The Difference Between Landmines and Time Bombs (Revised.)

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The Difference Between Landmines and Time Bombs

Reese Ryan was one of those girls. You know, one of them. She was the mere embodiment of the word “captivating.” She was infatuated with wearing skirts, scrounging for money, chance happenings, stargazing, the smell of coffee shops and baseball diamonds, moving mountains, awkward conversation and God. She danced around her bedroom in her underwear: one of those much talked about rituals that everyone says they practice but no one (outside of movies and television at least) does. She had never been fond of writing and didn’t, but if she’d recorded her thoughts – if only for a day – those thoughts would have been seized immediately for printing, translated into multiple languages, and sold millions – to say that least of her sapience. They called her the “time bomb,” a testament to her explosive personality and reckless spirit. Though she, being more of a landmine than anything, knew it simply wasn’t true. She was like beams of light: translucent and beautiful, but never tangible. Many a man had tried to catch her, but their attempts were in vain. You would sooner build a tower to the Heavens than catch Reese Ryan. Such was the nature of the girl. You know, one of them.

Sebastian Kelly, of course, was not one of those guys; he, by default, was one of us. One of those people who are good, but never attains true greatness. He tended to stagger toward colloquialisms like “barely breaking even” or “just scraping by.” He jumped from one low paying job to the next, functioned on beer and Monday Night Football, wove in and out of relationships indifferently, one desperate, intoxicated tramp after another. And this tragically mediocre heap of a man had the nerve and the gall to define himself as such: a hopeless romantic (who had, in all truthfulness, never experienced love), a travel enthusiast (who had, in a way, never left the confines of his house); and an adamant lover of life (who was, in fact, all but dead.) Would we go as far as to accuse Sebastian Kelly of living a lie? Naturally no, him being one of our own. People like us see themselves as skewed delusions of dreams: Who We Are and Who We Aspire to Be rarely coincide. Sebastian Kelly’s dream was no different than our own – he’d just fallen into that all too familiar trap of being, well, human. You know, one of us.

Sebastian found Reese the way one finds oneself struck with an epiphany: quite unexpectedly. A cool, clear Thursday evening found Sebastian outside the house he lived in with his parents (being the unemployed college burnout he was), lighting a cigarette and staring into the blackness. From it, Reese emerged, along with the proverbial beams of light that followed her, ricocheting every which way. And there stood our poor Sebastian, puffing on his cigarette, completely incapable of tearing his eyes from her. He heard himself call out to her, but she and her clamorous beams of light walked on. After a moment’s hesitation, he stumbled down the steps of his porch and called out again. But the elusive Reese Ryan would not slow down.

So he ran mindlessly after her, flicking the cigarette butt onto the pavement and bellowing, “Hey, lady!” The members of the urban community in which Sebastian lived stirred from their troubled slumbers as he galloped beneath their bedroom windows, shouting after Reese. The chase continued on for some time – how long, Sebastian didn’t know, just as he couldn’t pin a reason to his out-of-character scramble after the woman. The Sebastian we’d known prior to tonight would not leave the couch to change the channel, let alone dash through his neighborhood at four AM – and what can be said to rationalize these actions? One couldn’t be entirely certain, but for whatever reason, an alarm was sounding in Sebastian: every fiber within him was aching to catch this woman.

Reese eventually did halt – beneath the awning of a filthy and decrepit bus stop. The panting Sebastian gaped for some time, shocked that she’d halted at all, before inventing an excuse to casually approach her. And she stood there and studied the stars, so he lit a cigarette and nonchalantly sauntered by. “You know,” he attempted, “you’re going to get yourself killed walking around out here.”

It was as if Sebastian’s words had been deflected from her ears by those radiant beams. She hadn’t heard him at all; her eyes remained fastened upon the stars.

Frustrated that he had been so casually brushed aside, Sebastian shoved himself into her immediate field of vision and said: “Hey, listen, lady. I worked as a security guard two blocks away a couple of months back – and there are a lot of creeps and weirdos around here, okay? What’re you thinking, walking around at four in the morning?”

Reese gave him a hard, level stare (you know, one of those stares, the ones that just about knock you sideways), and when she parted her lips to say “Who are you?” he felt a tremor move through his insides.

“Sebastian,” Sebastian said weakly.

“Sebastian,” she repeated, laughing. (And her laughter was music.) “I love that name. Do you love it?”

“It’s fine."

“I’m Reese,” she said, extending her hand to him. Sebastian grasped it dumbly, his hand bulky between her thin, polished fingers.

“Listen, Sebastian,” she said, retracting her hand. “I don’t want you to think I don’t appreciate your concern – because, truly, I do – but I’m entirely capable of taking care of myself.” And of course, she was right. “Give me a cigarette.”

“What?”

“You’re just going to stand there and smoke, and not offer me one?”

“I’m sorry – you just don’t look the type—“

“I’m not.” She smiled, white and clean.

“Well, okay.”

He gave her a light, and the two stood there, inhaling and exhaling and staring up at the endless night sky and its radiant gems.

-

“Sebastian,” she said, when she’d finished her cigarette. “Let’s run away together.”

“What?”

“Let’s run away together,” she said, laughing that melodious, sarcasm-tinged laugh of hers. “God, do you know how many men I say that to a month?”

Sebastian shook his head no.

“Hundreds, Sebastian! And they all jump at the chance. Follow me down alleyways, stalk me into restaurants, run circles around me with their fantastic proposals. ‘A house in the countryside, you and the kids.’ Men see something pretty and they want to marry it right away, claim it as theirs. Piss on it -- mark their territory. You’re all dogs, you know that?” When Reese said this, she looked directly into his eyes, and with such fearsome condescension he wanted to throw up.

“I wasn’t going to propose to you,” Sebastian whispered.

“Oh, I know,” said she. “Maybe not right away, but you’d work up to it. A phone-call here, dozen roses there, picnics in the park, walks on the beach, anything to win my heart.”

Sebastian struggled for words, but the insufferable Reese pressed on.

“People see something in me, Sebastian, and I’m just so over it. They see something brilliant and they come crawling – these lonely people with their petty little needs and pathetic little wants – chasing me! Fed up with life, Sebastian? Desperate for fulfillment, are you?” She laughed, and the music turned bitter. “Well I have news for you: everyone has a void to fill.”

At this point in the conversation, such flames grew in Reese’s eyes that she began pacing, firing off words every which way. A speechless Sebastian watched with unhinged jaw and frightened eyes.

“They come to me and they say, ‘Reese, how do you do it? How do you live with such passion – what is your secret?’ I tell them to go screw themselves. ‘Get away from me,’ I say. ‘You’re all losers!’ Alcohol, cigarettes—“ (And having said this, she seized Sebastian’s pack of Camels and flung it across the street.) “Drugs, lies, violence, hate -- bowing to your condoms and cell phones, building altars to yourselves, offering your ‘friends’ as sacrifices – digging your own damn graves. You’re all monsters ... all of you!”

Tears welled in Reese’s eyes, and she looked to Sebastian, heartbroken. “I just don’t get it. College burnout, wasted on weekends -- you’re just like the rest of them, and I knew it the second you started following me.”

Reese wiped her eyes on the sleeve of her coat and awarded Sebastian a watery smirk. He watched her fumble around inside her pocket, eventually drawing a small object from it. “Good luck with your life,” she said, and pressed a single match into the palm of his hand. As if on cue, the 5:15 AM bus rolled up, and Reese stepped on. And as the bus pulled away, Sebastian swore he heard her shout, “Go ahead! Light something with it.”

The stars rained on Sebastian like bombs. They fell from the sky into the corroded expanse inside his chest, gutting his heart of its decay. And suddenly ... everything he’d thought to be true looked plastic and forged. He closed his eyes and allowed himself to breathe. He felt blood crashing through his veins, ripping up rotten spores that had taken root within him. He felt like dancing, weeping, screaming at the top of his lungs, he felt invincible, he felt refreshed, he felt alive.

For a moment back there, Sebastian swore he’d grasped the meaning of life. Reese had been beautiful. Now, the cold air tasted sweet. The match burned, tucked away in his pocket. And nothing else mattered but the bombs. Bombs pouring in him; bombs obliterating everything.

-

And the day pulsed on. The sun sagged in the sky as late afternoon drummed into night. Office buildings pumped streams of filthy bodies into stuffed streets. A misshapen city symphony thrashed on rhythmically. And there was Reese, chin lifted in defiance against a current of apathetic faces. Heads of billboards and buildings and businessmen turned as she passed, but Reese could not be concerned with them. Her mind was elsewhere.

She glanced at her watch and quickened her pace: such was the daily race to meet the bus home. Hurriedly, she stepped off the curb and into the street. A car screeched to a halt beside her, its horn blasting angrily, its driver shooting an off-color gesture through the windshield glass. Her heart raced. Dizzily, she breathed an apology in his direction – and did a double take.

“Sebastian?”

But the car had already moved on, burying itself deeper within the tangle of traffic.

And suddenly, her stomach was upset. The car had taken her off guard, jarring her from a place of elevated isolation into common city confines. And now she was opened and exposed and aware: everything about this moment, this street, that boy (and every other like him) resurrected feelings within her – feelings she’d suppressed – and now they came, smashing over her in tsunami-sized waves. The city began to reel drunkenly around her. Hard lights and sharp noises – she’d blocked them out for so long – were inside her skull, blaring inside her head. Her legs began to give way from under her, earth spinning, city convulsing. “Sebastian!” she gasped. And he was everywhere: in the lights, the smog, the symphony, and the slew of disillusioned faces – consuming her, suffocating her.

She pushed her trembling legs across the remainder of the street and collapsed onto a bench. Closing her eyes, she forced herself to take thick, hard breaths. Her chest rose and fell to the rhythm of the city as she fought its vulgar penetration. Slowly, she crept back into her skin. And finally, when her heart had calmed, she gathered the details of that morning in her mind –

Sebastian, with his intense, frightened eyes, and she, with her sharp, eager tongue; the scent of his cologne, the taste of her cigarette, his hands and her tears beneath a surge of exploding stars

– and erased them. She could not bear to be violated again. Besides, he had been desperate; she felt no remorse.

She opened her embittered eyes and flew from the bench into the crowd, alone.

(2007)
Last edited by Shriek on Sat Dec 08, 2007 1:22 am, edited 7 times in total.
i thought you were shallow, but then i fell in deep.




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This isn't going to a be a very helpful critique, I think, but hopefully an encouraging comment if nothing else. ^_^ I read the previous version a few months ago, and I find this revised version an extraordinary improvement on an already fine piece of work. No grammatical mistakes that I could find, nothing felt rushed or unimportant. You kept everything even, paced, steady.

This was utterly excellent, Shriek. This is one of those stories that you read the whole way through, captivated and waiting for more even at the end. This is one of those stories that you pass out to fiction students beneath the heading 'The Eptiome of a Well-Done Short Story'. One of those stories you read in slim-bound anthologies with lovely, abstract covers. You know, one of them.

I enjoyed it entirely. Perhaps you might be able to submit it for publication somewhere - Glimmer Train, possibly? I've got six handy rejection slips in my desk from those folks. I don't think you're going to end up with one of them, m'dear.

My hat's off to you, Shriek.
Last edited by Dream Deep on Thu Dec 06, 2007 12:45 am, edited 1 time in total.




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A brilliant piece of work. I love the ideas, the plot, the style. You've got a lot of talent.
My only recommended changes would be less quotation marks and brackets. If you must overuse something, italics would be best. I also think the first few paragraphs could be broken down, those huge chunks are quite off-putting.
Keep up the good work. Kudos.




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Thank you, Dreamy. Your reply was very encouraging. I have plans to submit it to my University's literary magazine. I have encouraged another college-age member YWS to do so as well -- we may get published together.

Koko, thanks to you as well. I've found your suggestions very helpful. I have a few reservations about breaking up the first paragraphs, however. I feel that the spacing may detract from presenting the character as one, solid idea.

Yours,
Lyndsey
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No.

I think the last section is superfluous.
Ubi caritas est vera, Deus ibi est.

"The mark of your ignorance is the depth of your belief in injustice and tragedy. What the caterpillar calls the end of the world, the Master calls the butterfly." ~ Richard Bach

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Snoink,

Ahg.

There is a very likely chance that you're right about that last section ... I can't make up my mind. Either way, it's been submitted. We'll see what the creative minds at my school have to say.

Thanks for helping me (or trying to, anyhow).

Lynds
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I think this is beautifully written. I especially like the first two paragraphs, with their comparisions and parallels of Reese and Sebastian, of the them and us. Reese's rant was effective too. You voice and style is very captivating. I enjoyed it a great deal.

However, I don't like the end. I think you were trying to create a change of fortune by making Sebastian feel reborn and Reese feel alone, but I feel you only succeeded halfway. I can't say why, but I just feel it wasn't as effective as the first half.

Overall, I think it's very nice. Happy writing to ya!
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This was very well done. I liked the comparisons between Reese (I love that name!) and Sebastian.

Reese's litter rant about 'humans' near the end was really cool, but I didn't understand the end. Was it in the future or something?

I noticed an inconcistency. You said she was wondering the streets at four in the morning, and then she got on the 5:15 bus. That didn't seem right to me.

Overall, it was great.
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Hola, Shriek!

A lot of the sentences in the first paragraph are to the tune of [topic][explanation]. Ex: "Reese Ryan was one of those girls" [topic] "You know, one of them" [explanation]. Now here, it's just the first sentence. It works well for emphasis. Ex: "She danced around her bedroom in her underwear" [topic] "one of those much talked about rituals that everyone says they practice.." [explanation]; "They called her a time bomb" [topic] "a testament to her explosive personality and reckless spirit" [explanation]; "She was like beams of light' [topic] "translucent and beautiful, but never tangible" [explanation]. See how all these are structured the same? It get repetitive to read after a while.

I like how the second paragraph begins! ^_^ And this whole tone, actually, I like. The "one of us" "one of them". Nice.

He jumped from one low paying job to the next, functioned on beer and Monday Night Football, wove in and out of relationships indifferently, one desperate, intoxicated tramp after another.


I don't like lists like this. There was one for Reese too. I find them long and rather boring.

And this tragically mediocre heap of a man had the nerve and the gall to define himself as such: a hopeless romantic (who had, in all truthfulness, never experienced love), a travel enthusiast (who had, in a way, never left the confines of his house); and an adamant lover of life (who was, in fact, all but dead.) Would we go as far as to accuse Sebastian Kelly of living a lie? Naturally no, him being one of our own. People like us see themselves as skewed delusions of dreams: Who We Are and Who We Aspire to Be rarely coincide. Sebastian Kelly’s dream was no different than our own – he’d just fallen into that all too familiar trap of being, well, human. You know, one of us.


Hilarious! But list-y again. Here, I might vote to keep the list, but I only if it were the only one of its type, not preceded by others. Because otherwise, it's like the topic/explanation thing: same structure equals monotonous.

I like very much how the whole thing seems to be a dialogue between you and the reader. Like an inside joke ^_^

“Listen, Sebastian,” she said, retracting her hand. “I don’t want you to think I don’t appreciate your concern – because, truly, I do – but I’m entirely capable of taking care of myself.” And of course, she was right. “Give me a cigarette.”


That was, eh, sudden. I mean, I know that Sebastian's just as surprised at the suddenness of it, but there seems to be no pause in which time Sebastian could be relaxed-ly (yes, I'm making up words) smoking a cigarette and Reese to observe his "rudeness".

“I’m sorry – you just don’t look the type—“

“I’m not.” She smiled, white and clean.

“Well, okay.”


I like how here, as well as elsewhere, what you think will happen is so totally inverted.

“Hundreds, Sebastian! And they all jump at the chance. Follow me down alleyways, stalk me into restaurants, run circles around me with their fantastic proposals. ‘A house in the countryside, you and the kids.’ Men see something pretty and they want to marry it right away, claim it as theirs. Piss on it -- mark their territory. You’re all dogs, you know that?”


(another list)

’ I tell them to go screw themselves. ‘Get away from me,’ I say. ‘You’re all losers!’ Alcohol, cigarettes—“ (And having said this, she seized Sebastian’s pack of Camels and flung it across the street.) “Drugs, lies, violence, hate -- bowing to your condoms and cell phones, building altars to yourselves, offering your ‘friends’ as sacrifices – digging your own damn graves. You’re all monsters ... all of you!”


(and another)

. “I just don’t get it. College burnout, wasted on weekends -- you’re just like the rest of them, and I knew it the second you started following me.”


(and another)

The stars rained on Sebastian like bombs. They fell from the sky into the corroded expanse inside his chest, gutting his heart of its decay. And suddenly ... everything he’d thought to be true looked plastic and forged. He closed his eyes and allowed himself to breathe. He felt blood crashing through his veins, ripping up rotten spores that had taken root within him. He felt like dancing, weeping, screaming at the top of his lungs, he felt invincible, he felt refreshed, he felt alive.

For a moment back there, Sebastian swore he’d grasped the meaning of life. Reese had been beautiful. Now, the cold air tasted sweet. The match burned, tucked away in his pocket. And nothing else mattered but the bombs. Bombs pouring in him; bombs obliterating everything.


I like this description.

She opened her embittered eyes and flew from the bench into the crowd, alone.


Nice ending ^_^ I like how she flew into the crowd. Probably the best verb you could have used ^_^

With the exception of the lists, I'm a fan as well. Nice title, by the way.


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Alleycat, thank you for your time. I appreciate your thoughts. If you can think of any more feedback as to why the end wasn't effective, please let me know. That would be very helpful.

Thank you as well, chocoholic. I understand your confusion with the time lapse. For the first section, I wanted to make it some unGodly hour for both Reese and Sebastian to be up, but still believable in terms of her getting on the bus. I can believe that maybe the exchange and the chase leading up to it took an hour, though it is a stretch. As for the final section, it was supposed to take place during the evening of that same day, as noted with the sentence "And the day pulsed on." Again, thanks for your feedback.

Amelia, wow, thanks for that extensive critique! While I understand your qualms about the list-yness of the text (because I can see that), I have found that a number of people (myself included) enjoy that style. I don't find it repetitive, necessarily. It seems there's an energy, a rhythm to it -- a pulse, if you will. It may just be a matter of taste; some people have no patience for this type of detail, some do.

“Listen, Sebastian,” she said, retracting her hand. “I don’t want you to think I don’t appreciate your concern – because, truly, I do – but I’m entirely capable of taking care of myself.” And of course, she was right. “Give me a cigarette.”
That was, eh, sudden. I mean, I know that Sebastian's just as surprised at the suddenness of it, but there seems to be no pause in which time Sebastian could be relaxed-ly (yes, I'm making up words) smoking a cigarette and Reese to observe his "rudeness". That was, eh, sudden. I mean, I know that Sebastian's just as surprised at the suddenness of it, but there seems to be no pause in which time Sebastian could be relaxed-ly (yes, I'm making up words) smoking a cigarette and Reese to observe his "rudeness".


As for this section, it sat a little uncomfortably with me as well. However, sometimes you just need to cut the leashes and let your characters do what they will. What else is there to say but -- that's how Reese is!

Anyhow, thanks again everyone. I will be repaying you shortly.
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That was astounding. The way you put romance into such a bare object as a chance meeting between two specific persons was incredible. I love the beginning, which is a fascinating start of unfolding the story, while the middle was the most cliched part of the story told in a highly, highly original method. The ending I will talk about later.

"The members of the urban community in which Sebastian lived"
This seemed somewhat awkward. Maybe delete "urban community" and say neighborhood, or something like that.

"let alone dash through his neighborhood at four AM"
I am not sure what would be better than four AM: maybe 4 AM or four a.m.--otherwise the clash of capitals and worded numbers makes it hard to read.

"Men see something pretty and they want to marry it right away, claim it as theirs. Piss on it -- mark their territory. You’re all dogs, you know that?"
I heard that in a movie before. Did you make it or did you steal it? It's good though.

Now, the finish for this story was good, but I have to agree with Snoink. It's a too-complex, too-rich section that does not end the story truly. I liked the ending, mind you, but in order for this story to be truly astounding, you must simplify it even more.

An example of a place that deserves some type of change:

"And suddenly, her stomach was upset. The car had taken her off guard, jarring her from a place of elevated isolation into common city confines. And now she was opened and exposed and aware: everything about this moment, this street, that boy (and every other like him) resurrected feelings within her – feelings she’d suppressed – and now they came, smashing over her in tsunami-sized waves. The city began to reel drunkenly around her. Hard lights and sharp noises – she’d blocked them out for so long – were inside her skull, blaring inside her head. Her legs began to give way from under her, earth spinning, city convulsing. “Sebastian!” she gasped. And he was everywhere: in the lights, the smog, the symphony, and the slew of disillusioned faces – consuming her, suffocating her."

It's well-done, but I hate the way you (unoriginally) make Reese long for that stereotyped Sabastian--making the story ridden with complexity and doubel-sidedness that wouldn't have been there if Reese just got along with her life and Sebastian longed for Reese.

Overall, I enjoyed this immensely. Truly one of the better works I read on YWS.
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Oh, wow, Gadi! Thank you very much for your critique. I have already put some time into cleaning up the minor parts you pointed out ("urban community," "four AM," etc), but obviously they had not been cleaned up enough. I will revisit those.

As for these lines: "Men see something pretty and they want to marry it right away, claim it as theirs. Piss on it -- mark their territory. You’re all dogs, you know that?"

They're mine. I was very proud of them when I wrote them, and had never heard them before. However, if you can remember where you've heard them, please let me know.

As for your opinion of the ending, may I ask you some more questions about it? Firstly, what makes it too-complex, too-rich? The fact that I am forcing so much action into such little space, or just my wording? Secondly, what makes it unoriginal?

Despite your hatred for the action Reese takes at the close, I must defend her. She DOES long for Sebastian, she IS double-sided. She's a hypocrite, she's infatuated with the life that Sebastian is living, but at the same time she loathes it. She's bitter because she's been hurt before by a man just like Sebastian, and in speaking out against his lifestyle and thus setting herself apart from it as much as she can, she is killing herself.

Obviously if that didn't come out in my writing, then I wasn't doing my job and this will have to undergo a third major revision. If you would kindly take a look at the questions I asked, I would so appreciate it. Thank you for your thoughts and your time, please let me know if there is anything I can look at for you.
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That was beautiful. I almost cried. Very, very well done. I can't give any better critique than that, because everyone else already did it. But it's beautiful.
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