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keeping time-contest entry



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Tue Jun 14, 2011 10:46 pm
Button says...



Henry kept time in his closet the same way he wrote letters, with sloping, careful hands. It often tried to leak under the door as he slept, but insomnia kept him closing all the cracks with his chapped fingers, mumbling curses to the dark. He took his medication, just like the doctors told him to, but they never quite seemed to help-- in fact, they seemed to distract him more than anything else with ugly-faced headaches and garish "Warning"s. Yes, it was an apathetic reading, a list of symptoms to eat and spit out like gristle, like they were food that his molars didn't know how to encompass, but time was like that too, and he knew time better than anything else, even though he could never quite fit his teeth around it. His jaw ached from trying.

Henry liked to write to Margaret quite a bit, though he didn't know her address. Usually, he wrote about his hands, what he saw and heard and occasionally, what he made for dinner: chicken and potatoes and spices that kept his mouth warm in the winter from the corner store. Sometimes he made soup. Henry wrote about a girl he loved, how she’d brown hair and big blue eyes and how small her hands were, good for holding though never quite the same as Margaret's. It'd been years since he'd seen her, years and years, and he hoped that someday, when he had enough time stored away, he'd be able to again. Henry liked to picture what she'd look like now, wondered if she still wore sundresses or the sweater her grandmother made that she used to wear when visiting family. She'd hated it. He wondered how much her eyes crinkled when she smiled, if she smiled at all now. He'd loved her smile and wondered what it looked like, all grown up, if her eyes were still blue. They probably were. He thought about them as he left the doctor's office, bag of medication tucked under his arm. Blue, blue, blue.

As he started the car, Henry was surprised at how much his hands shook. He needed more rest, more dreams, more time to sleep-- but that was impossible. Time was hard to get, even harder to take care of. For a brief moment, he considered calling Pete to take care of it, just for a day, just for a couple of hours so he could get some sleep-- but he couldn't. Pete knew Margaret, knew Henry like a brother but he did not know how to curve his hands properly or how to dream time or taste time or push time back into its little crevices. Going to Pete wasn't an option. Sighing, Henry slowed at a red light. There was too little time, too much time-- too many things intertwined with time. He missed Margaret.

The light changed and Henry spun the wheel like he spun time, fluid, focused hands. The sidewalks swayed in the heat and shimmered and he thought about the summer they met: quiet days, loud laughs, gentle sundresses, and then shook the memories from his head. They were still too big for his teeth, took too much time to think about. But, they rang through his head, staticy and muted. He tuned the radio to another station, classical this time. As he parked, the static roared into a crescendo of Strauss' Blue Danube and he turned it to a quiet orchestra, almost a whisper, a mechanical scratch. He closed his eyes for a moment, swathed himself in the music but his eyes squirmed under their lids and he wondered what Margaret would think-- she'd never liked classical music. Henry swallowed the time from the rest of the song and carried the violin melody in his footstep to the front door, the horns and the cello thrum in between his incisors; he struggled not to whistle. The song tasted like river water and corroding stone bridges and a vandal's paint.

Inside, the house was cool, as was the glass of water down his throat. He could taste the chemicals wrestle their way down his esophagus and he left the crinkle of his hospital paper bag in the kitchen, fumbling his way over to his bedroom to rest. Falling onto his bed with heavy limbs, he tucked his tired hands under his face, closed his eyes with time nestled in between his throat and mouth and a lopsided pill for sleep shoved its way down his chest.

And Henry did sleep. He slept as his closet doors creaked with time straining against them with its tired shoulders and as he slept, it began to seep out the cracks. It curled itself around him and then it slowly dissolved into hours and day, an unspoken insomnia eaten up by dreams and wrestling chemicals. Henry lay for a long, long time and his hands forgot how to curve, and he forgot the taste of time, how to push it back, though now, it was much too late-- when he woke up, it was gone. He wrote a letter, wrote until his hands ached and his eyes closed--and then, he curled up into more cramped memories of Margaret and dreamed of long days filled with time.
Last edited by Button on Fri Jul 01, 2011 2:05 am, edited 2 times in total.
  





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Tue Jun 14, 2011 11:17 pm
Baconator says...



Cool story! I like how the theme puts into a literal pespective that time seems to get away from us and its hard to hold onto memories. The only grammatical issue I could find was that "or" needs to be capitalized in the second paragraph. I guess that another theme could be that Henry was taking so much time to make time, that he should have just been enjoying it while he had it. Keep writing, and do some more prose works! :)
  





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Wed Jun 15, 2011 12:32 am
Stori says...



For some strange reason, I thought Henry was severely autistic. I mean, the kind you see in "Rain Man." Maybe you never intended it that way.
  





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Wed Jun 15, 2011 10:47 am
Twit says...



Hai Perse!

Well, you should definitely write more prose, cos this was very good indeed. I like the tone of gentle melancholy and your narrative styled flowed extremely well; very poetic and beautiful.

However, I'm not really sure what you were trying to say. Maybe you weren't trying to say anything, but the beautiful style and the serious subject matter seemed to say that you were, so I don't know, but I didn't "get" what the message was, if there was an intended message at all. Until I read Baconator's post, I wasn't sure whether the stealing time thing was a literal thing or a metaphor, but I think I'd have liked a bit more... I don't know, resolution? I'm not sure I understand the ending. He writes letters, he goes to the doctor, he comes home, he falls asleep, time gets out, he wakes up and writes a letter. His situation doesn't seem that different after time gets out to how it was when time was caught in the closet.

Is the stealing time a metaphor? He doesn't sleep because that would put his guard down so he might dream, so he keeps on putting off the time when he's got to remember?

*does not like feeling this clueless*

^_^ Maybe it's just me being thick. I kind of expect short stories to have a message to them, because they're so short you don't really have time to really get inside the character's head and follow them through a plot. Ignore me.

Well, I'm not sure that I actually helped you much, but draw what you will from my confusion. :)

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Wed Jun 15, 2011 11:14 am
mistielovesyou says...



This is awesome. I loved how you made the story flow easily so you could see it vividly in your head. The emotions in the story were conveyed subtly, and I liked that. This is really good. Did you ever think of entering this into Every Day Fiction? I think they'd take it.
Good job and good luck.
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Wed Jun 15, 2011 3:01 pm
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Tenyo says...



Hey there Perse!

There were things in this that didn't make sense much to me, I think it might be due to some poetic habits of yours. For example, in the first line he keeps time in his closet in the same way he wrote his letters, and his hands are careful and sloping, but I just can't picture the action of a hand writing being the same as locking something in a closet. Especially since one is a physical action and the other is metaphorical, it left me trying to tie them together but it just didn't seem to happen. The same with spinning a wheel like he spins time. It made a little more sense in reverse, but still hard to grasp.

In poetry it's easier to get away with, because poetry is about things. Writing poetry is more about creating a sense of something, like a place or an emotion, where as writing prose is about action. It's about something happening, rather than something being.

Another way to look at it is that poetry mystifies, where prose simplifies. In one you leave your reader pondering over what you have written and figuring out what it means, but in the other you aim to deliver it as simply and as clearly as possible.

Another thing that you can keep in or edit out depending on your own personal style preferences is how short most of the clauses are. You use a lot of commas were you don't need them, and a lot of short or run-on sentences. The best way to sort out the comma problem is to ask; Does this sentence make sense without it? If the answer is yes, then take it out.

Lastly, I kind of agree with Stori in that I got the impression of an autistic character, simply by how much he seems to obsess over his thoughts and how they interupt his every day action.

Overall I think it's good! I'll admit my review is biased since I'm a fan of your poetry, but being a poet gives your prose a very unique style, which is what makes this piece so good. Just watch the commas.

Good luck in the contest! :)
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Wed Jun 15, 2011 5:11 pm
Jashael says...



Hello, Miss P. (Why am I calling you Miss P.? Well, it seems like I'm having a hard time trying to pronounce your username. LOL) I saw your wall post, the I-hate-to-do-this-but status, remember? And I was, like, "I know the feeling!" I posted a status like that, too (unfortunately, didn't get any reviews ROFL) Then I was, like, "Imma help her!" :3 If I can. Um... I know you're a poet, but that doesn't mean you would suck at prose. I think someone who writes poetry will just make his/her prose harder to review. ROFL Seriously... But moving on...

I only have a couple of things here to nitpick. First, the had bothered me much; sometimes you separate it as a word, sometimes you contract it with the preceding word. It's OK to use both. Nothing wrong with that really. But take a look at this:

It’d been years since he’d seen her, years and years, and he hoped that someday, when he had enough time stored away in his dusty boxes, he’d be able to again.


The inconsistencies could add confusion. See it? In the first two contractions with a 'd, it has meant <word> had... but the last one was a would. Nothing grammatically wrong. Nothing really wrong! It's just, it's better to avoid confusion for our readers. I know that the had contractions were used for a perfect past tense, but lookie here. In a previous line we have:

...and blue eyes and she had small hands, and he'd big hands...


Could be confusing.

Second, would be the punctuation. There were some long sentences that would be better if a semicolon was inserted. Lik here:

He told her about a girl he loved and a boy he wasn’t sure he loved, how they both had brown hair and blue eyes and she had small hands, and he'd big hands, but they were both good hands for holding, though never quite the same as Margaret's.


Somewhere here, in this sentence, could use a stronger pause. The best place to put the semicolon maybe is between loved and how... then another between eyes and she, delete and... delete the comma between hands and he'd so the last clauses (in blue) wouldn't confuse the reader.

Spoiler! :
He told her about a girl he loved, and a boy he wasn’t sure he loved: how they both had brown hair and blue eyes; and that/how she had small hands, and he had big hands, but they were both good hands for holding, though never quite the same as Margaret's.


Henry lay for a long, long time, and his hands forgot how to curve, and he forgot the taste of time, how to push it back, though it was much too late--<no space>when he woke up, it was gone.


I'd rather have a semicolon here than an em dash, but if this is your style, go. =)

Some other minor nitpicks:

Henry liked to picture what she’d look like now and often wondered if she still wore sundresses. Or had the sweater she used to wear when visiting family that her grandmother made.


The grammatically right correction here would be, "<comma> or..."; but the phrase could work, too. And it could add some drama to the sentence.

...just for a couple of hours so he could get some sleep--<no space>but he couldn’t.


There was too little time, too much time--<no space>too many things intertwined with time.


He wrote a letter, wrote until his hands ached and his eyes closed--<no space>and then, he curled up into more cramped memories of Margaret and dreamed of days filled with time.


Overall, I like that the information about Henry and Margaret was short, that it kept you wondering more about them. x) The only thing that bothered me in this as a piece was when I got to this part...

Henry started the car and was surprised at how much his hands were shaking as he pulled out from the parking lot of his doctor’s office...


I was like, "Wait, wasn't he in a room?" Oh, it was an explanation. A narrative metaphor... OK, I'm confused. LOL But that was it. The rest was fine. Are you sure you really don't write prose? I mean, your poetishness showed a lot, but... :lol: It was still lovely. No kidding. I hate flattery. I'm really glad to have read this. This is for the BIG random contest, right? Well, I really wanted to enter... but things happen. So yeah... I hope I've helped, even just a little. Hope you had fun writing this! =) Wish you the best for the contest. The prizes are BIG... :O


Jash ♥
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Wed Jun 15, 2011 7:06 pm
Shearwater says...



Oh hai there, Perse! <3

Thanks for the request! You seem to have some pretty good reviews already so I don't know how much more helpful I can be but I shall do my best. ^__^

Now I must agree, your writing of prose is beautiful and I love the way your words come off the paper and create imagery in my head. I really do, it's always fun reading your prose, well - at least every chance that I get. You definietly have your own unique style of it which I appreciate. It's not too heavy to the point where I get confused but just enough to make me think.

However, I am also going to agree with Twit about the whole message to this. What kind of time what he stealing? Why was he stealing and in the end, I'm wondering what it was all about - why his time was so important and weather he died or not. lol. In the end, I have more questions than when I started which I doubt is a very good thing.

My first guess was that he was some type of insomniac that had some type of phobia against wasting time so he couldn't sleep or do things properly because he was afraid that the time would slip from his fingers if he slept. Get my drift? lol, it's just my guess so then in the end, I thought he finally slept and got rid of that fear or something but then he dreamed of having more time and stuff and then I got confused. xD Could you possibly explain it to me? Because I find this very interesting on a level but I just have a hard time dissecting it to get the core meaning of it all.

Now, I don't have much else I can say about this. It does need some reworking, I felt that some of the sentences were a bit too heavy in some areas. Maybe you could simplify a bit of this instead of trying to work in that airy feel-deep description that you had in some areas. To be honest, the first paragraph was a bit hard for me to get into but after that, it was smooth sailing. Maybe it's because I haven't really reviewed something like this for some time already so I could be a bit rusty. However, it never hurts to look over it again.

Overall, this was good and I did enjoy reading it. Let me know if you need anything else, I'll be happy to help you out if you need. I might reply late though since I'm on vacation but let me know anyways. xD

Peace out!
-Shear
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Wed Jun 15, 2011 8:29 pm
Kaitlin says...



This won't be such a good review, natch, because I haven't reviewed in ages and ages. Ha. :)

Henry kept time in his closet the same way he wrote letters, with sloping, careful hands. [I think in order to make more sense, you’re going to want to change the comparison. I’m not sure what a sloping hand looks like, and while I love the image in the next sentence, with Henry pressing his fingers against the door, there’s still no tie-in with letter writing.] It tried to leak out under the door while he slept, but insomnia kept him closing all the cracks with chapped fingers, mumbling curses to the dark and fumbling to awkward feet. [Mumbling curses to the dark = good. Fumbling to awkward feet = not so good. Besides the fact that I associate fumbling with hands, I’m not even sure what you’re trying to say here. Clarify or take out! You could live without that phrase.] His medications never quite seemed to help, either, seemed to only distract him more than anything else with ugly-faced headaches and labels that said things like "Warning," like they thought he’d ever take something without having scanned the sides at least fifty times. [There are a lot of words in this sentence. Break it up—there’s good stuff in here, a lot of hints about the character, but I’m losing it in a fog of “seemed to onlys” and “more than anything else”. Try something along the lines of: His medications never quite seemed to help; they always distracted him with ugly-face headaches and labels screaming “Warning!”—like he’d ever take something without scanning the side fifty times. More concise, eh. Play around with that sentence, though, and I think you’ll find the perfect fit.) It was an apathetic reading, a list of symptoms to eat and spit out, gristle that chewed up voices and tics like they were food that his molars just didn’t know how encompass. [Um. After I read this sentence a few times, I think I see how it ties in to reading the sides of medication bottles fifty times, but it’s a little random. Does he like that it’s an apathetic reading? What’s the tie-in here? Also, I like your comparison with time and symptoms, but I don’t understand what “gristle that chewed up voices and tics like they were food that his molars just didn’t know how encompass” means. Maybe it wants some commas or periods or semicolons? Or just take that out altogether: A list of symptoms to eat and spit out, food that his molars just didn’t know how TO encompass. Then your next two sentences are fantastic.] Time was like that too; he could never quite fit his teeth around it. His jaw ached from trying.

Henry liked to write to Margaret quite a bit, though he didn’t know her address. [Good. This is really good character development.] He liked to write about his hands and what he saw and what he heard and, occasionally, what he made for dinner: chicken and potatoes and spices that kept his mouth warm in the winter. Sometimes he made soup. He told her about a girl he loved and a boy he wasn’t sure he loved, how they both had brown hair and blue eyes and she had small hands, and he'd big hands, but they were both good hands for holding, though never quite the same as Margaret's. [Does Henry have OCD? How intriguing. Anyway, I don’t mind some obscurity and you might’ve hit just the right amount here, but I’m still a little confused. WHO ARE THESE PEOPLE? At first I thought their children, but why would he not really love his son? And then I thought he was bisexual but that didn’t really make sense in the story. So that distracted me for the next four sentences. Also, don’t say “he’d big hands.” It’s okay to separate out he and had. It’s an easier read; I understand the 1000 word limit, but I think if you concise-ify (haha) your sentences, you won’t need to make odd-sounding contractions throughout the piece.] It’d been years since he’d seen her, years and years, and he hoped that someday, when he had enough time stored away in his dusty boxes, he’d be able to again. [Interesting.] Henry liked to picture what she’d look like now and often wondered if she still wore sundresses. or had the sweater she used to wear when visiting family that her grandmother made. [Edit this phrase (and replace the period with a comma, right before the ‘or’: had the sweater her grandmother made, the one she used to wear when visiting family. Or something similar.] She'd hated it. [This sentence jars, and not in a good way, amidst all this flowy prose. It seems abrupt, too. Either work it more gradually into your story or take it out, because you don’t need it. It’s a nice touch and shows us a little more about Margaret, but I’d rather know less about her than have to stumble over that sentence.] He wondered how much more her eyes crinkled when she smiled. He liked her smile, and wondered what it would look like, all grown up, if her eyes were still blue. They probably were. He thought about them as he left the doctor's office, bag of medication tucked under his arm.

Henry started the car and was surprised at how much his hands were shaking as he pulled out from the parking lot of his doctor’s office. [Why? He seems like a generally strung-out person to me. Is it the memories of Margaret? What’s up?] He needed more rest, more dreams, more time to sleep--but that was impossible. Time was hard to take care of, even harder to get. For a brief moment, he considered calling Pete to take care of it, just for a day, just for a couple of hours so he could get some sleep-- but he couldn’t. Pete didn’t know how to curve his hands properly, how to dream time or taste time or push time into its little crevices, tucked away in his closet. He couldn’t go to Pete. Henry sighed, and slowed at a red light. There was too little time, too much time-- too many things intertwined with time. He missed Margaret. [Okay. I like this; I like the slow revealing of his compulsions, his insomnia, his losses. But who the heck is Pete? Even throwing us a bone—Pete was a good son but he didn’t know how to—or something equally simple. I don’t want you to take it out because I love that, how only Henry can kidnap time properly, but Pete threw me for a loop; I spent the rest of the paragraph trying to remember any other references to Pete in this story. There were none.]

The light changed, and Henry spun the wheel like he spun time, gentle hands and focused. [Okay. I thought Henry just shoved time into his closet, but I’ll roll with you here.] It was hot out. [Will not roll with you here. Steam rose off the asphalt. Sweat dripped into Henry’s eyes. The sun burned a hole through the ozone layer. People developed skin cancer as he sat in his car. Perspiration beaded down the car window. I understand these are all longer sentences, but I KNOW you can do better than “it was hot out.” This story is TOO GOOD for that.] He thought about the summer they met, quiet days and loud laughs and sundresses, and then shook the memories from his head. They were too big for his teeth, took too much time to think about. But they rang through his head, staticy and kind of muted. [I don’t think you need ‘kind of’.] He spun the dial of the radio to another station, classical this time, and the static cleared and he parked the car at a crescendo of Strauss' Blue Danube and turned down the music. He closed his eyes for a moment but felt like it was forced and wondered what Margaret would think. [Of course it was forced. He closed his eyes. You’ve got to explain to me how this feels unnatural to him. If you think it’s important that Margaret didn’t like classical music then, okay, keep it but try to rework it into something less confusing/vague. Otherwise, I think the rest of this paragraph is gorgeous and the awkwardness that comes before takes away from that.] She'd never liked classical music. He swallowed the time from the rest of the song and carried the violin melody in his footstep to the front door, the horns and cello thrum in between his incisors and struggled not to whistle. It tasted like river water and corroded stone bridges. [This is fantastic. This is exactly how you should be blending your natural poetry gift with prose. Brava.]

The house was cool inside and the glass of water was cool down his throat. [You use a lot of linking verbs throughout this piece. He was hot. The house was cool. If I have to say the SNT phrase I will scream but I think you know where I’m going with this.] He could taste the chemicals as they wrestled their way down his esophagus. [“wrestled” is a great verb in this instance.] He left the crinkle of his hospital paper bag in the kitchen and fumble-mumbled his way over to his bedroom to rest. He felt like he was going to be sick. [You do NOT need that sentence. ‘He felt like he was going to be sick.’ That much I inferred from the way he fell onto his bed. It’s okay to let the reader make some leaps and bounds.] He fell onto his bed with heavy limbs and tucked his tired hands under his face, closed his eyes with time nestled in between his throat and his mouth and a lopsided pill making its way down into his chest. This was one was for sleep.

And Henry did sleep. He slept to the sound of his closet doors creaking as time strained against them with tired shoulders, and as he slept, it began to seep out to the cracks, curled itself around him and then slowly dissolved into hours and days, an unspoken insomnia eaten up by dreams and wrestling chemicals. Henry lay [lay where? Give me a noun] for a long, long time, and his hands forgot how to curve, and he forgot the taste of time, how to push it back, though it was much too late-- when he woke up, it was gone. He wrote a letter, wrote until his hands ached and his eyes closed-- and then, he curled up into more cramped memories of Margaret and dreamed of days filled with time. [I love your ending, though I’d rather you end with another word, even something as simple as clocks or ticking seconds. The word ‘time’ just feels overused by the end of this story, though I think it’s a wonderful idea.]

This was a fantastic spin on the prompt and all the luck in the world to you.

He swallowed the time from the rest of the song and carried the violin melody in his footstep to the front door, the horns and cello thrum in between his incisors and struggled not to whistle. It tasted like river water and corroded stone bridges.

THAT is the kind of attitude I think you need to incorporate into your prose. This is such a gorgeous blend of your descriptive abilities and prose that a few more sentences like this will make your story gold.
  





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Sat Jun 25, 2011 5:55 pm
Azila says...



I wrote a short story around a year ago called Keeping Time. It was one of my favorite things I ever wrote. Hm. Anyway.

This is a beautifully-written piece. It reads much like your poetry--a little heavy, but in a lovely, natural way. It's like when I see a tree that's heavy with moss; some people would say you should strip the moss off, or that it's hiding the actual form of the tree, but I would argue that in those cases supporting the moss becomes the main purpose of the tree and it is a beautiful thing. Here, the piece is all about the words and the moods and the sort of surface elements. The actual plot and significance (the branches and twigs, to use my lame metaphor) aren't really as important as the way you wrote them. I love pieces like that, and I think you've done it carried it off pretty masterfully. I also like the sort of magical realist element of this. Is keeping/stealing time literal or metaphorical? We don't know. Does it matter? Certainly not. Have you ever read any Gabriel García Márquez (the daddy of magical realism)? He does this kind of thing all the time.

Personally, I'm not so bothered by not knowing what the symbolism/metaphor of this piece is (of if there even is one). Yes, there's something about the way it's written that makes me feel like there's hidden layers of meaning, but with a piece like this I'm perfectly content to just ponder what those meanings might be. I have a few interpretations, and they may have nothing to do with whatever interpretations you had, but I like them, so I'm fine with it.

What does bother me, though, is the sameness of this piece. I'm not one of those "every story has to have conflict and never end with a preposition" types, because that's just dumb--but I do think there should be some sort of change that the reader gets to experience. Some sort of development or evolution of character or plot... or even just a change in atmosphere. This piece feels rather monotonous at the moment, because it's all the same. That also makes it come off as detached. I think the main point of this piece is to introduce Henry, and the... unique way he thinks of the world, and you did pretty well with that, but I don't find myself liking Henry very much. I don't like him, I don't dislike him, I don't feel sorry for him--I don't really feel anything for him. I'm intrigued by his notion of time, but other than that I don't really know what to think.

This is just a glimpse of his life. Nothing really interesting happens. It really is just about him and the way he thinks of time. And that's fine, but I think this is a little too long for that kind of piece. You try to add in other things in order to make this into a "story" (like mentioning Peter, for example) but I find them just kind of distracting, because there are only glimpses of them. If you want to make it about what his life is like in that way, then I'd suggest elaborating on the more realistic, technical elements of this piece. If, however, you just want it to be about his relationship with time, I think this could use to be shortened down a lot. Not that the prose isn't beautiful (it is!) but right now I'm getting the sense that this would work just as well/better if it were about half as long. I think it's because this piece feels like it really wants to be a poem (go figure).

So. The way I see it, you have two directions you could take this piece in: one would be to shorten this a lot, and make it into a real flash-fiction that's just about having fun talking about time in Henry's way. The other would be to actually make this into a mini short story.

I'd lean towards the second, since it would prevent this from feeling like a wannabepoem. Also, it's a contest for short stories, so that might be a bonus. My best suggestion of how to do this would be to really think about what I said about the monotony of the narration. Also, I would elaborate on things like how/where Henry lives, who Peter is, etc.. This way, the whole time theme would become just that: a theme. It would appear in the actual story of the piece once, or maybe twice, but other than that it would just be an element of the telling of the story. Right now, I feel like in every paragraph we're banged over the head again and again with (albeit beautiful) descriptions of time and Henry's hands, and time, and some more time.

It would be lovely if you could shift the weight of this piece so that it had a real center of mass, rather than just sort of flooding around in a pool of pretty words and lovely, poetic prose. A piece I would have you look at would be carbonCore's [url]Stains of Red[/url]. In my opinion, he did a wonderful job of having a plot but also keeping it vague. You can read it just for the tone and the words, or you can dig deeper and actually try to understand the plot. That, I feel, is what you're trying to do with this piece--but it's not quite there yet.


Oh, and one little typo you should probably fix:
Henry liked to picture what she’d look like now and often wondered if she still wore sundresses. or had the sweater she used to wear when visiting family that her grandmother made.


I hope this helps somewhat. In all honesty, it's a really difficult piece to review because it's obviously written with a lot of skill and deftness, but there's still something about it that doesn't quite work, and it's hard to put my finger on what exactly that thing is. I look forward to discussing this further with you. :}
  








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