Funeral of an Adopted Mother

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Not to disclaim... but I wrote this very tentatively, before sleeping, without reading over. If it's horrible, please be very harsh!


Funeral of an Adopted Mother

She tried on the black coat, her arms straddled to her sides, pink fingers interlocked like a hot winter’s Danish. The plastic fabric chafed and scratched as she turned in front of the mirror. She smiled at the sound her armpits made—a mischievous smile, disrobed of the empty affectations that drape other lips when they are trucked and stretched across cheeks, like slaves for their masters.

This memory is clearer to me than most. Maybe it’s because—maybe it’s because this was her most receptive moment of lucidity, I think. Mine too. She turned, and looked at herself in the mirror, then turned back to me.
“Do you like me?” my mother said.

She meant to say “it,” but it didn’t really matter. Not noticing her mistake, she glanced at me with a grin.
I remember looking from across my bedroom at the mirror. Her reflection was broken by a single, drastic caesura that ripped from the ceiling down, bombastic and edgy. It slit through her ribs; made her look poetic, almost, though not beautiful—she could never be “beautiful”, with her short, oily red hair and stocky arms. The black coat traced against her large arcs like a pencil against the edge of a paper, light and smooth.

“Yeah,” I said.

She smiled again. Then, unzipped it, placed it on my bed in a folded black sash, and left.

For some reason, I thought of that moment—her gently removing the coat from her shoulders, folding it, resting it on my bed, still smiling with pursed lips—as I placed the first flowers on her grave.

After I lifted my hand I realized that my movement was too harsh, too sharp—extended at the elbow, pushing against the wet earth. If only I’d done it in a tress motion: as light as her, as tender as her, instinctive and maternal. Stepping through weeds towards the priest, I felt regretful of the most trivial actions, the closest errors. I felt ashamed that my feet dragged against the ground, that my breath dangled in the air like a willow’s branch—that I didn’t, couldn’t mimic her when she was most aware of me: most gentle, most human, most regal.

Weeks before she died, she laid on her hospital bed and looked at the window. It functioned as a mirror for her; she couldn’t see anything past herself. She didn’t want to, either.

That night she found the sky. She glanced at the stars as if they were her children—her real children, not the ones she discovered in Vietnam at the edge of a forest, naked, stained by nature, shivering and huddling and sobbing at she couldn’t understand what—and she frowned at their glittering smoothness. They grew up without her, all alone—apart from her, yet all together. The white masses of them sparkled as if reaching for her, needing her after all these years, even after she’d abandoned them to the black sky.

Her face pinched into itself.

“Water!” she said. “Darian, please. Hand me that glass of water.”

She furrowed her face with fear. She opened her mouth, almost growled.

I obeyed, and sprung for the cup in panic. Her eyes flushed as she reached for the glass, fingers long and red and sturdy, bending into the cold curves of the glass like snapped twigs. Her hand grabbed, clutched.

Then, it launched.

---

I never figured out if it was me or the window. Even in anger, in sickness, in death she was graceful—her voice asking for water as if a newly-born bird had woken up in her body, thirsting and damp; her aim clumsy, yet temperate... even ambiguous.

My mother has taught me many things. Never to be taken advantage of; never to love without being loved; never to be unduly harsh or obstinate. Yet I never truly understood her—especially not that night, when she left a scratch on the hospital’s window. So small—yet strong enough to echo a sliver of light from the moon, burning an arc of it into the dark room.

It looked sort of like a smirk.


-Gadi
my world isn't only beautiful
it is so far away




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I really like this piece of writing, it has some beautiful detail imagery.
I think however you could of spoke more about how she was dying, the details of why she was in hopsital and a more detailed description of when she threw the glass. That is the only thing I think could be worked on.
Apart from that its a really good piece and I look forward to read more :)
...The Emptiness Will Haunt You...




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Hullo Gadi!

I'm not going to dwell on the line-by-line stuff, but there are a few things I'd like to bring to your attention:

She tried on the black coat, her arms straddled to her sides, pink fingers interlocked like a hot winter’s Danish.
I guess there's nothing really wrong with this sentence... it's just not as good as I think you could make it. Especially because it's the first line, I think it deserves all the love it can get, and right now it feels a little neglected. I'm not even sure what you're saying... if her arms are straddled to her sides, that makes me think that her arms are sort of poking out sideways from her body a little bit (as if the sleeves/shoulders of the coat were too tight for her to put her arms down) but if her fingers are interlocked, then that means her hands are together. The two images don't really jive, if you know what I mean. I like the Danish imagery, though... makes me think her fingers look like this. ^.^

It slit through her ribs; made her look poetic, almost, though not beautiful—she could never be “beautiful”, with her short, oily red hair and stocky arms.
This is extremely nit-picky, (sorry) but the comma should be inside the quotes...

The black coat traced against her large arcs like a pencil against the edge of a paper, light and smooth.
Do you mean to say "arms?" "Arcs" is an interesting image, too... I just have to wonder if it's intentional or not.

Then, unzipped it, placed it on my bed in a folded black sash, and left.
Maybe I'm just unfamiliar with this use of the word "sash," but this image doesn't make sense to me.

Stepping through weeds towards the priest, I felt regretful of the most trivial actions, the closest errors. I felt ashamed that my feet dragged against the ground, that my breath dangled in the air like a willow’s branch—that I didn’t, couldn’t mimic her when she was most aware of me: most gentle, most human, most regal.
The underlined stuff is very tell-y. "I felt this, I felt that." It's not as poetic as the rest of the piece. I think you should show emotions, not tell about them. For example, I really like the end of the part I've quoted above because it's not saying "I felt this" it's saying "I felt like this." Saying something like "I regretted the most trivial actions, the closest errors. I was ashamed that my feet... (etc.)" would be a quick-fix type of thing, but I think what you really need to do is to make this whole section be a little more motive-oriented, and a little less action-oriented. Let us know why he feels something, and then you don't even need to say what, exactly, he's feeling.
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This is beautiful, Gadi. Your prose was always gorgeous, but I think it's gotten better since the last time I read it. Really, it is poetic in the sense that I feel like the meaning of the words don't matter so much as the overall sentiment of the sentences, the paragraphs. Each word is not important, and each sentence doesn't even need to make sense--so long as it portrays the right emotion, or gives the right impression. That's how I feel about really good poetry (e.e. cummings, for example) and that's how I feel about your writing. It's something not everyone could pull off, and it's certain'y not something one could learn or teach--it's just something you, Gadi, can do. And can do beautifully. If this was anyone else's piece, I would be ripping apart sentences that I didn't understand and suggesting rewording and stuff like that, but with your writing I feel like it's okay not to understand the meaning exactly so long as the overall emotion is there. It's almost like writing for the sake of writing, not for the sake of necessarily saying anything complicated. Or if it is complicated, the complication comes after you read it, when your mind is wandering... and wondering.

That said, there were some major confusions in the piece which I, personally, found more frustrating than fascinating. I don't need to know exactly what she died of, or how long ago, or why she threw the glass [insert polite disagreement with LilySoulMahon] because that would detract from the mystifying, vague, mysterious air of the piece... but the confusion that I thought could use some clearing up was Darian's feelings towards his mother. In the beginning, when she is trying on the coat, his thoughts about her seem very frank and almost judging. He says that she could never be beautiful. But later, you remark numerous times on her elegance. You only tell us that she's elegant, though. You never show us. I never see her elegance--I only hear about it from his narrative.

Also, I love the bit about the stars. Really, I do. It's beautiful. But I would like to see a little more of how it fits in to the story. Is it supposed to be a metaphor to say that she's had other children, but they've died? Sometimes stars are said to be dead peoples' spirits, so that's what came to mind the first time I read it. Or are you just trying to say that Darian feels like she loves the stars more than she loves her adopted children? I'm not sure what the point of that section is, so I'd like to see it get tied in to the rest of the piece a little better.

Oh, and one last thing: you mention that she found her adopted children in Vietnam, and you paint a very clear picture of how she found them. Well, I don't know much about the adoption process, but I don't think you can just find some miserable kids at the edge of a forest in a foreign country and adopt them. That part felt a little unrealistic, especially because you bothered to craft such a clear, specific image.

Overall, this was lovely Gadi! A pleasant, thought-provoking read and an intriguing piece to ponder. I apologize if my suggestions are insensitive or daft--I feel like I shouldn't be confused about those things, but I am. But it might just be me. Obviously, you don't have to change them if you don't want to.

I hope this helps somewhat! PM me or write on my wall if you have any questions/comments about anything I've said.

a




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Hey there Gadi,

On the Under-appreciated Literary Works by Fellow YWSers (page.php?id=756), Azila suggested we come read this.

And I am not disappointed in the least. Azila already mentioned the points that I myself would have mentioned. What I wanted to say is that you are truly gifted. You've pulled emotions throughout this piece, kept the writing tight and flowing nicely.

sorry I couldn't be of more help, I just wanted to tell you how much I enjoyed this piece, and your writing.

Tanya :D




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I am very glad to have come across this. You have a beautiful writing style - almost poetic, but just enough so that it can still be considered a short story. Most of the points I was planning on making have already been made, namely the us2e of the word "arc," but I did find one little thing you may want to consider:

She smiled at the sound her armpits made—a mischievous smile, disrobed of the empty affectations that drape other lips when they are trucked and stretched across cheeks, like slaves for their masters.


I can't see this - do her armpits make a sound? Simply your use of the word "armpit" disrupts the atmosphere of the piece. Since it is at the beginning, it makes readers think that the story is going to be something that it's not.

Well, that's about it. I hope to see more of your writing!
#TNT

WRFF



You're a hairy, wizard!
— EllieMae