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The Hawk



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Fri Jun 04, 2010 7:42 pm
blackbird12 says...



The Santa Ana winds flay the arid valley. It is far from the silver-lined luxury of Beverly Hills, far from the salty sea air of San Francisco. The smell of smog permeates, an acrid invader from Los Angeles.

He drives along the lonesome road. It was once a ribbon of black, when the asphalt was still warm and fresh, but now it is gray, worn away by decades of use. Crabgrass, scorched by the sun, covers the land in patches. Snakes slither in the shadows, tails rattling. Coyotes skulk, eyes glowing. The hills are dark craggy shapes in the distance, cutting into an orange-and-purple sky. It is an eerie, otherworldly place, and he is alone.

Alone. Sweet aloneness. Unlike any other state of being.

The silence is all-encompassing, but for the sounds of his car. The muffler grumbles, the engine sputters with the effort. It is an old car, probably too old for the journey to Los Angeles, but he does not care. His foot presses harder on the pedal. An unsettling, playful smile bursts onto his lips. He watches as the speedometer’s thin red needle launches itself forward, thirty, forty, fifty. As though it has a life of its own: a life about to end.

The car sails down the road frantically, like a rabbit chased by a fox. Clouds of dust scatter in its wake. The needle climbs to sixty. Such a strenuous trek up the meter. He forgets all else as the car pulses from its own momentum. Flying.

He rolls down the window. His fingers grip the slim steering wheel. The wind sears through his tousled hair. Squeezing his eyes shut, he floors the pedal. The needle jumps and thrusts, jumps and thrusts.

His smile widens to a grin, courting insanity. His teeth glint in the rearview mirror like bright white mints. His ears ring, his eyes throb, his nostrils flare.

The wind slices through him. He wants to roll up the window, yet he doesn't want to. To be tossed about like a rag doll in his seat, the upholstery hot and bristly against his skin, is exhilarating. The way the wind makes his face flap like gelatin--he likes it. Yet he doesn’t like it. Does he?

The wind bites. The wind howls. The wind is alive.

At last he opens his eyes, and he sees it. A split-second, everything in slow-motion. Its black wings outstretched, head tilted slightly to the side, beak so sharp, talons shining like daggers. Heading right for the windshield. A split-second. His eyes widen, despite the lash of the wind. His foot slams the brake. A split-second.

The steering wheel swerves. The tires squeal. The brake groans. His body lurches forward, the seatbelt cuts into his shoulder and stomach. Too little, too late. The thud. The crumple. The too-slow, too-fast descent to the side of the road.

It’s gone. It’s gone. It’s gone.

He curses under his breath. Sighing deeply, he jerks the steering wheel to the right. The old car putters to the side of the road. The speedometer’s needle slices back to zero, its brief demented life now spent.

He unbuckles the seatbelt, cautiously opens the car door. His feet, wobbly as though unused to a solid surface, touch lightly upon the ground. He closes the door: a broken hollow sound, as though it didn’t shut right. But he doesn’t hear it.

He walks to where it lays, a heap of jutting bones, ragged feathers, congealed blood. The bile rises in his throat. It burns, God, it burns. But he doesn’t taste it.

He falls to his knees. The loose rocks on the ground cut through his jeans. But he doesn’t feel it.

He sees it more clearly: a black hawk, a female--the females are larger. The hawk does not move. Too stunned? Too aware of what has happened? Too aware of what lies ahead.

He reaches out his hands to her. His fingers, dry and calloused, tremble. He caresses her.

The bones poke from her broken wings. Blood blossoms from her breast. But her beak is still intact. She could gnash at him if she wished, she could try to make him feel the pain. She has the energy. But she chooses not to.

A nauseating sight. Wings that were no longer wings. What is a bird without wings? A freak of nature. Like the disfigured child at an orphanage, a child no one wants.

His fault, his fault, his fault.

The hawk’s eyes are wild. He holds her. She was once so powerful in life, now so small near death. He wraps his arms around her wet, shuddering body. He buries her face in the sleeves of his shirt.

He rocks his body in synch with her shallow breath. His mouth is dry as sandpaper. There is no water left inside him, but the tears leak from his eyes anyway. Their salt scalds his skin. He doesn’t understand why he weeps. Remorse? Terror? Perhaps inescapable anguish.

He rocks quicker, steadier. The hawk flaps her wings in one last attempt to flee, to fade away into the dusky sky’s oblivion. Her life hangs by a thread, soon to be severed like the tendons in her battered wings.

Her body no longer convulses, her wings no longer feebly flail. Yet she still breathes. He leans his ear in close to listen. He is near enough that she could tear off the flesh of his ear with one swift swipe of her beak. But she does not.

She pants once, almost inaudibly. Unnerved, he withdraws as though bitten. That empty breath before death, he knows it too well.

He lets her slip from his embrace. He rises to his feet, eyes locked upon her: the black hawk downed by a racing metal monster. Rubbing at his temple, he gnaws at his lower lip--an old habit he should try to kick. With a pang of regret, he turns his back upon the mass of feathers, stained with blood and lost opportunity. Like him.

He freezes, then wheels around. The ground crunches beneath his boots as he marches toward the hawk. He kneels down beside her once more. Her beak, open and gaping wide in sudden death: he breathes into that beak, just once. He does not know why. Gently, like a surgeon, he plucks a feather from her lifeless wing. Even in death the wing recoils--a reflex--then submits to his quick tug. He places the feather in his shirt’s breast pocket.

Approaching the car, he ponders for a moment. Suddenly, a sound pierces him. The black hawk soars above him, its tailfeathers grazing his head. His neck strains to glance behind him: the corpse by the side of the road is gone without a trace. It is her in the sky. His impulse to breathe into the hawk had resuscitated her.

He bellows in triumph. He throws his head back, up, up into the sky. A rogue star glimmers. The hawk cries out again, beckoning him. He knows that cry: the cry of finding prey, the cry of flying high. The cry of freedom.

He takes the feather from his shirt pocket and launches it into the air. All thought of Los Angeles evaporates. He abandons his car. The city, the car, the imitation of life he left behind--it is all so insignificant.

Dusk departs and twilight descends. The Santa Anas flare at the nape of his neck. A coyote howls plaintively. He follows the hawk’s path. Her call resounds in his ears, her heartbeat pounds in his head. The beating of her wings surges through his veins.

Alive! Alive with a purpose.

…Now, he is nothing but a silhouette stamped against the dark mural of the sky, rapidly growing smaller. And he would not have wanted it any other way.

(edited and revised for the helpful suggestions)
Last edited by blackbird12 on Fri Jul 23, 2010 11:32 pm, edited 3 times in total.
If I had wings, I would have opened them.
I would have risen from the ground.

-Mary Oliver
  





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Sat Jun 05, 2010 3:15 am
lilymoore says...



Hello you...again!

And I finally found two things I could at least sort of nitpick.

The wind bites. The wind screams. The wind tantalizes. The wind’s alive.


The repetitive feel of this bothers me...a lot.
I wonder if there isn’t some way that you might be able to convey these ideas without the repetition, you know?

All thought of Los Angeles evaporates. He knows what lies ahead now, like the hawk--nothing, and yet everything. Everything is nothing, and nothing is everything. She knew it all along.


This is all just too much to think about. This was a really simple beautiful piece but I don’t think you need to start throwing in a bunch of philosophy. The first sentence, however, is brilliant and I think it would work really well in the paragraph that follows this.


Still, I love this story, mostly for the fantasy aspects of it. Just be careful about adding philosophy to your story because I think it really distracts from the artistic appeal of the story near the end.

And might I just say, this kid and birds...he’s a little creepy. :P

~lilymoore
Never forget who you are, for surely the world will not. Make it your strength. Then it can never be your weakness. Armor yourself in it, and it will never be used to hurt you.
  





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Sat Jun 12, 2010 5:54 pm
Evi says...



Hello blackbird! So sorry that this has been left with only one review for so long.

The acrid smell of smog permeates, an unwelcome invader from Los Angeles, his destination.


This entire first paragraph is all third person description, without any characters. This "his" is the first character introduction you give us, and it's a little jarring. I'd suggest that you either rework this sentence so that it doesn't include that "his", and introduce the MC in the next paragraph, or find a way to filter the previous description through a character's perspective.

The muffler grumbles faintly, the engine sputters with the effort.


That comma needs to be a semi-colon; they're both complete sentences.

The wind bites. The wind screams. The wind tantalizes. The wind’s alive


I actually like the repetition here, but I don't like "wind's" as a contraction. If you just change that last sentence to "The wind is alive", the effect is stronger, more solid.

He squeezes his eyes shut, just for a moment.

At last he reluctantly opens his eyes.


These sentences contradict each other. The first says that he closes his eyes briefly, but the second says that "At least" he opens them, signifying they were closed for a while. Jumbled imagery; be consistent!

He rocks his body in synch


Sync, you mean.

He lets her slip from his embrace. He rises to his feet. He stares down at her, the black hawk downed by a racing metal monster. He gnaws at his lower lip: an old habit he should try to kick. He squeezes his eyes shut, rubs his aching temples. He turns his back upon the mass of feathers, stained with blood and lost opportunity.


Every sentence here begins with "he", and that's noticeable for a reader. Intended repetition can be powerful-- unintended repetition can be annoying. ;)

:arrow: Adjective-happy

Description is great. This piece is held together by its description, a kind of jarring, fragmented view of the scene. However, description does not consist of tossing adjectives haphazardly at nouns and piling them up and up. Example:

off the cracked, brittle asphalt to the dusty rocky land. The speedometer’s needle slices back to 0, its brief demented life now spent.


You have a tendency to use adjectives in pairs: cracked, brittle; dusty, rock; brief, demented. Cut down on this. Besides making your writing style repetitive and hampering the flow of your prose, in places you're over-describing things that don't necessarily warrant this much attention. How many times have you mentioned the road? Black, gray, worn, weary, cracked, brittle...we get the picture, really. You also list adverbs and nouns like this occasionally: "Gently, surgically, methodically" and "An unsightly mutation, a freak of nature, a hopeless cause" and "the city, the car, the false life he left behind: needless, senseless, insignificant." These are lists. Lists aren't good for prose. AVOID THEM LIKE THE PLAGUE.

Another example:

But the tears, hot and salty, leak out of his painful squinting eyes. He doesn’t know why. Remorse? Terror? Inescapable anguish.

The stinging teardrops slide down his dirty cheeks.


It's stifling your flow and polluting your prose! You have some great images, actual images with emotion tied onto it. And, because of those great images, you can spare the not-so-great ones.

Overall, this is good. You take a seemingly insignificant event and shape a character's life around it, changing the readers' perspective of the event. It kind of remind me of a story I wrote, called Watermelon Rinds, where a little girl accidentally kills an ant and is tormented by it, calling herself a monster. Here, you have this injured hawk, instead, and I like the uplifting twist you added at the end. Just watch the actual style.

Best of luck, good job, and PM me for anything!

~Evi
"Let's eat, Grandma!" as opposed to "Let's eat Grandma!": punctuation saves lives.
  





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Sat Jun 12, 2010 10:40 pm
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vox nihili says...



This is an absolutely haunting piece. I read the entire thing in a few minutes, completely transfixed. The detail is stunning, and the tone....I don't know the word for it.

I really have to look hard for anything to comment on or criticize.

My only edit is at the end of the story:

It's confusing, did the hawk die, or did it live? It was just confusing, and contradictory; first it is stated that the hawk is dead, and then that it was alive. It becomes clear as I reread it that the hawk is alive, however, for a few minutes, it is rather confusing.

Since the story is not told from his point of view, it is a little more difficult to make the distinction between pure statement of events and what his thoughts are.

But that is the only thing I can come up with.

All in all, this is an absolutely haunting piece. The description and tone is stunning.

~Voxina
  





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Sun Jul 25, 2010 1:18 am
Prosithion says...



hmm, I liked it, but there are a few things that I want to point out.

First, you start the story off with "He". It seems a little awkward. try using something like "the man" or give him a name or something.

I absolutely love your use of similes. They're at all the right places, and they work nicely. Kudos on that.

If the bird's wings got all mashed to hell, how can it fly? How can it fly, especially after practically dying. That seems a little unbelievable.

Why would the man leave his car and go walking out into the desert? That seems highly illogical. He's gonna last like five minutes out there without water. (yeah, maybe not five minutes, but you get my point.)

Other then that, your grammar was good, and the story moved along nicely. this is one of the better stories that I've read in a while. Keep up the good work.

Cheers,
Pros
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