Lux Aeterna

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Lux Aeterna is a composition by Clint Mansell. It is quite an amazing song. No copyright infringement :) For those who are curious, Lux Aeterna is Latin for "Eternal Light."
Also, yes, this IS based on a true story. But no, I don't live in the Pacific Northwest. I live in the Northeast, the story just made it to our newspaper, and I was inspired.

Fifty years. Fifty years of her life. Gone.

She stared at the mahogany casket, the lid closed, with a flag draped over the top. The uniformed pallbearers folded the it. Brought it over to her. The woman didn’t move to accept the flag until the person on her left elbowed her.

She looked up, her sight blurred from age and slowly welling tears, and took the flag while remaining seated. She stared down at the blue and white fabric, unable to think about anything other than those years. Her sister, to her right, held her hand, soothing her. “He’s in a better place, Jane,” she murmured, voice thick.

She nodded absently. She was only physically there; in her mind, it was 1940 and she was a young woman of twenty. Her wedding day. She could see his face in front of her now. She’d walked down the aisle on the arm of her father, cheeks flushed and hands trembling. He had smiled at her from the altar, eyes sparkling with unshed tears.

Lethargic moments ambled along, the glittering sun above mocking the crowd of mourners. Finally, the casket was lowered into the gaping mouth in the earth. Jane sobbed, burying her cries in a handkerchief.

---

She’d had the mourners over for dinner, but everyone had left. The house, once cozy and inviting, enveloped her in cold hollowness. She sat on the couch in the main living room, reaching for the remote to turn on the television. A program buzzed in the background as she sat there, eyes boring into the beige carpet as if it would answer her if she glowered at it fiercely enough.

A knock at the door. She didn’t hear it.

“If you don’t open the door this instant, I will bust it down!” The female outside threatened.

No response came; no immediate shouts of “I’m coming!” or “Just a moment!” resounded in the large house. The other female took this as her sign to use the key Jane’s son had given her. She wielded the small metal instrument as if it might injure her, turning the lock cautiously and opening the door.

She gasped and ran forward.

---

“I’m sorry, Jane, dear, but I just had to get you out of that dreadful old house,” Jane’s twin sister, JoAnne, remarked as the two walked out to JoAnne’s car.

“Really, Jo, I’m just fine.”

JoAnne gave her a pointed look. “Don’t even try that. You and I both know you’re a wreck.”

Jane glared at her. “I am not. I am perfectly fine in my house. I’m not a child, JoAnne.”

The sisters stood in front of the car. JoAnne held a bag and a small ring of keys in her hand. She seemed unsure of whether to be agitated or bemused. Jane held two duffel bags, a scowl contorting her features.

“You’re going to love Orlando. I promise. Besides, it’s only for three weeks.”

Jane lifted one bag slightly, examining it. “It’s not like I have a choice.”

“Exactly.”

---

Three weeks. JoAnne had stayed true to her words, for once.

Jane stared up at her home. The grass was growing up, taller and taller. She hefted her bags, bade goodbye to her sister, and re-entered the ghostly building.

Everything was where it was before, though now the air had a distinctly musty odor. Jane felt ill at ease. She dragged her bags upstairs, surprisingly able for an old woman. She tramped back down, turning on the television, stopping on a blaring, gaudy game show. She blasted the volume, and set to work.

---
Her house was clean. She could relax. Jane sat on the couch, staring at the TV. The pain from the death of George had faded somewhat, replaced by an aching loneliness. When he was alive, she had been content to be with just him; her family and friends, excluding JoAnne and her family, had become estranged.

She regretted it.

She wandered aimlessly, stopping in the library. She hadn’t the urge to read, but walked among the shelves. Inspected them. She’d already read most of the books in the front of the room. She didn’t know what was in the back.

Against the wall stood two large bookcases. The books this far back were covered in a thick layer of dust; Jane wasn’t one to venture into the library during her cleaning fits. She swiped a hand across the spines, reading the titles silently. She paused. Picked up a book. Left the room.

---
She had an idea. Jane picked up the phone. Dialed.

---

“Uh…how much’re we talkin’, Missus Waverly?” a tall, middle-aged man in coveralls said, his voice sounding as if his nose was permanently clogged. A younger man, his brother, stood behind him, silent.

“One thousand. After you bring it back.”

“Bring what back?”

“You must give me your word first. You will not back out.”

“’Kay. How can we help you, Missus?”

---

Jane wondered if it would work. She got the money out, and placed it in a white envelope. Set it down. Waited.

---

“Thank you,” she said softly. Handing over the money, she looked into each of their eyes. Tried to smile.

They nodded gruffly, the taller one taking the envelope and stuffing it into his coveralls. They didn’t return the look.

---

She smiled to herself, brushing off the legs of her pants though they weren’t dirty.

She wasn’t lonely anymore. She would never feel that way again.

---

The phone rang. Leisurely, Jane reached over to retrieve it. She answered with a casual, “Hello?”

“Aunt Jane? It’s your niece, Mara….”

Her heart plummeted.

---
First, her husband. Then, her sister. She was angry. Whoever was in charge, if there was anyone, seemed to be holding a grudge against her for something she‘d done in a past life. Or maybe it simply hated her, delighting in her suffering. But she remembered.

She could outsmart it.

---

Another exchange, another strained smile, and another wash of relief. Jane nodded to herself as the duo left. After eleven years, she was still mildly surprised at just what those two would do for cash. She supposed she could understand. The brothers, orphaned from an early age, had never escaped their impoverished beginnings. They struggled just to feed their families and avoid homelessness.

If it meant not worrying about rent or the next meal, they would do anything for money. Anything.

And for that, Jane was thankful.

---

Her new routine was simple. Get up, get ready for the day, run errands with the neighbors, return home, spend the rest of the day with George and JoAnne. Whenever she tended her garden, she’d sit with George and talk with him for a few moments. She knew he’d never reply, but it was relaxing. It was her revenge. All her life, she believed that death was finality, the culmination of everything a person did, and who he or she was. She believed death was the ultimate end. When she was young, it didn’t bother her.

When she was young, she was immortal.

She came to realize that nothing is static. She learned that everything and everyone is falling apart. Until she decided otherwise.

She chuckled to herself and glanced over at her long-dead husband.

---

She liked to dress her up. Jane sprayed her twin with the woman’s favorite perfume. It was fun. And kept away the smell.

She chatted idly with her, in the back of her mind, rejoicing. She’d done it. She cheated death, in a way. Death wasn’t final.

---

Night had fallen. Jane was in the sitting room with her twin. She was speaking softly to her of life, and how much she missed her. She was crying.

It had been three years. Thirteen or so for her husband. She had been alone, with them, for years.

It wasn’t working anymore. She knew they weren’t really here.

She would never outsmart Death.

---

A knock on the door. Jane scowled. The neighbors had left earlier. It was three o’clock in the afternoon, too early for one of the neighborhood kids to come over, asking to use the phone. She went to the door cautiously.

Opened it. Peered up at the woman standing in front of her. She was clad in a blue police uniform. A badge on her chest reflected the brutal sunlight into Jane’s eyes. Jane squinted.

“Can I help you?”

“Are you a Jane Waverly?”

“Yes….” the older woman divulged, not allowing her to come in.

“May I ask you a few questions, Ms. Waverly?”

Jane looked back into the house, knowing already why this officer was here. JoAnne’s widower had called a week ago. He’d gone to visit her grave. But something was amiss. The grass hadn’t quite grown back yet, and he was wondering, did she know why that could be?

In fear, she told him. Trusted him. She was wrong to do that.

She nodded. She was an ancient woman, what could they do to her, knowing what she knew?

"Come in."
Last edited by SporkPunk on Fri Aug 20, 2010 6:33 pm, edited 3 times in total.
Grasped by the throat, grasped by the throat. That's how I feel about love. That it's not worth it.

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Um, this'll sound weird, but do you, by any chance, live in or around the Pacific Northwest? Because I read a story that happened in that region, about a woman who had the bodies of her husband and twin sister in her house, so she wouldn't be lonely.

If you didn't read that news story, this is one spooky coincidence. If you did read the news story, and was thus inspired to write this, no harm done. Because it's a great representation of it.

I don't have too much in the way of critique. Someone else'll get the nitpicks, probably. But, for the ending... maybe you could just cut the very last line? The line before that has a very ominous air to it, and fits in well with the rest of the tone. Very Lux Aeterna like, too (I love that song.)

One smallish note--watch how many times you use names in dialogue. It's tempting to put in who someone's addressing, but it can sound stilted if used too many times. (In particular, I'm looking at the section where Jo and Jane are off to Orlando for a vacation.)

And, I'm gonna cave and nitpick your first paragraph anyway:

Fifty years. Fifty years of her life. Gone. [New paragraph?] She stared at the mahogany casket, the lid closed, with a flag draped over the top. The uniformed pallbearers folded the flag. Brought it over to her. The woman didn’t move to accept the flag [a lot of flag!] until the person on her left elbowed her. [New paragraph?] She looked up, her sight blurred from age and slowly welling tears [and took the flag?]. She sat in a chair [sat as in already sitting, or sat as in she takes the flag and goes to sit down?], unable to think about anything other than those years.[ New paragraph/combine with next one?] Her sister, to her right, held her hand, soothing her. “He’s in a better place, Jane,” she murmured, voice thick.


And... that's it. I liked this a lot. 'Liked.'

Rach
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I did a quick bit of googling after Rachael's comment and read the same news story. Even in that factual style, the whole story was quite disturbing; the simplicity of your language here adds to the creepiness of the whole idea. I haven't much to say in terms of corrections because this is so well written, but I'll comment on the ending as you specifically asked about that.

I do it a lot myself, but repeating the same sentence you used earlier in the piece is a bit of a clichéd way to end a story. I agree with RachaelElg in that you should probably cut that last sentence, or rearrange the whole ending slightly so her thoughts precede the dramatic "come in". That way, we get to see a reaction before her decision to essentially hand herself in, rather than after it, which means that the tension builds a little further as we wonder what Jane's going to do.

As for nitpicks, I'd ensure you're not going overboard with dialogue tags and verbs in general. It's a pet hate of mine, but you used "divulged" once as a dialogue tag, which is quite clumsy, and there was a "buzzed dully" in there somewhere. The adverb is probably unnecessary. The only other part I'd criticise was the following.

When she was young, she would never die.

But nothing is static. Everything---and everyone---is falling apart. Until she decided otherwise.


It's mainly the tenses that confuse me here. The first should technically be, "When she was young, she would never have died." That lessens the impact, so I would suggest, "When she was young, she was immortal." Or words to that effect. As for the latter, the change from present to past is jarring, so I'd consider rewording it.

Anyway, that's all I can say here, as it's so beautifully written. *clicks like*

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Hey there, Sporky. I just have to say that I adore your avvie. Mr. Darcy's amazing. Anyways, on to the review.

Fifty years. Fifty years of her life. Gone.


Good job on the opening line. It's powerful and grabbing at the same times, which can be hard to pull off.

She stared at the mahogany casket, the lid closed, with a flag draped over the top. The uniformed pallbearers folded it. Brought it over to her. The woman didn’t move to accept the flag until the person on her left elbowed her.


This paragraph sounds a bit choppy. I would suggest that you combine the second and third sentence. Doing that would also avoid that awkward fragment being there. Also, saying that someone elbowed her disrupts the flow and somber mood that you're trying to create here. I would suggest changing it.

She nodded absently.


Take this with a grain of salt: Although this might seem obvious, I would suggest telling who's nodding. It usually wouldn't be a problem, but there's a clutter of female pronouns that the reader can easily confuse who you're talking about. It also disrupts the story because the reader would have to think back on who it would be that's nodding.

Lethargic moments ambled along, the glittering sun above mocking the crowd of mourners. Finally, the casket was lowered into the gaping mouth in the earth. Jane sobbed, burying her cries in a handkerchief.


The change from her being in her head on her wedding day to being back at the funeral is jarring and quite sudden. I would suggest putting a subtle transition inbetween the two.

“If you don’t open the door this instant, I will bust it down!” the female outside threatened.


She wielded the small metal instrument as if it might injure her, turning the lock cautiously and opening the door.


It seems awkward to call a key a 'small metal instrument.' But that's just my opinion.

The sisters stood in front of the car. JoAnne held a bag and a small keyring in her hand.


I only changed that because it seemed a bit too wordy.

She seemed unsure of whether to be agitated or bemused.


Technically, the words don't mean the same thing, but they are in the same alley. I mean they're both describing a form of being upset, so it doesn't seem like you would choose whethere to be one or the other since you could be both.

Three weeks. JoAnne had stayed true to her words, for once.

She hefted her bags, bade goodbye to her sister, and re-entered the ghostly building.


Even though I like the word bade, it seems to archaic for the context of the story.

Everything was where it was before, though now the air had a distinctly musty odor. Jane felt ill at ease. She dragged her bags upstairs, surprisingly able for an old woman. She tramped back down, turning on the television, stopping on a blaring, gaudy game show. She blasted the volume, and set to work.


The word was is a bit repetitive in the first sentence. Also, in the second last last sentence, it seems wierd that you would change the verbs to -ing verbs instead of -ed verbs. I'm not the best at grammar, but I don't think that's right. Correct me if I'm wrong.

She hadn’t the urge to read, but walked among the shelves.


The wording on this bit is wierd. I suggest changing hadn't to didn't have.

All her life, she believed that death was finality, the culmination of everything a person did, and who he or she was.


The first comma in this sentence seems out of place. What I mean is, if you read the sentence aloud, it would be awkward to pause there.

She believed death was the ultimate end. When she was young, it didn’t bother her.

When she was young, she was immortal.


I absolutely adored this bit. <3

I literally got chills reading this story. And the good kind of chills too. To think that this was based on true events is just repulsive.

Anyway, I like how the story was built up and how you made us think like her a bit. That said, I think that you could've given us a little more emotion from her because she seemed quite could through the whole thing.

Another thing I noticed was that you didn't really vary in your sentence length. It would be a lot of long sentences, and then all of a sudden it would be a lot of short clipped sentences.

My favorite part, which was also the creepiest, was when she was putting perfume on her sister to keep the smell away. And this whole story makes me wonder how the bodies kept for so long which is a bit morbid to think.

I hope I helped in some way.

Always,
~Danie
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