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Perfection
Perfection

by emmyc101 in Dramatic Poetry
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This thread was created on March 19, 2006
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PostPosted: Sun Mar 19, 2006 5:00 pm    Post subject: jack be nimble Reply with quote

jack be nimble

- smaur -

When you first kissed me, we were strangers in a subway station. The world took form beneath the shape of your lips, your slender fingers curled in the tangles of my hair. The axis upon which I guided my existence disintegrated. All around us flowed an unending tide of people and their problems, small and stinking of humanity, and I was wrapped in the soft clean smell of you.

You broke the kiss and whispered, "I want to know you."

I want to know you. There were no sexual undertones, no double-entendres or fabricated truths or clever words. You meant it, didn't you? I want to know you.

We began at the beginning. Tall glasses of chocolate milk sipped beneath the trees; exchanging life stories, tracing the paths of our pasts on the narrow tributaries of our veins. This little one's the mother you never knew, that one's the father I wish I hadn't. We walked through the deep dark secrets of our yesteryears and emerged holding hands. Sorrow for sorrow, until the sunlight washed away the shadows and we were cleansed. Your gold-limned fingers touched mine in gentle reassurance; I imagined you were an angel. Black-eyed and dark-haired, haloed in the butter-yellow of noon, you smiled at my clumsy words and nervous hand gestures. And I, I stared at the hollows of your wrists, smudged in grey shadow, and knew I could never hate you.

I want to know you.

Two years of moonlit dancing and cold noodles for breakfast. We made friends, in this vast lonely city where dreams are fragile and relationships doubly so. You made friends: Lee with his wind-swept landscapes, Mary and her violin, quiet John and quiet John's booming laugh. I hung back, too shy, too nervous, but you pulled me in. "This is my fiancée," you said.

"But, Jack." My voice was taut and thin. But, Jack — how I hated myself. You knew Latin and French and Spanish, and all I knew was the plaintive plea of my insubstantial words. You glanced at me quickly, worriedly. And then, before these strangers, you proposed to me. Snapped open a tiny satin box with a promise and a kiss sitting on a slim band of gold. John laughed and Mary swore loudly and you kissed me. Your fingers in my hair and your lips molding the shape of mine. That was our world, my world.

Of course I said yes. How could I not? We married in a small village in Italy, against lush green slopes blooming with scarlet poppies. You picked a bunch and knotted them into a crown for my hair. On the morning after, while you still slept, I pressed them into a scrapbook and hid them away. It was my collection of you, the bits I would gather and pilfer for the next five years.

"Where's my handkerchief?" you'd ask, turning the room upside down in search of it.

"I don't know," I would answer, clutching it tightly in my pocket. When you had left for work, I ironed it carefully, burying your lingering scent into my nostrils, and stowed it into my book.

"I lost my keys." You would laugh wryly and kiss my hair. "God, I'm so out of the loop."

I said nothing. Each key was framed on a page of its own, bordered by an inch of tiny coloured poppies.

You were the axis upon which my world tilted. Every hour you were gone I hungered for your return, flipping through the pages of my leather-bound book of you, breathing in the signs of your existence. Twisting the ring on my finger, a promise and a kiss (your promise and your kiss) bound to it. Wiling away those empty moments till you came back. And when you did, my world was set to order. Those mornings and nights and weekends seemed surreal after aching hours of waiting. Moments snatched out of time, out of your time — if only I could've taken them, ironed them out. Glued them into my scrapbook.

The world is made up of people like me. If only and but, Jack and I don't know. Plaintive and quiet and non-existential, shadowy half-sketched figures moving across the globe. But you, you were different. A drop of self-contained sunlight, a microcosm of heaven. An angel, a god. Jack be nimble, Jack be quick. Clever and articulate and intelligent, you were everything against my nothing. Whatever did you find in me? I didn't know and I stopped caring. You loved me, you wanted me. You told me every day, every night. You told me at the beginning, do you remember?

I want to know you.

You restructured my existence. No, you were my existence. The moments we were apart, I felt myself curling up into my empty shell. The moments we were apart, I felt the fragility of my universe crumbling. You ate breakfast and I watched you with despairing eyes; you kissed me absently, still half-asleep, and I ached to know you were leaving. I died a little more every moment you were gone, until I couldn't help it. Snatched up the spare keys and drove to the massive grey structure of your office building.

I followed you to work every day. Love is love. Till death do us part, we had promised, and the promise lay on my finger, glimmering against the gold band. You never saw me, of course. That was my one and only gift, my one and only curse. An existence of non-existence, an insubstantial life of shadows. I watched you make friends in the officeplace, invite Ted and his wife Mary to come bowling with us. While I pined in the darkness, you lived in the sunlight. You made the sunlight, don't you see? I was a tiny plant cradled in your cultured hands, drinking in light against the lapping waters of your Latin and Spanish and je t'aime. I watched you eat lunch at the tiny bistro across the street, crumple the napkins in the trash. (I took them, of course; ironed them and stitched them into my book.) I watched you for weeks, for months, as you joked and laughed with your co-workers, as you tossed spare change to the tattered beggar on the streets. As you helped an old woman cross the street, held doors open, carried groceries.

I watched as you got into Mary's car and drove to the hotel and made love on silk sheets.

Made love. Oh god. Why do they say that? Why do we say that? As if in that single act you can erase seven years of promises and kisses and secrets and sunlight, transfer it to another woman. As if the very structure of my world can crumble in a single moment; cities falling, mountains tumbling, lakes evaporating. Je t'aime. Je t'adore. As if none of that means anything; as if words are just words, and yours are as insubstantial as mine.

"I want to know you," you whispered into the curve of her neck.

Once you said it to me. Once you kissed me on a subway station in the middle of strangers. As strangers. Once you proposed to me and married me and plaited a crown of poppies for my hair.

Once you loved me.

Mary. Ted's wife the violinist, who swore loudly when you showed me the ring. I wonder how long you've known her, how long you've loved her? (But no, no, you loved me. You said you did. You gave me the ring. It was a kiss and a promise and I believed you. We married in Tuscany. You love me.) I wonder if you've gone anywhere together. If those business trips were a lie, if they were as fabricated as your synthetic sunlight.

I wonder how long it took for you to die. You were so surprised, scrambling naked out of the bed. All over again you were an unknown element, a stranger in a strange place.

It still hurt. I watched as your fingers scrabbled desperately over the tight knot of silk that looped her neck. You didn't even notice, did you? Till the wineglass smashed and you turned your head and —

And —

It only took moments. The jagged slip of glass impaled your heart, twisted against the pale planes of your chest. "I guess that makes two of us," I said softly to you. My fallen god, my angel, my sunlight; you were the axis upon which my existence was spun. Picking daisies in the sunshine (he loves me, he loves me not), sipping wine on Tuscan slopes, watching dusty pink skies with your fingers in my hair. Jack be nimble, Jack be quick. I loved you.

I want to know you, I whisper into your dark hair, haloed in sun-gold. Someone's hammering at the door. I wish I had my scrapbook, to keep you close by. I wish I could frame you on the last page, eyes closed (for I close them now with my hands), breathe in the soft clean scent of you forevermore.

There's a commotion at the door, the sound of wood splintering. I don't care. You're gone, after all, a glinting shard of glass protruding from your chest. They're entering the room – someone's shouting – they must have seen her body tangled in the sheets.

You're all I see now. Leaning down, I press my lips against yours.

The last time I kiss you, we're strangers again.


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Last edited by smaur on Sun Jan 07, 2007 12:02 am; edited 7 times in total
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PostPosted: Sun Mar 19, 2006 6:14 pm    Post subject: Reply with quote

I like this. There isn't much more that I can say about it. It shows a lot of tallented writing. Lots of understandable descriptions, good emotion, very well done.

Good work, you've earned a hug. *hug*

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PostPosted: Sun Mar 19, 2006 8:43 pm    Post subject: Reply with quote

Quote:
"This is my fiancé," you said.


Wait ... wouldn't it be fiancee (with the accent, of course) if we're talking about the narrator (who I'm assuming is a woman) being engaged to Jack?

Quote:
I wonder how long it took, for you to die


Sounds more dramatic if you take out of the comma, and still stays grammatically correct (to the best of my knowledge). Although, I get this fear that if I critice your grammar you'll come and attack me with some expert critiquing tool of yours and I'll crawl up in a corner and feel embarrassed ... or something.

The ending was nowhere near as good as the beginning. The whole story seemed to collapse at the end, compared to the brilliant start and great middle.

Quote:
t still hurt. Of course it hurt. I loved you, after all. The other one (Mary the violinist?) screamed when she died, but she didn't matter. She was a shadow of your past, the snake with the apple. She didn't know you. She didn't love you.

It was you that hurt. Oh god. I loved you. You know that, right? Jack be nimble, Jack be quick. I loved you till the end. My fallen god, my angel, my sunlight. You were my everything, the axis upon which my existence was spun. You loved me.


This passage just didn't seem good to me. "It still hurt. Of course it hurt." etc. etc. Lots of cliche small fragments that got annoying as you kept churning them out. Somehow by then my patience was wearing. The ending seems under-described and under-developed. In the earlier segments, you provided concrete images to link with your abstract emotions - for example, the things about keeping the different objects from Jack. But now it ends up being just abstract feelings written over and over, and it becomes a little overdone.

The last line was fine though, completing the circle.

The story was pretty flawless, except I suggest revising the ending. I love your parellelism (can never spell that) and such. Good work.

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PostPosted: Sun Mar 19, 2006 10:27 pm    Post subject: Reply with quote

Wow. That was...awesome. It was sad at the end, but it was awesome. I love the way you decribe the events and people.
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PostPosted: Mon Mar 20, 2006 2:13 am    Post subject: Reply with quote

I am not so interested in your grammar nessisarily (i know your snickering at that one) as much as your plot. I know it may suond romantic to just randomly kiss goodlooking strangers in a subway, it is not. It is creepy. Therefore I have infered that the woman was a insane, clingy and stupid from the beggining. You may or may not have wanted to give this effect.

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PostPosted: Mon Mar 20, 2006 2:22 am    Post subject: Reply with quote

I loved it; it was fantastic. The beginning was brilliantly written, and the end result of the piece came as such a shock to me, which was excellent! (I hope that's what you were trying to do Smile ) But I agree with Jack, the end is sort of missing something, but the last few lines add a certain cohesiveness to the story that just brings it together so beautifully. The end was chilling; I quite liked it! To make it more unique and to get rid of the clichéness of:

It was you that hurt. Oh god. I loved you. You know that, right? Jack be nimble, Jack be quick. I loved you till the end. My fallen god, my angel, my sunlight. You were my everything, the axis upon which my existence was spun. You loved me.

you could make it more personal. Talk about the small details, things that no one else but they shared, something that most other people wouldn't think about adding to a story. For example, I once wrote about a wife who lost a husband, and the day of his funeral all she could think about doing was putting on her mascara, because she did that every morning. Something like that is very real, and understandable. Make the reader experience and live it. Suspend their reality and it will make it all the more better. It is the little details like that which really make a piece. Other than that, great work! Wink

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PostPosted: Mon Mar 20, 2006 3:41 am    Post subject: Reply with quote

Thanks, all.

And, yay, I get a hug!

Firestarter wrote:
Quote:
"This is my fiancé," you said.


Wait ... wouldn't it be fiancee (with the accent, of course) if we're talking about the narrator (who I'm assuming is a woman) being engaged to Jack?


Ahh! *tweaks* Fiancée it is. I need to get married more often, dammit.


Firestarter wrote:
Quote:
I wonder how long it took, for you to die



Sounds more dramatic if you take out of the comma, and still stays grammatically correct (to the best of my knowledge). Although, I get this fear that if I critice your grammar you'll come and attack me with some expert critiquing tool of yours and I'll crawl up in a corner and feel embarrassed ... or something.


Heheh. There's no complex technical reason for the comma, and you're right; it sounds better without.

Quote:
This passage just didn't seem good to me. "It still hurt. Of course it hurt." etc. etc. Lots of cliche small fragments that got annoying as you kept churning them out. Somehow by then my patience was wearing. The ending seems under-described and under-developed. In the earlier segments, you provided concrete images to link with your abstract emotions - for example, the things about keeping the different objects from Jack. But now it ends up being just abstract feelings written over and over, and it becomes a little overdone.


I know you quoted a passage of the story — so when you say the ending seems under-described and under-developed, are you referring to the passage? Or the story in general?

zelithon wrote:
It is creepy. Therefore I have infered that the woman was a insane, clingy and stupid from the beggining. You may or may not have wanted to give this effect.


Hmm. I'd infer that the both of them are creepy for kissing randomly in the subway station, not necessarily the woman. Although the insane and clingy was more or less a reaction I hoped would surface. (She is creepy stalker-wife, after all.)

Eleanor Rigby >> Thanks. Smile I'll tweak the ending; there are a couple of aspects of it that I'm not really happy with, so I'll poke around until it sounds right.

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PostPosted: Mon Mar 20, 2006 6:15 am    Post subject: Reply with quote

When I read the beginning, I thought, "Oh my God, it's a crazy psychopathic stalker lady who can't seem to let go." One of my aunts was like this, so I can't say I enjoyed the story too much. Too close to home...

ANYWAY!

Your ending kind of falls flat. And by falling flat, I mean a meteorite. It penetrates the atmosphere and... BAM! FLAMES GO POURING OUT!!!

Um... yeah. Eight hours of calculus. Woohoo.

So, what you need to do is to make it lead a little better. How? Describe the death scene. Right now, all you talk about is the shattering glass. Well, that's nice. Now what? If you're going to be gruesome, then please, PLEASE go all the way. Remember Sluthian. Bad character, yes, but at least I didn't hold anything back. And you gotta admit... that was pretty interesting to read.

So yeah. My incoherent critique. I hope you liked it...

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PostPosted: Mon Mar 20, 2006 1:00 pm    Post subject: Reply with quote

Snoink >> Yeah, the general consensus seems to be that the ending needs work, so I'll poke around at it a little. I do intend to give the death sequence a little bit more description, but not necessarily Sluthian detail. Razz The protagonist isn't exactly the kind of person who'd enjoy the actual killing, just someone who'd feel it was "necessary".

And the incoherent critique was very much enjoyed. Wink

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PostPosted: Mon Mar 20, 2006 6:34 pm    Post subject: Reply with quote

Wow. wowowowowowowowowowow. Wow.

And thrice wow.

I thought the ending was brilliant. I thought the whole thing was brilliant. My initial reaction is probably unsuitable for this thread as it is along the lines of "Jesus ******* Christ." Which is also blasphemy. woohoo.

Okay but really, this was great. All of it. One part that stood out to me was, "A single drop of self contained sunlight."

The whole imagery at the beginning was excellent, but then, the middle was excellent. And the end was fab. Particularly when you slipped into present tense. Razz
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PostPosted: Mon Mar 20, 2006 9:05 pm    Post subject: Reply with quote

Ohhh...

Smaur, you've blown me away. I don't think I've ever read anything of yours before, but Snoink's ravings have all been true; you're fantastic.

You must have edited the ending, because it in no way fell flat.

I want to borrow your ability to describe everything so beautifully. I'll pay an exorbitant price and you can even charge interest if you want. Just kidding. But honestly, I loved your very poetic prose, and none of it seemed overdone or cheesy because you were consistent in the lushness of language the whole way through.

I had to read it again. I really love this.

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PostPosted: Tue Mar 21, 2006 3:24 am    Post subject: Reply with quote

Oh, wow. I'm flattered.

Areida wrote:
You must have edited the ending, because it in no way fell flat.


Hee hee. No, I've yet to fix it. I'll probably take a crack it tonight ... or try ... or something. Yeah. *cough*

Thanks, again. Smile

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PostPosted: Tue Mar 21, 2006 3:28 am    Post subject: Reply with quote

You haven't? Well. I like it. Very Happy

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PostPosted: Thu Mar 23, 2006 12:27 pm    Post subject: Reply with quote

Areida wrote:
You haven't? Well. I like it. Very Happy


Thanks. Smile

... I did just edit the ending right now — or at least, the part that Firestarter indicated needed fixing. I'm not sure if it sounds better or worse than the initial passage. Opinions?

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when by now and tree by leaf
she laughed his joy she cried his grief
bird by snow and stir by still
anyone's any was all to her
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PostPosted: Wed Mar 29, 2006 5:06 am    Post subject: Reply with quote

Shocked Shocked Shocked

I just read this on your site (followed the link in your siggy, lol) and I gotta say I am blown away also. It is...a beautiful piece. Seriously. I've never read any of your work before, but I'm certainly going to now. I'd say the ending is much better now, although of course I didnt really read the last version lol. Still...**shakes head** Wow. And I mean that very sincerely Very Happy

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