All The World Is Blind [r]

5 posts
User avatar
Gender Female
Points 2834
Reviews 131
all the world is blind






This time, he is going to die.

He can’t remember how to breathe, how to take full deep inhaling gulps of oxygen to shoot his veins with blood and energy and fire. He can only try, in thin shuddering gasps that spasm his frail fingers. He can feel the world bleeding away in his dreams, in his head, in his heart. This time is the last time.

Behind the grey triangles of shadow that are his prison cell, the guards mutter and shift. They are uneasy. The eclipse is coming, or so they say. He cannot tell; there are no windows in the cell, no cracks in the stone. No light in the darkness. The sun is already in shadow for him.

He dreams of Kasturba in a white sari, a memory of his youth. She lowers her eyelashes bashfully and he is won, as any young man is won by the slightest motions of a beautiful girl. He dreams of the last time they made love, the sweat beading on her forehead, cheekbones in shadow, eyes lidded with pleasure.

He dreams of her corpse. Cold to the touch, lips bluing even as he weeps over her. Wrapped in a white sari, or what was once a white sari, now grey and tattered and worn thin. How does the world matter when he will never see her smile again? All he has now is memories, pockets of things that were once beautiful.

In his cot, the wire frame hard against his knotting limbs, he tosses and turns and calls for the dead.

The eclipse is coming. The guards shift their feet and whisper. The cell stinks of sweat and sickness. He dreams of a snake that is a man that is a dragon that is a planet. The swallower of suns and moons. Rahu.

The snake-dragon-planet-man says, “It doesn’t have to be over.”

And he says: “What other choice is there?”

Rahu reaches into his own mouth and down his throat and into his stomach and withdraws a vial. A small glass cylinder glittering with gold. He holds it out. “You have this.”

The man recoils, shaking his head. “No. Not that. That is not a choice.”

Rahu smiles. He puts the vial in his mouth and gulps it back down.

“We’ll see what you think tomorrow,” he says.

In his prison cot, the man writhes and weeps.


*


Mornings are a panic.

There is a car bearing straight for him.

Mohandas swerves the taxi out of the way. Wrenched to one side, the passenger in the backseat mutters a sharp oath beneath his breath.

“Sorry,” says Mohandas. The seatbelt bites into his chest as he twists the car through a dense tangle of traffic. He swipes the coffee balanced precariously in a holder, taking a quick gulp of the dark bitter liquid. The thin cardboard of the cup burns his fingers.

“Can you go faster?” The man in the back checks his watch and grimaces.

Not without killing us both, Mohandas thinks.

“Of course,” he says.

They pull up at the building ten minutes later. The man, with a mumble of, “No change, thanks,” thrusts a wad of bills into his hands and slams the door behind him. Mohandas counts the bills out. Barely two dollars of tip.

“I have to eat, too,” he says to the empty cab. A car honks behind him.

He guides the cab away from the curb and drives into the packed street ahead.


*


A lifetime ago, he plays a game of faith.

The girl comes to him in the night, the woman who is not his wife. She hesitates at the foot of the bed and he says, “Come here.”

She does. Her features are blurred in the darkness.

“What’s your name?” he asks.

The girl lowers her head. “Nanti,” she whispers.

“Look at me,” he says. She does. He extends his hand and she clasps it.

They lie in bed together, a hand span apart. Her breathing is shallow and jagged. She is preparing herself for something that will not come. Her breasts rise and fall as she inhales and exhales. He can smell the sweat on her skin, that fragrance of woman and summer and rain. She is only silhouette and skin but he thinks that she must be beautiful in ways that he can only imagine now.

He has a momentary spasm of desire but he stops himself. He is stronger than this.

Mohandas curls his fingers into the cotton bed sheets and measures the length of his breaths. He closes his eyes and empties his mind and leads himself away from temptation.

He is better than this.

She lies beside him all night, through the dark hours, through the first glimmer of colour and sunrise. In the morning, they still lie a hand span apart.


*


Sitting on the stoop of the taxicab company, facing a dingy alley that is wet with the stink of garbage, he unscrews the little silver flask. His hands shake.

“I thought you were a man of faith.”

He almost drops the flask.

“I am.” Mohandas turns to look at the man who spoke. “You surprised me.”

Harun emerges from the doorway and seats himself on the stoop. His bones creak as he bends his knees. He is getting older.

“What’s that?” He gestures to the flask.

Mohandas hesitates. “It’s honey.”

Harun grins. “In a flask? Isn’t that melodramatic?”

He shrugs. “It’s convenient.” He tilts the flask over his cup. A glittering bead of gold poises on the edge of his flask, falls into the coffee. He measures out four drops.

“Do you mind?” Harun peels open a plastic Tupperware box. From the crack in the plastic wafts the scent of spice and meat. Mohandas shakes his head. No, he does not mind. It reminds him of Gujarat, of the town on the edge of the ocean, his first memories of the world.

Harun is not from his little coastal birthplace; he is from a university. He once had a doctorate in theoretical physics in a world across thousands of miles of ocean. Now they sit together, the orator and the scholar, the two cabbies with broken English, and eat lunch in this wet dank corner of the city. Two men in the land of opportunity.


*


An eclipse is coming.

He parks the taxi by the edge of the ocean and walks to the pier as the sky begins to grey. Sometimes he forgets this place, the salt tang of the air, the whip of the wind, the soft thunder of the water. He closes his eyes, shutting out the darkening sky, and remembers another pier on the ocean. Kasturba at his side. When was the last time he thought of Kasturba? The set of her brow, the long high angles of her face. The warmth of her body against his, entwined in sleep. When she was serious, she would frown, lips upturned, nostrils flared. She was often serious.

His memory is blurring along the edges, fading in some places. But not her. She is sharp with focus even now, even after sixty years. Maybe more.

He inhales the salt tang of the air. The taste of home.

“Mahatma.”

His eyes flicker open. The world shifts again and he is back on the pier with the taxi behind him and the weight of a silver flask pressing against his chest. The sky is black.

He exhales.

“Don’t call me that,” he mutters, turning.

Rahu smiles. It is not so much a smile as a contortion of features. The thing that is his face distorts into three faces, seven. “They used to call you that. Everyone.”

“No one remembers,” Mohandas says. Not even me.

His smile widens a notch. “Don’t tell me you regret this.”

Mohandas doesn’t respond.

“Don’t pretend you do.” Rahu’s hand snakes out.

Mohandas stumbles back but he has already yanked the flask out.

Rahu’s eyes glitter. “Still have it.” He unscrews the cap. The contents of the flask burn pure warm sunlight into the darkness. “So much for regret.”

Mohandas looks away.

“You can always pour it into the ocean, you know,” Rahu says. “Or maybe I could. Do you want me to do it for you?”

No answer. Mohandas clenches his teeth.

“Do you?”

“No,” he snaps, turning. “Stop.”

Rahu regards him for a long moment, his eyes bright and laughing.

“That’s what I thought,” he says at last, and pushes the flask back into his hands. “Don’t play the righteous card. You lost that one a long time ago.”

With that, he disappears into the black.

Mohandas stumbles to the edge of the pier, the cold weight of the flask in his hands. He puts it back into his coat and begins to cry.


*


He plays the game of faith again.

This time there are no disciples. There is a number in the phonebook and a wad of cash on the night table. Her name is Wanda. She is aged, ragged. There are smudges of shadow under her eyes and hard lines forming around her mouth.

“It’s not what you think,” he says.

She doesn’t bat an eyelash. “Sure thing.”

He lowers his head. “The money is on the night stand. I just – I need you to lie down.”

They lie in the bed together, a hand span apart. He has forgotten that faint musk of another body, the sensation of warmth beside him. He struggles to control his breathing, to fight the thoughts in his mind.

He is stronger than this. He knows he is.

A wave of hunger washes over him. He can’t breathe.

His penis stiffens.

“I’m sorry,” he whispers, face flushing.

“There’s nothing to be sorry about,” she says, less than a foot away.

But there is. How can she know? He can’t do this. He is a man of faith, a man of discipline. There is nothing but shame in this for him.

He succumbs.


*


He almost rear-ends the car. Horns blare.

“Jesus Christ,” mutters the woman in the backseat as she clutches her bag. “Watch where you’re going.”

“Sorry,” he mumbles.

She doesn’t leave him a tip.

Mohandas drives through the city until he finds a temple. He sits outside, hands on the steering wheel, and wills himself to go inside, for his body to unbuckle the seatbelt and open the door and climb the steps and find light.

He can’t do it.


*


“Here. Take this.” He flings the flask at Harun.

His friend looks at it, bewildered. “What’s this? What’s wrong?”

Mohandas shakes his head. “I don’t want it. Keep it. Even if I ask for it. Don’t give it back.”

“I can’t take this,” Harun says.

“I don’t want it,” Mohandas repeats.

Harun holds it out. “I’m sorry, Mohandas. I don’t even know what it is.”

“It’s my life,” he says, backing away from it.

“You’re not well.” Harun takes a step forward. “Come home and my wife will make you dinner. We can talk.”

“No.” His voice is harsh. “Just don’t give it to me.”

Harun sighs and puts the flask down on the ground.

“Whatever’s in this thing,” he says, “I’m not your conscience.”

He starts to walk away. Mohandas stares at the little silver flask on the ground before him.

“Harun,” he says, “are you afraid of death?”

Harun stops. “Sure. Isn’t everyone?”

“Yes, but.” He tries to find the words. He used to be an orator. Why is it so hard now? “How afraid?”

“As afraid as anyone else,” Harun says. His brow knits in confusion.

“I think I’m more afraid,” Mohandas murmurs. “It’s – I can’t do it. I’m weak.”

Harun almost smiles. “Everyone’s weak. Welcome to the world.” He turns and walks towards the building. “If you change your mind about dinner, I’m here.”

He disappears through the door. Leaving Mohandas in the alley that reeks of rotting fruit, just him and the flask again.


*


In the night, he dreams of his bride. Kasturba, a vision in red and gold. His first memory of desire. She smiles shyly at him and he is filled with want.

He dreams of the last time he saw her, on a long table wrapped in a fading white sari. Her lips darkening even as he rocks back and forth and weeps for all that he has lost. Her body is cold and empty. There is nothing left here.

Nothing.


*


The city is whispering to life at dawn, the sky is streaked with citrus shades of lemon and orange. The sharp sting of the ocean whips at his coat. He gropes around in his coat and finds the cold metal weight.

He takes it out. The sound of the cap unscrewing is the only sound in the world.

Mohandas holds up the flask. It glitters in the sunlight.

He empties it into the water. Drops of gold, years of his life falling into the ocean.

Winding his arm back, he flings the flask as far as he can throw it. It arcs through the sky, limned in white light, and splashes into the depths of the water.

He takes a long deep gulp of salt air and lets go.

It is over.

Mohandas lowers himself onto the pier, facing the rising sun. He smiles, tears burning bright in his eyes.

And he waits to die.
Last edited by smaur on Sun Jul 18, 2010 5:38 pm, edited 3 times in total.
"He yanked himself free and fled to the kitchen where something huddled against the flooded windowpanes. It sighed and wept and tapped continually, and suddenly he was outside, staring in, the rain beating, the wind chilling him, and all the candle darkness inside lost."




User avatar
Gender Male
Points 6517
Reviews 798
Whoa. So, okay - remind me again why I should bother finishing my piece? Even had I the time to edit it twice over, it wouldn't come out on top of this - in short, this is fantastic.

She doesn’t bat an eyelash. “Honey, I’ve seen it all.”


This was the only major point for me, in that I don't believe it. It should be told. I can see her, I can picture her having seen it all, but I can't see her saying it aloud. Either have her remain silent - 'She says nothing. She has seen it all.' Or, have her say something else, something equally dismissive. I just don't see this.

“Sorry,” he says [s]woodenly. [/s]


I think the circumstances combined with 'Sorry' on its own, provide a sense of woodenness. It need not be spelled out.

Other than that, I was fairly blown away by this. Damn you! Haha, I so clearly don't need to finish my piece now. I did have a slight qualm when he wept by the sea, for some reason I didn't quite feel that was right - that the impression of him holding out when he should be crying, was much stronger and more potent but that's a minor thing, open to your discretion - as well, everything is really but you know what I mean.

Adios amigo and well done.
~J~
Mah name is jiggleh. And I like to jiggle.

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




User avatar
Gender Female
Points 2834
Reviews 131
You are most definitely right, the hooker line is silly and the woodenly was unnecessary. (I knew someone was going to point out that hooker line before I fixed it because, ohman was it ever a hooker cliche.) The crying by the sea thing, I'm not so sure about — I know what you mean, and you have a point. But at the same time I thought that, because he didn't seem like the weepy type, his crying there would kind of hint that this was a Big Deal, and also that it was the beginning of the catalyst that drove him to eventually Let Go.

Anyway, I'm gonna have to think on that one.

In the meantime, I changed up the demon's dialogue at the beginning so it's a little less vague (hopefully) and also tweaked up some minor things.
"He yanked himself free and fled to the kitchen where something huddled against the flooded windowpanes. It sighed and wept and tapped continually, and suddenly he was outside, staring in, the rain beating, the wind chilling him, and all the candle darkness inside lost."




User avatar
Gender Female
Points 9697
Reviews 3900
So! Some thoughts! :D (Because thoughts are generally awesome.)

In your narratives, you're generally more action-oriented with your description. That is, you tend to skimp on the details and go ahead with the story. Normally, this is good, but I think it's hurting this story, just because you use Hindi and Hinduism is an incredibly colorful religion that really needs more description than just what is going on within the story.

I think I would like this story better if you "colored" the scenes (if that makes any sense). The scenes in the urban settings should be short, which is your typical style and you do it very well. However, for the other scenes that deal with his past lives, I think it would be better to give more coloring to them so that the past lives stand out better and seem more real than what we see as reality today, with the cabs and everything. To do this, use more color in the description, not just of the people but of the rooms and the general setting so that there is a lushness of the scene and it contrasts more starkly with his life in the city, where there is hardly any description of his surroundings. This does some cool things. For one, it emphasizes his despair in the city. Right now, the description is very "gray" as far as settings go, which is rather boring. If you make his past lives have colorful settings, then you make it seem like he feels connected with his surroundings, which would explain at a subconscious level why he doesn't give up his life then. For another, it would make the contrast between the hooker and his other lovers much more noticeable so that when he does succumb to the hooker, it would appear that he's trying to "connect" himself with the world and failing. Yup. This is explained horribly, but just think of film. Colors = prettiness. And connecting with the reader in a subconscious level is always good.

When you say handspan, do you mean armspan? A handspan is not very far at all.

You don't finish explaining several things, which is annoying because it looks really sloppy.

1) Why is he in prison? It seemed logical that, as we followed his life, we could get an understanding on why he is there. It makes sense too--he is obviously very desperate and many desperate people are in prison. This could have been a really good story-line. So why didn't you follow up on this? I don't know... but it looks very sloppy. Expand and keep it or get rid of it.

2) The eclipse is never followed through! Wtf? I mean, I can see where you might be able to say, "Well, I mentioned it here, sort of, maybe, if you squint really hard" but that doesn't keep it from being sloppily executed. Either mention it again in a clearer way to put a closing to this conflict, or leave it out.

So yeah. I did like it, even though my critique sounds grumpy! I just think you can do a lot more with it. :P

Good luck!
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

Moth and Myth <- My comic! :D




User avatar
Gender Male
Points 18178
Reviews 1259
Hi smaur!

Okay, first up: I already like this story from the first two reads for the contest. There was a reason I gave it first place, and it was mostly the impressive strength of your prose, and your control over a story. For this reason and others, I am not going to respond to your epic-review of my story with a similarly-sized response. In fact, it is hard to find too many flaws, but I'll do my best.

Your first line is also full of win. Which is always a big point for me.

He can only try, in thin shuddering gasps that spasm his frail fingers.


I would argue this comma isn't needed.

Mornings are a panic.

There is a car bearing straight for him.

Mohandas swerves the taxi out of the way. Wrenched to one side, the passenger in the backseat mutters a sharp oath beneath his breath.

“Sorry,” says Mohandas. The seatbelt bites into his chest as he twists the car through a dense tangle of traffic. He swipes the coffee balanced precariously in a holder, taking a quick gulp of the dark bitter liquid. The thin cardboard of the cup burns his fingers.

“Can you go faster?” The man in the back checks his watch and grimaces.

Not without killing us both, Mohandas thinks.

“Of course,” he says.

They pull up at the building ten minutes later. The man, with a mumble of, “No change, thanks,” thrusts a wad of bills into his hands and slams the door behind him. Mohandas counts the bills out. Barely two dollars of tip.

“I have to eat, too,” he says to the empty cab. A car honks behind him.

He guides the cab away from the curb and drives into the packed street ahead.


After the pretty stunning first section, I was a little disappointed by this part. Not necessarily the writing, which as always was strong and exciting. I sort of agree with Snoink that some parts of the story are too thin description-wise, and it makes it hollow. I think you could fill this section with a better backdrop of the setting.

[quote/Harun is not from his little coastal birthplace; he is from a university. He once had a doctorate in theoretical physics in a world across thousands of miles of ocean. Now they sit together, the orator and the scholar, the two cabbies with broken English, and eat lunch in this wet dank corner of the city. Two men in the land of opportunity.[/quote]

I am in love with this paragraph.

He plays the game of faith again.

This time there are no disciples. There is a number in the phonebook and a wad of cash on the night table. Her name is Wanda. She is aged, ragged. There are smudges of shadow under her eyes and hard lines forming around her mouth.

“It’s not what you think,” he says.

She doesn’t bat an eyelash. “Sure thing.”

He lowers his head. “The money is on the night stand. I just – I need you to lie down.”

They lie in the bed together, a hand span apart. He has forgotten that faint musk of another body, the sensation of warmth beside him. He struggles to control his breathing, to fight the thoughts in his mind.

He is stronger than this. He knows he is.

A wave of hunger washes over him. He can’t breathe.

His penis stiffens.

“I’m sorry,” he whispers, face flushing.

“There’s nothing to be sorry about,” she says, less than a foot away.

But there is. How can she know? He can’t do this. He is a man of faith, a man of discipline. There is nothing but shame in this for him.

He succumbs.


*


He almost rear-ends the car. Horns blare.

“Jesus Christ,” mutters the woman in the backseat as she clutches her bag. “Watch where you’re going.”

“Sorry,” he mumbles.

She doesn’t leave him a tip.

Mohandas drives through the city until he finds a temple. He sits outside, hands on the steering wheel, and wills himself to go inside, for his body to unbuckle the seatbelt and open the door and climb the steps and find light.

He can’t do it.



I also think this two sections are weak parts of the story in comparison with the others. They seem thin and empty compared to the others, which seem colourful and vibrant and alive in comparison. The dialogue in the first is not the best. In the second it is so short that it becomes almost meaningless. I understand why it is there, but I think it needs development.

General points:

1) Fantastic story. But lots of it is unclear. I understand much of it is unsaid for effect and for the reader to comprehend, but I feel more elucidation couldn't hurt. You write so well but I think there needs to be more explanation of the jailtime, of the taxi-driving, of the prostitutes, of many things. At the moment the whole thing needs more concrete and basic things to tie it down. It is beautiful but it is also hard to grasp.

2) On a related note, I think this could be longer and more thorough in its beginning and end. Expansion of the whole thing seems advisable (although I realise you might not want to touch this again since it was a contest entry, and a one-off endeavour) but I'd really like to see the whole idea expanded to something much more.

3) I failed at this critique because I liked it too much.

Thanks again for entering : )
Nate wrote:And if YWS ever does become a company, Jack will be the President of European Operations. In fact, I'm just going to call him that anyways.



“Isn't it nice to think that tomorrow is a new day with no mistakes in it yet?”
— L.M. Montgomery, Anne of Green Gables