Sparrow

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There was a little house on a quiet street in a quiet town. The house had its pros and cons, but it was always permanent, a fixture in a wildly changing world. There were a mother and a father in the house. The mother shall be described as a porcelain ballerina, forever graceful, eternally turning around and around with her arms raised. The father of the house was a bespectacled, intelligent man, forever sitting at the kitchen table and contemplating the secrets of the universe. The house sat in silent stasis – Mother turns lovely endless pirouettes and Father grows more leaden with every tick of the clock.

How, then, would it have been for the child of this household? She must have walked on eggshells, aware of the fragility of her parents. She would have been angry, starved for attention. This girl, a bird too long trapped in a cage, our Sparrow, gathered energy until, at the first opportunity, she burst forth. A shining dove – Sparrow! – burst forth from the rooftops and fled.
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Sparrow was beautiful. She walked lightly, spritely, and when she ran she did not lose an ounce of grace. Her arms moved in the air as though it were water. She appeared to float. With elegance like Sparrow’s it didn’t matter that her eyes were too far apart, that her lips and cheeks were too taut, that there were five small hairs between her eyebrows.
When Sparrow’s arms went up, the world paused to await direction. When Sparrow danced, when she disappeared into a golden swirl, the universe took care to echo her motion. Sparrow was motion. The girl with the long brown hair, with the invisible wings, was the world’s secret conductor.

Sparrow, around whom the world turns, approached the boy with the red-rimmed eyes. “Do I know you?”

The boy scowled through a curtain of blue-dyed hair. “No,” he said, like a sulking child.

A pause. For a moment the world was a satellite with nothing to orbit. Then Sparrow spoke again. “Then why were you staring at me?”

He looked at his black-painted fingernails. “Just thinking about the vapidity that has become the celebrated norm in American teenagers.”

Sparrow smiled a smile that could have powered a city. “Okay then. See you around…” she searched for a name.

“Ian.”

“Right.” And she was gone, back to a life at the center of it all.
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Flourescent hallways were her stage. Classrooms worshipped her. She had friends –oh yes, such wonderful friends – and they spun a heady fast-track around her. All the while Sparrow, liquid motion, artfully illustrated the cosmos.

Failing English. Ditto Math. Ditto Chemistry. Acing gym. Sparrow had no interest in the dry, disconnected world of academia. For her the richer sun-drenched world known as Freedom.

For longer pauses now the world lacked its central polarity. For longer pauses, indecision, confusion, pain. Where was the daughter of the stationary household, where was Sparrow? She was with the boy, the blue-haired, pale-faced Ian, just talking.

“What is beauty?” she said. Even her words were fire and gold.

He: “Beauty is that which inspires.”

“The Holocause inspired the world to address anti-Semitism, but it wasn’t beautiful.”

Ian smiled. “Beauty is the product of inspiration.”

For a tiny instant, the air inside their shared dark broom closet fluttered away. Sparrow was no longer a principle of motion but a girl. “I’ve got to go to class,” she breathed, and the air rushed back in. “Bye, Ian.”

And with the rebecoming of the dancer, the universe was in order once again, and the caged adolescents resumed their rotation about their gleaming sun, Sparrow.
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Her world was not perfect. Oh, not perfect. When the once sun-warmed sidewalks turned cool with dusk, Sparrow traced a line of spider’s silk to the small house on the quiet street. She skirted the piripheries of her parents’ lives, watched from a distance as a porcelain tear slid down Mother’s porcelain face, watched pensive Father decay into convalescence. And then she slept the way a prisoner sleeps: flat on her back, eyes squeezed shut.

Oh no, certainly not perfect. Sometimes on the walks between glorious symphonies, she would stop, paralyzed by some nameless emotion, just long enough to cry before continuing on. Sometimes her thoughts veered off on dark detours. Heavy, dripping forests filled the spaces between waking and sleeping. Leering faces with beastly grins chased her down the corridors of her mind. Every day she got out of bed, slipped past pensive Father and music-box mother and resumed her place as the jubilant center of the universe.
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“What is love?” Sparrow asked in the familiar dark of the broom closet.

“I can’t be sure,” Ian said with a quick flick of his hair. “But I think it might feel something like this.”

The stillness came alive with her glory, his adoration. Sparrow laughed, and all of creation rejoiced.
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Sparrow died on a Wednesday.
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This is what Ian said to the wooden coffin, which was the color of her hair:

“I’ll miss the way your fingers danced even when you were sitting. I’ll miss the way you listened. I’ll miss your cowlick. I’ll miss your weird shoes, how kind you were, how gentle you were. Goodbye, Sparrow.”
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That Wednesday, the day they found her dangling from the chandelier, the also found a not. This is what it said:

“Dear Ian: Thank you.”
“To awaken quite alone in a strange town is one of the pleasantest sensations in the world.” - Freya Stark




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Rather interesting. It has a fairy tale ring to its tone.

The mother shall be described as...

The father of the house was a bespectacled

A shining dove – Sparrow! – burst forth from the rooftops and fled.

Lines like that make for a very interesting read, like listening to a fairy tell the story.

When Sparrow’s arms went up, the world paused to await direction. When Sparrow danced, when she disappeared into a golden swirl, the universe took care to echo her motion. Sparrow was motion. The girl with the long brown hair, with the invisible wings, was the world’s secret conductor.

I think you need to take this further. The level it's at now, it just seems a little purple prose-y, like you're just gushing with love for the character, but it's just you.
What we need to feel is that this girl is some hyperbole. Like a Disney princess. When she sings, the animals actually come up to her and sing with her. That she can convince the rabbits to help her clean a house and the deer will dry the laundry on their antlers. If you took it even further, then we'll understand: No, really, there actually is something special about her.
Otherwise, we just read what you have and go, "Oh boy, another 'uber pretty girl' with whom the author is trying to get us to love."

He looked at his black-painted fingernails. “Just thinking about the vapidity that has become the celebrated norm in American teenagers.”

Ugh, I hate him already. Can you tone it down? Or at least grant us some segue into him becoming a character we're supposed to like on some level? Because as it stands now, we hate him in this section...but in the next section, they're talking philosophy in a broom closet, and I don't know if we're supposed to like him or not.

For her the richer sun-drenched world known as Freedom.

I think we need a comma in that. "For her, (pause) the world known as Freedom."

“The Holocause

You might want to fix that. Also, a quick reread will point out at the end "a not" should be "a note."

“The Holocause inspired the world to address anti-Semitism, but it wasn’t beautiful.”
Ian smiled. “Beauty is the product of inspiration.”

I take it that that's supposed to read it as Ian changing his answer. "It's not inspiration, it is the product of inspiration." But I think you need: "Ian smiled. 'Then beauty is the product of inspiration.'" Because without a word to show he's changing his mind, it just reads like he's reinforcing his point.

Her world was not perfect...jubilant center of the universe

I think this needs to be fleshed out. We need to feel her fear. We need to understand even a portion of her confusion. As it stands now, it just seems like a really abrupt, nonsensical interruption. Like "La la la la la! [sob sob sob] la la la la!" There's no hint as to why there is sadness. Just that there is. Her mom cries for some reason. Her dad doesn't move. And Sparrow has "dark thoughts." But what kind of "dark thoughts" these are, we'll never know. And it's because of this that Sparrow's suicide just seems really forced. We don't understand the depths of her negativity at all. Just that something negative exists.

“Dear Ian: Thank you.”

Thanks for what? We don't understand what Ian has imparted to her except talks in the broom closet. Did he give her humanity? Instill in her a sense of beauty? Show her there was more to the world? Why did they love each other in the first place? And I don't want a simple "opposites attract" kind of answer.

So anyway. I know I had a lot to criticize, but I really did enjoy the tone. The tone carries the story wonderfully and so interestingly. The problem is that we understand so very little about anything and anybody. There is a fragile household (fragile for some reason). An inspiring girl is born. She talks with a sadsack named Ian. She kills herself. I just long for a moral or a motive or something.




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Hey careless! This was certainly very interesting and unique.
There was a little house on a quiet street in a quiet town.


This isn't the strongest sentence for the beginning of a story. It just doesn't draw the reader in as much as the following lines do. The descriptions of the mother and the father are wonderful and well written, but the first sentence? Nothing special. It could definitely be jazzed up a little.
When Sparrow danced, when she disappeared into a golden swirl, the universe took care to echo her motion. Sparrow was motion.


There's some repetition here. The second sentence, "Sparrow was motion," is very dramatic and cool. It loses some of its power, though, because the word "motion" has already been used in the sentence before it. I would substitute a synonym like "movement" for the first motion so it isn't as repetitive.

Flourescent hallways were her stage. Classrooms worshipped her. She had friends –oh yes, such wonderful friends – and they spun a heady fast-track around her. All the while Sparrow, liquid motion, artfully illustrated the cosmos.


I love this paragraph. :)
Failing English. Ditto Math. Ditto Chemistry.


More repetition here. You could say "Chemistry as well" or something instead of repeating "ditto."

Sparrow died on a Wednesday.


This was kind of unexpected. I agree with sargsauce - you need to give the reader more information about what exactly is so negative in Sparrow's life. You hint that something is very wrong, with her dark thoughts and her mother's tears, but it's all very vague. We need at least a few hints about what's wrong with this family to understand why Sparrow commits suicide. Otherwise, her death just seems random and unnecessary. More details would help us understand her better. Right now, she's just a pretty girl with an undisclosed problem who skips around, talks with boys in broom closets, and then hangs herself. Readers can't emphasize with that. It helps that she isn't completely perfect, but we need more information. We can't feel for her unless you give us at least a hint of why she's so unhappy.

Other than that, I really liked this. It was very different from most of the stories I read on YWS, and it was a refreshing read. Very entertaining and well written. :)

Magnus
“Don't tell me the moon is shining; show me the glint of light on broken glass.” Anton Chekhov



Everything’s edible if you’re immortal.
— Feltrix