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Fri Feb 25, 2011 6:06 pm
canislupis says...



She lays him down, trying not to see the bones stretching the skin, the collapsed hole between hips and ribs, the sunken eye sockets, legs no more than sticks, and tiny bald head. Her hand rests softly on his chest for one second. His hand is clutching the shell necklace on her chest, fingers stiff. Gently, she releases him, closes his eyes. Stands up on shaky legs. Moves on.

Screams rend the air as horns honk and voices rise into the stagnant heat. People shove and punch between dirt buildings, fighting their way forward. Glass smashes. Bodies move as a wave, and a collective roar goes up, incoherent and overpowering. Someone stumbles, is trampled under hundreds of bare feet. Hungry hands reach through the bars and broken glass of the store, grabbing, straining. A single loaf of bread rips into pieces, born aloft until it is flying through the air. Then it is lost in the chaos.

He draws a circle in the orange dust with his bad foot, leg shaking only slightly. The sun moves higher in the sky as he waits, beams of red-orange light piercing through the gaps between the buildings. An emaciated stray dog runs past in the street, nails clicking on the hard backed dirt, eyes afraid. He feels the eyes of the people next to him following it along hungrily, and the corner of his mouth twitches. It won't be here long. Somewhere down the line, a baby squalls.

He stands awkwardly, weight balanced precariously on his good leg. Turnings his head to shade his eyes, he winces again. It's been hours. Will be many more. People are still arriving from outside the city, faces drawn and tired.


A car explodes, and sudden flames stretch towards the dirty sky, an acrid smell permeating the crowd. They flow past it, turn as one down another street. Thin arms wave wildly with the breath of the crowd. A gun shot echoes. Someone screams, voice drowned out. A bottle smashes on the wall, showering the mob with flecks of sparkling glass. They are wilder now. Hungrier. Another shot rings out. But they are too many. A shop door crashes inward, and people shove from behind, crushing up against the frame as grain spills onto the linoleum. Behind them, an emaciated man, side swollen and bruised, falls to the ground.

Fiddling with a piece of grass between her fingers, she crouches under the tree for a minute, looking out at the parched fields. Down the slope, the mud has dried into lumps, freezing a herd of cows' last footsteps. For an instant she is tempted to shove the grass in her mouth, but she doesn't. Insects form clouds in the hazy sky, incessant humming mingling with the dull noise of the cars somewhere ahead, hidden by the trees. She wipes sweat from her brow and stands up, hand resting on her huge, rounded stomach, and shell necklace bouncing on her chest. She moves forward, long walking stick clutched tightly, and trudges up the hill towards the fence.

They advance in a solid line, machine guns awkward behind plexiglass shields. Another bottle smashes on one. They duck a little but do not stop. Acrid black smoke rises into the air. Another store front goes in, shopkeeper dragged out bodily and thrown to the ground, forgotten.

The top of his head hurts from the heat of the sun as he stands, motionless. It seems as though he's barely moved in all the time he's been here. He glances behind him, at the long line of thin people stretching out until it disappears between the buildings. There's a pregnant woman is rocking back and forth, arms wrapped around her shoulders. She's been here almost as long as he has. And at the edge of his vision, he can see the people at the front of the line leaving,arms full. The air is full of gasoline fumes and car alarms. City sounds. The crowd is getting bigger, and as he watches, more people begin to appear from around the corner. Their arms are empty. A shout goes up; “They closed the line!” and a murmur passes from person to person, an electric current. People begin to stir restlessly, clothing rustling angrily, as the newcomers try to join the line. Someone's arm reaches out, shoves one away, but they keep coming. Angry shouts spread.

Then the metal grate at the front of the line slams down, and the last people dart away into the alley. No more bread, no more food. He sees the woman in front of him carried away on the sea as the bodies begin to writhe.


A loudspeaker voice orders them to disperse; it is drowned by the raised voices. A crate of coca cola opens, bottles scattering, rolling along the concrete underfoot. Sugar hisses as a bag is ripped apart, exploding through the air as people open their mouths to catch it. It falls as rain onto the silver hair of an old woman, leaning, eyes closed, as if in rest against the graffiti-smeared plaster wall behind her back.

She can't tell which way is up and which way leads only back into the chaos. Someone's arm slams into her mouth, and she throws a hand out to catch herself, feeling the force of the tide bearing her along. Out of control, her arms raise of their own accord and she begins to fight, keeping her head up. From every side, they press on her, and then the wall is behind her back and she is trapped, and the bodies are going to crush her and someone's elbow is in her stomach and... And then another arm grabs her, pushes her forwards. The gait is off, a hobble, and she catches a glimpse of a mangled foot before she's tripping over something large, flying backwards. Then she's lying behind an overturned stall, clutching her stomach. She catches a glimpse of a thin face, a long-fingered hand on the dirty canvass, and then there is nothing but more screaming.

Another hiss fills the air. Choking, gasping, people begin to stumble. But the roar continues. A machine gun opens fire, echoing throughout the city. A grenade explodes. More bodies collapse. They falter.

She lies among the smoldering remains, forgotten between bodies and trash littering the dirty street. The prison trucks are gone. In the distance, an occasional shout or brief explosion shakes the silence, but they are few and far between. It is over. One leg is twisted awkwardly under her body, her brightly colored skirt dirty and torn. Someone runs past, but she does not hear them. The sky spins above her as the first stars appear. A piece of something—trash, fabric, a plastic bottle—skitters past, caught up in a tiny breeze. She sits up to look around her, looking for her walking stick. It's disappeared. Though her eyes water from the pain, she holds herself up, staring at the dusky shadows of the street around her. A body lies at her feet, covered in burns and scattered pieces of broken glass. Her eyes travel down the length of the body, see the pant leg fading to nothing, the missing foot. Clutched in his hand is a piece of bread.

Reaching forward, she cries out in pain, and rocks back once more.. She reaches again. Her fingers brush it as blackness begins to crowd out her vision. Then she has it, and shoves it in her mouth. Chews. Swallows.














Spoiler! :
Thanks again for reading. This is an edited version written after reviewers' comments: as usual, I have no idea whether I just destroyed it or made it better. So anything you have to say would be helpful--I feel like I'm circling around what the plot should be, and don't quite know how to get there. Comments on the prose would be helpful as well, as I can tell it's a bit rougher now. Thank you so much!




Original:

Spoiler! :
She lays him down, trying not to see the bones stretching the skin, the collapsed hole between hips and ribs, the sunken eye sockets, legs no more than sticks, and tiny bald head. Her hand rests softly on his chest for one second. His hand is clutching the shell necklace on her chest, fingers stiff. Gently, she releases him, closes his eyes. Stands up on shaky legs. Moves on.

Screams rend the air as horns honk and voices rise into the stagnant heat. People shove and punch between dirt buildings, fighting their way forward. Glass smashes. Bodies move as a wave, and a collective roar goes up, incoherent and overpowering. Someone stumbles, is trampled under hundreds of bare feet. Hungry hands reach through the bars and broken glass of the store, grabbing, straining. A single loaf of bread rips into pieces, born aloft until it is flying through the air. Then it is lost in the chaos.

He draws a circle in the orange dust with his toe, legs shaking with strain. His side aches unbearably. The sun moves higher in the sky as he waits, beams of red-orange light piercing through the canopy over his head. An emaciated stray dog runs past in the street, nails clicking on the hard backed dirt, eyes afraid. It won't be here long. Inside the building, a baby squalls.

In his lap he clutches a small bag of beans, half concealed from view by one long-fingered hand. Enough to pay for the medicine, he hopes. He turns his head to shade his eyes and winces again. It's been hours. Might be better to walk back, get there before dark, and cook them instead. He hefts the bag in his hand, and doesn't move.


A car explodes, and sudden flames stretch towards the dirty sky, an acrid smell permeating the crowd. They flow past it, turn as one down another street. Thin arms wave wildly with the breath of the crowd. A gun shot echoes. Someone screams, voice drowned out. A bottle smashes on the wall, showering the mob with flecks of sparkling glass. They are wilder now. Hungrier. Another shot rings out. But they are too many. A shop door crashes inward, and people shove from behind, crushing up against the frame as grain spills onto the linoleum. Behind them, an emaciated man, side swollen and bruised, falls to the ground.

A door creaks open, and a startled chicken runs out on spidery legs, clucking loudly. Behind it an old woman, draped in a dirty blanket, stumbles stiffly forward, hands outstretched. It flutters, useless wings flapping noisily in the stagnant air, and disappears into a bush. She mutters to herself, hugs her shoulders. The house is empty. She is alone.

They advance in a solid line, machine guns awkward behind plexiglass shields. Another bottle smashes on one. They duck a little but do not stop. Acrid black smoke rises into the air. Another store front goes in, shopkeeper dragged out bodily and thrown to the ground, forgotten. A loudspeaker voice orders them to disperse; it is drowned by the raised voices. A crate of coca cola opens, bottles scattering, rolling along the concrete underfoot. Sugar hisses as a bag is ripped apart, exploding through the air as people open their mouths to catch it. It falls as rain onto the silver hair of an old woman, leaning as if in rest against the graffiti-smeared plaster wall behind her back.

Fiddling with a piece of grass between her fingers, she crouches under the tree for a minute, looking out at the parched fields. Their ribs are showing, eyes sunken. For an instant she is tempted to shove the grass in her mouth, but she doesn't. Insects form clouds in the hazy sky, incessant humming mingling with the lowing of the cattle and the jangling of their bells. She wipes sweat from her brow and stands up, hand resting on her huge, rounded stomach. She moves forward, long walking stick clutched tightly, and trudges up the hill towards the fence.

Another hiss fills the air. Choking, gasping, people begin to stumble. But the roar continues. A machine gun opens fire, echoing throughout the city. A grenade explodes. More bodies collapse. They falter.

She lies among the smoldering remains, forgotten between bodies and trash littering the dirty street. The prison trucks are gone. In the distance, an occasional shout or brief explosion shakes the silence, but they are few and far between. It is over. One leg is twisted awkwardly under her body, her brightly colored skirt dirty and torn. Someone runs past, but she does not hear them. The sky spins above her as the first stars appear. A piece of something—trash, fabric, a plastic bottle—skitters past, caught up in a tiny breeze. She sits up to look around her. Though her eyes water from the pain, she holds herself up, staring at the dusky shadows of the street around her. A body lies at her feet, covered in burns and scattered pieces of broken glass. And clutched in his hand is a piece of bread.

Reaching forward, she cries out in pain, and rocks back once more. A shell necklace bounces on her chest, clinking ever so slightly. She reaches again. Her fingers brush it as blackness begins to crowd out her vision. Then she has it, and shoves it in her mouth. Chews. Swallows.
Last edited by canislupis on Tue Mar 01, 2011 12:18 am, edited 3 times in total.
  





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Fri Feb 25, 2011 7:21 pm
JoyceSparrows says...



Hi!

This was a very interesting piece to read. I absolutely loved all the descriptions used. The only problem is that I don’t have a clue about what’s going on. I understand that it is all from the point of view of different people; I just don’t get know what’s actually happening. Maybe it’s just me, I don’t know. My suggestion would be to explain more about why these people are acting the way they are. I get that there is some kind of food problem, but again, why?

Other than that, it was an excellent read!

Joyce
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You have the itch for writing born in you. It's quite incurable. What are you going to do with it?

― L.M. Montgomery

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Sun Feb 27, 2011 12:35 am
eldEr says...



Canis. I am here as requested.

And, I just wanted to say that I'm not quite sure how to review this piece. The imagery, the description and the word choices were incredible. The whole thing had me pretty much mezmerized, even if I had nearly no idea about what was going on.

And that's the thing - it was beautifully written, but you were right about how it seemed to be more of a bunch of scenes than a story. I'm not quite sure how you would fix this - maybe focus in on one character more than the others? Tell us a bit more about what's really going on. We have this huge scene in our heads - explosions, guns, rioting people - but we don't actually know anything about what's happening. Why is all of this going on, what kind of event is causing it, etc...?

I'm not quite sure what else to say about this, because quite honestly, the way it was written had me captured. I didn't really care that I knew what was happening or not, because the scene this created in my mind was crystal clear.

Sorry I couldn't help more, this was incredible.

~~Cass
Guuuuuuuuuuuuuuuuuuuurl.

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Sun Feb 27, 2011 1:30 am
borntobeawriter says...



Lupis!

Thank you so much for the request :D

I'm not sure what I can add that Isha hasn't already said.

I thought the descriptions and details were amazing. The woman with the body, the pregnant woman, the load of bread. Wow, Lupis, how very vivid!

But . . I had no idea what was going on. Was it the point of views of victims of war? Everyone gets touched, gets hurt by it? It's what I somewhat understood but my feeling is . . vague.

I'm very sorry I can't add to this. It's obvious you're quite talented, I just don't understand the big picture.

Tanya
  





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Sun Feb 27, 2011 10:59 am
Jenthura says...



Hmm, you’re writing about something that is very chaotic and full of turmoil, so I suppose your writing should reflect that. However, you shouldn’t go as far as to confuse your readers. The italicized parts really have no purpose other than breaking up the story. I seriously suggest you (from the bottom of my biased opinion) to de-italicize.

Also, I noticed a few inconsistencies here and there.

Then, gently, she releases him, closes his eyes.

This is not correct. ‘Closes’ should be ‘closing’ because of its placement. If you have used a conjunction like ‘and’ or ‘then’ it could have been ‘closes’.
“Then, gently, she releases him, closing his eyes.”
“Then, gently, she releases him and closes his eyes.”
I noticed that you did this in a few places. It seems that you want to add a disjointed phrase to the end of a sentence, using a comma to start it off. In your case, I would suggest using a semicolon.

Screams rent the air as horns honk and voices rise into the stagnant heat.

It should not be ‘rent’. ‘Rend’ is the present-tense form of the verb, and the one you should have used.

He draws a circle in the orange dust with his foot, legs shaking with strain. His stomach aches unbearably.

Why would someone starved to the point of death waste their energy on drawing a meaningless symbol in the dust with their foot? If it was a small circle and he did it out of boredom or absentmindedness, then I could understand.
Also, when you are starving, your stomach does not ache. In fact, your stomach feels like nothing. True hunger is felt as an irresistible urge in that back of the throat. It’s…a difficult feeling to describe. Your body is so leached of energy it is trying to force you to eat something, anything. Am I grossing you out? Sorry.

In his lap he clutches a small bag of beans.

If he was that weak, and people were that hungry, I’m sure it would have been stolen.

A door creaks open, and a few startled chickens run out on spidery legs, clucking loudly.

Same here, why were these chickens not eaten? And for that matter, why not the cows and dog? Starving people will eat anything.

Fiddling with a piece of grass between her fingers, she crouches under the tree for a minute, looking out at the parched fields and thin cows.

Why is there still grass around if the rest of the countryside appears to be going through a drought?

Alright, nitpicks are over. You can breathe now. :D
But really, you did a great job. Keep writing!
Jenth
-ж-Ж-ж-
  





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Sun Feb 27, 2011 2:09 pm
canislupis says...



Hi everyone! Thanks for your comments. Born/Ish/Joyce: I'm going to work on the confusion and connect the characters a little more (or at least try to) and post an edited version in a day or so. Thanks for your reviews. ;D

Jen: Thanks! You definitely found some stuff I missed, so I'll try to fix what I can.About the italics: Since the different scenes are taking place in different places, I thought it would be less confusing. Separate them a litle without full stops.

You also brought up the excellent point of what the heck the animals are doing there. Which I totally didn't think about. :oops: Maybe I should add a scene about that? However, the man is sick, not hungry--hence the stomach aching. I guess I wanted it to be something internal and more serious, and have him be choosing to try and pay for the medicine with the beans instead of eating them. Though I guess stealing would be likely too. Anyway, I'll think about it. It's logic errors like this that usually drive me crazy, so thanks.

This was based on food riots, without an exact fixed location--people breaking into shops, blah blah. I could try to make that clearer, or I could just leave it as it is and hint at it--like I said, I dunno what edits will end up happening, but thanks all again for the reviews!!!!

Lupis
  





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Sun Feb 27, 2011 5:20 pm
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LaBelletrist says...



Ouch... this piece is harsh. In a good way, of course, but... wow.

However, you wanted criticism, so I'll get there.

The switch between the characters is a little hard to tell, especially when, in the same text (italic), the gender is the same. For example, I'm still unsure if the woman in 6 and 8 is the same woman or not - I'm leaning towards not, since one seems to be pregnant, but... maybe I'm just really confused. It's hard to follow on first read. Maybe use some kind of marker, like a line break? It may disturb the flow, but it would make the story easier to understand. That, or make the changes between characters more obvious.

Also, in the 8th paragraph, there are two confusing moments - One is the line "their ribs are showing" - whose? Also, why are the cows still there if there's a famine, why not eat them? Or are the cows also so emaciated that it's not worth the struggle? I also agree with the other reviewers on the grass.

Just some stuff to think about. I really liked this piece, it was kind of a punch in the gut. Keep writing! :]
  





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Sun Feb 27, 2011 10:16 pm
Master_Yoda says...



Hi Lupis

Did you ever see Lions for Lambs starring Meryl Streep and Tom Cruise? Well, your story reminded me of that. A bout of awesome acting. A few disconnected story lines. An overt plea for emotional response.

It doesn't matter who the actor. A movie like that is doomed to failure. Your vivid descriptions and magical prose can only take a story so far. Of course you may grab the attention of several readers with your magnificent writing style. You'll get the attention of a few more with the gruesome depictions you create. This kind of story may satisfy those who are looking for a quick thrill. But it's not more than a sketch. It tells no story..

Your story lacks progression. It allows for no justifiable interaction between the reader and any character. There's nobody for the reader to fear for. Nobody who rightfully deserves the reader's pain. It's a simple portrait of death and little more.

Because you tried so hard to gain my emotional response with this piece, you lost it entirely. I guess I felt it was an obvious attempt to try win sympathy by playing on human cliches such as compassion for the weak regardless of virtue. It pretended to be personal, but it was impersonal.

I don't really have much more to say, other than that you have an awesome prose and a great way with words. I would rather see a story, though. Something that isn't a ploy for emotion, but a real and individual story that allows the reader to build a personal connection to the characters.

Have a great one!
Yoda ;)
#TNT

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
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Mon Feb 28, 2011 8:05 pm
canislupis says...



Labelle: Thanks so much! I thought about adding a break between the second-to-last and final woman, but I didn't really want to kill her for whatever reason. I also think I'll just give up on the cows, though they were the first image that popped into my head, since nobody (including me) seems to think they're realistic. Once again, thanks for reading!

Yoda: Ouch. Not gonna lie, that review made me cry for a couple hours. :(

I also have to say I was a bit surprised by the way you took it--I genuinely wanted to write the scenes floating around in my head, and didn't think it was a plea for emotion. I'm also not really sure where to go from here--I can try to make one character more relateable or add a more consistent arc, or even delete all the characters but one and make a longer plot with that one. But I feel like that wouldn't be my story.

What I got from your review--and I may just be confused here--was that you thought I was trying to depress people, or force them to feal an emotion. I can definitely see how it would come across that way, but what I really was trying to do was show the faceless people, who are all basically the same (thus their specific stories don't matter) trying for the same thing: to survive in this situation. My plot arc was planned around that, so that it would finish with one--only one--of them getting the bread.

Because I didn't want to be too depressing/gory, I kept a little distance from the tragic part, in the hopes of avoiding reactions like yours. Which I think might be where you got the 'detached' part.

Anyway, sorry you didn't like it, and thanks for taking the time to read and review it--let me know if you ever want me to return the favor.

Thanks a lot everyone for your comments so far! I'm going to try and edit with them in mind. (Now I've reviewed my OWN piece, xD)

Lupis
  





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Tue Mar 01, 2011 12:52 am
borntobeawriter says...



Lupis - much, much better

I finally understood it, haha! I'm glad you stuck with the pregnant woman without removing the unique essence that is this story. I felt for the woman and that darn loaf of bread, at the end.

I really noticed all the changes, I thought you did a fantastic job at editing.

I only noticed a slight mistake:
There's a pregnant woman is rocking back and forth, arms wrapped around her shoulders
Strikeout the 'is'.

Thank you for sending me this: you did a great job!

Tanya
  





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Wed Mar 02, 2011 7:09 pm
Azila says...



Hi! As you well know, I really don't have the time to review this, but for some reason (I think it has to due with my selflessness and compassion and the hugeness of my heart) I'm doing it anyway. I'll do a few nitpicks, though I'll try not to get carried away with it. ^_~

A single loaf of bread rips into pieces, born aloft until it is flying through the air.
I believe that should be "borne."

An emaciated stray dog runs past in the street, nails clicking on the hard backed dirt, eyes afraid. He feels the eyes of the people next to him following it along hungrily, and the corner of his mouth twitches
I may be being daft (I'm good at that, I think) but what does it mean for dirt to be "hard backed?" I've never heard that expression before... Also, I have to say that I was a little confused by who the "he" was in the second sentence. When I first started reading it, I thought "he" was the dog... then in the end of the sentence I realized who it actually was, but in any case it made me stumble and I had to read the section over a few times. Just something to think about.

Somewhere down the line, a baby squalls.
Are you using this metaphorically? Because if you are, I think that saying usually refers to time, not space... and if you're not, then what line are you talking about?

Turnings his head to shade his eyes, he winces again.
That's an interesting conjugation. :P

She wipes sweat from her brow and stands up, hand resting on her huge, rounded stomach, and shell necklace bouncing on her chest.
The not-ful-sentence-ness of this kind of bothers me. Maybe try taking the bit about the necklace into its own sentence?

They advance in a solid line, machine guns awkward behind plexiglass shields. Another bottle smashes on one.
I assume you're referring to a shield here, but I think this could use to be cleared up a bit because it's a bit much to require your reader to make that assumption--I think, anyway.

And at the edge of his vision, he can see the people at the front of the line leaving,arms full.
Iknowthisisreallynitpicky,butthereshouldbeaspacebeforethewordarms. ^_~

He sees the woman in front of him carried away on the sea as the bodies begin to writhe.
This feels awkward to me. There are just too many "the"s, I think. Maybe try something more like: "He sees the woman in front of him carried away as the sea of bodies begins to writhe."

A crate of coca cola opens, bottles scattering, rolling along the concrete underfoot.
Should that be capitalized? Also, if there was a crate of Coca Cola lying there, in the middle of all the hungry people, wouldn't it have been opened long ago?

The gait is off, a hobble, and she catches a glimpse of a mangled foot before she's tripping over something large, flying backwards.
It may just be me any my aforementioned daftness, but I don't understand what you mean by this part.

She catches a glimpse of a thin face, a long-fingered hand on the dirty canvass, and then there is nothing but more screaming.
Ii thinnk yoou meean "canvas."

Reaching forward, she cries out in pain, and rocks back once more..
..
-----------------------------------------------------------

Overall, I like this. But you know I do. I'm not going to go into that here because (you know, Bob) I already emailed that to you. ^_~ Actually, I better hurry up and tell you what I don't like about this.

This new version is more focused on the pregnant woman, and I like that--it's like she's something that we keep getting a glimpse of in the chaos. But I think there should be less chaos and more of her. Right now, if I zoom my mind out and think about this piece in a very overall manner, I'm not sure what to think. Before, it was sort of like a mosaic--a bit picture made out of snippets. But now it feels kind of like it's half way between a mosaic and a photograph. It's sort of like you're trying to have it be overall and specific at the same time. I actually like the idea, but I think it could be executed more effectively. Let me explain.

Right now, as Jenthura mentioned, the italics are a little confusing because they are binary. It's either italic or not italic, which makes me think that there are two sides of this story--the italic side and the not italic side. I don't think that's actually what you're going for, is it? I was going to complain about this... but then I realized something. I'm yelling at you for being too organized with your italics, but I'm also yelling at you for not being organized enough with your actual narrative. What if you combine the two and kill them both with one stone (what an awful expression...)?

Here's my idea: I think it would be really cool if you did have there be two sides of the story--one would be always about the pregnant woman, and the other would be about portraying the riot in an overall way. Let's say the italic bits would be about the pregnant woman; then, every time the reader came to an italic bit they'd know "aha! I'm about to read about that pregnant woman," and I think it would be a lot less confusing. The non-italic bit could still be jumbled snippets, so you'd be able to make it less confusing without sacrificing those (which I love). Anyway, that's just an idea I had--you may hate it.

Another thing is that I think it's starting to drag on a bit. As beautiful as your writing is, it's hard to stay focused on chaos. Even though there is a very abstract story to the whole thing, it's sort of hard to see when reading the piece and so I found it easy to get lost around the middle. I'd already seen a lot of destruction and confusion, so I knew that was what the scene was like--I think you went on a little too far rubbing it in. It might be more powerful if there wasn't so much description of the crowds. Maybe take out some sections?

Anyhow, I really gotta go now. I hope this helps. Obviously, let me know about questions or whatever--and good luck with the contest!

<3
a
  








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