Actions

Work Header

What We Pretend We Can't See

Summary:

Seven years out from the war, Harry learns the hard truth of old history: it’s never quite as far behind you as you thought.

Notes:

HELLO THERE, FRIENDS. So: 2017 is a horrorshow, and, whether consciously or not, I retreated to the (relatively) safe space of 2007 in my mind and then this happened. I wish I had a better explanation for it, but: I don’t. The world’s a garbage fire and I’m sick with terror every day! But at least my probably-not-that-healthy-but-hey-here-we-are coping strategy was apparently to produce this, the most substantial thing I’ve written in years, after a prolonged period of time in which I thought irrational, histrionic shit like, “My understanding of the English language has eroded into nothingness!” and “I’ll never write anything longer than a grocery list again!” I hope you enjoy it, and that it brings you some happiness; god knows I enjoyed writing it. It features all of my favorite things: gratuitous depictions of cooking, at least one character who is clinically incapable of shutting his mouth, and borderline-unhealthy drinking partaken of by 20-somethings whose lives aren’t quite what they thought they were going to be, somehow.

All the incredible art linked in this story is the work of thistleraven; the title is from the amazing Ali Dineen song What You Know. My sincerest thanks to thistleraven, for reading and editing this story as well as making such GORGEOUS art to go with it, as well as to shecrows, whose fault this whole tale is in the first place, and who cheered me on and battled my neuroses as it just… kept… getting…. larger.

Trigger warnings, should you require them: the aforementioned borderline-unhealthy drinking; technically quite a lot of verbal abuse, although the characters engaging in it encourage and enjoy it; explicit and implied depictions of anxiety, panic attacks, depression, and PTSD; ableist language, some of which is dealt with within the narrative by the characters and some of which is part of the verbal abuse already discussed; light stabbing. (Well. Light-ish.) My apologies if I've left anything out.

ETA 4/12/17: This fic used to have a poem at the beginning called Musee Des Beaux Arts, by the incomparably talented W.H. Auden. Unfortunately, the Archive's copyright policies prevent it from serving as an epigraph any longer, but I highlight recommend you give it a read; it's one of the most gorgeous pieces of writing in existence. Here is a place you can find it: [http://english.emory.edu/classes/paintings&poems/auden.html].

ETA 6/11/20: Well, here we all are in 2020; where did we go wrong, am I right? (I joke; it was the white supremacy that got us here and that fact is glaringly obvious.) Anyway, this note is just to say that I, the author of this story, am a trans man, and I did not write this piece of fanfiction for the enjoyment of anyone who doesn’t support the rights of trans people to just live our goddamn lives. I am not going to take it down, because the whole point of this tale was a) obviously, Gay Romance, and b) to use fandom to address and try to correct what I felt and still feel are some of the biggest issues in the Harry Potter series — its overwhelming whiteness, the whole “Albus Dumbledore is gay but only when you’re not looking directly at him,” thing, etcetera. But I would be remiss in this moment if I did not say that trans people are good, and hating trans people is bad, and no part of this piece of writing stands for anything so much as “Please condemn and dismiss the words of JK Rowling, who should not have done the things she has done.” Your support of this work over the last few years has been an honor, and I hope you continue to enjoy reading it, unless you hate trans people, in which case I hope it ruins your whole day, and also tomorrow.

Chapter 1: Prologue

Chapter Text

 

Twelve days after the Battle of Hogwarts, Harry steps across the threshold of Grimmauld Place and knows abruptly that he can’t live there anymore.

He moves through the house systematically, almost blindly, picking up and packing away those things that are his or that he wants to keep. There aren’t many of them; he can’t so much as look around the place without being swamped with a memory of someone who just… isn’t, anymore. He’s sick of it. He’s tired. Every bone is his body has ached for two weeks, as though all the trials of the past year are catching up to him at once, and there are moments he can barely breathe for grief, moments he has to close his eyes and remind himself forcibly that it’s over, they’ve won, he can let go now. He’s not sure how — he’s not sure he’s ever known — but he is sure that he can’t keep coming home to this mausoleum without becoming part of it himself.

It was Sirius’s place, and Harry feels hideous guilt rise in his throat at the solicitor’s office the next afternoon, but the guy’s old school, a professional, a brusque almost-kindness to his frank practicality and lack of judgement. He says, “Of course, Mr. Potter,” and “Makes perfect sense, Mr. Potter,” and tells Harry they can ensure the house goes to someone who will preserve it, take care of it, keep Kreacher on — with a wage, even, if he’ll take it, though Harry sincerely doubts he ever will. It doesn’t feel like enough, but nothing has felt like enough for so long now that Harry doesn’t think it matters very much. He signs some documents and agrees on some figures and Mr. Bracefoot shakes his hand, says, “I think you’ve made an excellent decision, Mr. Potter, I’ll Owl you when the right offer comes in,” before his secretary sees Harry out the door.

Harry Apparates almost at random to a Muggle neighborhood near the Leaky, close enough that he can walk to Diagon Alley if he likes but not so close that he has to worry that his neighbors will know who he is and sell pictures of him buying milk to the Prophet. He prowls the streets looking for for-sale signs and then buys the first place he finds that’s immediately available, a one-bedroom with creaky pipes and a cramped kitchen in this old building’s fourth floor. It has little to recommend to it, but it's never been occupied by anyone who has since died horribly on his behalf; that, for Harry, is quality enough.

He gets a job as an Auror, because it’s what he always said he would do. He goes down to the pub with Ron and Hermione and Ginny, brings Ginny back to his flat with him after, because it’s what he always thought he would do. He testifies at a few trials —  Alecto and Amycus Carrow to convict, Draco and Narcissa Malfoy for acquittal — because it’s the sort of thing he thinks the person he wants to be would do, and he knows he has to try.

Six months later Mr. Bracefoot Owls him to say that a buyer has made an offer on the Black estate, complete with a verifiable blood claim and an offered Unbreakable not to do any intentional harm to the structure or magic of the house. Harry waives the Unbreakable and signs the papers by Owl for the sake of expediency, heaves a sigh of relief as he watches the bird disappear on the horizon.

Hermione tells him, a year or so later, that it’s been turned into some sort of museum. Harry’s only half-listening when she says it, busy watching with narrowed eyes as Ginny and Neville linger a little too long together at the bar, but he turns to her when she asks if he thinks he might ever like to go and see it. Her gaze is sharp, almost probing, and he thinks this might be one of those things where she’s worried he doesn’t have — closure, or something.

“Honestly, Hermione,” he says, with a wincing little shrug, “if I never go back to that house again, it’ll be too soon.”

She nods slowly, and that’s the end of that. And if sometimes, when his walls feel too thin and his surroundings too ordinary, his pipes too loud and his kitchen too small, Harry thinks about what the old relic might’ve been like clean of all the loss it stood for — well. He’s only human, after all. It’s natural to wonder.