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if art can be touched, will you let me hold you? | nanami kento

wc: 7.2k

summary: ​​you press love into each piece of art you create, and nanami wonders if you’ve ever been loved that way.

contains: f!reader, non-curse!au, ceramic artist!reader, pov switching, slowburn, reader wears a skirt, food mentions, bad breakup (mentioned), mentions of art critiques, almost explicit sex, it’s love without words.

a/n: a concept and fic i didn’t expect would be so dear to me; there are some very small personal touches in this but the main inspiration for this is ‘we’ve been loving in silence’, but some bgm are ‘can’t take my eyes off you’, and ‘make you feel my love’.

MINORS DO NOT INTERACT.

part of the in's and out's new year/birthday event | request prompt: showing ‘i love you’ in all the ways you aren’t used to

CLAY. Take your material of choice; turn it over, get a feel of it. Is it a suitable medium for your art?

You first meet Nanami in the halls of an echoing applause. 

The host’s spiel is muffled through the walls, but you know the program flow like the back of your hand—you’ve rehearsed your entrance every single day since being invited to announce your upcoming exhibit. In just a few minutes, your name will be called. 

Yellow cue cards slip through your fingers, scattering to the floor as a result of the haste from your last minute touch-up just moments before.

“Shit,” you curse under your breath, checking the time. 

As you crouch low, a pair of brown Derby shoes land in front of you—long and thick fingers reaching for your cue cards on the floor. The time on his wrist matches yours, each second highlighted in the stark contrast of a dark face and silver exterior. 

You’re quick to receive his help, taking the cards into your hands as you lightly graze his fingertips. When you look up, you’re met with sharp lines—an angular jaw, eyebrows set straight; a pointed nose and his cheeks carving out hollow shadows.

A geometric study on blank canvas. 

It’s embarrassing, the way you fluster and bow, thanking him with a stutter as you’re brought back to the urgency of the matter by the sound of your name being called out. 

The rush to the conference hall has you breathing heavily, the nerves hitting you full force as you step up the stage, nearly tripping at the last step. Hues of blue, yellow, purple, and green lights glare at you, and when the host hands you the microphone, you chuckle nervously, clearing your throat before addressing everyone in the room to thank them for coming this afternoon.

Your exhibit is called ‘What is the Face of an (Un)Touched Soul?’—a collection of ceramic sculptures molded to the realism of a human face, with the soul imagined as varying patterns and colors that fit each featured individual. 

It’s been half a year since you started, with three out of six sculptures completed already. Two are in-progress, and you have yet to find a subject for one more; there are six more months for you to complete everything.

The audience sounds their applause, sophisticated claps and nods a familiar tune in the many years of your sculpting career. Critics in the room jot down their thoughts, reporters holding up microphones and recording devices to cover your announcement. 

You smile wide, the rehearsed kind. 

And at the end of your presentation, stepping down the stage, you spot him again. 

You think to approach him in that moment, to thank him properly instead of the fumbling mess you’d choked out in the hallway—but you’re pulled towards a crowd of reporters and critics, recording devices pushed just below your chin as you watch him disappear into a sea of faces not nearly as interesting as his. 

.

You meet Nanami again in the bustling morning rush at the bakery near your studio. 

The past few weeks have been head-down and tedious, late nights working on painting some of the last few pieces for your exhibit. One of them is of your niece, 5-years-old in mint and white innocence; your brushstrokes are featherlight, softly accentuated by sponge dabs—a slate barely filled in, with room for more colors to appear with time. 

Another is of your neighbor, an old man whose eyes have seen war beyond your comprehension—a retired soldier, a veteran of the military force. He plants primroses by his windowsill, the pastel yellow a stark contrast to the life he’s lived in red; neither of the colors cancel each other out, neither of them blend. You drag harsh strokes against his jawbone while smoothly gliding watercolor across his eyelids. 

The people in your sculptures have sparked an untapped curiosity within you—for stories, for lives, for souls and what those might look like. 

You bump into Nanami on his way out, the sandwich in his hand falling to the ground as you frantically attempt to pick it up.

“Oh my god, I’m so sorry.” you turn over the sandwich, checking for any holes or openings in its packaging, “Let me–”

It only registers that it’s him when you notice the same brown Derby shoes, the same watch with that dark face and silver exterior, the same geometric perfection on his face when you look up and finally come eye-to-eye with that same fixed stare. 

You clear your throat. Well, this is embarrassing. 

“Let me buy you another sandwich.”

He doesn’t exactly look angry, expression set in straight lines, but you can’t tell for sure—there isn’t much you can go by.

“There’s no need,” he dusts off the wrapper, “it’s still sealed.” 

“Please, I insist,” you pat down your skirt, linen rough on your fingertips, “As a thank you too, for last time.” 

He arches a brow, and for a moment you worry that you’ve remembered him wrong—honey blonde hair and features you’ve been intrigued by since. 

“You insist.” he repeats, clarifying more than questioning. 

You nod. 

He sighs, checking his watch before pocketing his sandwich and turning back to open the bakery doors. 

The silence in line to the counter is awkward. Nanami remains impassive, hand tucked inside his pocket—you can’t read a single thing about him.

“I was meaning to thank you after the exhibit announcement,” you start, turning slightly to face him before looking ahead again. 

He hums. 

“But I couldn’t find you, so…” 

He hums again. 

The lack of response makes you nervous and quite honestly a bit irritated. Here you are, trying to be nice, and all you’re met with are dry—

“It’s no problem, but that’s thoughtful of you, thank you.” he finally says, “I didn’t expect you to remember.” 

A pause. 

“I’m sure you meet a lot of faces in your line of work.” he further clarifies, in case his earlier remark had offended you. 

You snort, “I wish.” 

The line moves forward.

“Ceramic faces, maybe. People not so much.” 

When you glance at Nanami, the look he returns is still characteristically inscrutable, but you think the corners of his eyes soften just a bit—to feel for you maybe, you hope, you think. 

The line moves quickly after that, and next thing you know it, you’re by the cashier, pointing at one sandwich for you and another for him. You buy him a cup of coffee too, just as an extra kind gesture (—for his time; you’re sure he has places to be and people to see), but he stops you. 

“Coffee’s on me.” he pulls out his card. 

“Oh,” you look up, surprised, “you don’t have to do that—”

“It’s only fair,” he nods as the cashier punches in the order, “now we’re even.” 

You attempt to rebut, but find no room for argument in the unbending weight of his gaze. 

An interesting man. 

You watch him stand by the claiming booth, hand in the pocket of his khaki suit. Nothing about him feels cohesive, yet he makes it work. Artistically, from a sculpting standpoint, the sharp lines on his face would be an interesting challenge—but beautiful, nonetheless. A study of near-perfection, you think. 

And it would seem obvious, that from the rigid cut of his jaw and the sharp edges of his cheekbones that he’d act just as pointed. 

Except, he doesn’t—a stark contrast to how much of a gentleman he seems to be. 

His blue shirt stands out when you’d assume he prefers subtlety, and it’s ridiculous, but that yellow cow print tie feels simultaneously out of place but so fitting. 

He walks toward you with your coffee, sandwich resting on his forearm.

“Thank you, Mr.—” you smile sheepishly, “Sorry, I don’t think I got your name.” 

“Nanami Kento.” the corners of his lips lift slightly. 

“Mr. Nanami,” you repeat, introducing yourself right after.

“Thank you as well.” he adds on as you both walk towards the doors. 

Something tells you this is a missed opportunity. Something tells you there’s more to learn about this interesting man and what lies beneath his straight-faced sincerity. 

The chatter from the bakery is replaced by the city’s breaths—cars passing, dogs barking, footsteps on pavement rushing to get to their next destination. And you and Nanami stand by the entrance, neither knowing how to say bye. 

“Do you come to this–” 

“My studio is just by the corner, so–” 

You quickly look at each other. Nanami bows his head slightly, hand gesturing for you to go first.

“Sorry, um,” you tuck your sandwich in the crook of your elbow, “yes, I come here pretty often. My studio is just around the corner, so I drop by for quick meals when I can. You?” 

“It’s on the way to work most days.” 

You nod, humming. 

Another awkward pause.

“I hope you–”

“I should get–”

You look at each other again, a bit more amused this time. The slight wrinkling of his eyes is impossible to hide.

He gestures for you to go first again, but you shake your head, offering him instead. 

“I hope the pieces for your exhibit are going well.” 

“Thank you,” you smile, bowing your head slightly.

That ‘something’ in your brain speaks to you again. 

“Actually,” you begin, “sorry if this is weird, please feel free to decline, but,” you shift your weight, “I have one last piece to do and I was wondering if I could ask you.” 

Nanami looks taken aback for a moment, eyes wider than normal as he processes what you’d just said. 

“Ask me… for an opinion?” he clarifies. 

You mentally facepalm yourself—you really should have made yourself clearer. 

“Sorry, no, I meant,” you take a deep breath, fingers fiddling with your skirt, “if you’d like to be the subject for it.” 

The expression on his face is as indecipherable as ever. 

.

.

.

MOLD.Be familiar with your art, learn more of its intricacies. What will you shape it to be? 

In the most unexpected play of events, Nanami says yes, but not without his hesitations. 

You explain your process: the selection of a subject, an interview to get to know them better, then a few meetings at the studio to create the mold of facial features before coating it in plaster. 

Never in his entire law career did Nanami ever think he would be into art, much more be chosen to be the subject for it. But he figures, if anyone were to get him to do things so wholly out of character like this, it would be you. 

After all, he’s been a fan of your works for a while—from your third exhibit up to your seventh one now. 

People love paintings and the strokes on canvas, admiring textures and blends of colors bleeding into one another; Nanami loves sculptures, a mixture of materials and techniques forming an object with more than one viewing plane.

“Have you always loved sculpting?” he asks, sitting still on the wooden stool in your studio. 

A few meetings have gone by by now, and he’s told you a few things about himself for this to be a comfortable enough way to spend his Friday night: he’s a lawyer in a firm he’s co-founded with a good friend, evenings being the only free time in his schedule; he lives alone in a two-bedroom apartment and his neighbor’s cat often lands on his balcony every morning; he likes coffee and tea, paperback books and music from the 30’s and 60’s. 

He chose to be a lawyer to correct the shitty system that’s vowed to help but has instead made it difficult for anyone genuinely trying to be good. 

“I started with paper craft first,” you mold out the slope of his nose, looking back and forth between him and the mass of clay on your desk, “you know that 3D looking paper art that kinda pops out of the page?” 

He hums instead, careful of any slight movement that may disrupt the pose you’re trying to replicate. 

“And this?” 

Your metal scraper drags on the sides of the sculpture’s nose, sharpening it as it narrows to the bridge. 

“I picked it up in college, was an outlet to keep me company during that time.”

The PR answer. 

Nanami knows most of your general story; pamphlets and exhibits always give a run-down of the artists’ individual histories. You’d started sculpting as soon as you entered college, a need for company while in a completely unfamiliar place with no more home to return to. It was all or nothing, and as the sculptures grew in number, so did your popularity—you are by no means a fresh name to the scene 10 years later. 

“Why do you love it?” he looks you in the eye. 

You pause, holding his gaze for a few seconds before looking away, focusing on the chunk of wet clay between your fingertips as it turns more pliable.

“It’s gotten me through a lot.” you sigh, attaching the piece of clay to form his lips, “Touching clay feels therapeutic sometimes, and you can tell from how it looks if it’s been molded with love.” 

The stillness in your studio is extra quiet, filled only with the faint sounds of your fingertips sticking onto clay; he doesn’t quite know what to say. 

“Sorry, that was cheesy.” you scrunch your nose and pout. 

He chuckles, a low laugh, “Not at all.” 

You lock eyes, the curve of your lips upturned. He feels his eyes soften around its edges. 

It makes sense, and he thinks he can understand; there must be a reason why he loves books with creased spines, why he prefers weathered pages—why the scratches on his vinyl records don’t bother him as much as it should. 

.

You both like your coffee without milk, just with a bit of sugar for yours. 

Nanami’s taken up baking, specifically breadmaking, in his spare time—he brings you sourdough the next Friday you meet. 

Your studio is an organized mess, scraps of clay decorating the otherwise bare and white space. To the left of the room is a large cork board filled with pinned sketches and some color swatches—a visual representation of the creative chaos in your mind. 

A whiteboard to its right holds your schedule, and everywhere across the room are your art pieces—on shelves, in glass cases. He assumes most of them are the versions that didn’t make it, considering that the ones that have are either auctioned off or left as collector’s pieces in exhibits and art museums. 

“That’s the first one I ever made.” you sneak up behind him, biting off the sandwich you hastily put together.

The sculpture is smaller than the busts you’ve made for your current exhibit, but it still occupies a third of your shelf. It’s unlike any of the works you’ve ever done, but he supposes it makes sense, given how much your style has probably evolved over time. 

The piece is a lot simpler in comparison to the edgy twists most of your works now contain, but the little girl fast asleep in the sculpture begs questions he’s not sure how to ask you—if he even should. 

He continues to stare, clearing his throat; you eye him knowingly and snort. 

“Just ask, I know you want to.” 

The texture of the carved blanket catches his eyes, the ripples and creases made to conform to the girl’s curled up figure. There’s a sadness underlying her comfort, a search for security while being wrapped in a bundle of safety. 

“Who is it?” he asks.

You pause before you answer; he’s worried he’s crossed a line. 

“Me.” you admit, a near-whisper. 

He hums, back still faced towards you. It explains, then, why he’s always felt an underlying sadness beneath the creases of your smiles. 

When he turns his face to the side, an attempt to catch your eyes, you look away, diverting. 

“Which one introduced you to me?” you gesture towards the rest of your pieces. 

As it’s come to be, Nanami’s learned that you’re good at that too—creating curves of deflections, pockets where you can hide when you feel something’s gotten too close. 

He plays along, turning around to view the expanse of your studio; it’s amazing, how the art pieces that stack shelf upon shelf all boil down to your hard work. You briefly mentioned that you haven’t taken a break from creating because you still don’t believe you deserve it.

“It’s not here,” he puts his hands in his pockets, “the one with the hand clutching a heart.” 

‘Unhand’—his favorite piece of yours; he’d seen it in one of the museums he had to visit for one of his clients. Hyperrealistic branches of veins and arteries running across an anatomical heart, every curve and indent a carefully placed texture to bring your piece to life. It comes clenched in a hand, the veins streaming across each finger while blending into those of the heart’s—at first glance, it’s impossible to tell where one ends and the other starts.

It’s a different view from each angle—that’s why he likes it so much, along with the graphic nature of it. The pain feels vivid, real.

“Ah,” you run your fingers across your work table, fiddling with the small pieces of clay before taking a seat again, “that one.” 

Nanami follows but he doesn’t say anything, resuming his place in front of you in the usual way he’s done the past few weeks.

“I didn’t think I was the type to be moved by art.” he confesses, sitting still as you continue the final work on the clay wisps of his hair.

You encourage him to go on, nodding along. 

And he does, watching the way your steady hand forms features that look uncannily like him, if not better; strands of your hair always fall from behind your ears and he’s almost tempted to tuck it back to where it came from. 

He tells you of the pain he feels from that piece, how it presents itself in different ways depending on the area you focus on—the constricted blood vessels, the buildup of pressure from a vein blocked by a thumb, the strain of muscles at the back of the hand. 

A small smile makes its way onto your face, slightly sad but somehow relieved, “Didn’t expect you to be such a poet.” 

“Must be from being around you so often,” he responds.

And if it’s a trick of the light, a part of him sinks at that possibility—he thinks your smile stretches wider, suppressed only by the shyness trying to hide it; no pain whatsoever. 

Unexpectedly, you share with him the story. Not the filtered version, but the one just as raw and vivid as the sculpture made from it—a failed relationship that had you clinging onto sculpting as your lifeline. You spare him some of the gruesome details but hint at it enough that he can fill in the gaps on his own.

You tell him that you’re a people pleaser, you’ve learned—it’s the only way you can view that relationship with grace, that at least you understand yourself better because of it. That even when the grip on your heart wrung tight enough for each beat to hurt, you still clung on with all your worth. 

(Now you know you shouldn’t have.) 

People have come to you with stories of their own, sharing how much your art means to them. Critics write articles, both good and bad, detailing the technicalities of your work. The applause follows you everywhere you go, yet it has never touched you—has never gotten too close. 

If your art has touched others, has listened and spoken their truth in your handiwork, who does that for you? 

.

During one of the last few Friday meetings, you offer to teach him how to mold clay. 

He looks at you curiously, watching the way your fingertips pinch and squeeze, how they glide to smoothen the material and press down to create indents on the surface. 

“Do you want to try?” you ask, gaze still set on his sculpture in front of you. There’s a teasing edge to your tone, one that’s developed over the months of getting to know you more. 

“Would that be troublesome?” 

You laugh at his rigidness. 

“Of course not.” you push your piece aside, standing up to gather clay from the mound of it to your right. You lay down a wooden platform for him–his own little workspace–and slam a chunk of clay atop it, “I think you might be good at it actually, since you like making bread.” 

The movements are familiar but not entirely the same. He rolls up his sleeves, blue cotton pinching at the creases of his elbows; you hand him an apron to protect the rest of his clothing. There’s not much kneading involved, not much palm action too, but he learns to move his fingertips with a force he can only compare to creating little dimples into focaccia dough. 

You teach him how to make a bread basket—something practical but beginner-friendly; something he can use and keep as a reminder of you. 

The trickiest part of it is mimicking the rattan weavings, and you notice him struggling with it when his strips of clay begin to break. 

A screech fills the room as you push back your chair, standing up to go behind him as he attempts to salvage his work.

“Here, let me–” you reach over his shoulders, flattening some of the cracks from above him.

You’ve never been this close before, the thin strands of hair dusting your arms tickling the sides of his ears. These past few months, he’s watched your hands press and pull and form, turning each detail of his face into art. It’s only now, right next to his larger and rougher ones that he’s noticing just how small and delicate yours are. 

It’s dainty work, weaving and braiding. He attempts to do it again, but the clay only falls apart when he pulls too hard. 

You stifle a giggle, the vibrations tickling his back, “We might take a while here.” 

“I don’t mind.” he mumbles.

“You sure you don’t have anywhere else you’d rather be?” you lean forward, pressing closer until he feels your warmth against the back of his head, “I feel bad, I’ve been taking up most of your Friday nights already.” 

It shouldn’t mean anything; he shouldn’t feel anything—you seem to be unfazed; art is meant to be taught by doing.

But then your hands go over his, guiding them to lift each strand of clay gently before interweaving them with one another, and he thinks—

—this must be what it feels to be touched by art. 

So, no. 

There’s no other place he’d rather be. 

.

.

.

DRY. Give it time, let it settle. Watch your art come into form. Is this a good foundation? 

“Will you be free next weekend?” 

His question surprises you as you stand in line at the bakery. You tend to catch each other at just the right times almost everyday, saving a spot for whoever’s running a little late. 

Today, it’s you, rushing in slightly frazzled with your hair sticking out which way; you’d just finished up molding the sculpture late last night, letting it rest out to dry. Nanami’s head is turned towards you, hands in his pockets as he directs the same pointed gaze you’ve become all too accustomed to.

You must have forgotten to mention it. 

“Oh,” you turn to him, “there’s no need, our sessions are over.” 

His silence makes you nervous, just like it did the first (second) time you met.

Did you upset him? Did he already cancel plans to free up time for your studio? 

The entire trip to the cashier is quiet, but you find that he’s ordered ahead for you—your sandwich order and a cup of your usual coffee. He pays for it too, despite your refusal (and confusion). 

It’s when he hands over your drink by the corner of the room that he finally speaks. 

“Not for a session.” 

You tilt your head curiously. 

The coffee feels warm on your hand, and you think you see the same warmth at the tips of his ears, dusting it light pink. He coughs, fingers clenching around his tie before loosening it. 

“For a date.” 

.

You begin to take up his weekends now, too. 

Since that day at the bakery, when you’d nearly dropped your coffee before stuttering out your availability, you’ve already gone on seven dates (to you, at least; Nanami would officially count three). 

He insists on still visiting you every Friday, bringing you dinner as a reminder that you should eat on time and not the moment you’re keeling over from a rumbling stomach and a pounding headache. You count these as dates too—because what else do you call spending time with someone you like while having night-long conversations over good food? 

(Nanami creates a distinction though, prefers his dates to be more planned out and intended. On the three official dates you’ve gone on, he’s brought you to three different locations—a weekend market, a picnic by a lake after you’d mentioned something about it, and a vintage record shop on the outskirts of the city, a place he frequents often). 

The near-perfection you once thought of the man, a geometric study on canvas—he’s still every bit of it, still every bit as interesting as what he seemed, just in a completely different way. 

For a man typically so nonchalant, he is extremely particular about his tastes, borderline picky with trusted company. 

Nanami enjoys coffee (as expected), but the fermented filter kind, dripped down a V60 pour over to extract different notes of sweetness and acidity. You’d think he enjoys a straight black, face stoic enough to handle its bitter bite; but no, his jaw clenches when he dislikes the taste, his tongue sounding the faintest click against the roof of his mouth before he downs the entire thing in one gulp. 

He also happens to be extremely gentle, in a way you don’t expect from a man of his stature and build. Veins run through the back of his large hands, branching to webs around the thickness of his fingers; they may not be delicate enough to weave clay, but he carves out different patterns on the sourdough he presents to you every Friday. 

The first time he held your hand, it wasn’t exactly planned—an instinctive move to reach out his palm as you climbed the steps of the spiral staircase in the record store out of town. You’d barely felt it then, just the featherlight hold of his thumb pressed against your knuckles as you gripped the fabric of your skirt. 

(To your surprise, he kept it up all the way through, slipping his fingers through the gaps between yours as he showed you around vintage vinyls and the sound of love in muffled 60’s tunes.)

You imagine him to be like clay, a softness hardened over the years that have shaped him; smooth but solid to the touch, breaking into powdered shards once you manage to work your way through. 

It’s unexpected, but you like that. 

And you like him—quite a lot, really. 

This date–the tenth, or fourth, whichever–is a lot fancier than all the others, a more formal dinner with a few glasses of delicious wine whose name you by god, don’t remember. You’d been too focused on something else—the handsome way he’d slicked back strands of his honeyed hair. 

Black suits him, contrasting the paleness of his skin and complementing the sharpness of his features. 

Black, the color of his suit, pressed neatly to fit him perfectly. He looks clean, broad shoulders with straight slacks falling to exactly where they’re supposed to be. 

Black, which is the only thing you see, pressed up against him. You’re so close by your doorway, that half-minute of deciding whether to stay or walk away; he has one foot behind him and one firmly planted right next to yours. 

You share a breath, fingers lightly intertwined with his. 

There had been signs the entire night that it would lead to something like this—he’d played with your fingers a lot more, kept much closer to you than he ever has before. 

Every sound around you is amplified—each inhale and exhale, the gulp he makes; your heart beats on rampage.

When you look up, your noses are almost touching, and his eyes are shut, the crease between his eyebrows deepening. 

It’s a look you’ve only seen once before, when he’s stuck contemplating. 

“Kento,” you whisper. 

His eyes blink open slightly, the color of your coffee. He leans forward, forehead resting against yours as he takes a deep breath, “I–”

Then you kiss him. 

It’s mostly a peck really, and wholly out of character for you, but it’s that same something that compelled you to ask him to model for your sculpture months ago that’s pushed you to do this right now. 

You’re worried for that first split-second because he doesn’t move, shows no sign at all of reciprocating. It’s a moment before you consider parting that he finally softens, relaxing his lips as he glides them over yours. His fingers slot themselves by your ear, palm pressed against your jaw as he deepens it; you almost stumble back, his other hand catching your weight as it leans on your door. 

It’s a good thing you did this then, because you learn that he likes you too—very much, actually. 

.

Things are good a month until your exhibit. 

Things are good until they aren’t. 

You end up reading a premature critique on your exhibit, calling it ‘overrated’ and ‘boring’, detailing the trajectory of your decline as an artist, citing your works as having become increasingly more lackluster over the years. 

The critic calls your theme ‘lazy’ and ‘unoriginal’, predicting your pieces to be nothing extraordinary or different from your older sculptures. 

All this time, your publicist and manager have made it a point to protect you from things like this, requesting that you avoid searching up your name on social media or search engines. You’re usually fed with praises and the occasional constructive criticism, but never anything as spiteful as this. 

It’s every possible thing that could be said to invalidate your hard work. 

And you break because of it—along with Nanami’s sculpture.

It tips over accidentally, the funk in your mood making you especially clumsy. 

The damage is terrible, half of his face is gone, his neck down still intact but chipped off. It’s impossible to repair without redoing the entire thing—which, you don’t have the time for, either. 

You groan, banging your head against the table. 

Frustration leaks out in your tears, every inch of self-doubt surfacing. 

Nanami finds you in your studio that way. 

He’d texted you the entire day, tried calling you a few times to no success. It’s a Thursday, but without your usual ‘just got home’ text, he’d gotten worried and rushed over as soon as his meeting ended. 

If he’s being honest, you’ve been off this entire week—stressed and distant, overworked from revisiting all your finished sculptures for the exhibit in case of anything to change or tweak.

Then this. 

And it’s too much—it’s all too much. 

Nanami calls your name from your entryway and you look up with tears streaming down your face. He’s never seen you like this, you could never want him to. 

He hurries over, brows immediately furrowed as he digs into his pocket for a handkerchief. The cow print would make you giggle on any other day, but now, he uses it to wipe your tears away. 

“What happened?” his gaze shifts to your right, his sculpture half-ruined. 

Silence. 

“Is there anything I can do?” he asks hesitantly. 

You shake your head, swiping at your nose, “It won’t look the same, Ken.” 

“Do you want to redo it? I can clear up my schedule every–”

“There’s no time.” 

Nanami takes your hands to rub his thumbs over your knuckles, soothing. 

“Then we’ll do what we can.” 

The sincerity in his voice hurts you, the reassurance in his eyes even moreso. You’ve never had anyone look at you this way. 

“There’s no point.” your shoulders slump, lips trembling as another wave of tears pool on your lash line. “People are calling the exhibit a flop.” 

“Who?” 

You huff out, exhausted, “I don’t know, critics, media. Whoever.” 

He furrows his brows, firm, “They don’t understand what you’re doing.” 

You chuckle sarcastically, “They’re art critics, Ken, of course they–” 

“If it means something to you, what does it matter to anyone else?” 

That makes you look up. 

Nanami stares at you with the same unwavering gaze, no longer indecipherable to you. There’s a softness in the squint of his eyes that you now know means concern, with every pointed feature only meant to drive his words home. 

You’ve been second guessing everything down to the core of your abilities, because of what? A few words? This must be what you get for having a penchant to people please, for hinging on everything everyone has to say. 

“If you love what you create, then continue to make it.” he squeezes your hands, as if pressing the words into your bones gently. 

.

You remold and repair, and you build up your sculpture to something different but not worse than before. 

You remold and repair to build up yourself. 

The half that broke off isn’t as symmetrical as you’d like it to be—and it definitely doesn’t do justice to the man it’s sculpted of, but you think you like the softness you added to it, how his eyes look kinder. He means something else to you now, after all, compared to when you first started sculpting him. 

And you think, you know just what kind of design speaks of his soul. 

.

.

.

PAINT.Add the final touches, perfect your piece. Bring it to life with colors and details, whether it be for one pair of eyes or many. Do you now see?

Nanami teaches you how to make bread on a Sunday morning. 

Flour coats every surface of his counter, dustings of it transferred to the deep blue of his apron. You’re wearing a white one, borrowed from your studio. Elbow-to-elbow you knead, and he only has to teach you once for you to get the hang of it, really. 

He smirks, “You’re a natural.” 

“Must do stuff like this a lot in another life or something,” you stifle a giggle, playing along. 

It’s a beautiful day out, golden sunlight hitting your cheek—Nanami stares, sneaks peeks between every knead. The same strands of hair tucked behind your ear fall to frame your face, and he hooks his pinky around it to tuck it right back (because he can now, without having to hesitate). 

You turn to him, daylight in your eyes when you grin your thanks. 

His kitchen has an open space, deep wood and black metal detailings as its central theme (the white bread bread basket you made together stands out on the counter, but he’s done that on purpose). There’s a pretty extensive collection of alcohol in his liquor cabinet, along with his very particular coffee set-up right next to his record player slotted in the corner. 

On Sunday mornings, Nanami likes to keep his music playing; today, it’s the classic 60’s–’Can’t Take My Eyes Off You’–serving as your background beat, with the soft meows from the cat on his balcony as added accompaniment to the melody. 

He watches you sway, his feet tapping along, then you jolt, giggling in surprise when there’s a hiccup in the song (it’s from the scratches on his record, but he can’t bother replacing it with a new one). After that breakdown in your studio, you’ve seemed to loosen up immensely. 

“Ken,” you call him, “how much pressure do you usually put into kneading?” 

There’s no way to explain it, really, but to make you feel it yourself. 

“Let me–” he lets go of his dough, dusting his hands with more flour before coming up behind you. 

Nanami is a big man, tall and lean, all chest and shoulders—when he hunches over you, you look so small, delicately tucked into him. Heat rushes to his cheeks, if you turn around you’d see pink; the music is drowned out by his heartbeat. 

He leans forward, palms clasping over the back of your hands, fingers slotting themselves between the gaps of yours. 

“Like this,” he pushes down, his chest pressed against your back. To get a better look at the dough, he tilts his head to the side, nearly slotting it by your shoulder, “Can you feel it?” 

You hum, your swaying gone. He’s trying hard to focus on the bread, but when you turn your head to face him, the tip of your nose touching his cheek, he stops. 

The moment is tense, drowned into silence despite the music playing in the background. He can hear your every breath. 

“Thank you,” you whisper. 

Nanami knows it’s for many things—for agreeing to the sculpture, for spending time on it; for this Sunday morning, for being there when you needed someone the most. But that’s not the whole point of this, he thinks. It’s how you sound, voice heartfelt and filled with something else—a kind of affection he’s all too familiar with himself. 

This must be what you mean when you say you can tell if clay has been molded with love. 

.

In the quiet, Nanami’s hands move loudly. 

He holds you gently, just like he always has, but it’s a permission every time—like he’s asking if he can touch you, love you in ways you aren't used to. 

Your apron falls to the floor, followed by your skirt, the fabric pooling by your feet. The faded gray t-shirt you wear during studio days is tugged over your head, dropped next to him. He takes his time with you, turning you over, feeling you, knowing you—thick fingers squeezing the sides of your arms lightly as his lips press against your neck. 

A gasp escapes you. 

Then you move, nimble hands undoing the buttons of his shirt, pushing it open as you feel across the planes of taut muscle on his stomach and chest. 

He groans, soft and low, your fingers brushing against his skin, ticklish. 

You take a step back and he moves along with you, letting you settle into yourself as you inch backwards, the back of your knees knocking against the edge of your bed. He holds your gaze as you move towards your headrest, your shy smile doing nothing to lessen the butterflies in his chest—you did mention that it’s been a while. 

He kneels on your bed, the mattress dipping to accommodate his weight—his slacks have been discarded to the side as he crawls over you. 

Beneath him, you look like the very subject art could only wish to replicate. 

So, he makes sure to remember all of it—to look close and memorize every detail of you as he dips down, arm planted to the side of your head as his other hand cradles your face, tilting your jaw up for a kiss. 

He catches your lower lip between his, running his tongue over it before sucking lightly. You moan, smooth and honey-sweet, bringing him closer with your fingers clasped behind his neck. The room is quiet save for your lips smacking against each other’s, warm and soft as the heat builds between you.  

Slowly and tenderly, with the same care you tend to clay, Nanami discovers all your dips and curves; he kneads the flesh of your hips, gripping your thighs as he kisses his way down the slopes of your body. 

You squirm in his hold, tugging at his hair when the sensation feels too much, too good. 

(But when he reaches between your legs, arms locking your thighs over his shoulders, you realize, nothing could have ever prepared you for this, for him—he treats you as if you are every bit of the art you make, and looks at you like it too.) 

Then, Nanami kisses you on the forehead when he’s inside you, lips pressing on the part of your skin that creases when your brow furrows. 

A tear drips down your face. 

“Should I–” he looks you in the eye, worried. 

“No,” you breathe out, a watery smile as you nudge your nose against his chin, “keep going.” 

So, he does; he loves you without the applause, with the feel of his hands, leaving no place untouched.

He moves his body against yours. 

It’s only after, when he tucks himself into your neck, arms wrapped around you and skin sticking onto skin that you tell him your tears aren’t anything bad. 

For the first time in a while, you feel full—perfectly content. 

.

He thinks you should be the final piece to your exhibit. 

It’s a grand event, the conference hall decked in some of your previous works; blankets of white cloth drape over the stage—the unveiling of all your sculptures. You’re standing to the side, looking pretty in a long white skirt while Nanami blends among the crowd, far back enough to remain hidden from reporters but close enough to catch your eyes should you look his way. 

You present each one, introducing the titles with brief descriptions of the people they’re sculpted from. The reasons for your designs are left primarily up to interpretation, but you’ve explained it all to Nanami—he’s listened to every single one. 

Then you present his sculpture, finding him through the crowd. The corner of your lips curl up slightly, the stage lights reflecting on your eyes. 

He smiles at you the same. 

‘The Undoing’ is what you call it—half-perfect and half-salvaged. 

It’s far from your original vision for the piece, but you think you like this more, splitting down the part that’d originally broken off into two different colors. His entire color scheme consists of yellows, greens, and browns—the perfected side of his face appears in clean strokes of coffee, with light yellows highlighting his pointed features. The angles are clean and sharp, his gaze straight and dead-on. 

Running down the cracks of the broken half is a sky blue line, an almost glowing effect added to the salvaged side. In a way, it’s an emergence, of the part of him you never thought existed—green wisps like leaves, a life springing from within. You add flecks of gold to mimic light bouncing off his irises the same way sand becomes a glittering sea of sunbeams. 

To you, Nanami is warm but cold to the touch, and he’s undone you just as much, has chipped away at the parts of you that have built themselves over years of habits reinforced and untouched. 

It is as much you as it is him. 

That’s what happens when you love someone, he supposes—an intermingling of souls. 

Kraft paper crinkles in his grip as he adjusts the bouquet of flowers behind him, deep red carnations and orange tulips decorated with white astilbe flowers—for when you get down, and he can have a moment with you privately. 

Now, he looks at you fondly, shifting his feet from where he’s standing. You search for his face, eyes darting to where you know you’ll find him; he meets your gaze, and you smile brighter, that one look ringing louder than the standing roars of an echoing applause.

a/n: each segment represents the steps to making a sculpture that i tried to parallel with the development of their relationship. V60 pour over is a kind of set-up for drip/filter coffee.

thank you notes: for @mididoodles, this is my very late birthday gift for you midi, but i hope you like it! (this also so happens to be your request for my in's and out's event) 🥺 + @soumies @scarabrat for reading through the first third of this and believing in the vision for this when i was so unsure of it, i love you both 🥺 + @stellamancer for helping me figure out what goes in the 'contains' 😭 + @augustinewrites to scratch the nanami itch 🥺

comments, tags, and reblogs are greatly appreciated ♡

i love haikyuu so much. bc it’s just. so cute. i love how many characters there are and all of the useless, trivial information we have abt all of the characters. like how iwaizumi used to collect cicadas, only to let them go bc he said he’d feel bad if he kept them. how yamaguchi likes “long fries that have gone soft and floppy”. how kunimi likes salted caramel. how akaashi wrings his hands. how kuroo just happens to get top grades and slips all these scientific words into casual conversation. kenma’s username on everything is “applepi”. it’s just so cute. i love the character interactions, like when bokuto is looking out of the window in his pyjamas and he says “i’m glad it’s fukurodani who i could play my last match with” and akaashi is like “are u dying bokuto?” and bokuto says “what? i’m going to live until i’m 130″. and when shimizu holds suga’s hands when he’s visibly stressed and suga instantly goes red and swirly and he’s like “pls wait!!!!!! we can’t get married yet!!!!!”. and when kuroo and bokuto knowingly smile at each other and hug after nekoma are eliminated from nationals. when kenma smiles and thanks kuroo for getting him into volleyball and kuroo is like “… … … … … huh… …? … … W-WAIT…” and he covers his face and starts laughing and it’s rly cute. nobody is bad. kyoutani is really scary and only listens to iwaizumi, but only bc iwaizumi beat him at arm wrestling. a cunning, deceitful character like daishou has a rly pretty gf he tries to impress, and when they watch volleyball matches together he gets bashful bc he feels like he’s being a huge volleyball nerd but she calls him cool. i just don’t understand how a series is this cute. they’re all so cute. moniwa is so cute. goshiki is so cute. oikawa teaches volleyball to children on mondays. don’t even get me started on yachi

leave the light on - miya osamu/f!reader (haikyuu!) part 10 in the bff!osamu series tags: childhood friends to lovers, tw instant coffee mention, miscommunication, confessions, ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!!!!!

Onigiri Miya closes early on Sunday nights.

It’s not for lack of business—the shop would certainly take in enough revenue to justify staying open regular hours an extra day per week, especially on a weekend. But in the early days of Onigiri Miya, when it was just a one-man show, Osamu needed at least one night that he could count on having off. The workweek business—office workers and students going through their routine hustle and bustle—kept him going, enough so that Sunday nights weren’t a make or break for him, and he was able to start shuttering in the early afternoon once per week.

He remembers those early days. Sweet talking vendors to bring down the cost of produce and haggling with the grubby, bleary eyed men at fish market stalls at the crack of dawn for a deal on the catch of the day. Promising suppliers that he’d be able to get them their money in a couple of weeks if they’d just give him some more time. Standing on the road, because Onigiri Miya was just a street stall back then, trying to coax people in and try his food. To convince them to take a chance on him. He remembers burns on his hands and cuts on his fingers and an ache in his bones that ran so marrow-deep he forgot what it felt like to not be so sore. Sunday nights were the only night he had to relax. The only night he had to sit down, to take off his hat, and to have a beer—or, even more frequently, pass out on his couch in his uniform at 8pm and sleep right through to his alarm the next morning.

Closing early on Sundays had been your idea, way back when— suggested to him gently while he rested with his head in your lap in your tiny student apartment after another 16 hour workday. He still remembers the worry in your eyes as you brushed his hair back from his tired face.

Nowadays things aren’t so hectic. Osamu’s got a good team of people around him to help Onigiri Miya run smoothly—a team who he trusts and values. It doesn’t all fall onto his shoulders in the same way that it used to: he doesn’t have to be there for every open and every close, his bills are paid, he’s not fighting to lure people in off the street just in the hope that he can scrape by for another week.

Now when he closes early on Sunday, it’s more for the sake of his staff than anything else. Occasionally Osamu will take the night off, too; he’ll go home and catch up on housework, run an errand or two, or even grab dinner—usually with you, though evidently not so much lately. But most Sundays he stays behind after his last employee heads out for the night; locking up behind them, switching off the sign in the window to tell the world the shop is closed, and then holing himself up in his office to do some admin. He’ll grab a plate of whatever’s leftover from the day’s service and a cold can of beer from the fridge, put on a rerun of Atsumu’s game from the night before, and get to work shuffling through the paperwork that he’s left to pile up over the past seven days.

Osamu hates paperwork.

It’s not that it’s particularly challenging work—the really hard stuff is left to his bookkeeper after all. It’s just tedious, a mindless task in many ways, and he always finds his thoughts drifting as he sorts through invoices and inventory registers: catching himself being inattentive halfway through a spreadsheet, and having to force himself to go back to the beginning just to make sure he hasn’t missed anything in his carelessness. 

You used to help him with this kind of work, or at least keep him company while he got through it—sitting on the lumpy couch crammed into one corner of his little office and pretending like you weren’t asleep each time Osamu caught you with your eyes closed. More often than not, he’d throw his jacket over you to keep you warm while you napped and then rush through the last of his work so that he could wake you up and get you home. But just having you there on those late nights was enough for him; your presence was the thing that helped.

Coffee is his only saving grace, these days.

Samu shuffles out to the front of the shop on one such Sunday evening, taking off his baseball cap and ruffling the hair underneath tiredly. He’d finally gotten a trim, and he’s glad that things feel a bit more normal again as he rakes his fingers through it—his mother had been right when she remarked that it was getting too long the week before. He tosses his hat down on the front counter of Onigiri Miya, rounding the end to grab a sachet of instant coffee from behind the bar where he keeps his emergency stash.

The overhead lights in the shop are off, but there’s enough brightness filtering out from the still-lit kitchen that he doesn’t need to struggle to see as he prepares himself some hot water to add to the mug in front of him. He tips the granulated contents of his instant coffee sachet into the bottom after ripping it open with his teeth, tapping the empty plastic packaging against the edge of the cup to make sure it all comes out. The kettle behind him hums quietly as it heats to boiling, and Osamu sighs, leaning back against the counter with his arms crossed over his chest.

He stares out at the restaurant—his restaurant, as hard as he still finds it to believe some days—his gaze sweeping over the tables with their corresponding chairs resting atop them. One of the staff had mopped the floors at the end of the night, which left them still slightly wet and glistening. There’s light filtering in through the front windows from the streetlights and the other shops that line the Osaka street outside, and their glow catches in the water that hasn’t yet dried from the tile.

Osamu’s eyes suddenly snap up to the glass that lines the front of the restaurant.

There’s a silhouetted figure—so familiar he could trace it even with his eyes closed, from memory alone—standing on the other side of the door.

Osamu blinks, thinking that the paperwork must have finally gotten the best of him, or maybe that the beer he’d had earlier is inexplicably hitting him too hard. But no matter how many times he squeezes his eyes shut, the familiar shape stays where it is on the other side of the glass each time he opens them again.

His heartbeat thumps, loud and wet, in his ears.

Like the shot of a gun, the man stumbles gracelessly into action: loping around the end of the bar and slipping slightly on the wet tile as he heads towards the door. He fiddles with the lock as he struggles to unlatch it, accidentally trying to force it the wrong way in his haste before eventually getting it right. When he finally throws open the door, a gust of cool night air flooding into the restaurant along with it, he takes in a deep, gasping breath.

“Hey.”

His voice is shaky when he greets you—mostly air and very little shape to the word.

You stare at him from a few paces away, your arms crossed firmly over your chest and a frown tugging down the corners of your mouth. Osamu thinks you look pretty when you’re mad. He always has. But it’s worse now because he knows all too well that he shouldn’t—because he knows you’re mad at him. 

You seem to have something to say, he can tell as much from the almost spiteful glint in your eyes, but you stay tightlipped as you simply stare at him.

“D’ya… wanna come in?” Osamu asks, still holding the door open. He nods his head back into the shop. “Still got some stuff prepped, I could make ya—“

“You’re a jerk.”

Osamu blinks, taken aback.

“Yeah,” he agrees plainly after a moment, thinking it’s only fair of you to say given then circumstances. 

His concurrence only seems to upset you more.

“Like, you’re a real asshole, y’know that?” You’re nearly spitting you’re so angry, your features twisted up in contempt. Your arms uncross and drop down to your sides, and Osamu watches as your hands ball into fists. He’s the one who taught you how to throw a punch, years and years ago now, and he’s wondering if he’s about to experience a practical demonstration of his teaching abilities firsthand.

“I don’t necessarily disagree.” He nods, agreeing with you once more, though this time his response is slower, more hesitant—not because he doesn’t mean it, but because he’s not sure that it’s what you want to hear.

“Ugh!” Your following exclamation is loud, and palpably frustrated, all but confirming his suspicions. “You…!”

Your tone is climbing with every passing second, and Osamu looks furtively up and down the road around the two of you. It’s late in the evening but there are still a few people out, and he sees heads turning in your direction at the commotion.

“Hey,” he says, his own voice dropping in volume but still pleading all the same. “My name’s on the door and we’re gettin’ some weird looks. I wanna hear everythin’ you have to say, but could you please just say it to me inside?”

You look at him blankly, your lips puckering into a petulant, unhappy pout. You seem like you want to say no, to keep causing a scene, and for a second Osamu really thinks you’re about to round in on him again. Instead you trudge forward, stomping past him over the threshold of Onigiri Miya.

Osamu hesitates for a moment after you pass, half in shock and half in relief, and then he lets the door swing closed and locks it behind him for good measure—he’s not sure he wants any unsuspecting people coming in search of onigiri and stumbling upon a brawl.

It’s dim in the restaurant when he turns to face you, but he can still see your fury burning in the dark.

Neither of you say anything.

“You can keep goin’ if you want,” Osamu is eventually the first to speak, and he means what he says. This is the least of the punishment he deserves, after all. And hearing you yell at him is markedly better than the silence.

“Martyrdom doesn’t suit you at all,” you mutter sullenly.

Osamu sighs, scrubbing his hand over his face. “I just wantcha to say whatcha came here to say.”

You begin to pace as you work through your thoughts, slowly walking back and forth in front of the counter, picking at your cuticles. You’d put a fair amount of distance between the two of you, and he’s sure it was intentional. Osamu keeps himself confined to the entryway near the door, while you walk a path back and forth along the length of the service counter. His eyes follow every step you take, like a captivated child watching fish at the aquarium.

“I had a terrible dream last night,—” you finally force the words out, your feet stilling against the shiny tile as your pacing comes to a sudden halt.

Osamu decides to just do the right thing and shut the hell up for once, giving you the floor.

“—I was going to buy 30 kilos of rice from Kita-san’s farm—”

That’s a lot of rice, Osamu wants to note, but his lips part to let the words through and then he decides better of it.

“—and I was there, at the farm, and then Kita-san started telling me that you got married and had a baby. A baby, Samu! Kita-san standing there telling me all these terrible things with that big bag of rice in my hands, and I couldn’t even get mad at him because he’s Kita! So I just had to listen to him go on and on and on about the venue and the flowers and the baby name that you picked out. And the more he’d tell me the worse it was, and the bag of rice just kept getting heavier.” Your teeth bite down so hard into your lip as you suck in a breath that Osamu's amazed he doesn’t see blood. “I was hearing all of these things—terrible things—and all I could think was that I should have been there to see all of that for myself. I shouldn’t have been hearing about it from someone else. And I realized that you were living a whole life apart from me, a life that I didn’t know about or get to be a part of, and it just kept getting worse and worse and I woke up and I felt like I was going to scream.”

You’re out of breath by the time you finish your rambling thought, your chest heaving and your eyes wild and your mouth faintly wet. You look to him, and Osamu doesn’t see that same indignation in your eyes anymore, only hurt. He watches as the expression hardens again, whets itself like a blade—sharpened not in anger, but rather in resolve. In resignation.

“That day. I looked for you first.”

Osamu feels lost now. Are you still talking about that dream?

You understand without him saying it, and explain yourself further. “In high school. The day that I kissed Suna.”

Osamu’s stomach drops, all of the blood rushing to his head so quickly that the shop begins to spin a little around him. He can hear his pulse in his ears. He can feel it in his throat. He can’t help the twist of jealousy in the pit of his stomach, writhing and ugly though it may be, at the mere mention of his friend’s name. He doesn’t have the right to feel the way he feels, but it happens all the same.

“I looked for you,” you keep going, like you’ve broken a seal and have to let it all out. Osamu doesn’t dare try to stop you. He couldn’t even if he wanted to. He watches on like it’s a conversation that’s happening not with him but rather to him. “You were eating lunch with Tsumu in your classroom. I realized he would have had a fit if he knew that I was asking you and not him. I thought about asking him but…”

Osamu can’t feel his fingers from how tightly his hands are balled into fists at his side. His lungs burn in his chest—the breath he’s holding having long since lost the oxygen his body needs, though he can’t seem to draw in another.

“If it wasn’t you, I didn’t care who it was. So I asked Suna.”

The young man processes your words slowly. Incompletely. Like only every third word seems to register.

“Ya wanted me to be yer first kiss?” It’s not the question he ought to ask you but it’s the one his brain chooses to spit out.

Your reply is frustrated, but with an unmistakably melancholic rasp running through it. “Yeah. I did.”

Somewhere distantly, Osamu recognizes a sharp, stinging pain. An ache as part of him realizes that it could have been him. All along. All this time. Him. But the pain is muted, because part of him—most of him—still doesn’t quite understand.

“I think that was the first time I realized it.” 

Osamu watches your face, maps the achingly familiar lines and dips and curves of your features as he tries to read meaning in the space between your words. But he still finds nothing.

“I liked you, Samu. More than I should have. Differently than I liked Tsumu, or Suna, or any other guy.” You laugh, but it’s a hollow, watery sound. “I realized it and it was awful.”

You’re waiting for him to say something, but Osamu is at a loss for words. No, that’s not quite it either. It’s not that he has nothing to say, but that he has everything he wants to say to you. To ask you. But he doesn’t know where to start, or how to sort through them, or even how to will his lips, teeth, and tongue to shape any of them.

“You… Y’know ya don’t have to say this,” his voice is tight, like a rope drawn to secure a knot not unlike the one in his throat, when he finally manages to speak. “Ya don’t have to pretend or convince yourself that you… felt the same as me. I care about ya too much to ever ask that.”

You laugh—a single, sharp, distinctly mirthless ha!—as you throw your hands up in exasperation. “There you go again not letting me have any say, Samu!” You punctuate your exclamation with a frustrated little sound. “Stop deciding things all on your own and just listen to me.”

That shuts him up again.

“I thought I was over it,”—you begin to pace once more, your steps slow and measured—“I really did. I told myself it would never happen and moved on because I never ever wanted to fuck things up between us. Between any of us.

“You told me that you’ve loved me your whole life, but you don’t know if or when something changed. I do. I had a singular moment that I could point to where I realized that if I did or said the wrong thing after that, I could fuck up something that meant more to me than anything else in the world. Even if you felt the same way I did, there’s no guarantee that something like that would work out. But if we tried and it didn’t work, we wouldn’t be able to just go back to how things were. So I told myself that no matter what I wouldn’t. No matter how hard it was or how awful it felt. I could get over it if it meant I never had to lose you. And it was fine. For years it was fine. We were fine. Everything was fine. And then I lost you anyway.”

You suddenly stop pacing and crouch down, your arms winding themselves around your knees as if to comfort yourself. 

“That night, when you…” You swallow, and risk a glance up at him. “I don’t think I’m over it.”

Osamu feels like he might die. Maybe he did already. Maybe this is his life passing before his eyes, because it’s always been you anyway.

“But it’s scary, Samu,” your voice is so small, so vulnerable, when you speak to him again. You’re trembling as you hold yourself. “Aren’t you scared?”

Osamu is suddenly reminded of that fall day in the woods, so many years ago now. Reminded of two kids who didn’t know what they were doing. Who didn’t know anything. But who knew each other.

Slowly, Osamu crouches too—his joints cracking in protestation as he drops his body down to your level. Your eyes never leave his.

“Yeah,” he says, after a moment. Soft but sure. “‘Course I am.”

You let out a soggy, incredulous laugh, but it somehow doesn’t feel out of place. He watches as you reach up and scrub at your eyes.

“I love you,” Osamu says, because it’s true. Because there’s no other words he can possibly think to say in this situation. Because it’s the only thing that he has in his mind.

You look over at him, sniffling a little, wiping at your running nose with the back of your hand in a way that Osamu absolutely should not find as endearing as he does. “How can you just say it like that? Like it’s so easy?”

Osamu wants to laugh too, like you did earlier, but he worries that the sound might come off as almost hysterical thanks to the misplaced hope he can feel simmering in the pit of his stomach. “Sayin’ it’s the hard part, that’s why it took me so long. But I’ve spent forever lovin’ ya. S’always been the easiest bit.”

You choke back a sob, your head hanging defeatedly as your body slackens. You’re a ghost of the angry little thing that was outside of his door only a few minutes earlier, but more yourself now than Osamu has seen you in weeks.

“What about you?” he poses the question so quietly he might worry you didn’t hear him if not for how silent the dark shop is around you both.

“What do you mean?” You know what he means. He knows you know what he means. You’re stalling, trying to buy yourself time that’s run out now.

“Do you love me?” he asks, praying to anyone who’s listening that he’s been a good enough man up until this point to deserve the answer that he wants to hear more than anything else in the world.

“Of course I do,” you say evasively, refusing to meet his gaze. But it’s not the same. It’s not enough.

“But are you in love with me?” Osamu finally dares to ask.

There’s a stretch of the most painful, profound silence that either of you have ever experienced. It goes on for an eternity, though the clock hands in the corner say differently.

You still refuse to look at him, your gaze fixed instead to a point on the wall on the other side of the restaurant. Osamu watches how the light from the windows catches in the tears that cling to your bottom lashes.

“Yeah, I am,” you say, barely a whisper. You speak the confession like it’s the most terrifying thing imaginable. Like it's wretched.

And it is maybe, but Osamu’s never felt happier to hear anything in all his life—he feels a rush of something so visceral and elated flowing through him, he thinks he might pass out.

“Can I touch ya?” he asks hesitantly, his voice thick and unlike its normal tone. He hardly recognizes it as his own.

You peek over at him for the first time, and Osamu revels in the feeling of having your eyes on him. Delights in watching you watch him and knowing that behind the gaze is the same feeling as the one he holds inside of himself. You consider it for a moment, and he doesn’t dare rush you, but eventually—mercifully—you nod. 

Osamu inches forward slowly and wraps you in his arms. Your body relaxes into his hold instantly, and he pulls you into his lap on the tiled floor. He holds you so tightly that he’s scared he might break you, but he still can’t find it in himself to be more delicate. You cling to him anyway.

It’s the first time he’s touched you in months, but every inch of you is still known to him. Still familiar in every way that matters. You smell the same. You feel the same. You’re soft and warm just like always. Osamu buries his face into the crook of your neck, and your fingers eventually lift to play with the hair at his nape. He holds you, and holds you, and holds you more—sating a thirst that’s been building for longer than the time the two of you have been apart.

And you let him.

You hold him too, in the same way.

“If I kiss ya, you gonna cry again?” Osamu asks you quietly after a while, his lips brushing against your throat as he murmurs the words.

You snort, your fingers twisting into the material of his t-shirt at his shoulders. Osamu peels himself away from you and looks up, and finds that your faces are so close. Too close, in any other circumstance.

His palm lifts, cupping your cheek in his hand, running his thumb against the smooth skin underneath.

“Shut up, Samu,” you say, a little smile twisting up the corner of your mouth.

And Osamu happily obliges by pressing his lips to yours.

toji loves listening to you ramble. i really think he does. he finds your voice so soothing, so comforting, no matter whatever the fuck you're actually talking about. he's lazing on the coach at home while you're out running some errands and ranting about how stupid people can be over the phone. he laughs quietly to himself, very amused by your annoyed tone. but he loves it. he wants to hear what you've bought, where you've been, what you've eaten, where you're going next. he loves hearing you talk to the barista, never ending the call with him. he listens to you order a sweet little beverage and he's smiling, happy about the fact that you're having a good time.

he can't wait until you come home though. he already knows you're going to step inside and immediately hit him with another ramble as if you weren't just on the phone with him. he watches you kick off your shoes and remove your coat, he watches you place your bags onto the table before making your way over to him. you give him a big toothy grin and he doesn't even have time to respond because you're already falling flat on him. folding your hands on his chest, you rest your chin on top of them - staring at your boyfriend at an uncanny angle. his big arms curl around your middle and now you truly feel at home.

"arytiredfmyet?"

he rumbles a chuckle from beneath you and pinches your side, reveling in the little squeak you let out. "ya gotta speak louder than that, sweetheart."

with an eye-roll, you grumble back. "i asked whether you're tired of me yet..."

he looks so terribly comfy. and homey. and he smells so fucking good. you've never seen a boyfriend look so boyfriend. he's warm and he's looking at you with the softest eyes, despite the little smug grin that's creeping on his lips.

"ya got more for me?"

"i'm afraid so. awful, just awful things happened on the bus." you nod your head, eyes big - emphasizing your words like you almost died on your way back home and his insides feel extremely gooey. you're so close and you're warm, too. he can feel your heartbeat pounding directly above his own, the touch is just right. he knows you're tired; you've had a long day but you're still so set on talking his ears off and he loves you.

his scarred hands knead the skin of your waist. he looks like a big domesticated wolf. you want to scratch his ears. you surpress your desire to tell him that though. his lips stretch into a proper smile and your stomach fills with butterflies.

"can't wait to hear all about it, sweetheart."

frankly obsessed with how he made the cutesy moe girl eating noise here

he can infodump so deep inside me I'll have trivia running down my leg