Anubis

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I sit in the courtyard garden with Tabby in my lap. The tulips are red-headed traitors, bobbing, with bees in their mouths. The water fountain gargles, froths, sputters. Dragonflies land like skiffs, narrowed down, little harpoons, rotating their oversized heads. It is a quiet afternoon. Death is here with me. He sits on the stone bench across from me, his pants neatly creased, black-suited, young-faced. I have always imagined death to be young-faced. Untouched, hairless. Smiling and accommodating, courteous as a suitor. I let him watch me. I turn my head, stoke Tabby's neck.


I like the attention.


I look up at the sun. It splits a gap-toothed smile through the clouds. Ra, sun god, hear me. Soak me up, sponge me up. Stain through me, numb these bulb-headed nerves of mine, calm these bones, haphazardly knitted together by poor rations of flesh and ligament. I close my eyes. I think about the surface of the sun, whips of nuclear energy curling off of its great head, like manes. Winking, unsleeping. Kernel of the solar system. The planets making their slow procession around it, like ladies-in-waiting.

Ra.

A drop of golden sun.

I look up at the manor, broad-headed regiments of ivy scaling it, overlooking the valley like a bored king. I think about how many hands it took to build it. How many bricks stacked. How many drops of sweat. Great towers rising, archways, porticoes, rotundas. Chisels and nails. Or is it cranes and jackhammers? Was it built in a month, or over a lifetime? The sole life-purpose of a nation of foreign-tongued slaves.

It is no pyramid.

I am no pharaoh.

The tulips seem to close up as the sun disappears behind a cloud, puckering like lips.

The servants will be here soon.


*


In the darkness, death is not my companion. At least, not the clean-shaven, neat-suited death that lives with me in the courtyard gardens. In the dark, it is Anubis who sits beside me. Jackal-headed, ministering. He bends over me. I can smell his breath. It smells of a thousand years of sand-washed stone. It smells of a thousand years of pent-up air. His heartbeat is the murmur of the Nile.

The dry season.

The flood season.

He comes with a soft hand in the dark.

He speaks unknown, smooth syllables. He speak of ba and ka and akh and the way the sun feels between your shoulderblades on a hot day. He waits patiently, regarding me like some special specimen, jarred, preserved. But, O lord, I can feel this skin peeling away, like birchbark paper. I am being undone, slowly. The yarn of my breath. I am opened, like a long-expected letter . I taste the dust. I taste each of the thousand years of Nile silt in my mouth.

Anubis. Dark-headed companion, attending to me.

He waits.



*


The servants come down the rise and into the garden, two by two. The maids frilled and cuffed. Butler with his polished shoes and curling lower lip. The chauffeur and the caretaker. The cook with his cap, rising and secretive as a nighttime mushroom.

The flowers sigh like ladies undoing their corsets.

The cook is carrying the platter of wineglasses. I have called them here to propose a toast. Tabby purrs into my belly. I can feel her small, lobed heart betraying, and mine thumping jealously, trudgingly. I offer them to sit on the stone benches around me. I point to the one with death on it. He lingers there like a grudge. His smile wavering. The chauffeur and the maid sit on that bench.

“Joseph, why don't you pass out the wine,” I say.

My voice is feeble.

They all watch me carefully.

The bees mumble around us, dusting like sandmen among the drowsing blossoms.

Joseph, the cook, serves the wine. I swirl mine thoughtfully, red tongues. Red skirts.

“It's a beautiful day, isn't it?”

Anubis is here now. Looming, monolithic forehead. Snouted, arms folded. Patient as ever in his moment.

I chose my words, working them over in my mouth. “I'm sick and I'm tired. You all know that. I'm a leftover. Godssakes, I'm going so quick, death can barely keep up with me.”

I smile. They smile.

They are silent and waxy-faced as still-life fruit.

I say, “What's the rush? Slow down. Smell the tulips.”

He will begin with my belly, cutting it open. Storing each of my internal organs – lungs, liver, intestines – in canopic jars, squat and decided as toes. Shove a hook up my nose, stir my gray matter to soup and drain it out my nostrils. He will seal me up.


“I've called you here to celebrate a special occasion. I will be dying very soon. It is my own decision. It is not the estimation of a doctor. It is not my tired body giving out. It is by my own hand and will. I am ready for the next world. I am ready to take my place.”

Pack me in salt. Wrap me in careful, mute bandages. I will become dry and dusty, like some lunar surface. My eyes will retract in their sockets, like shy snails.

I swirl the wine.

“To take my throne.”

Tabby purrs.

They are silent.

I raise my glass.

“A toast. A toast to the world to come.”

They steal sideways looks at each other – godssakes, let's hope so – and they drink up.

In the next life, in the afterlife. Where soul meets body. It is one long continuation. Riding on the backs of fallen dominoes. I look up to Anubis, standing among the tulips with their unfaithful lips. He is large, vindicated. A thousand years of dust. I can taste it on my lips.

I have such thirst.



*


Alexandria, a maid, dies first. The glass slips from her grasp, the wine slopping over the rim like a french kiss, and shatters on the ground. She falls to her face before me. The others follow one by one, dropping their glasses first – a delicate percussion. The poison foams on their lips. The wine in their throats. Their faces pink and resonant as conch shells. Joseph the cook falls last, licking his lips, cow-heavy. I take a deep breath. They are arranged, prostrated like worshippers.

To serve me in the world to come.

I look up at the bald face of Ra, bestowing his drops of golden sun, and then I take Tabby's paperweight head in my head and twist it like a wind-up toy. Neck snapping. Uncording vertebrates, her heart stopping warmly, settling. There is utter peace now. Just me and Anubis.

Don't worry, I say to them all. I'm doing us all a favor.

The last pharaoh – I like the thought.

Anubis kneels beside me, night-hooded guardsman. Gatekeeper to the otherworld. He inclines his head.

And I take a good long drink of the wine, feeling the poison working through my veins, bringing up a lovely sleep, raising it up from long awaited catacombs.


*

I follow them down.

I follow my servants down.
"I am beginning to despair
and can see only two choices:
either go crazy or turn holy."

- Serenade, Adélia Prado




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Right, well. I didn't enjoy this, I'll say from the start. However, there are positives to take from this!

Mostly, what I'm impressed with is that you've made (in my opinion anyway, feel free to explain otherwise) a concerted effort to change your style. Your sentences are structured a little different, your descriptions aren't so chaotic and poetic-for-the-sake-of-poetry and so I enjoyed that change. And I think, character-to-character, the style needs to change because style is indirectly reflective of a characters thought process, of their viewpoint.

What I didn't enjoy was the story itself.

While the character was indeed different from the last few you've written, he didn't feel at all organic or natural or normal or well-developed. The impression I kept getting from this was that you really wanted an Egyptian feel to this story - descriptions of Ra, Anubis and the Nile - and yet, I didn't understand the Egyptian connection to your character. Did I miss something? How and why is this person connected to Egyptian thought, religion, mythology? It's not at all apparent and it feels completely foreign to him - I want to understand the how and why of it all. If this is taking place in Egypt and this is an Egyptian boy, then fair enough, but that isn't at all apparent. I feel as though the character, his actions and the mythology are all at odds - as though you had all three ready for separate things, just floating in your head and decided to cobble them all together in the one text. The result is rather messy stuff.

Furthermore, you introduce the boys illness too late and you cover it too thinly - something as all pervasive as a constant debilitating sickness should be apparent from the beginning and the way it infects his life from waking minute to sleeping should have been covered - instead you rather sloppily informed us at the end. You should have shown us. So, I don't think you tied this together well. I think your character needs a little more development, a little more thought, as well as the way in which the Egyptian elements intertwine with the story but I like that you're taking a little bit of a different approach. As I consider these to be the major issues, I'll let someone else point out the niggling, minor things.

Hope this helped,
Cheers

Edit: This is an old man? I really didn't pick that up at all. Instead, I thought it was a sick little boy. How strange.
Mah name is jiggleh. And I like to jiggle.

"Indecision and terror, thy name is novel." - Chiko




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Hey Kylan. Sorry I haven't gotten around to this until now. But I'm here, and I'll get my thoughts on this pounded out for you.

So, as I told you before, I really liked this story. I thought that you portrayed the man's dementia very well. The relaxed, laid back approach, as opposed to your usual approach to insane people, the quiet crazy with pressure slowly building to an explosive conclusion, works better, in my opinion, mostly because it is not used very often anymore.

The general tone of this work, a quiet solemn one, I find to be very refreshing, as opposed to most of your work that you do. If you were to experiment with this style more, I would call it a good move on your part. Don't call that an order, as in the end, it is all up to you. Rather, call it a suggestion.

I'll remark on how the way that the old man kills his servants is remarkably similar to how Ozymandias kills his in the conclusion of Watchmen. But, I think it's a small gripe. If you had him vaporize his cat while trying to kill a super-powered man, then I would make a fuss about it. But, as you stay away from such things, I think that this is a very good story.

All in all, Kylan, a very good story. Superb effort by a superb writer.

-Conrad Rice
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Thank you both for the critiques (and June, who critiqued this story while YWS was down)!

Jiggity -- Yep, he's an old man, and I don't know why you thought he was a boy. As always, I abhor telling, so I included subtleties, like the wine, the way he talks, the ownership of a large manor, and the employment of eight or nine servants as hints that this could be none other than an dying old man. He suffers from dementia as well -- how else could he have convinced himself that the egyptian gods were real? How else could he have killed his servants to serve him in the afterlife? This does not take place in egypt. The man is not egyptian. As most of my characters are, he is merely severely misguided and delusional.

I'm sorry you didn't enjoy this. I wrote it with your comments on Pretty Polly in mind.

-Kylan
"I am beginning to despair
and can see only two choices:
either go crazy or turn holy."

- Serenade, Adélia Prado




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Oh my goodness, that was amazing! It was so descriptive and almost mysterious, and lovely! Your writing style is very unique and almost intoxicating! You wrap your reader in the story. I definitely think you should continue with this. It's brilliant! :D
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Okay. I really liked your language and your use of prose, but you had really slow pacing a few things that annoyed me.

Kylan wrote:The tulips are red-headed traitors, bobbing, with bees in their mouths.


Tulips don't have mouths. They intake food through their roots. And how are they tratiors? Only use similies if they make sense.

Okay, after this first paragraph, I do not really understand what is going on. My first thought is - GET ON WITH THE STORY. Readers are impatient people, and they aren't going to continue if you bore us with the details of your MC sitting in the garden.

Kylan wrote:I like the attention.


Wait, what?

Kylan wrote:I look up at the sun. It splits a gap-toothed smile through the clouds.

As I keep reading through this, I see a lot of telling, not showing. Your narrative consists of 'He did that,' 'She responded to that,'. There are instances where telling is okay and even necessary, but if all you do is tell, you will bore your readers. To quote Janet Evanovich:

Janet Evanovich wrote:Instead of stating a situation flat out, you want to let the reader discover what you're trying to say by watching a character in action and by listening to his dialogue. Showing brings your characters to life. It is the difference between actors acting out an event, and the lone playwright standing on a bare stage recounting the event to the audience.


Exactly! Imagine your story as a play. If the playwright stood on a bare stage recounting the events, It wouldn't be very fun, would it?

Kylan wrote:Ra, sun god, hear me. Soak me up, sponge me up. Stain through me, numb these bulb-headed nerves of mine, calm these bones, haphazardly knitted together by poor rations of flesh and ligament.


Shouldn't this section be in dialogue?

Kylan wrote:Ra.

A drop of golden sun.


Seriously? Do I sniff a Sound of Music refrence? I was obsessed with Egyptian legends and myths when I was younger, and I know Ra is supposed to be this mighty god, and that dosen't tie well with 'Do Rae Mi' for me.

Kylan wrote:Or is it cranes and jackhammers?


Cranes and Jackhammers? I don't think that those existed in ancient Egypt.

Kylan wrote:It is no pyramid.


What is it, then?

Kylan wrote:I am no pharaoh.

seems to contradict with

Kylan wrote:The servants will be here soon.


If your MC is not a Pharaoh, is he a prince? A noble man? I'm getting the image of a young Prince who's about to be coronated, especially since he's asking advice from Ra...


*


Kylan wrote:In the darkness, death is not my companion. At least, not the clean-shaven, neat-suited death that lives with me in the courtyard gardens. In the dark, it is Anubis who sits beside me. Jackal-headed, ministering. He bends over me. I can smell his breath. It smells of a thousand years of sand-washed stone. It smells of a thousand years of pent-up air. His heartbeat is the murmur of the Nile.

The dry season.

The flood season.


What? Now we're at the Nile? That was kind of a choppy transition.

Kylan wrote:He comes with a soft hand in the dark.


Who?

Kylan wrote:Anubis. Dark-headed companion, attending to me.

He waits.


Why is Anubis there? Out by the Nile? Isn't he a god? If I wasn't him, I don't think I'd want to be walking where everyone could see me . . .


*

Kylan wrote:The flowers sigh like ladies undoing their corsets.


1. Remember what I said earlier about similes having to make sense? First off, flowers don't sigh, because they do not have any oxygen inside their body. I suppose realizing carbon dioxide would count as "sighing", but they don't sigh like we do.
2. I got a really disturbing image of the flowers in the "Golden Afternoon" section from Alice in Wonderland throwing all of their corsets on top of Alice. You don't want readers to get that image, do you?
3. I just checked Wikipedia, and it says the corset was invented in the 1500s. Ancient Egypt is waay before that, so your MC wouldn't know what a corset was.

Kylan wrote:The cook is carrying the platter of wineglasses.


wine glasses. . .

Kylan wrote:lobed heart betraying


How would he know his cat has a lobed heart?

Kylan wrote:I offer them to sit on the stone benches around me. I point to the one with death on it. He lingers there like a grudge. His smile wavering. The chauffeur and the maid sit on that bench.
“Joseph, why don't you pass out the wine,” I say.


The chauffer? Joseph? I don't think they had those terms, or the name "Joseph," considering the name comes from the bible, and Ancient Egypt is before Jesus Christ was born. But I'm starting to get confused. All these references to things that happened after. . .is this really Ancient Egypt?

Kylan wrote:I swirl mine thoughtfully, red tongues. Red skirts.


Huh? Remember what I said about similes making sense. And 'red skirts' is a sentence fragment.

“It's a beautiful day, isn't it?”

Anubis is here now. Looming, monolithic forehead. Snouted, arms folded. Patient as ever in his moment.

Kylan wrote:I smile. They smile.


Seriously? Please try to be a little less repetitive. Thesaurus.com is a good website if you ever need to find synonyms for words.

Kylan wrote:They are silent and waxy-faced as still-life fruit.

I say, “What's the rush? Slow down. Smell the tulips.”


I thought they were inside . . .

Kylan wrote:He will begin with my belly, cutting it open. Storing each of my internal organs – lungs, liver, intestines – in canopic jars, squat and decided as toes. Shove a hook up my nose, stir my gray matter to soup and drain it out my nostrils. He will seal me up.



I'm confused. It seems as though you're describing the process of mummification. Which means he died. That seems a little sudden, doesn't it? And besides, if he was dead, he wouldn't be able to continue narrating, would he?

Kylan wrote:Pack me in salt. Wrap me in careful, mute bandages. I will become dry and dusty, like some lunar surface. My eyes will retract in their sockets, like shy snails.


See above.


Kylan wrote:“To take my throne.”


I thought you said he wasn't a pharaoh. . .If he's the prince, or some king of a small region of Egypt, then you should say that.

Kylan wrote:Tabby purrs.

They are silent.

I raise my glass.

“A toast. A toast to the world to come.”


What? Their still at the dinner? I'm really confused now. I've noticed all around you've had choppy scene transitions. With choppiness, you have the reader feeling confused and not knowing where they are.

Kylan wrote: the tulips with their unfaithful lips


Tulips DO NOT HAVE LIPS. They are not people, they are plants. Here is a diagram of their structures.

Image

Do you see mouths, lips, or whatever human qualities you gave them? Nope.

Kylan wrote: I have such thirst.[/i]

Thirst for what? Literal thirst? Thirst for death?
*


Kylan wrote:Alexandria, a maid, dies first.
*
I follow them down.

I follow my servants down.



Has the wine been poisioned?


Overall

Your story left me feeling confused. I was reading metaphors that didn't make sense, choppy sentences and scene transitions.

I do not know anything about your main character, besides
A) He's male
B) He is rich.
I do not know an age, a name, a past. Who is this man? Really get into your character. Make him seem real to you.

This needs a lot of work before it's ready for any sort of publication. Like I said, readers are impatient people; you have to grasp your attention, and you didn't do that for me. For the whole time, I was thinking, why am I reading this?

Otherwise, It's a good idea, I love Ancient Egypt and the legends about it. PM me if you post a revised version of this.
Best of luck to you and writing!

Thorn
Last edited by Elinor on Sat Jan 16, 2010 12:41 am, edited 1 time in total.

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Hi, Kylan. =)

Well, I don't quite know where to start from. This is because I'm still lacking that certain confidence when looking at your work, and it's something I should not do in any occasions. But I think you have that effect on me or something. :P It's not my fault. Well, it is, really. Anyway.

There are some good points made in the previous reviews, and also a lot of those I don't agree with. To me, well, if I had to choose bluntly between liking and disliking the story, I would choose the former one. However, I think that while I can't really say there are threads left untied, there's something in it that appears slightly rough and unfinished. For example, there could be more consistency in the story in my opinion. It's also too easy to form different interpretations of details, and although I think it's good at times (especially in some poetry), it just makes it rather confusing in a story. To say it briefly, it has quite a lot to it, but too little time to go through it all. That could be explained better, but that's the feeling I sort of got from it.

But then there are the things I like about you as a writer. The way you use language, and the ending twist the story usually gets. I'm really repeating myself here, but those are what mostly make a story for me. I usually read the ending last (:P), so it's the thing I remember the best, and if it's effective, I generally find myself liking the story. It's not my favourite by you by any means, but it's not bad either. I'd like to say more, but I'm afraid I really can't. I hope this helped, though, even if it's just a little.

By the way, my favourite line:

Kylan wrote:The flowers sigh like ladies undoing their corsets.


It's pure beauty.


Demsy
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Kylan...

I found myself disagreeing with a lot of the nitpicks above, and yet agreeing with some of the overall points. I have noticed a slight style change in here, and it's a little closer to how I write (but you still pwn :P ), what with all the jagged sentences and how you format the piece. And I do love this story, love it a lot - or rather, the idea. Imagery is, as always, fantastic and you're being much tighter with it, so good work. I felt as if the images actually meant something as opposed to just thrown in there to make it sound pretty.

In terms of consistency, well, yes, agreed with everyone that it's too messy. I actually read this in bed last night when I was soullessly browsing the internet, but was too tired to reach what I thought to be the problem, it being 1:00 this morning, but having let it ferment for a while, I think the beginning gets in the way. I feel like it's not introduced to us properly, as if we're being thrown into this man's demented mind with no time to understand him beforehand. Had I not read your explanation before the story (I know, my bad), I probably wouldn't have understood it either.

It is no pyramid.
I am no pharaoh.
The tulips seem to close up as the sun disappears behind a cloud, puckering like lips.
The servants will be here soon.

<3 the tulip simile. ^^

But I dislike, what feels to me, the contradictions. Intentional or not, this needs to be toned down - an insane man, who thinks he is Pharaoh and so is killing his servants, who don't actually exist, while thinking he is not a Pharaoh, is speaking to Death while stroking his cat. It's too much, certainly for such a short story. I mean, if he doesn't think he's a Pharaoh, why does he have servants? I know he's not really in Egypt, but some of the brief ideas you bring about in here need to be explored a little more rather than just sort of dumping them and walking away.

I look up at the sun. It splits a gap-toothed smile through the clouds. Ra, sun god, hear me. Soak me up, sponge me up. Stain through me, numb these bulb-headed nerves of mine, calm these bones, haphazardly knitted together by poor rations of flesh and ligament. I close my eyes. I think about the surface of the sun, whips of nuclear energy curling off of its great head, like manes. Winking, unsleeping. Kernel of the solar system. The planets making their slow procession around it, like ladies-in-waiting.

Here's some reason for confusion. :P Firstly, why are some parts of the story in dialogue parts, and others not? I'd have thought "Ra, sun god, hear me" was either the man talking or thinking. Just a minor thing, but anyway. It's the mismatch character development here - if the man thinks he is in ancient Egypt, then why, why is he talking about nuclear energy? This where the pretty images go off on a tangent that I think is, to be honest, rather unnecessary. I don't think he would see Ra like this at all.

That was all in the introduction, and although perhaps a hook isn't 100% necessary, a motive to read is. Confusion =/= mystery. :wink: But yeah. I hope that made sense. Great style, great idea - just refine.

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Kylan wrote:Thank you both for the critiques (and June, who critiqued this story while YWS was down)!

Jiggity -- Yep, he's an old man, and I don't know why you thought he was a boy. As always, I abhor telling, so I included subtleties, like the wine, the way he talks, the ownership of a large manor, and the employment of eight or nine servants as hints that this could be none other than an dying old man. He suffers from dementia as well -- how else could he have convinced himself that the egyptian gods were real? How else could he have killed his servants to serve him in the afterlife? This does not take place in egypt. The man is not egyptian. As most of my characters are, he is merely severely misguided and delusional.

I'm sorry you didn't enjoy this. I wrote it with your comments on Pretty Polly in mind.

-Kylan


I rather thought you had and you'll note that I praised those stylistic changes you made. As for those subtleties you mention, they are all generic. They could apply to any number of people in any number of situations - an ill boy who inherited a manor, a weak man or teen of noble birth and so on and so forth. As far as showing goes, it is not well done. One simple description of grey hair would have done the job.

But yes it is a good job on your part to make so marked a move from your norm - dont be disappointed that it's not as polished as usual. Oh and on the delusional front - I'm sorry but its far too weak a reason for a far too specific and unconnected mythology.
Mah name is jiggleh. And I like to jiggle.

"Indecision and terror, thy name is novel." - Chiko



Be led by your talent and not by your self-loathing ... everything beautiful in the world is within you.
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