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The fact that she fled while in Kyoto is mentioned once in Part I, becauseshe left Kyoto for Kamakura, and stayed there for a while without contacting He or herroommate in Kyoto. Part II describes the unexpected meeting with He at Kyoto Station, andother incidents while she lived in Kyoto, except for her unexpectedly visiting He in Tokyoby train from Kyoto, which is narrated in Part I.

The fourth phase commences when You moves to Tokyo, and ends after half a year. The references to phase fourare made in a series of fragments in Part II. References to this phase aremade throughout the novel. Having sketched the relation between discourse time and story time, I will nowaddress the methods by which this novel achieves an order. As I suggested in theintroductory part of this chapter, Blue lourney has, despite the seeming arbitrariness of thecollage form, a clear framing structure. The narrative structure is made even more apparentby the many pairs of parallel images, which appear in Part I and Ill.

One of the most significant of these parallels is the setting of each of Parts I and Ill:Kamakura and Kyoto. They are similar in that both are historical cities in Japan. Human beingshave to live in such places. Further, words and phrases employed to illuminate the cities, as well as the way Youperceives them, present them as parallel. Compare these two illustrations of the stationplazas:On your right lies Seibu Department Store.

Kamakura Station plaza, which looks entirely familiar to you. However, Kamakura shows an indifferent face to you now, inthis dusty chill of February, as if it received a purposelesstraveller, a questionable stranger with hollow eyes. Kamakura which is a town of the past and aruined capital for you, But can you find the man who absconded, if hethrew himself into the end of everything? Yourepeat the persistent interrogation. But you cannot find anyreason that will survive logical investigation.

If the search forhim is your aim, this trip will be meaningless and empty fromthe outset. If the journey is for the purpose of visiting the relicsof the love between you and him, it will merely torture you. The ancient capital engraved with temples andfine gardens. In it are also embedded the remains of lovebetween you and him. One small motif recurs in Kamakura and Kyoto. You is a jazz fan, and thus manyjazz pieces are mentioned. The first mentioned piece is, in fact, the last one she listens to. By placing the two cities at thebeginning and end of the novel, Kurahashi gives it a definite framework.

With this unexpected caress of fingers, youreyes lost their life You resisted for a long while, with youreyes open, but when the whole of your hand was grasped byhis, you closed your eyes, and threw your head and the massof your hair backward, as if you had fainted. His attention is not54a passing one. But you fail, for you have merely stimulated hisdesire. Further, the ways He would, and Saeki does, approach and touch You without beingnoticed are presented similarly.

Although You does not openly associate the two men in this55regard, they do provide examples of similar selves without any established relation to othersor to the world. Saeki functions as a precursor of He. If you had hidden yourself insidehis skin when he was walking in the Street, you would haveseen that his face, turned inward, is that of a dismal devil. Often, an associative link is made where a causal oneis lacking.

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Similar, if not identical, images are repeated without a logical pattern, and give56the text a rhythm and consistency. Here, I will examine two chains of images: those ofhands, and ochre-yellow colour; these images also reflect thematic concerns. As I pointed out in the comparison between He and Saeki, the touching of hands inBlue Journey initiates sexual relationships. You also observes the fingers of two youths who are attracted to her. As these examples subtly imply, hands are often symbols of male sexuality. Thehands of two jazz musicians, which You visualizes apparently out of any context,demonstrate this.

You is trying to sleep on the trainSuddenly, hands appear in front of your eyes. Cocoa-coloured hands, hands more marvellous than a bunch of fivehundred yen bananas, fingers with rosy-coloured nails,erotic, They look familiar to you, the hands, In fact, hands are used as a substitute for the phallus, as the following excerptimplies. You sleeps with a sadist, and according to the contract with He, she makes areport on the affair.

While You is taking a bath in Kyoto Hotel, Saeki is watching her naked body, andshe is observing his hands:Why are such intelligent and sensitive hands danglingfrom that ugly body? Saekistill stands beyond the heat, looking at you, dangling his hands,thinking which part of you he should reach his hands tocaress As your fingers struggle, your glove of thethin, tender goat leather is gently stripped off.

You are madenaked, more nakedly obscene than you have ever known. Youare filled with blood, and stiffen your body like an infant girl. Five fingers which are half open out of astonishment, thesewhite, fine, five fingers with the pale white opal on the ringfinger, sparkle like a thin fish. Saeki kisses your palm with rude amorousness like aFrenchman, and his tongue moves slowly, persistently trying tosuck a hollow in your palm.

For details, see Genette. This reference to a femalehand contrasts strongly with the masculine sexuality expressed in the images of male hands. Nevertheless, they are indispensable in terms ofweaving a thread of images; we might say they play a counter-point in the symphony thatis the novel.

Another counter-point is that of ochre-yellow colour, which, with its associations ofdryness and deserts, makes a contrast with the motif of moss colour. The colour ofochre-yellow, which constantly appears in the text, has an important function in the text. Let us start with the beginning of Part Ill. The fact that You andSaeki have bags of the same colour apparently suggest similar desires, which lead them tospend the night together. They first agree to stay in the same room in the hotel. Saeki accepts her request that he stop, and they lie in separate beds.

Then You thinks about Saeki:You do not understand what the man thinks, who lies in thisclosed, ochre-yellow room, like Christ taken off the cross. Theman is more uncanny than the dead, you do not even knowwho he is any more This man merely exists, on the bed, with histhin, long form. Second, the image of the crucified Christ hasoccurred earlier in Part Ill.

You arrives at the hotel by herself, earlier than Saeki who visitsother places first, and finds in the drawer of the bedside table a copy of the New Testamentin English. These recurrent associative references to the desert match the colour of theroom: ochre-yellow. Imagining this scene does not make you feel jealous, butfascinates you to a degree. If you write a novel, you will writesuch a novel, with the story of a hero who crosses the desert ofnumerous love affairs and rediscovers love for you.

The two citations framea paragraph in which You imagines choosing the same life as Saeki has chosen and that Hemay be choosing:You think of losing contact with your family, friends, seminarsand the university, and of getting lost as a vagabond in the slumin the harbour city which fronts onto the sea You will live asa female vagabond without a resident card or identificationcard. Then, people will forget you, and your name will62disappear from the census register.

In a moment, you will diefrom the world to which you have belonged. Also, you will cutoff your own past, cut off time like an umbilical cord from theplacenta, you will throw away all your memories including him[He] and love, you will begin to live as another you. First, it raises an important issue of therelation of the self to others, to society, and to the past. Secondly, the image of the desert haunts You, too, though it does not occur in theparagraph, and thus suggests the similar nature of her existence to that of He and Saeki. The whole world is cursing me because I am a woman. In these examples, the image of the desert carries negative associations.

Previously, thecurtains were of a different colour. You cannot rememberwhich colour it was, No, there may have beenmoss-coloured curtains with Egyptian patterns, atthattime. The excerpt above tells us of the change of thecurtain, and thus about the flow of time. Similarly, about eleven months later, You spends a night with64Saeki after sharing food with him. She wakes up next morning to find herself left alone. The ochre-yellow colour and moss colour make a contrast, implying respectively thedesert and moist soil, and thus barrenness and fruitfulness.

The metaphor of moss colourlater in the novel signifies that You seems to have succeeded in distancing and objectifyingthe existence of He. The affair with Saeki enables her to be reborn after the blue journey. Thus, order j achieved in the narrative structure of Blue lourney. However, the waythe text achieves this is different from structuring the plot in a series of actions joined bycausal relationships; Blue Journey is not a conventional novel, but an anti-novel.

Instead,the text supplies a variety of linked yet fragmentary images, which make metaphoricalassociations and thus produce a loose but important consistency in the narrative. ImagesSequences of metaphors, then, give Blue Iournev some narrative structure. Yet, thesemetaphors and images, as well as providing a structural coherence, also have an importantrelationship to the theme of the anti-novel.

In Blue lourney, in a sense, theme is form; anydistinction between the two is necessarily arbitrary. In this section, I will explore images which demonstrate the four following attributes:performativity, flexibility, passivity and fragmentation. By performativity, I mean the capacity through which one can perform any givenrole. The text of Blue lourney, we have seen, consists of a series of chains of images. Causal relationship is missing not only between chains but also between images within thesame chains.

These chains are like broken lines, their gaps filled only by metaphoricalassociations. Indeed, the text is replete with metaphors, or similes, through which objects,human beings, places, feelings, thoughts, and other items are re-presented as something else. Other people, who are on the same intellectual and physical level as You, are oftencompared to works of art. Here, You and He are clearly contrasted. In fact, the nature of the relationship between You and He refers to other literaryworks well.

In short, the lovers perceive themselves as copies of other people, whether fictionalor historical. In this regard, the text is certainly self-reflexive. It was last month thathe discovered this phrase, while perusing the notebook. With a mysterious continued You puts this precisely, when referring to her ownface in the mirror:For example, they say strangely unique charms exist. But you,this lump of substances, have none of such a mysterious,provocative quality. Your face has no uniqueness. It evenresembles a mask, in that all the parts are in solid balance.

This is a body with fake flesh, the mask which, like a noh mask,changes its multiple expressions, to perform the role of awoman. I would like you to show your style soon. You were completely embarrassed. I neededfreedom of this sort to discover my own style. The two excerpts are likely to confuse us intothinking that You and Kurahashi seek for originality which is, in fact, the last thing theyaspire to.

When fatally wounded at heart, shewanders on the seashore in Kamakura, and she realizes the role given to her:In short, you were thrown away. Then, you feel as ifyour anxiety has been properly pushed away by this disguise. If You is unidentifiable, so is the relation between her and He. The elusiveness of You makes a contrast with other women in the world of the novelwho are caught, caressed and possessed by men. In contrast to these women, You is not to be grasped or owned, since shehas no substance.

In fact, He appears to You not to have any substance either, until his flight. Then, you sensed his existence like a dark,flickering shaft of light, fleshless existence, homogenous withyours. In a similar manner, You admits resignedly thatshe does not have a fleshless existence, though she wishes to have one:You do not believe in the flesh, it is preferable not to have sucha thing, if possible Your flesh, the setting of your [fluid]freedom, your space, the coordinate axis by which relation isestablished with the world, has thus been a curse for you.

You are in the train. This is thespace you occupy. As far as you are a lump of materialweighing 47 kilograms, you must occupy the space and stick toyour place. It will not help however far away you run. Tohowever remote a place you may run, you cannot elude yourown body as a skill-less pursuer, nor can you fly from yourspace to a light, void place. And your sorrow follows you onyour escape in the form of your flesh. Herprimary characteristic is flexibility, physical and mental. Mental flexibility frequentlyrecurs. You does not know why she is going to Kamakura, or to Kyoto.

In short, You does not makedecisions according to clear reason or intention. But you are merely standing absentminded. You do not feel like grasping any fragment out ofnumerous possibilities. It is more enjoyable to leave it tochance than to choose knowingly. It is beyond your choice how you are manufactured,you do not have any responsibility, Being asecond-person narrative, the text is always being created by the reader, who is assigned therole of the protagonist, You.

I would suggest that these persistent references to fragments function as a synecdocheof the text itself, which is a collage of fragments. By fragmentation, I meanthe fact that the text consists of fragments of paragraphs, and is metaphorically illuminatedby images of fragments. Inother words, they are not attached to each other, and appreciate the temporary nature of therelationships with others.

Thus, You parts from her temporary lover in the following way:You again promptly excise the childish lover who is already amere worm like appendix, and throw it into the labyrinth of thecity. You were left in the midst of the labyrinth whoseexit you do not know with a section of the string sheered witha sharp blade in your palm. Therefore, when he disappears she feels that the most important tie inher life has been cut. In the meantime, people will forget you,and your name will disappear from the register. Then you diefrom the world to which you have belonged. Also, you will cutoff your past, the time like an umbilical cord from the placenta,you will throw away all your memories including He and love,you will begin to live as another you.

However, she reaches an opposite way of viewing the situation toward the end ofthe novel. Before that, let mesummarize the discussion on imagery in Blue lournev. Further, by calling upon recurrent images of fragmentation, the text representsits own existence as a collage of fragments. Finally, discontinuity in human relationshipssuggests the self is only called into discourse by its relationships with others; it has noessential existence. Thematic Concerns: Imaginative Relations of the Self to OthersWe have now examined both the metaphorical sequences in Blue lourney, and haveinvestigated some of these images in detail, always bearing their relationship to the themeof the anti-novel in mind.

In one sense, it does seem peculiar to discuss the theme of ananti-novel, a genre which appears to dedicate itself to the annihilation of the conventional78distinction between form and content, style and theme. Blue lourney plots four possible coordinates that result from a combination of thereal and natural: sexual intercourse as active sexual relationship, masturbation as imaginativesexual relationship, discussion as actual verbal relationship, and writing novels asimaginative verbal relationship.

This transcendence or suspension of reality is also thefunction of the novel. She has been visually raped, and subsequently experienced menarche in the summer whenshe was twelve years old. However, when she was told by the boys to strip on the seashore, and her femininebody was abused by them, she became aware of being feminine. Thenext day, she had her first period, which she considered a carrying out of the sentence.

So you said as a charm, I am awoman, I will become a woman In other words, I have toperform the role of a woman, you thought. You smiled. Her interpretation of male masturbation underscores this relation:Unlike you, man has that convex, substantial pillar offlesh, that magic wand which invokes imagination. The man grasps his ego, andlaunches out on the conquest of the other. He marches. The woman may not even be aware of its existence until the menarche.

Even aftershe becomes conscious of her vagina, it merely exists, containing something withoutdemonstrating any active properties. You draws two conclusions. First, she defines men as obscene, intellectually inferior,and subservient to the world. Images of hollowness and excavation are here analogous to female physiology. Here, an analogy is drawn between the performativity, or imagination, of being female andthat of being a novelist.

However, Youcan not dedicate herself to the completion of a novel until He leaves; the situation of beingaccomplices with him has kept her from novel-writing, which needs to be carried out insolitude. The liaison between You and He deteriorates in both sexual and verbal senses. Instead of conflict, they have chosen harmony. Such self-reflexive confinement inhibited You and He from any commitment to novelwriting, though, in fact, both of them are practising writing fiction. Despite their promiseof complete openness to each other, the act is kept secret.

Neither of them has let the otherread her or his diaries, which are imaginative products. All these features of the narrative are not merely structural but also thematic: they relate toareas such as the perception of the self, and the meaning of writing a novel. So too is the novel, which is opposed to theactual world.

Indeed, with Blue lourney, Kurahashi begins a series ofexperiments that will persist in her literary career. In Blue lourney, the reader is taken into the text as the protagonist You,the narrative is rendered in the present tense, and the text is always being created by thereader-protagonist. Divine Maiden incorporates the writer and reader, as well as the actsof writing and reading, into the novel.

They also, attimes, assume the role of narratees, becoming conscious of their acts of reading, anddiscussing how they interpret given texts. Divine Maiden thus shows four important characteristics. Published in as a volume in the series called lunbungaku kakioroshi sakuhin[Latest Fiction], Divine Maiden challenges Japanese convention not only in narrative formbut also in the fact that it, like Blue lourney, was not originally published as a serial.

Divine Maiden has two thematic concerns, incest and amnesia, the significance ofwhich I will discuss later. The novel describes two incestuous relationships, one betweensiblings—a type of relationship Kurahashi has dealt with in her earlier stories—, and the otherbetween father and daughter, a type that will recur in her later novels. The participants inboth relationships discuss the significance of incest; as a theme, the motif of incest isrepeatedly described and explored. My consideration of Divine Maiden will be in three parts. In the first, I will discussboth incest and amnesia in Divine Maiden, explaining the self-reflexivity of incest and the88desire for self-extinction in amnesia.

As the plot summary will show, DivineMaiden does have a narrative that features causality and contiguity, unlike Blue lourney. The personal traits of each major character are,in fact, a collage of reflections of those of other characters; the text thus becomes a networkof associations.

Indeed, they are so interdependent, or even inseparable from each other, that I only wishto use such categorization strategically to unpick the text, and that I do not assume anyhierarchy between the categories. This novella is a third person narrative, butthe narrational viewpoint is that of its male protagonist, K. He receives and reads longletters from his girlfriend, L, which recount the process of her getting married to a mancalled S. The narrative discourse of Divine Maiden is heterogeneous in terms ofboth tense and viewpoint; it is achronistic, with flash-backs; many different perspectivesoften are given upon a single incident.

References to his life are made continually, and achronistically, in a stream-of-consciousness text. He has a sister two years older, whom he calls L. They are from the beginningextremely close to each other, both mentally and physically, and survive World War II,poverty and domestic dissonance together.

Informed that she needshim, he visits her to find that she is now sick, and restores her health by making love withher. Part I of this novel has beentranslated by Dr. Burtha Lynn Burton, who kindly let me have a copy of her translation aswell as that of her Ph. Although I do not use her translation here, primarily because of itsinterpretive nature, I appreciate her cooperation, and also, acknowledge my thanks to Mr.

Robert Omar Khan who introduced Dr. Burton to me. He becomes amember of the Japan Communist Party for a short while, and then organizes his own sect,functioning as its theoretical leader. Iwata, who appears in the narrating present, is one ofhis comrades from these days. This is the beginning of their relationship. The narration of Divine Maiden, however, is notconstituted in this way. Structured around the suspense arising from the solution of a mystery, Divine Maidenachieves a definite temporal dimension which is almost absent in Blue lourney. In fact,Miki can make sense of most of the notebook when she makes this request.

She, however, pretends to be unable to answer the question, implicitly makingan excuse out of amnesia. The content of the second notebook is mainly events that have happened andthoughts that have occurred to Miki after the accident. One day, hetells Miki about his incestuous experience, and discusses the meaning of incest in general. Theshocking news gives him a sleepless night and drives him to start writing the primarynarrative.

Here, the tangled thread is apparently finally unravelled; themystery seems resolved. Why did I deceive you [by writing] that Papa was adentist? No, actually I wrote that to deceive myself. It was merely a defective fiction, a charm exclusively for myself. I assure you I did not intend to deceive you by it. You yourselfbelieved that it was true. Miki further96discloses that her father predicted at the time of her birth that they would have anincestuous relationship, and wrote it in his diary which she later read, and becameconscious of her destiny.

Inother words, it has been his desire to understand her that has propelled the narrative. He makes a phone call to Miki to discuss whether he shouldgo to the United States or stay in Japan and marry her. Miki, pointing out that he has changed from a state ofaction to a state of inaction and self-consciousness, refuses his marriage proposal. Or rather, Divine Maiden demonstrates thatnarratives are, by definition, nothing but interpretations, or retellings, made by the narratorand narratee, and are thus contextualized. The four narrational characteristics I mentioned—embedding narrative, polyphonicnarrative, narcissistic narrative and narrative as a verbal act—are now made evident.

Themulti-diegetic, dialogic and self-reflexive narrative explicitly mentions many of what B. Eros resultsin the movement from the plane of society to the plane of death. Kurahashi is not attempting tojustify incest, or to shock the reader with an amoral theme. Fiction, for Kurahashi, is an anti-world in which the moral constructions of societymay be put into play, in which crimes may be sanctified and yet still remain as crimes. Yes, it was tenderness: the tenderness of a sort which can neveroccur between people who are not blood relatives.

Thanks to our strong existential tie as thefather and daughter, our love achieved a mysterious tenderness. Papa loved what he created, I who was created loved mycreator. This is an elect love, as the love between you and L is. In both cases the physical unions induce mentallove. Miki writes in her third notebook:I feel so ashamed of loving him so much that I almost want tobite off my tongue.

To love someone equals a dishonour,especially if you realize that you have loved yourself throughsomeone else; it is a dishonour which almost deserves death. In other words, he shifts from one form of selfreflexive act masturbation to another incest. She then runs away from him, to eraseherself from him not only verbally, but also physically. His consciousness of performance distances himself from his past. He thusescapes self-reflexivity by the exhaustion of the self. I wish, in this section, to focus upon the three ways in which Miki, the centre ofinterest of the hermeneutic code, tries to overcome the self-reflexivity of incest.

Secondly, shefictionalizes her incest in the first notebook. Miki and I are engaged. You—can I say Miki rather than yjj? Of course you do not remember, do you? He writesjust as if he were another person looking at him However, now that! Onthe day when she is discharged, Miki unexpectedly gets the first notebook back from Papa. In a similar manner Miki compares her lack of memory to a hole in herthird notebook:My mind remained still dug up, like an archaeologicalexcavation.

Holes of different sizes gaped in my memory, andI often told lies just to put lids on them to suit the occasion. I remembered everything, and returned tomy original self. Having failed to remove herself fromthat part of her past which she wants to forget, Miki thinks of making a new choice, a fourthway of overcoming the self-reflexivity of incest.

This is to become a lunatic in order againto differentiate herself from her situation. Cannot we deliberately go mad? Andauthentic lunatics are worse than fake human beings. However, to love the other in incest, means to love oneself. However, among these solutions, conjugation, narration, and novel-writing result ina paradox. These acts presume the existence of another person to marry, to narrate to orto write for—in short, the other with whom to consummate the acts.

Thus, the attemptsto extinguish the self which result from the self-reflexive act of incest finally only produceanother self-reflexive act. However, he triesto understand Miki, who, like himself, appreciated the discontinuity of life and theperformativity of words. Only then is he physically unitedwith her. I divide my discussion in this section into four parts. Secondly, I will analyze suchassociations and contrasts: the existence of the last three pairs of women are centred uponparadoxes and voids, while M and Mother embody constitutive, referential, and rigid17Here I have in mind a specific phrase which follows:And the descriptions!

There is nothing to which their vacuity can becompared; they are nothing but so many superimposed images taken fromsome stock catalogue, which the author utilizes more and more whenever hechooses My reasons for doing this will become clear in the course of my discussion. She has her name,Misao. Lanham, ed. Instead of telling Mother about the first night with Papa, Miki discloses it to M. Motherwould have presumably responded in the same way.

In other words, M functions as asubstitute for Mother. Again, M andMother are doubles. A further characteristic shared by Mother and M is their ignorance of English words. At thistime, due to the noisy environment, and the possibility of the conversation being consideredembarrassing in its subject matter, Miki and M communicate by writing each other notes:I belong to daddy.

Let us now turn to stereotyped expressions both Mother and M like to use. Miki meditates upon herwords in her first notebook:The words which I had secreted had the nature of charms tomelt reality and confine me within a heat haze fluctuating onthe border between the real and the unreal. I was told thisso many times and her intonation when she said this phrasewas almost like a phrase of Pierrot Lunaire [composed] bySchonberg.

And the colour of her pupils when she smiled wasas light as the heat haze so that I could hardly bare to look atthem. This, too, givessurrealistic and performative impression. Still reeling and unbalanced, he is shocked to see the Militia taking hostages. He is prevented from killing him by Jesus, who insists that they do not kill those who surrender. He tells Tara that Maggie will know what to do with them. Tara acknowledges him, believing she will kill them for what they've done. As the militia gets ambushed by on coming zombies, she helps defend their prisoners, and watches as Morgan chases after Jared and his chain gang into the woods.

He tells Jesus that he isn't right, but that doesn't make him wrong either. He concludes that he can't be a part of the war, and leaves on his own, but not before Tara tells him that he is right about killing the Saviors. Tara, along with Jesus' group arrives at the Hilltop. Gregory immediately insists that they can't stay, but Maggie shuts him up and sends him away while she talks to Jesus. Tara says she agrees with Gregory that they shouldn't be allowed to stay, and Maggie notes that with families and children at the Hilltop, the arrangement would be dangerous.

Jesus insists they can't kill those who surrendered, and makes plans to keep them under armed guard in two empty trailers. Tara talks to Daryl after he returns to Alexandria. She tells him that she understands why he spared Dwight and feels he made the right choice as Dwight is the only reason they've gotten so far. However, Tara is determined to kill Dwight when its over. Daryl suggests that they will kill him together and that they won't have to wait for the war to be over. Later he and Tara get in a truck and crash into Zia 's vehicle killing her.

Then, Tara, Daryl, Michonne and Rosita are outside of the Sanctuary looking at the walkers with Daryl saying "finishing it",. Rosita shows doubts about the plan, concerned about the workers inside the building and the plan going awry. Tara confronts her about her apparent change in attitude towards the Scavengers, but Rosita insists she's just following Rick's plan. She explains that she is not going to wait again and is willing to follow with Daryl's plan, with or without Rosita. Rosita leaves, while Tara and Daryl continue their plan and Michonne insists on seeing it through.

Daryl, Tara and Michonne drive the truck to the edge of the Sanctuary's perimeter as Morgan keeps watch. As Tara takes point, Daryl turns to Michonne, asking if she's prepared. Having taken Rosita's words into consideration, Michonne decides the risk is not worth it. Daryl allows her to leave. Tara, Morgan, Daryl and the lookouts set themselves up for the breach. Several Saviors perched at the window are fired upon by Tara, Morgan and the lookouts as Daryl crashes the truck into the Sanctuary, breaching the walls and allowing the herd to pour in.

Tara and Daryl retreat as the walkers begin making their way inside. Tara is first seen with Rosita unloading some boxes. She suggests that, they take the air horn to direct the herd, Rosita with a smile on her face puts the heavy boxes on her arms. She is later seen when Negan destroys Alexandria.

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Tara is seen with Daryl leading a convoy, when they trap and kill all the Saviors, except Laura. Tara is then seen sitting with everyone in the sewers. Tara remains in the sewers with the other Alexandrians as the Saviors' grenades continue to blow apart Alexandria above them. After the explosions subside and the remaining Saviors leave, Tara says goodbye to Carl and she and the others prepare to head to the Hilltop for refuge. Tara and the other Alexandrians evacuate through the woods towards the Hilltop.

Dwight dispatches it before the group heads forward. The Alexandrians, having walked a considerable distance, rest in the forest. As Daryl and Rosita retrace their steps to cover their tracks, Tara, still vengeful, questions why Dwight is still alive. Daryl and Rosita agree that Dwight may still prove to be a valuable asset, with Rosita deciding to wait on dealing with him until they reach the Hilltop.

Tara, Daryl and Rosita look over a map at the different routes the Saviors can travel from the Sanctuary to the Hilltop, finding that most of their paths can be potentially dangerous. Dwight, however, points out that an alternate path, through a swamp is seldom used, due to the risks it poses against the Saviors. Silence falls over the group, and Tara realizes that they are considering taking the swamp route, voicing her opposition to the plan. He solidifies his choice to side with the Militia, accepting that whatever happens to him after Negan's fall happens.

Tara Chambler

Having heard his words, Daryl agrees to traverse the swamps. Daryl gathers volunteers to assist with clearing out the infestation. Dwight is disallowed and Tara opts to stay behind to watch the group. As the rest of the Alexandrians wait at the bank, Tara spots a small group of walkers in the trees. She asks for a volunteer to help her clear them, before tossing a knife in Dwight's direction.

Picking up the knife, he and Tara head towards the zombies. Dwight swings at walkers with his knife, while Tara holds back with her handgun. After putting down the last zombie, Dwight turns to find Tara holding him at gunpoint. He attempts to reason with her, explaining that his choice to change sides was a sincere gesture. Tara, however, is fixated on avenging Denise, and makes several attempts to shoot Dwight, chasing him through the forest. They come to a clearing, but are interrupted by the arrival of a Savior patrol and are forced to hide in the bushes.

As the Savior patrol passes, Tara continues to hold Dwight at gunpoint. She then turns her attention towards the patrol, who are inching closer to their position. Tara is surprised by this and turns to leave and finds Rosita, having followed the pair. She asks why she didn't attempt to stop her, with Rosita explaining that she would have also pursued him to no end. Back at the swamp, Daryl lets his rage fly, berating Tara for allowing Dwight to leave and risking him giving away their group to the Saviors.

Having seen Dwight's efforts to sway the Saviors away from their location, Tara is convinced that Dwight has changed for the better. Daryl remains unconvinced, but forgoes continuing the conversation any longer, leading the Alexandrians through the now-clear waters. Tara is among the Alexandria residents and refugees who are prepared to defend the Hilltop from the Saviors. Daryl sees Simon and Dwight sneaking up on Tara and shouts a warning, but is too late as Dwight shoots Tara in the arm with an arrow.

She is removed from battle as the militia manages to drive the Saviors out. Hilltop cleans up in the aftermath of battle.

Summer quiet book mermaid

Tara and Daryl discuss Dwight shooting her. Tara tells Daryl that she was with the Governor when they first met. Daryl references his brother and says he would be with the Saviors if he were still around. Tara has been vouching for Dwight since he saved their lives, "I saw him try and help us win," she tells Daryl, but he refuses to accept her word and leaves. Later, during the night after the reanimated residents were turned and killed, Tara sits on a bed surrounded by Enid, Rosita, and others.

Tara questions how this happened. Daryl tells her that the Saviors did something to their weapons and that everyone they cut up, got shot, they all turned. Having been wounded by a Savior arrow, "Karma's a bitch", Tara says as she accepts her fate. They disagree on their stances with the character. Dwight's actions cause Tara to let go of her vendetta against him. When the Saviors are seen approaching, the Hilltoppers evacuate.

Tara, worried that the wailing of Gracie will put the Saviors on their trail, stays behind to fight. Alden and the other prisoners insist on helping her. Tara and the prisoners prepare to attack. To their surprise Cyndie and the Oceansiders ambush the Saviors with Molotov cocktails, preventing a battle. Tara smiles on as they finally join the battle. After the war with the Saviors ended, Tara and Rosita deliver supplies to the Sanctuary, where they greet Tanya and Frankie while Saviors are rebuilding their compound. On the road, Tara is scouting when Eugene radios her, informing her that Daryl will be meeting the rest of the group so they can go to Washington D.

Later that day, Tara and the group go to the Smithsonian in Washington D. C, to search for a covered wagon and farming equipment.


  1. Medicine as Resistance?
  2. Tesori sepolti (Italian Edition)?
  3. Genealogical and personal memorial of Mercer County, New Jersey (VOLUME 2).

However, she stays outside as a lookout along with Aaron, Jesus and Alden. On the road, Daryl and Rosita catch up with everyone to inform them that the main bridge is out due to a storm. Rick tells Tara, Gabriel, Aaron and Anne to head back to Alexandria and the rest will go to an alternate route and spend the night at the Sanctuary. Later, Tara sits on a crane and radios Rick to update him on the walker distraction plan, before radioing Jerry, so he could turn on a siren.

However, she notices that the other siren hasn't been turn on and radios Rick again to warn him that the herd is coming. In the camp, at night, as everyone laughs and talks, Tara is seen laughing with Rosita, Eugene and others. On the bridge, as Rick limps away before collapsing, he hallucinates as Tara and the others rush past him to kill the walkers. Michonne stops and sees Rick's wound. She reminds him she fell in love with him because he's a fighter. After killing the walkers, everyone stops to watch them.

The walkers approach as Rick hobbles away. He makes it across the bridge and turns around hoping to see the walkers fall through, to no avail. A walker makes its way inches away from Rick before getting shot in the head by a crossbow bolt. Rick watches as Tara and the rest arrive nearby.

Maggie and Michonne hatch a plan to divert the walkers but Rick won't allow it. The bridge ignites and explodes as Tara and the rest can only watch in horror, assuming Rick to be dead. Following her departure, Jesus was elected as the new leader. Tara, knowing he doesn't like the responsibilities, moves to Hilltop to help around. Six years later, in a thriving Hilltop, Tara checks as residents tend to their crops.

Inside the Barrington house, Tara asks Jesus about any news on Maggie. He reveals she and Hershel are with Georgie and she has send another letter, where she admitts to be happy. Tara updates him on some minor problems at their community and congratulates him on being reelected as the leader. He reminds her he ran unopposed, but Tara suggests he should take Maggie's office and he refuses. At night, Tara updates Jesus on Rosita's condition and asks what he was doing out there.

Jesus confesses he was training Aaron while trying to get Alexandria on board with the Fair. She scolds him and tells him that people are noticing his constant absence from Hilltop. In the morning, Tara greets and hugs Daryl and Carol as they arrive with Henry. As the rescue group gears up to go find Eugene, Jesus tells Tara he will go instead of her and next time he promises to stay, to which she agrees smiling. At Hilltop, everyone runs inside as Michonne and Siddiq arrive with Magna and her group. From the guard post, Diane makes them all surrender their weapons before entering. Connie thanks her for everyone.

At night, Tara takes Earl down to the jail where Henry sits in a cell as punishment for misbehavior. J, and Marco to organize a search party to look for the rest since they haven't come back. Luke offers his help and goes out with Alden. Later, the others arrive at Hilltop with Jesus' body and the captive girl, causing Tara to look in sadness at the sight of her friend's corpse. Tammy tells Tara that the Hilltop will now look to her for leadership, reminding her that includes getting justice for Jesus.

Tara affirms she understands. Afterward, Tara, Daryl and Michonne interrogate the girl. She claims to not have a name and that her group were good people just trying to survive. Michonne asks if her people know about Hilltop but the girl begs to be left alone. Outside, Michonne tells Daryl and Tara she's heading back to Alexandria. Tara agrees and tells her she's going to allow Magna's group to stay because it's what Jesus would have done. A while later, a funeral is held for Jesus and everyone take turns hammering the nails in his coffin. Tara looks in sadness and puts the final nail.

In the woods, Tara leads Magna and her group in the search for Alden and Luke. They find a group of walkers feasting on their horses and kill them, while checking they aren't Whisperers. Connie notices that the horses were cut open and skinned with knives. Tara realizes that Lydia lied about it just being her mother out there and decides they should go back to Hilltop until they find out what this is.

The next day, Tara watches from a guard post as Magna and Yumiko return to Hilltop. Yumiko apologizes to Tara for leaving and Tara tells her to talk to her next time. Suddenly, Yumiko spots a small group of Whisperers approaching Hilltop as guards grab Kelly to get her inside, while Connie hides in the cornfield. Tara calls out to Daryl and Magna below to join them on the guard post.

In front of the gate, Alpha leads a group of Whisperers. She introduces herself and tells them she just wants her daughter back. In a flashback, Tara and Jesus ride up to meet Carol, Ezekiel, and Jerry on a clearing in the woods to trade some medicine. Tara tells them that she has left Alexandria and hands Ezekiel the community charter before leaving.

In the present, at Hilltop, Tara listens as Alpha and the Whisperers wait for them to bring Lydia to her. Daryl asks them to leave and Alpha signals for more Whisperers to show up. Magna asks Alpha if they killed their people. Daryl then decides to walk outside to talk to Alpha face to face, to which Tara is unsure of. From the guard post, Tara watches as Daryl walks outside and Alpha instructs one of her people to bring someone. Alpha offers to trade both of them for her daughter. Tara tries to tell him they need to do something and he tells everyone to split up and find them.

Later, Lydia and Henry return to Hilltop and Daryl goes outside to make the trade. Lydia apologizes to her mother and Alpha smacks her across the face, ordering her to address her as Alpha like everyone else. She then smiles at Daryl as they leave. Later, a small herd of walkers approaches the group. They get in position and remind themselves to watch for the Whisperers. Suddenly, the Highwaymen ride up on horses and introduce themselves to Tara after helping to take down the herd. They then escort them to the Kingdom, having accepted Carol's deal. In the Kingdom, Tara greets Carol and Ezekiel.

She then sees as Daryl, Michonne, and the convoy arrive. Tara is glad to see the group together again, but spots Lydia among them. They all agree to send some of their own to Hilltop to guard against any potential attacks from the Whisperers and Michonne decides to re-establish the charter, establishing that an attack against Hilltop counts as an attack against all of them. Ezekiel then retrieves the original charter as Tara and Michonne finally make up. They all sign the charter, and Michonne tells Gabriel he should sign for Alexandria as the head of the council. Later, Tara walks with a group who is going to Hilltop and leave some soldiers in case of a possible attack.

She decides to stay instead and leave later and then fist bumps her companions as they leave for the woods. In the fair, Tara talks with Gabriel and Rachel about looking for areas for the residents to train in case of a fight. Gabriel then tells her he thinks she's a good leader and she knows it. Tara smiles and then goes to gear up to go with a second escort to Hilltop. Somehow, Tara is among the residents kidnapped by Alpha and taken away to a stable in the woods.

In the stable, Tara alongside the other tied up residents are about to be attacked by the Whisperers but are found by Ozzy, Alek, and D. J, giving the group a chance to fight back. In the middle of the chaos, Alpha arrives and the group is subued and then killed, only leaving Siddiq alive as a witness. Later, Alpha puts Tara's decapitated head on one of the several pikes used for the Whisperers' border. The next day, Daryl, Michonne, Carol, Siddiq, and Yumiko find the border and watch in horror at the victims, a reanimated Tara being among them.

Later, in the Kingdom, Siddiq delivers the tragic news to the crowd, tells them how brave everyone was in their final moments and how they all fought back. He encourages everyone to remember the fallen as brave heroes and to honor them. In order to mark a border between the land belonging to the Whisperers and the communities, Alpha disguises herself and infiltrates the fair to kidnapp several residents.

Afterward, she decapitates them and then places their heads on wooden pikes to mark the border, with Tara being among them. After finding the border, her zombified head is put down by either Daryl, Carol, Michonne, Siddiq, or Yumiko. Tara loved her father and fiercely protected him during the days of the apocalypse. Tara constantly worries for her father's worsening condition, and takes care of him.


  • Hotel 13 - Band 2: Das Rätsel der Zeitmaschine: Der Roman zur TV-Serie (German Edition);
  • Meno [with Biographical Introduction].
  • McKinsey Seven S Model.
  • When David died, Tara held his hand and cried. When Philip kills a reanimated David, she tries to stop him from doing so. Later, Tara tells Phillip that she understands what he did and thinks her father would be glad that someone stopped him before he could bite her. Tara was saddened of her father's death, but eventually moved on. Lilly is Tara's sister and they are shown to clash due to their differing personalities.

    Lilly often appears to scold Tara on her use of swear words in front of Meghan and her attitude towards "Brian". Despite this, Lilly and Tara had a sisterly relationship and clearly loved each other. It is clear that Tara trusts her sister with knowledge of her sexual orientation and other details of her private life.

    After Tara sprained her leg Lilly offered to look after her. Tara hid in a fenced off part of the prison during the attack on it, from there she witnessed her sister get swarmed by zombies. Tara is clearly saddened at the loss of her sister and shuts down after watching her die, this death stays with her for a long time. Tara loved her niece, Meghan, and fiercely protects her during the days of the apocalypse.

    She enjoys playing and spending quality with Meghan. When Tara swears during lunchtime, she tells Meghan to not swear like her. It is revealed in "Us" that she knows of Meghan's death. Upon first meeting Philip he introduces himself as Brian. Tara is shown not to trust him and openly asserts her dominance by threatening him and showing off her weapons, but after he kills her re-animated father, she tells him she understands what he did and thinks her father would be glad someone stopped him before he could bite her and she grows more accepting of "Brian" and decides to trust him.

    However, during the prison assault when Philip decapitates Hershel, Tara seems to grow afraid and disgusted by him. Tara later expresses deep regret for ever trusting him. It is later shown that Tara was told of Phillip's previous identity as "The Governor". In " Swear ", when Cyndie states that nobody is evil and that they just decide to forget who they are, Tara corrects her by saying that some people are evil and that Tara herself has seen it she was most likely referring to Philip given that she had witnessed him decapitate the good-natured Hershel Greene in cold-blood and for no good reason whatsoever.

    While Lilly Chambler heals some wounds on Alisha's hands, Tara comments on her rifle, saying its not good in the field, and that she is more of a "Smith and Wesson gal" herself. Alisha asks if she is always so full of shit, in which Tara replies yes. Later they are seen sleeping together and hanging out together, implying they have started a relationship. Tara's opinion of fighting the prison quickly changes after the Governor kills Hershel; Alisha's doesn't.

    Though Tara pleads with her, that they shouldn't have to fight, Alisha talks her out of it. Instead, she reminds her of their plan to meet in the forest after the chaos dies down. Initially, Martinez was surprised to see Tara and her family with "Brian," but he agreed to let them join the camp. Tara and Martinez formed a friendly, mutually respectful relationship during their time at the camp. As the group bonded over drinks, she praised him and his leadership.

    Tara was shocked when she learned of Martinez' death. Tara doesn't say much about Mitch, though it can be assumed she was grateful to him and his fellow survivors for saving her family. However, when Tara expresses her dismay of Pete taking over the camp, Mitch silences her and starts a fight with her, but Lilly steps in. This was most likely the start of why Tara didn't like the new camp.

    During the assault on the prison, Mitch becomes angry at Tara for doing nothing, and orders her to fight. Tara doesn't say much about Pete, though it can be assumed she was grateful to him and his fellow survivors for saving her family. When Pete announces that he will take over as the leader of the camp, Tara expresses dismay over him taking leadership of the camp, and says that he can't take over.

    This results in Mitch silencing her and starting a fight with Tara, but Lilly managed to step in. Before returning to her business, Tara glares angrily at Pete until Mitch shouts for her to move in her face. Rick first interacted with Tara during the prison attack in " Too Far Gone ", asking her if she was okay with attacking and taking over the prison.

    After the rescue from Terminus, Rick interacted with Tara again as he could tell that Tara was worried while she watched Glenn and Maggie hugging. Rick forgives her for her involvement in the prison attack, saying that he could tell she didn't want to be there and it's why he tried to reach out to her while he was negotiating with The Governor. The two seem to be on good terms as he accepts her as a member of the group and fist bumps her back when she reaches out to him. In " Heads Up " Rick and Tara's relationship seems to be on good terms. Rick scolds Tara for attepmting to save Spencer from the walkers, which Tara replies by flipping him off.

    Their relationship seems repaired by the end of the episode, as Rick apologizes to her, which she accepts. Glenn and Tara became great friends in the time that they knew each other despite their opposing relations to different factions. In " Inmates ", Glenn finds Tara closed off in a fenced off area of the prison courtyard.

    He goes back for her and convinces her to help him, even though he knows she was part of the destruction of the prison. Glenn and Tara discuss what happened and she realized they shouldn't have trusted "Brian" when he decapitated an old man and she is the one who has to tell Glenn that Hershel Glenn's Father-in-Law was killed. They discuss Maggie who Glenn wants her to help him find Maggie, but Tara can't understand why. Glenn tells her he doesn't want her help, but in his weakened state he needs it, they are interrupted by a walker attack and Glenn collapses of fatigue.

    Tara is shown to be apologetic for her role in the prison assault and helps save his life. Their relationship improves significantly in " Claimed "; Glenn seems to genuinely trust Tara by the end of the episode, and Tara even assisted him in getting Abraham to stop the truck so he could go back and look for Maggie. In " Us ", Abraham mistook Tara for having romantic feelings for Glenn, which he soon realized wasn't the case. Tara is also shown to be feeling very guilty and in a great deal of debut to Glenn since even when she injuries her leg she continues walking and follows him into a dark and dangerous tunnel, in the tunnel she is trapped by fallen debris and the walkers move in, Glenn refuses to abandon her and fights off the walkers until they are rescued by more of the group.

    When Glenn is reunited with the others he decides not to mention Tara's involvement in the prison attack so she can have a fresh start with them. After the group's escape from Terminus, Glenn and Tara continue to be close and have gone on numerous supply runs. While she was gone, she had no knowledge of his tragic death when he was captured alongside fellow group members by Negan and the Saviors. Tara is seen to be heartbroken by his death on her return to Alexandria.

    Maggie and Tara didn't know each other but Maggie was grateful to Tara for saving Glenn and gives her a hug. In " A ", Maggie notices Rick looking at Tara and says, "they're our friends", showing that she trusts her. After the group's escape from the train car, Tara spends more time alone with Maggie and Glenn, which increases her guilt about her role in Hershel's death.

    Once Tara tells her about being with the Governor, Maggie forgives her. She has since accompanied her and Glenn on runs. In First Time Again Maggie tells Tara that she is one of the most important people in the world to her and the two hug, suggesting a now very close friendship. While on watch Abraham tells Tara when they first met he thought she was in love with Glenn until he caught her looking down Rosita's shirt and realized she was a lesbian.

    Tara didn't get mad at Abraham after he accidentally pushed her when he was protecting Eugene. When Tara leaves for a supply run, she is unaware of Abraham's execution at the hands of Negan. When she learned of the news on her return, she was devastated to hear about his unfortunate demise. Eugene and Tara have become best friends in their time together. While they don't speak a lot during their first meeting, it is shown in " Us ", that Eugene spends time talking to her about video games.

    When Abraham decides to let Tara and Glenn go through the tunnel alone, Eugene confesses to Tara that he finds her hot.

    EXPERIMENTAL JAPAN (1961-69)

    Tara explains she "likes girls" and Eugene claims he already knew that. Later, Eugene tricks Rosita into driving to the tunnel exit so he can make sure Tara and Glenn made it out safely. Eugene and Tara interact several times throughout the journey to Terminus, Gabriel's Church and the road to Washington. Eugene confides in Tara that he was the one to disable the bus carrying them to Washington, and despite her best judgement, Tara keeps his secret.

    During their time at Alexandria, Eugene goes on a run with Glenn, Tara, Noah, with two Alexandria residents to find a device that would restore power to Alexandria. Tara is severely injured in an explosion, and due to his new found friendship with Tara, Eugene has a change of demeanor. He vowed to Glenn that he'd keep Tara safe, and surrounded by walkers, Eugene picks Tara up and exits the warehouse in which they'd entered to find the device; killing walkers as he brings her to the van outside. Later when Tara wakes from her injuries Eugene greets her with much happiness. As the series progressed Tara has spent less time with Eugene.

    It is assumed they still have a healthy relationship. It is mentioned that Tara is attracted to Rosita, during a conversation with Abraham he reveals that he saw her staring down Rosita's shirt at her breasts. Rosita seems protective of Tara because when Tara agreed to carry on walking for Glenn after she injured her leg, Rosita accused Glenn of taking advantage of Tara's debt to him. Tara has often been seen close to Rosita when in the group and even peeped in on her and Abraham having sex, showing how close they've become.

    In " Conquer ", Rosita cares for Tara while she is in the infirmary and is visibly joyful when she wakes up, offering a warm smile. MaixNaru and some TakigawaxAyako. Rated T! Nonexistent by Ramblesx reviews "Eugene Davis was stuck in between life and death, walking along the thin line of shadows and light.

    He was lost. It was dark. Just endless blackness, expanding onto a pointless oblivion. He was nonexistent and non-living. Gene wanted to die, except for the obvious fact that he was already dead. So when she gets angry because he never thanks her for bringing him the infamous beverage, what Is Naru's way of thanking her? Involves a jealous Masako! The Forest of Blood and Snow by RosetheWolfgirl reviews "In a darkened forest, a child cries out in lonilessness and saddness.

    She is lost and fragile. She whispers goobye once more as the blizzard consumes her forever. Will she survive or will she become one with "The Forest of Blood and Snow! Rated T just to be safe. He knew everything about her, from the length of her stride to the bounce of her hair. But there was one thing that perplexed the great scientist: the simple process that made her so unique. Sadness, then anger, then happiness.

    He knew what it was, he didn't know the 'why'. He couldn't figure out the Cycle of Mai. Until he went through it himself. Each chapter will focus on one of the main points of this subject. The Idiot Scientist by witchhuntress reviews Naru always knew about Mai's oral habit. Now he decided to do something about it. Ice, Wind, and the Moon by Haruhi in Wonderland reviews Naru comes back after a year, only to notice something- or rather someone- has changed.

    With new cases, past friends, and a "game" curse coming into play, can a certian narcissist realize his feelings before it's too late? What would Naru give her? Sequel to Comforting Mai. Oh no! He only speaks English! What is a poor girl-who can't speak English-to do? Why, grab the boss of course! What if he can't speak English? Mai soon discovers that this most definitely will not be a problem.

    Pure oneshot randomness. Please excuse this dying brain. What will he do? Changing by Rise-of-the-writer reviews Mai have hidden powers, powers that are about to grow. Naru is going back to England and taking the whole team except Mai with him. How will this go? Who will help Mai? Saving a Life by ljhughes reviews Two and a half years later Mai returns to Tokyo with toddler Makoto after disappearing rather suddenly and without explanation. What will happen when old friends make reappearances and new problems arise, threatening Mai and Makoto's way of life?

    What happens when a sudden competition is launched, and why must our favorite narcissist suffer for it? XD And where did Yasu come from? This is the most crack-tacular fanfictions ever. What happens when Naru pisses Mai off one time too many? She snaps of course. Singing my heart out by Iloveanimex reviews After Naru leave's, Mai get's a job singing at a night club. She has worked there for about a year, but she has only been singing other people's songs.

    She had written her own but never had the courage to sing them, untill now SPR Freaks? Why does Mai agree with him? I'm not going to cry anymore by JuniorAlchemist reviews Picks up a year after Naru leaves to take Eugene's body back to England. He comes back to find Mai still waiting for him and that Eugene is still her spirit guide. New Cases come up and new horrors and feelings emerge. The Extra Order by Treelow reviews Mai accidently gets an extra order of books. What will happen! Rated T to be safe! Mai confessed and soon got hit by a truck.

    When she woke up, she has forgotten Naru and what's worse is that she thinks that she's smiling but actually she is not! What is going on in here? And of course That one little girl by maiko reviews A few months after Naru left for England he returns to Japan. One night working over hours back at the SPR office a little girl appears Just how will this girl change the SPR's life?

    NaruxMai tiny bit other pairings rated T for safety and because of some cases. Lost Princess by cordelia25 reviews Based on the animated movie called "Anastasia. Meeting a guy in town turned her life upside down as she ran away from the soldiers sent by the government to kill her. Will I Ever Find Happiness? However when she met a certain someone, her life suddenly changed. Will she finally find happiness? I'm not really good at summaries. NaruxMai pairing.

    Please bear it with me. I change the rating to T. Master and Maid by Dream Wreaver reviews Master: the owner of a slave or employer of servants to work in their household. Maid: a female servant generally hired to occupy the master. Society rules that a Master may never marry a Maid. Clearly, society has never met Kazuya Shibuya. Full summary inside! Math Homework by Treelow reviews Mai asks Naru to help her with her math homework.

    Rated T. Naru x Mai Oneshot: Where is Naru? Twinkletoes by MouseMaster42 reviews Naru does, in fact, know how to dance. His brother taught him, only to accidentally steal Naru's childhood crush for himself. When Mai invites Naru to her high school dance three years later as last resort, will he be able to redeem himself? Or will his own social awkwardness trip him up again? Threeshot fluff. NaruMai, some LinMadoka, rated T for extremely mild language. Marry Me by GhostiesandGhoulies reviews A year after the proposal, Mai and Naru are ready to tie the knot and make themselves a married couple.

    With her stomach full of butterflies, eyes watering and heart leaping, will Mai actually be able to say the two words that seal the deal? We certainly hope so! This is the sequel to Do Me the Honor. Naru unfortunately can't seem to get it through his thick head! Lin helps with that, question is He is an idiot when it comes to feelings after all Rated for Lin's one line of language, just to be safe.

    Now a three-shot! Planning an engagement behind your girlfriend's back is no easy task after all, especially when you are as nervous as Naru! But the question in everyone's mind: Will she say yes? Painting by Treelow reviews Mai and Naru redecorate. Rated T to be safe. Naru's Bad Day! Let's be safe and say T! Mai, now 19, is ready to take on new cases, with her ex-boss Naru who just came back. Everyone has Secrets by kira reviews What if Mai had a secret she tried desperately to keep from her friends? What if everything starts falling down and she has to expose who she was and what she did 3 years ago to save her friends from her past.

    Summer Time Inn by hitachiintwinsfan reviews When the gang go to investigate'Summer Time Inn' things take a turn for the worst. What is wrong with Mai? Why can she feel something Masako can't? Is it a ghost that's haunting the Inn or something worse? Full summary inside. Cute oneshots! Plz don't hesitate to review! Well, in a nutshell, its New Years Eve.

    And the gang has decided to spend it at SPR! Review if you'd like! Sex references The Hunger Games by colbyj reviews My heart dropped. All time had ceased to start back up. The pouding in my heart was like a bass in my ears. I trembled under the shear silence of District Before I knew it, I had sprang from my spot, desperately calling out, "I volunteer! Injuries by Storylover Vodhr reviews Ash gets hospitalized after A horrible accident. May stays in the hospital, hoping that he will be alright, as well as cope with some unexpressed feelings.

    Fairy Tale Series Part 1: Cinderella by midnightstar32 reviews Everybody's favorite characters are back, but this time in a classic fairy tale. Who will save poor Mai from being treated like a maid? Will she ever get her dream come true? What about her happily ever after? Original story has been changed to fit this. Back on topic.. Precious by twilightyuna6 reviews A very sleepy Naru gets a phone call from a seemingly distraught Mai in the middle of the night.

    Could it have something to do with their new case that will be taking place?