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The Eagle
The Eagle

by BumbleBear in Other Poetry
Young Writers Society Forum Index » Fantasy Fiction

This thread was created on June 3, 2008
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Machinations #1 (part 1)
Machinations #1 (part 2)
Machinations #2 (part 1)
Machinations #2 (part 2)
Machinations #3 (part 1)
Machinations #3 (part 2)
Machinations #5

Machinations #4

Topic ID: 31061
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Kylan   View This User's Portfolio
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PostPosted: Wed Jun 04, 2008 12:18 am    Post subject: Machinations #4 Reply with quote

Out of the four point of views I've written from, I've found Paul (and this chapter) to be the most fun by far.

***

San Diego, California

Eight Years Earlier

His hands were trembling.

Twisting and shuddering impulsively as if someone had attached kite strings to the ends of his metacarpals and was now controlling them like the hands of a rag doll. He stared at them, his breathing stilted and staccato. The anger replacing his blood like formaldehyde infected his eyes and heightened the contrast of his vision, so that a bus seat, a passenger, a mirror, a grocery bag was incandescent. Glowing like a trillion candles.

And withering his retinas.

Paul could hardly keep still.

He had to move! He had to scream! He had to do something or Godssakes, he was going to explode!

The skin on his hands was loose and papery and freckled with sores.

Shrapnel wounds from the drugs.

Shrugging his marine-issue jacket further up his shoulders, drowning in it like a liturgic cowl, he reached into his pocket for a cigarette, praying the nicotine would do something for him. Tranquilize him. He could practically feel psychosis creeping up his legs, up his waist, up his torso as if he was descending into some kind of foundry, wading into liquid metal that writhed and bubbled like boiling champagne and came up to his neck. Igniting his blood like gasoline. If he didn't get something soon, someone would die.

He was sure of it.

His hands wanted a neck. They wanted flesh. They wanted the warm, gratifying feel of a throbbing jugular and the music of captured gasps and caged screams. They wanted to contract. Squeeze. Squeeze until all the warmth came leaking out of a mouth.

Drooling out of a mouth.

Clenching his teeth, Paul lit the cigarette and sat on his hands.

Outside, San Diego was rotting.

The buildings and high risers were like butchered animals.

The cars and the people were like flies. And above them, rainclouds of cigarette smoke and frying oil and exhaust hung pregnant in the air, magnifying the sun like refracted light through a microscope.

His bus was an ant combusting under the glare of a city-sized magnifying glass.

Paul took a drag on his cigarette and smoke tumbled out between his lips. On his right, a bloated man in a suit glanced at him sideways, following the spirits of smoke – disembodied ghosts – on their exodus to the ceiling. The man frowned. Paul tried to ignore him.

The bus smelled like a spice cupboard.

“Hey buddy, you allowed to smoke in here?”

Ignore him.

But the words were barbed wire, reopening the sores on his hands which jumped and twisted under his thighs. Paul tried to restrain them. Mastiffs on leashes.

Sweat dropped from his hairline and down his face like pearls from a broken strand. He could feel the cigarette between his lips nodding and dancing up and down as he whispered wordlessly. He whispered prayers. He whispered silent supplications, packaged them with his sweat and hopelessness, and tossed them heavenward. Godssakes, he needed to get high. He needed to escape. Because his control over his over his own marionette strings was diminishing. Fading. As if someone with scissors was severing them, one by one, until his limbs and humanness and self-control collapsed into a pile of matchsticks.

Tufts of smoke jumped from his mouth.

The man beside him was saying something.

Paul tried not to hear him.

“Hey, take a look up front. It says 'no smoking'. Can't you read?”

His anger – his blood – flared up like the flame of a Bunsen burner. He was going to kill him. Blood all over his heat-wilted suit. Blood all over the rotting streets of San Diego. Couldn't the bastard see that the cigarette was keeping Paul from exploding? Couldn't he see that all his restraint was a filter and rolled paper and tobacco?

Obviously not.

The man raised his hand and shouted towards the bus driver.“Excuse me, driver. This guy's smoking. Can't hardly breathe back here.”

Paul's mouth opened like a knife wound. “Shut up, you fat bastard.”

Everyone was looking now. Their eyes screamed disapproval. The driver – his arms like arthritic tree branches and his face like the skull of a concentration camp Jew – glanced at him through the mirror mounted above the dashboard and reached for his radio.

“Put it out, mister.”

Paul sat on his hands.

He couldn't move them.

He wouldn't.

The cigarette continued to nod from his lips – a metronome counting seconds – and he looked out the window and at the reflections of traffic in the pools of heat percolating in the road. Just ignore them. Ignore them all. Maybe they'll leave you alone. Maybe they can't see you.

The suit shoved him roughly.

“Godssakes, didn't you hear – ?”

Paul's hands snapped his self-made manacles, tore out from under his thighs, and plunged for the suit's neck. His face contorting, Paul felt his fingers wrap like cellophane around the bastard's throat and squeeze. A little gasp fell from the man's mouth.

Paul was laughing.

People were screaming.

Yelling.

Paul squeezed tighter – and felt the warmth of the man's blood seeping through his fingers like Morphine through an IV drip – and smiled through the cigarette smoke. He smiled as the man's eyes bulged. As his bloated face inflated. Painted itself a lovely shade of red.

Words blistered out of the intercom and the tire's of the bus sighed as the driver pulled out of traffic, but Paul couldn't hear anything anymore. The world was suddenly shrouded by a blanket. So that all he was aware of was the suit's torn breathing and his own drunk laughter.

“Got a light, buddy?”

A choking sound leaked from the man's mouth. Spit gathered at his lips like yarn, streaking down his cheeks, staining his chin. Paul could see his own face reflected in the bastard's eyes – lacquered with unadulterated terror – his expression feral, rabid, possessed. His mouth was twisted like a contortionist. His eyes glittered like crown jewels. Somewhere – somewhere beneath the orgasmic bursts of laughter and the church-bell ringing in his ears and the silent screams poisoning the mouths of the passengers around him – Paul heard himself.

He saw himself.

Reflected in the suit's eyes – blooming like mushroom clouds.

A monster.

Corrupted, violent, spastic, uncontrollable.

But the bigger part of him, the animal part of him, was strangling his better judgment on a sweat-gummy polyester seat, on a bus as it made its exodus across the carcass of downtown San Diego.

His hands were contracting on their own accord now.

His laughter was blitzing from his mouth.

Something that felt very much like an iron bar was rammed into his back.

Crushed glass infested his vision, a scream was ripped out of his throat, and he rolled off of the seat and crumpled to the ground. His ears ringing, sobbing, Paul tried to stumble to his feet, but the iron bar crunched into his jaw. His body suddenly felt as if it was strapped down to a table and a surgeon with a rusted scalpel was vivisecting him. Cutting out his spine, his jaw.

Blood dribbled down his chin.

“Get the hell off of my bus, you filthy bastard.”

The driver, wielding a broom handle, stood above him, his breath creaking like new leather, his cheeks scooped out of his face. His mouth twisted. “The police'll be here any minute. They're gonna – ”

Paul gagged gumballs of blood and spit and dove for the matchstick thin bus driver. His arms wrapped around his waist and he tore him to the ground. On his knees, he drove his fist into the man's stomach. Once, twice, three times.

He could feel ribs snapping like celery sticks under his blows.

And he was laughing again.

Dissonant carnival music.

Stop! Stop, you idiot, stop!

The man grunted and retched blood, his legs jerking weakly, his entire spine folding itself over Paul's fist, jackknifing. Paul could hear sirens. Like whining violins, accompanying the music of his laughter. Behind him, hands were groping at his clothing, at his hair, at his shoulders, pulling him down, pulling him back. He shrugged them off, roaring, snatched the broom handle from the bus driver's hands – like crumpled newspaper – and plunged it into someone's chest.

A gasp.

Paul twisted around, scrambling to his feet, and swung the wooden dowel a second time at a Mexican man with a face smeared with sun and grease, and clubbed him upside the head. He fell to the ground spewing Spanish like a Pentecostal speaking in tongues.

Get off!

Get off the bus! The police are coming!

Paul tossed the broom handle at the surge of bus passengers – their faces like a hundred masquerade masks, sequined with shouts of anger – as they moved to restrain him, turned, stumbled over the driver, whose arms were outstretched above his fallen head, crucified, and burst out the door. He fell to the blistered asphalt of the parking lot of a Chinese restaurant. Droplets of heat from the sun spattered his face and his vision bulged suddenly like a carnival mirror as he slowly moved back to his feet.

The air outside had the viscosity of petroleum.

And was laced with police sirens; first chair violins in a heat wave chamber orchestra.

Paul spat again and began running, jogging towards the slumped over restaurant with peeling paint and a halo of frying oil, but his back felt serrated and cut razor-sized holes in his skin. He couldn't keep running. All his energy was exiting his mouth in a cocktail vehicle of sobbing and laughter. He was insane. He was going to hell. The twitching, the lack of control, the violence was like some kind of Legion living in his nervous system. Like two thousand demons that no amount of cocaine or pills could satisfy.

Paul collapsed to the ground again, in the sorrow-black shadow of the Chinese restaurant. Behind him, two police cars pulled into the parking lot; their sirens making ripples in the hydrogenated air and their lights spasming dimly. His hands were trembling again. But weaker this time. Dying sparrows. Paul looked up at the sun, a phosphorescent hole punched out of the blue sky, and choked. He was going to prison. His hands had purchased a one-way ticket to a cell, a public defense attorney, and an orange jumpsuit.

Someone with a bullhorn was screaming at him.

Hands on your head.

Up against the building.

Sounds and words that jingled to the ground like splintered glass.


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PostPosted: Wed Jun 04, 2008 1:19 am    Post subject: Reply with quote

Geez. Paul is crazy.

Okay, there was a lot of violence in this chapter, but, much like the last chapter, I really didn't get a reason for it. It seems as if these characters are living to hurt people and we aren't really getting into their heads to see why? We get into the anger on Paul's part, but I want to know what makes him like this. I'm not inclined to sympathize with him. The first two chapters had characters that I liked and sympathized with, whereas the last two chapters have involved characters that frighten and disgust me (in a good way ... if that makes any sense)

Anyway, your descriptions were, as usual, amazing, but they were also a bit wordy. I think you could cut out a lot of the more repetitive descriptions, tighten up the prose a little bit and you'd have a much punchier scene. (Holy cow, I sound like my English teacher...) Since this is almost a fight scene in the conventional sense, it has to grab attention at the action, not just the emotions leading to the action. You are suddenly sparse with words when it comes to his beating the tar out of the bus driver and it reads with so much more impact.

I can see why this was a fun scene to write (while at the same time I am slightly concerned for you *le wink*) and it was an interesting read, but my final consensus would be that it was a bit wordy. Your style seems to rely heavily alternatively on wordy descriptions and sentence fragments. The fragments don't bother me as much as the wordiness...

Anyhoo, nice job. I look forward to the reappearance of some other characters soon, as wel as the continuation and expansion on Paul!

*thumbs up*

~GryphonFledgling

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PostPosted: Wed Jun 04, 2008 1:59 am    Post subject: Reply with quote

Hey Kylan! This was amazing, as always. It really was. There was one sentence that bugged me a little bit. I think you're being just a little too scientific here:

Quote:
Twisting and shuddering impulsively as if someone had attached kite strings to the ends of his metacarpals and was now controlling them like the hands of a rag doll.


Instead of metacarpals, how about fingers? Then us dumb readers don't have to say, "Whaa?" Haha.

Quote:
Okay, there was a lot of violence in this chapter, but, much like the last chapter, I really didn't get a reason for it. It seems as if these characters are living to hurt people and we aren't really getting into their heads to see why? We get into the anger on Paul's part, but I want to know what makes him like this. I'm not inclined to sympathize with him. The first two chapters had characters that I liked and sympathized with, whereas the last two chapters have involved characters that frighten and disgust me (in a good way ... if that makes any sense)


I'm gonna have to agree with Gryph. There's a lot of violence but we don't really understand why. I think that we need to dive deeper into Paul's head. Is he just a physco? Always wants to kill people? Is there a reason that he was so anxious that he wanted to kill anyone? Or was it something that he was riding to on the bus? Anyway, you get my point. I'd really like to see more inside the character's head.

But again, it's seriously amazing. Please PM me when the next part comes out.

-Jared

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Lynlyn   View This User's Portfolio
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PostPosted: Wed Jun 04, 2008 3:25 am    Post subject: Reply with quote

1) Sorry it took me so long to reply to this. I didn't want to review just after finishing my dinner.

2) In hindsight, that was a good call. Wink

3) I think this was my favorite chapter, save for Charlotte's introduction.

Quote:
The anger replacing his blood like formaldehyde infected his eyes and heightened the contrast of his vision, so that a bus seat, a passenger, a mirror, a grocery bag was incandescent. Glowing like a trillion candles.

My first thought here was that he was either a) high or b) under the influence of some supernatural high. In other words, I'd like to find out - soon - the motives behind Paul's psychotic behavior. Also, any reason it's "the anger replacing his blood" rather than just "anger replaced his blood and..."?

Quote:
drowning in it like a liturgic cowl,

I like this description, because of the religious implication. He's trying to don some sort of moral restraint. But failing.

Quote:
his breath creaking like new leather

I just can't get my brain around this one. New leather creaks? Isn't it like... bendy?

Quote:
and clubbed him upside the head.

This phrase strikes me as very colloquial. I'm just not a fan of "upside" as a preposition, it's a little informal when it's outside of dialogue.

In general, the only thing I really have to nitpick about is the way the antagonists' (well, I'm calling them antagonists for now) motives are concealed. It's fine right now, but if we're in limbo much longer, it's just going to keep building. I have a feeling that this is where the supernatural elements kick in - and I hope you introduce those soon. Here's my reasoning - okay, fine, it was Orson Scott Card's reasoning first -

If you set up a world with fantasy elements, it has "rules" that govern how things operate. What kind of "magic" or "supernaturalism" are you dealing with? Who can use it? To what extent? The longer you leave readers hanging, the harder it's going to be to immerse them in the fantasy elements when you introduce them.

I guess I don't really know why I'm worrying - I'm sure you'll pull it off.

(And go read How to Write Science Fiction and Fantasy if you haven't already.)

As always, the imagery in this is really vivid, and I think that's what I like about it. It's not just visual imagery either, it engages all of the senses. The atmosphere of the bus is really well-conveyed - I imagined it as really small and cramped. It's more the things that you leave out that make the writing so solid. As Gryph said, the sparseness is almost more graphic.

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Kylan   View This User's Portfolio
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PostPosted: Wed Jun 04, 2008 6:32 pm    Post subject: Reply with quote

Thank you very much for your critiques. As always, they give me a new perspective on what I write, so I can examine my mistakes and flaws more carefully.

So, I'm gathering that you may be somewhat confused by Paul and this scene. Gryph and BBB mentioned that violence seemed needless and Lyn mentioned that Paul seemed doped up. Below is a small spoiler, just to clear things up. Reading a story on the internet with semi-long breaks of time between chapters is completely different from reading a novel inked onto paper, so I feel that some justification is merited.

SPOILER BELOW
















First off, Paul is completely crazy. He was in the military during the Vietnam war and underwent some pretty terrible POW torture. Hard drugs (cocaine, meth) give him a break from being psychotic for a little while. So a lack of these drugs, makes him violent and submerses him into a kind of mental twilight, where his humanness is more or less nonexistant. In Chapter 3 (part 2) we are introduced to Paul in the present. He has collapsed after visiting Adam in a sort of out-of-body experience (if you didn't catch that, read over the chapter again. You'll find Paul quoting the conversation that Adam and "the old man" had before "the old man" disappeared (Paul is the old man, if you hadn't figured that out)). Paul in the present is in an insane asylum. That's where he collapsed before being rushed out and into an ambulance.

Anyway, the violence was to portray how insane Paul is. And how dangerous he is as well. Believe it or not, Paul is a protagonist.

Lynlyn >> I'll be going through another cycle of the characters before the fantasy really hits (meaning Nikola's POV, Charlotte's, Adam's, and then Paul'sundefined).

-Kylan

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PostPosted: Tue Jun 10, 2008 4:28 am    Post subject: Reply with quote

This was dark. Very dark and wonderful.

I don't have a very clear picture of Paul. You might choose to expand on his look later, but for now I would like to see some sort of base on his facial appearance. I know he's scared from war and you could really use that to help describe his facial features.

My own personal thought is that this could be a very nice night scene. I didn't realize it was daylight until he end and my mind had it all at night. Just a suggestion, but maybe worth a look into.

You did a great job of displaying the ticks of a drug addict. You've either done a great deal of research or had some experience in that area. As far as witnessing someone like that.

I really liked how you compared the shrapnel to the drug use. It made a clear connection between Paul's war experience and the drug use. Well done.

That's all I can think of right now. another great chapter I think. Everything is adding to the story.

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