. "Okay."

Wonwoo sits back and you watch some of the tension leave his shoulders.

"Now," he says, his voice deliberately lighter. "Tell me about this essay collection. What's it about?"

You almost don't answer. Almost push back to the previous conversation, to the locked doors and the gaps and the him who hurt you in ways that weren't physical.

But you're tired and Wonwoo is offering you an exit.

"It's about transformation," you say. "About becoming different things. About—" You pause. "About people who change and people who don't and the cost of both."

"Cheerful."

"You asked."

"I did." He smiles slightly. "Is it good?"

"I don't know yet. It's…intense. I can only read a little bit at a time."

"That's okay. That's how you used to read Plath. Little bits, then you'd have to go look at something beautiful for a while."

"I read Plath?"

"Oh, obsessively. You went through a phase where you were convinced understanding sadness was the key to understanding art." He tilts his head. "You were probably right but it was a deeply depressing three months for everyone around you."

"Was I insufferable?"

"Completely. But in an endearing way." His smile is soft. "You're always insufferable in endearing ways."

You manage a small smile back. "I'm not sure that's a compliment."

"It's the highest compliment. It means you're annoying and I love you anyway."

"You're annoying too."

"I know. It's why we work." Wonwoo smiles genuinely this time.

The conversation shifts after that. It shifts to safer and lighter things. Wonwoo tells you about a project at work that's going sideways, about a coworker who keeps microwaving fish in the break room and has become the office villain. You tell him about the nature documentary you've been watching, about the anglerfish and their depressing mating habits.

And Wonwoo laughs—really laughs. The kind that makes his eyes crinkle behind his glasses.

"Wonwoo?" you ask quietly.

"Yeah?"

"Thank you. For—for not pushing. For letting me be slow."

"You don't have to thank me for that. That's just me loving you."

"Still."

"Still." He reaches across and squeezes your hand briefly. "You're my best friend. Have been since Mr. Bubbles. That's not changing just because things are hard. I'm staying. That's the deal."

Your throat is tight. "What deal?"

"The deal we made when we were seven and you shared your snacks with me even though I forgot mine. The deal where we're stuck with each other no matter what. The deal where I know you and you know me and we don't have to pretend." He stands, gathering his things. "That deal."

"I don't remember making that deal."

"I remember for both of us. That's how it works."

Wonwoo then pulls you into another hug—longer this time, tighter—and you let yourself be held by someone who knows every version of you and has chosen to stay through all of them.

"Text me later," he says into your hair. "Even if it's just a random thought. Even if it's 3 am and you can't sleep. Okay?"

"Okay."

"I mean it, YN."

"I mean it, too."

He pulls back, adjusts his glasses, slings his laptop bag over his shoulder.

"And hey," he says as he's leaving. "Whatever you're trying to figure out about your past—whatever's in that locked room or that sketchbook or those missing two years… just remember that the person you are now is still you. You're just you with different edges and those edges are sharp and they're yours and they're good."

You sit in the café for a long time, long after Wonwoo has left. You hold your lukewarm cup of cold tea and try to believe him.

You stand outside the children's literacy center in Mapo-gu and try to remember why you thought this was a good idea.

The building is painted a cheerful yellow with a mural of children reading books sprawled across the front wall. It's Thursday afternoon, nearly three o'clock, and the sunlight is doing that particular late-autumn thing where it's golden and warm-looking but the air is cold enough to make you pull your coat tighter.

You've been here before. Your body knows the way from the subway station without your mind having to direct it—turn left at the corner, walk two blocks, cross at the light. Muscle memory leads you to a place you don't consciously remember.

It should probably bother you more than it does.

But you've been living in muscle memory for a year now. Your hands know how to make coffee, your feet know how to navigate your apartment, your body knows how to exist in spaces your mind can't recall choosing. This is just one more thing.

Except it's not.

Because standing here, looking at that yellow building with its cheerful mural, you feel something you haven't felt in a long time: anticipation. Not dread, not numbness, not the careful neutral you've cultivated to get through your days.

Anticipation.

You take a breath and push through the door.

The interior is warm and bright and smells like crayons and old books and something baking—cookies or banana bread. There's a small reception area with a desk where a woman in her fifties is typing on a computer and beyond that you can see a large open space filled with bookshelves, reading nooks, and tiny chairs.

The woman looks up as you enter and her face transforms.

"YN!" She's around the desk before you can respond. She pulls you into a hug that's equal parts surprise and relief. "Oh my goodness, it's been so long!"

You hug her back automatically and something in your chest loosens. You don't remember her name—not consciously—but your body remembers the warmth of her.

"Ms. Park," you say and you're surprised when the name comes without effort.

"Yes!" She pulls back, holding you at arm's length, eyes bright. "Oh sweetheart, look at you. You look—" She pauses, choosing her words carefully. "You look rested."

It's a kind lie. You both know it.

"I'm better," you say and mean it more than you usually do. "I thought—I thought maybe I could come back. If you still need volunteers."

"Need you?" Ms. Park's eyes go brighter. "YN, the children have been asking about Teacher YN for months. Mina especially—she made me promise to call her the second you came back."

Something warm blooms in your chest. "Mina."

"She's here today. Thursday afternoon session." Ms. Park squeezes your hands once before letting go. "We're doing new volunteer orientation in about ten minutes. There are three new people starting. I was going to handle it myself, but—" She lights up. "Would you mind helping? You were always so good with the nervous ones. And honestly, having you back—the kids will be over the moon."

"I—" You hesitate but only for a second. Standing here in this warm bright space that smells like childhood and stories, you feel something you haven't felt in months: useful. "Yes. Okay. I can do that."

"Wonderful!" Ms. Park is already guiding you toward the children's area, chattering about the new volunteers—one is very sweet but anxious, another is enthusiastic but maybe a little too enthusiastic, and the third is—

She stops.

You stop beside her.

In the children's section, kneeling on the floor beside the picture book shelves, is a man.

Dark hair. Yellow sweater. Broad shoulders hunched in concentration as he studies the spines of books like they contain answers to questions he hasn't learned how to ask yet.

Your heart does something strange in your chest.

"Joshua?"

He turns at your voice and for a moment—just a moment—his face does something complicated. Shock and joy and pain and something so raw and desperate it makes you take an involuntary step back.

Then that expression is gone. Smoothed over into something carefully neutral. He stands slowly and you can see him concentrating very hard on appearing normal.

"YN." Your name in his mouth sounds like prayer and confession and apology all at once. "Hi."

"Hi." You're staring. You know you're staring. But something about seeing him here, in this place that feels like yours, makes the world tilt slightly. "What are you—you're volunteering here?"

"First time." His voice is carefully measured. "With kids, I mean. I've volunteered in other places but—this is new territory."

Ms. Park looks between you with barely concealed delight. "Oh! Do you two know each other?"

"We—" You're not sure how to explain. "We met. At a bookstore. Earlier this week."

"How wonderful!" Ms. Park is beaming now. "Well, this is perfect then. YN, since you're acquainted, why don't you give Joshua the orientation? Show him the ropes? I'll handle the other two volunteers."

You and Joshua look at each other.

Something passes between you—a question or a recognition or just the particular electricity of two people who are pretending this is a coincidence when it feels like something else entirely.

"If that's okay," Joshua says and there's something in his voice that makes you think he's asking more than just whether you'll show him around.

"Yes." You don't know why you say yes so quickly. Don't know why the idea of spending the next hour with him makes something in your chest feel lighter instead of heavier. "Yes, that's okay."

Ms. Park claps her hands together once. "Wonderful! I'll leave you to it then. Joshua, you're in excellent hands. YN is—well, she's the best we have."

She disappears to wrangle the other volunteers, leaving you and Joshua alone in the children's section.

The silence stretches for a little bit more.

"So," you say finally. "You volunteer."

"I'm trying to." He shoves his hands in his pockets. "Seemed like a good way to—I don't know. Do something that matters."

"Kids are good for that. Mattering."

"Yeah." He's looking at you with that expression again—the one from the bookstore, like you're both a miracle and a wound. "I didn't know you'd be here. I mean—I hoped. But I didn't know."

The admission hangs between you.

"You hoped?" you ask quietly.

"I—" He stops. Seems to recalibrate. "After the bookstore. You mentioned trying to read again. I thought maybe—maybe you'd find your way here. To this." He gestures at the space around you. "It seems like you. Helping kids. Giving them stories."

"You don't know me well enough to know what seems like me."

"Don't I?" The words are soft, almost sad.

You look at him—really look at him. You look at the tired eyes and the careful posture and the way he's standing like he's afraid if he moves too quickly you'll disappear or flinch or both.

"No," you say. "You don't. We met once. For maybe thirty minutes."

"Forty-five," he corrects quietly. "It was forty-five minutes."

"You were counting?"

"I was paying attention."

Something in your chest does that strange flutter again, but you shake it off.

"Come on," you say because the alternative is standing here trying to figure out why this stranger makes you feel like you're standing on the edge of something. "I'll show you around."

The tour starts formally. You show him where things are, you explain the systems, go through the logistics. It surprises you that you remember how to volunteer, but don’t remember who you are. But somewhere around the third bookshelf, something shifts.

Maybe it's the space itself. Maybe it's being surrounded by children's books and bright colors and the promise of stories. Maybe it's just that you're tired of being careful and this—this place, these books, this purpose—feels like permission to be something other than the quiet, diminished version of yourself you've become.

Whatever it is, you feel yourself loosening.

"Okay, so picture books are organized by theme, not author," you're saying, running your hand along a shelf. "Which I know is unconventional, but it works better for the kids. They don't remember author names, they remember 'the one about the bear' or 'the one where everyone's feelings are colors.'"

"That's smart," Joshua says.

"Mm." You pull out a book with a bright yellow cover. "Like this one—The Rabbit Listened. It's technically by Cori Doerrfeld but the kids just call it 'the sad rabbit book' and they know exactly where to find it."

"The sad rabbit book," Joshua repeats and there's something gentle in his voice. "Is it actually sad?"

"It's about grief. And how different people process it differently. And how sometimes the best thing you can do for someone who's hurting is just—" You pause, looking at the cover. "Just sit with them."

You look up and find Joshua staring at you with an expression that's hard to read.

"That sounds like a good lesson," he says quietly.

"It is." You put the book back. "The kids love it. They request it constantly. I think—" You stop, considering. "I think kids understand sadness better than adults do. They just feel it and move through it and come out the other side."

"And then request the sad rabbit book again."

"Exactly." You smile—really smile, the kind that reaches your eyes—and move to the next shelf. "Oh! And this section is about books on emotion. We have so many kids who don't have words for what they're feeling yet, so we use these—"

You're pulling books off the shelf now, showing him covers, explaining which ones work for which situations. Your voice has picked up speed, hands gesturing as you talk, and you don't even notice you've started moving around the space with more energy and brightness.

But Joshua notices.

He's watching you with something that looks like awe and grief mixed together. He watches the way you light up when you talk about the books, the way you move through the space like you belong in it, like you're finally somewhere that makes sense.

"—and In My Heart is good for kids who are just learning to identify emotions but The Color Monster is better for slightly older kids who can handle more complexity and—" You stop, noticing his expression. "What?"

"Nothing." His voice is rough. "You just—you really love this. The books. The teaching. All of it."

"I do." The admission comes easily, surprising you. "I didn't—I didn't realize how much until just now. But yes. I do."

"It shows."

You duck your head feeling suddenly self-conscious. "Sorry. I'm probably talking too much."

"No." The word comes out almost urgent. "No, don't—" He stops. "Please don't apologize for being enthusiastic. It's—" He stops again and when he continues his voice is softer. "It's really nice watching you light up about something."

The words settle between you and it’s too intimate for two people who barely know each other.

You move to the next section—early readers—and continue the tour, but something has shifted. You're more animated now, telling stories about specific kids and their favorite books, about the time one boy insisted on reading the same book about dinosaurs forty-seven times in a row, about how Mina once cried because a character in a story was lonely and she wanted to "go into the book and be their friend."

Joshua laughs at that, warm and genuine and the sound makes something in your chest flutter.

"That's very Mina," you say, grinning. "She has a very strong sense of justice and friendship. She once yelled at another kid for not sharing crayons because 'friends share and we're all friends here.'"

"She sounds intense."

You show him the rest of the space: the quiet corner with beanbags for overwhelmed kids, the craft supplies, the snack cabinet (locked, because the kids would eat everything in one session if you let them). And through it all, you're talking more than you've talked in months, gesturing, smiling, existing in the world like someone who belongs in it.

"The most important thing," you say as you're showing him where the tissues are kept, "is consistency. The kids have had a lot of people come through who volunteer once or twice and then disappear. So if you're going to do this, they need to know you'll be here. They need to know you'll stay."

Joshua has gone very still.

"Consistency," he repeats and his voice sounds rough.

"Yeah." You lean against the bookshelf. "They need adults who show up and keep their promises. They need adults who don't just—leave when things get hard or boring or inconvenient."

"That makes sense," he says quietly. "That's—that's really important."

There's weight to the way he says it, like he's talking about more than just volunteering.

"You okay?" you ask.

"Yeah." He manages a smile but it doesn't quite reach his eyes. "Just taking it all in."

chapter 1.2 continues here :)

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