our future plays tricks on us, huh { lex + lenox | jb }
Feb 14, 2021 18:04:09 GMT -5
Post by aya on Feb 14, 2021 18:04:09 GMT -5
[attr="class","w460"]
oh darkness, i am nerveless
eyes closed for lack of purpose
or fear that i'll lose it
i'm still afraid of the dark
eyes closed for lack of purpose
or fear that i'll lose it
i'm still afraid of the dark
Lex Lionel has thought about Lenox LaChance twice annually since Diana Sayers's silver maple casket left her woodshop after the 81st Hunger Games. Once at every reaping. Once when Mackenzie returned home from the Capitol without his tributes in tow. Never as a person. Lenox LaChance was an abstract concept: the idea of a girl that someone like Diana would trade her life for, the reminder that Lex had been entirely overlooked when snap judgements were made the year prior, the unsettling implication that she'd deserved her death and all of the bullshit that preceded it.
Lenox LaChance was the mixture of resentment and worthlessness that darkened her brow on the way to the justice building each year, as volunteer after volunteer forced Lex to confront that disconcerting dialectic on loop.
Lenox LaChance was the sound Mackenzie's front door made when Lex smashed it down in desperation. That year, eighteen, hammering heart and swimming head... she was still sure she'd be heading to the Capitol for round two, still sure that Lex Lionel would've been received to unsympathetic silence, still sure she'd earn that train ride home, still sure she'd keep that promise she'd made to Denali, still sure she'd heard her own name on the district escort's lips, still sure she'd again bleed out in the mud, still sure of everything all at once no matter how incongruous the contradictions.
This year, when "Lenox LaChance" is read from the paper slip, it takes a moment for Lex to realize she hadn't mixed up her wandering thoughts with reality. It takes another for her to double-check the math — she's twenty-four; her last reaping would've overlapped with an eighteen-year-old's first. She reels when it registers. It's not until well after the tributes have been ushered off the stage that Lex considers the possibility that there will be no Diana Sayers this year.
Counterintuitively, her high-vis work vest makes Lex less noticeable as she strides through District Seven's justice building. She hates the place as much as she does every year, but it's a relief to catch fewer glances from the various peacekeepers and officials that line the halls between the entrance and her destination. Safety orange isn't a subtle color against the walnut wainscoting, but the pretense of work comes with enough plausibility to suggest she ought to be there.
It probably helps that she doesn't look like she's trying to storm the place this year. Her fingers don't pick at themselves, don't clench into fists, don't tremble with furious indignation. All the tangled disbelief lives well beneath the surface.
She enters the holding room without knocking, forcing herself to confront the concrete and irrefutable personhood of Lenox LaChance —
— and folds her arms across her chest to keep it all to herself.
"It's fucked up," Lex suggests, a tinge of remorse coloring the otherwise-neutral statement of fact. It's so different from the day that Lenox LaChance became a concept, when every rogue emotion forced its way out in one selfish snarl. Today is quiet. Her eyes don't flash, her nostrils don't flare, and there's no acid in her throat when she borrows Diana's words to ask: "How do you feel?"
Lenox LaChance was the mixture of resentment and worthlessness that darkened her brow on the way to the justice building each year, as volunteer after volunteer forced Lex to confront that disconcerting dialectic on loop.
Lenox LaChance was the sound Mackenzie's front door made when Lex smashed it down in desperation. That year, eighteen, hammering heart and swimming head... she was still sure she'd be heading to the Capitol for round two, still sure that Lex Lionel would've been received to unsympathetic silence, still sure she'd earn that train ride home, still sure she'd keep that promise she'd made to Denali, still sure she'd heard her own name on the district escort's lips, still sure she'd again bleed out in the mud, still sure of everything all at once no matter how incongruous the contradictions.
This year, when "Lenox LaChance" is read from the paper slip, it takes a moment for Lex to realize she hadn't mixed up her wandering thoughts with reality. It takes another for her to double-check the math — she's twenty-four; her last reaping would've overlapped with an eighteen-year-old's first. She reels when it registers. It's not until well after the tributes have been ushered off the stage that Lex considers the possibility that there will be no Diana Sayers this year.
❖
Counterintuitively, her high-vis work vest makes Lex less noticeable as she strides through District Seven's justice building. She hates the place as much as she does every year, but it's a relief to catch fewer glances from the various peacekeepers and officials that line the halls between the entrance and her destination. Safety orange isn't a subtle color against the walnut wainscoting, but the pretense of work comes with enough plausibility to suggest she ought to be there.
It probably helps that she doesn't look like she's trying to storm the place this year. Her fingers don't pick at themselves, don't clench into fists, don't tremble with furious indignation. All the tangled disbelief lives well beneath the surface.
She enters the holding room without knocking, forcing herself to confront the concrete and irrefutable personhood of Lenox LaChance —
guilty, for begrudging a twelve-year-old the kindness of a stranger
guilty, for every time she'd berated a volunteer for making that bad decision
guilty, for standing in front of the girl who'd been spared and would die anyway
guilty, for being the girl who died anyway and still was spared
— and folds her arms across her chest to keep it all to herself.
"It's fucked up," Lex suggests, a tinge of remorse coloring the otherwise-neutral statement of fact. It's so different from the day that Lenox LaChance became a concept, when every rogue emotion forced its way out in one selfish snarl. Today is quiet. Her eyes don't flash, her nostrils don't flare, and there's no acid in her throat when she borrows Diana's words to ask: "How do you feel?"