Incongruous

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Africa is still roaring in her head as she steps off the plane in Detroit: The whistle of a snake-eagle as it hunts for reptiles rises high above the singing of the wind that journeys over the plains, east to west. In the waiting crowd she sees the slowly starving bodies of the Massai people of southern Kenya. She still sees the parched yellow grasses of the savanna, the crooked acacia trees, the twisted baobab rising monstrous over all else. She sees giraffes curling long purple tongues around high-up twigs and straddling their legs to get at the water hole dug over time by the elephants, which wallow nearby in the mud. She sees troops of baboons loping across the savanna with pups swinging from their bellies, a cheetah dragging a freshly killed antelope up a stunted tree, the pride of lions that gazed at her incuriously as she passed them by on her rented Jeep, and then her vision is taken up by a human, a blond-haired, blue-eyed human smelling of Drakkar Noir aftershave and very faintly of beer and tobacco and saddle-leather. She blinks. He smiles down at her.

“Still wrapped up in dreams of Africa, I see,” he says. “I know I didn’t bring a sign or anything, but I’ve called your name at least a dozen times, Christine.”

She hears him, but the monkeys and lions and elephants in her head still clamor for her attention.

“How was it?” he asks. “I missed you.”

She shakes her head, clearing it for a moment of African noises.

“It was great,” she says.

He holds out an arm, which she takes, and they hug.

“I want to hear all about it,” he says.

“That would take a very long time,” she replies, smiling.

“We have a long drive home. You can start telling me, at least.”

She opens her mouth as they head through the airport, but she doesn’t know where to begin. With the multitude of animals she saw, the ox-peckers and wild dogs and impala? With the Massai warriors whose duty it was to guard the people’s cattle? Or maybe with the man she met in the Congo who delighted in telling horror stories that made you never want to see a diamond again.

“Ask me about it,” she says as they climb into his Chevy.

“I just did. How was it?”

“No, ask me something specific. Ask me – ask me the names of the animals I learned, like their African names, or ask me what a snake-eagle sounds like, or ask me – ask me the color of the sky there.”

He grins.

“The sky’s a different color there?”

“Well – not exactly, but it’s – closer. It’s a deeper blue. I don’t know, the sky there’s closer somehow. And the stars, you can see so many more stars than you can here, even more than where we live, and they kind of throb, they’re so bright, and…”

She talks nonstop for maybe twenty minutes, but then she runs out of things to say. You can’t hear about Africa, she thinks; you have to experience it. There’s no other way.

“Christine?”

“Hmm? Oh, sorry. I just…”

"Ran out of things to say?”

She smiles.

“No. I could never run out of things to say about Africa,” she says. “I just…don’t know what to say.”

She stares out the window, watching America pass by. Yellow traffic lights swing from their wires, and there are so many cars – not just one beat-up old Jeep trundling across a savanna, but a myriad of sleek, shiny vehicles of every model and color, flashing in the sunlight as they race along the roadways. Concrete and asphalt are everywhere. She sighs. Her boyfriend keeps looking over at her as he drives.

“You okay?” he asks.

“Everything’s so – synthetic, here.”

“It always has been. I mean, this is America. Synthetic is what we do.”

“But I never noticed before,” she says.

After a few minutes he says, “I thought we could go out to dinner tonight. You know, celebrate your return. Or something like that.”

“Okay.”

“Great. I was thinking, we could go somewhere a little fancy for once, maybe—”

“Red Lobster!” she says. Her favorite, but they rarely go anymore because fewer people feel the need to keep horses at boarding stables like his in this economy, or to keep horses at all for that matter. He grins.

“Exactly what I was thinking,” he says.

“Really? You mean it?”

“Yep. So we’ll go home and change into something a little dressy, make a big deal out of it, just for the hell of it, and then I’m taking you to Red Lobster.”

“God, you’re awesome,” she says.

“Oh, I know,” he replies, and she punches him. “Hey, watch it, I’m driving.”

He really is wonderful, she thinks as she changes into her honey-colored cocktail dress later that evening. She hasn’t had Red Lobster since long before she left for Africa three months ago. Delicious, delicious. And how long has it been since she last had half an excuse to dress up? She finishes changing and meets him in the foyer, where he stands in a tuxedo, smelling more of Drakkar Noir and less of saddle-leather and tobacco and beer.

“Well, you clean up nice!” she says.

“I could say the same about you,” he replies, “if not for the fact that I’ve seen you cleaned up before. Shall we depart?” he asks, holding out an arm.

“We shall,” she says.

She is surprised to find her parents and siblings and siblings-in-law waiting for them in the lobby when they arrive at Red Lobster.

“What are you all doing here?” she asks as they cry out in greeting and envelop her with hugs.

“Matthew invited us, of course,” her mother said. “He thought we’d want to see you, darling; after all, you were gone for the entire summer.”

“Missed out on the Fourth of July and everything!” her father added. “Even Grandma Ninny’s birthday.”

She gives out hugs and kisses and asks the proper questions about how the children are doing, but the whole time in the lobby and on their way to the table she studies her relatives, perplexed. Every one of them looks different, and she can’t quite put her finger on why. None of them seem to have gotten a haircut or lost or gained weight, and she would’ve known without looking that none of them have had any plastic surgery done. The only one who has changed in some tangible way is her oldest brother, whose right ear now bears a small diamond stud, but that doesn’t apply to the rest of the family.

She’s still puzzling over the odd invisible change that was made during her absence when the food is served, at which point she puzzles over that instead. Prodding her tilapia with a fork, she says, “This is a lot of food.”

“Of course it is,” her father says. “You get what you pay for. Don’t get me wrong, I know Red Lobster’s your favorite, and I like it well enough myself, but you must admit it’s expensive. They better damn well give you a lot.”

“But I mean…” she starts, and then goes back to staring at her family. They dig in enthusiastically as their meals are served, talking and laughing between mouthfuls of food. They, apparently, are untroubled by the fact that they’ve been given more food than they can possibly eat, food that will go home with them in Styrofoam boxes and sit in their refrigerators for a week before getting demoted to the trash, when there are people in the world whose existence depends on a crop of maize that might be blighted by a drought or a march of fire ants at any time. She wonders if they’ve always been this way, but she can’t be sure, and that troubles her.

As they settle back with their bills and the last of their coffee, Matthew stands up and says to her, “Do you want to step outside for a minute?”

“Um – okay,” she says. She doesn’t know why, at first, but then she looks at her family and she does know, because her mother has tears in her eyes and her father looks like he’s been hit in the head with a baseball bat but not in a bad way, and her brothers and sister and her sister- and brother-in-law wear expressions that say they knew this would happen tonight and aren’t they just so smart for knowing.

Out on the sidewalk, he turns to her and says, “I didn’t know how I wanted to do this, and I thought about it long and hard the whole time you were gone and I’m still not sure this is how I want to do this, but we’re here now anyways.”

“Okay,” she says.

He pulls a jeweler’s box out of his pocket and hands it to her. She stares at it.

“Open it,” he says.

She does so. A diamond ring nestles inside, winking up at her.

“I—” he starts, and then he has to stop and clear his throat and start again. “I just – I love you so much, Christine, and – well, we’ve talked about this before, the possibility of getting married someday, and I – well, that’s what I want. I want to marry you.”

When she doesn’t answer he pulls out a cigarette, but his hands are shaking so much that he can’t light it, so he gives up and throws it away.

“Say something,” he says. “I don’t care what, but say something, God damn it.”

But she gazes at the ring, thinking about where it came from. She knows she should just be thinking about how beautiful it is, how much it may have cost him, but she’s not thinking about that, and it bothers her.

“Thank you,” she says finally, “but—”

The color drains from his face like water from a newly unclogged bathtub.

“You—” he says, “you don’t want—”

“What? No! No, that’s not what I – it’s just – Matthew,” she says, “this isn’t a real diamond, is it?”

"Of course it’s real. Why wouldn’t it be real?”

“Oh,” she says. “I was hoping it was fake. I – Matthew, in Africa—”

“Always Africa,” he says quietly.

“No, just listen to me for a minute! In Africa I met this Congolese man, he must have been about ninety, and he used to work in the diamond mines, and Matthew – it’s terrible how the workers are treated in the diamond mines, even today! His stories – I mean, I heard them and I thought how much better off people would be if diamonds just didn’t exist! I just – could we – could we exchange it? I just – don’t want a real diamond. That’s all.”
Now he’s staring at her like he’s never seen her before, and suddenly she realizes: Maybe it isn’t her family that changed while she was gone.

“Please, Matthew?” she says. “I want to marry you too, I do, I really love you, but – I just don’t want a real diamond. Maybe just me boycotting them won’t do any good, but – at least I’d be doing my part. At least I’d feel better. Please, Matthew? I do want to marry you.”

She watches him nervously, thinking now he’s going to retract his offer, but after a moment he lets out a long breath and gives her a tight smile.

“Okay,” he says. “So – we’ll exchange it. Tomorrow.” Then the tightness disappears and the smile widens. “Let’s go tell your family.”

And with a feeling of relief, she follows him back into Red Lobster.




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I really liked this! I know that's like the most generic comment ever, but I did. It's the first thing in a while on the general fiction stories list that engaged me enough to read through to the end. With pieces I really liked I always feel weird telling the authors to change things, so I'm just going to go through it and tell you what was going through my mind at some points. Hopefully that will help you just to see where my mind was at. And I just think this story really deserves a review.


Africa is still roaring in her head as she steps off the plane in Detroit: The whistle of a snake-eagle as it hunts for reptiles rises high above the singing of the wind that journeys over the plains, east to west. In the waiting crowd she sees the slowly starving bodies of the Massai people of southern Kenya. She still sees the parched yellow grasses of the savanna, the crooked acacia trees, the twisted baobab rising monstrous over all else. She sees giraffes curling long purple tongues around high-up twigs and straddling their legs to get at the water hole dug over time by the elephants, which wallow nearby in the mud. She sees troops of baboons loping across the savanna with pups swinging from their bellies, a cheetah dragging a freshly killed antelope up a stunted tree, the pride of lions that gazed at her incuriously as she passed them by on her rented Jeep, and then her vision is taken up by a human, a blond-haired, blue-eyed human smelling of Drakkar Noir aftershave and very faintly of beer and tobacco and saddle-leather. She blinks. He smiles down at her.
#FF0000 ">First thought: usually I hate huge prose paragraphs at the start of a piece. But I gave the first few lines a shot and they really engaged me. Your descriptions are beautiful. Then the way you did last few sentences told me this was gonna be good.
“Still wrapped up in dreams of Africa, I see,” he says. “I know I didn’t bring a sign or anything, but I’ve called your name at least a dozen times, Christine.”

She hears him, but the monkeys and lions and elephants in her head still clamor for her attention.

“How was it?” he asks. “I missed you.”

She shakes her head, clearing it for a moment of African noises.

“It was great,” she says.

He holds out an arm, which she takes, and they hug.

“I want to hear all about it,” he says.

“That would take a very long time,” she replies, smiling.

“We have a long drive home. You can start telling me, at least.”
#FF0000 ">Good, natural dialogue - makes for a real story. (Mostly, it's not at all pretentious, which I value highly because mine almost always is.)


She opens her mouth as they head through the airport, but she doesn’t know where to begin. With the multitude of animals she saw, the ox-peckers and wild dogs and impala? With the Massai warriors whose duty it was to guard the people’s cattle? Or maybe with the man she met in the Congo who delighted in telling horror stories that made you never want to see a diamond again.

“Ask me about it,” she says as they climb into his Chevy.

“I just did. How was it?”

“No, ask me something specific. Ask me – ask me the names of the animals I learned, like their African names, or ask me what a snake-eagle sounds like, or ask me – ask me the color of the sky there.”

He grins.

“The sky’s a different color there?”

“Well – not exactly, but it’s – closer. It’s a deeper blue. I don’t know, the sky there’s closer somehow. And the stars, you can see so many more stars than you can here, even more than where we live, and they kind of throb, they’re so bright, and…”

She talks nonstop for maybe twenty minutes, but then she runs out of things to say. You can’t hear about Africa, she thinks; you have to experience it. There’s no other way.

“Christine?”

“Hmm? Oh, sorry. I just…”

"Ran out of things to say?”

She smiles.

“No. I could never run out of things to say about Africa,” she says. “I just…don’t know what to say.”

She stares out the window, watching America pass by. Yellow traffic lights swing from their wires, and there are so many cars – not just one beat-up old Jeep trundling across a savanna, but a myriad of sleek, shiny vehicles of every model and color, flashing in the sunlight as they race along the roadways. Concrete and asphalt are everywhere. She sighs. Her boyfriend keeps looking over at her as he drives.

“You okay?” he asks.

“Everything’s so – synthetic, here.”

“It always has been. I mean, this is America. Synthetic is what we do.”

“But I never noticed before,” she says.

After a few minutes he says, “I thought we could go out to dinner tonight. You know, celebrate your return. Or something like that.”

“Okay.”

“Great. I was thinking, we could go somewhere a little fancy for once, maybe—”

“Red Lobster!” she says. Her favorite, but they rarely go anymore because fewer people feel the need to keep horses at boarding stables like his in this economy, or to keep horses at all for that matter. He grins.

“Exactly what I was thinking,” he says.

“Really? You mean it?”

“Yep. So we’ll go home and change into something a little dressy, make a big deal out of it, just for the hell of it, and then I’m taking you to Red Lobster.”

“God, you’re awesome,” she says.

“Oh, I know,” he replies, and she punches him. “Hey, watch it, I’m driving.”

He really is wonderful, she thinks as she changes into her honey-colored cocktail dress later that evening. She hasn’t had Red Lobster since long before she left for Africa three months ago. Delicious, delicious. And how long has it been since she last had half an excuse to dress up? She finishes changing and meets him in the foyer, where he stands in a tuxedo, smelling more of Drakkar Noir and less of saddle-leather and tobacco and beer.

“Well, you clean up nice!” she says.

“I could say the same about you,” he replies, “if not for the fact that I’ve seen you cleaned up before. Shall we depart?” he asks, holding out an arm.

“We shall,” she says.

She is surprised to find her parents and siblings and siblings-in-law waiting for them in the lobby when they arrive at Red Lobster.
#FF0000 ">Round here I started getting bored, though respected and liked it enough to unhesitatingly keep reading through.
“What are you all doing here?” she asks as they cry out in greeting and envelop her with hugs.

“Matthew invited us, of course,” her mother said. “He thought we’d want to see you, darling; after all, you were gone for the entire summer.”

“Missed out on the Fourth of July and everything!” her father added. “Even Grandma Ninny’s birthday.”

She gives out hugs and kisses and asks the proper questions about how the children are doing, but the whole time in the lobby and on their way to the table she studies her relatives, perplexed. Every one of them looks different, and she can’t quite put her finger on why. None of them seem to have gotten a haircut or lost or gained weight, and she would’ve known without looking that none of them have had any plastic surgery done. The only one who has changed in some tangible way is her oldest brother, whose right ear now bears a small diamond stud, but that doesn’t apply to the rest of the family.
#FF0000 ">Here I kind of sighed, looking like it was gonna take a very cliche turn. I mean, that whole reverse culture shock thing is very good subject and you handle it admirably, but just when anything takes a predictable turn I kind of sigh, like the feeling where you know you've read this same (albeit wonderfully done) story before.
She’s still puzzling over the odd invisible change that was made during her absence when the food is served, at which point she puzzles over that instead. Prodding her tilapia with a fork, she says, “This is a lot of food.”

“Of course it is,” her father says. “You get what you pay for. Don’t get me wrong, I know Red Lobster’s your favorite, and I like it well enough myself, but you must admit it’s expensive. They better damn well give you a lot.”

“But I mean…” she starts, and then goes back to staring at her family. They dig in enthusiastically as their meals are served, talking and laughing between mouthfuls of food. They, apparently, are untroubled by the fact that they’ve been given more food than they can possibly eat, food that will go home with them in Styrofoam boxes and sit in their refrigerators for a week before getting demoted to the trash, when there are people in the world whose existence depends on a crop of maize that might be blighted by a drought or a march of fire ants at any time. She wonders if they’ve always been this way, but she can’t be sure, and that troubles her.

As they settle back with their bills and the last of their coffee, Matthew stands up and says to her, “Do you want to step outside for a minute?”

“Um – okay,” she says. She doesn’t know why, at first, but then she looks at her family and she does know, because her mother has tears in her eyes and her father looks like he’s been hit in the head with a baseball bat but not in a bad way, and her brothers and sister and her sister- and brother-in-law wear expressions that say they knew this would happen tonight and aren’t they just so smart for knowing.

Out on the sidewalk, he turns to her and says, “I didn’t know how I wanted to do this, and I thought about it long and hard the whole time you were gone and I’m still not sure this is how I want to do this, but we’re here now anyways.”
#FF0000 ">Then I was like what! Random turn. Weird, too much stuff happening.
“Okay,” she says.

He pulls a jeweler’s box out of his pocket and hands it to her. She stares at it.

“Open it,” he says.

She does so. A diamond ring nestles inside, winking up at her.

“I—” he starts, and then he has to stop and clear his throat and start again. “I just – I love you so much, Christine, and – well, we’ve talked about this before, the possibility of getting married someday, and I – well, that’s what I want. I want to marry you.”

When she doesn’t answer he pulls out a cigarette, but his hands are shaking so much that he can’t light it, so he gives up and throws it away.

“Say something,” he says. “I don’t care what, but say something, God damn it.”

But she gazes at the ring, thinking about where it came from. She knows she should just be thinking about how beautiful it is, how much it may have cost him, but she’s not thinking about that, and it bothers her.

“Thank you,” she says finally, “but—”

The color drains from his face like water from a newly unclogged bathtub.

“You—” he says, “you don’t want—”

“What? No! No, that’s not what I – it’s just – Matthew,” she says, “this isn’t a real diamond, is it?”

"Of course it’s real. Why wouldn’t it be real?”

“Oh,” she says. “I was hoping it was fake. I – Matthew, in Africa—”

“Always Africa,” he says quietly.

“No, just listen to me for a minute! In Africa I met this Congolese man, he must have been about ninety, and he used to work in the diamond mines, and Matthew – it’s terrible how the workers are treated in the diamond mines, even today! His stories – I mean, I heard them and I thought how much better off people would be if diamonds just didn’t exist! I just – could we – could we exchange it? I just – don’t want a real diamond. That’s all.”
Now he’s staring at her like he’s never seen her before, and suddenly she realizes: Maybe it isn’t her family that changed while she was gone.

“Please, Matthew?” she says. “I want to marry you too, I do, I really love you, but – I just don’t want a real diamond. Maybe just me boycotting them won’t do any good, but – at least I’d be doing my part. At least I’d feel better. Please, Matthew? I do want to marry you.”

She watches him nervously, thinking now he’s going to retract his offer, but after a moment he lets out a long breath and gives her a tight smile.

“Okay,” he says. “So – we’ll exchange it. Tomorrow.” Then the tightness disappears and the smile widens. “Let’s go tell your family.”

And with a feeling of relief, she follows him back into Red Lobster.
#FF0000 ">Then here: awww! Cute. Totally overcomes/makes the cliche work. Very cute ending, making the whole story work really well.



So yay! I liked this. Few times, as mentioned, got bored or thought it was taking a predictable turn, but that was all just part of the ride - turned out very good in the end. (I mean, still a little cliche, but really, everything is.) And I hope this story was partly real, like that you did live in Africa for a while, because I would just really like that. Judging from your username, it may be so. Good job! Hope to see more of your work. And, I challenge you to write something crazy/intense/deep/weird next, because you are a good writer and would probably do well with that too. :) (I mean obviously your content is up to you, but I'd be interested to read something like that from you. Though, I just realized all your other stories may be dark or something, maybe I'll go stalk your portfolio.) Okay, finally done. :)



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Hey blueafrica,

Here to return the favour you gave me.

Let's start with the first paragraph. I loved it. I query whether the colon is really required. It feels a bit forced and breaks the nice rhythm you have going. Considering it doesn't introduce a list like I thought it might, it may be better just to split the sentences. "Africa is still roaring in her head as she steps off the plane in Detroit" is a kick-ass first sentence. But yeah, the detailed, vivid description you give is a real treat for the reader.

I think you dropped the ball after that. I didn't really like the dialogue -- it didn't strike me as how two people in love would talk, two people who'd know each other for a long time. For one, calling somebody by their full name -- Christine -- when they've just come back from a trip away sounds so formal I was sure it would be someone she didn't know or hadn't met before. When it's later revealed they're in love, I was like, what? Because he talks to her with such a detachment -- it's not Chrissie, or Chris, or any other pet name. They also take a strangely long time to hug. When you see someone again for the first time, it's usually hug first then talk.

And I don't know, this might sound weird, but it felt almost TOO realistic. I know people ask these questions, How was it? and people respond It was great, it's a long story, we have a long drive, blah blah. In fiction, you need to spice it up a bit. Skip the parts that don't advance the story or raise a conflict or explore a character because otherwise it's just filler. You don't have to include these things, they can be described, like you did later in the story when she meets her family and asks all the right questions. That was good. Great, even. If you had a part there where she formally interviewed every family member, it would have killed the story. It severely wounds it early on here.

Matthew was mystery to me, too. He's so formal and I know nothing about him. Christine stays memorable in my head because she has Africa, you can see she's changing, she's reacting to her new perception of life, and it's really cool. It's great writing. I am involved in her story. But Matthew just seems like a stock boyfriend. Their conversation in the car I can barely recall because it's so boring and tells me nothing about the two. Why should I care about the end of the story, with Christine's reaction to the proposal, when Matthew seems so devoid of anything? You kill the denouement through sloppy build-up play.

You've got a great descriptive eye and those parts are the best. When she's thinking of Africa, or looking at the mountains of food, and musing on modern life, those bits are gold dust. And I think there's a good story here. But my main problem is I don't buy the ending because I don't buy their relationship at all. I also don't buy how happily it's sorted out. I think it would be much, much, much better if Matthew got angry at her. He could get pissed off and talk about how ridiculous it is for her to reject the ring based off her experiences in Africa, about how all her high moralising and stuff is a bit rich considering she used to live the same life he did and not care. It strikes me as odd the conflict is resolved so neatly.

So maybe Matthew could be a more extreme caricature of American life -- he could have a gas-guzzling car (I guess he already does, you said Chevy, maybe highlight this), an expensive watch, nice suits, he loves everything about technology and western capitalism (maybe he's an investment banker, or some other job that feeds off the gross unfairness of the world) and this adds conflict because Christine is changed, she's not that girl who wants money and a big house and a cool car and stuff anymore, she feels more real, she's changed, she doesn't want a blood diamond on her engagement ring. She wants something MORE than American life is currently giving her.

And this would make the final scene more climatic. And the story better, I think. Currently the dialogue is so boring and blahblah because nobody has any personality but Christine, so when other people are talking I don't really care, they say boring things devoid of opinion or things that matter.

Fix this, and I think you got yourself a real knockout.
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.




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Haha, I was reviewing Into Africa but was poking around a bit and saw this, I guess it's more appropriate if I look at the entire piece, no?

I really like the way this starts, she steps off the plane and is back home, but all the sights and sounds of Africa are still with her, and integrated into her sight. My only qualm is that there's a bit of repetition with 'she sees', I think once we get into the roll of things it's not so necessary to mention it as often, because we're already in the swing of things have know what it is you're trying to say.

Her favorite, but they rarely go anymore because fewer people feel the need to keep horses at boarding stables like his in this economy, or to keep horses at all for that matter.

Is it really necessary to mention this? I mean, it just seems superfluous; his job isn't really that essential to the plot, and considering later it's mentioned that she hasn't been to the Red Lobster for a while, you could cut this out and help speed things up.

This moves pretty slowly. I mean, it all seems like it could be happening, but it's those mundane parts of life that really nobody puts too much notice into. Do we really need a scene of Christie getting dressed? Do we really need to know what colour her dress is, or the particular aftershave that Matthew is wearing?

Also, you repeat the name of the restaurant quite a bit. Once we know the name, you could quite easily just refer to it as 'the restaurant'.

“Always Africa,” he says quietly.

She's just gotten back, so this actually seems a pretty mean thing for him to say. I mean, to me this seriously seems like an awful lot on the girl all at once. She's just returned from Africa, so she's probably pretty jetlagged, completely exhausted, and struggling to come to terms with being back in a different country, and such a different one at that! People always rabbit on about where they've been when they just got back. I stayed with one of my aunts in Amsterdam for about a month last summer, and for the first few weeks I was back everything I said started with "In the Netherlands-" but it was okay, because my friends had just returned from Egypt and so everything they said started with "And in Egypt-" so we cancelled each other out and none of us could be annoyed. But yeah, a proposal too? She's probably pretty frazzled, and needs to get her bearings. Get steady on her feet again before she has to decide on some life-changing decisions.

The part of this that I really really like is the beginning, that's the gem in this piece to me. When I was reading it, I got a slightly Mean Girls vibe (in the good way!), where the MC in the film starts to see all of her classmates as if they were the animals in Africa. I got the same sort of vision here, that the Giraffes with their purple tongues might be outside by the planes, patches of the parched savannah grass dotted throughout the airport. A sort of almost magical sight as the sights and memories of Africa merge in to what she sees before her. But after that, it's all so normal in a way, she doesn't describe what she saw or remembers, because "You can’t hear about Africa, she thinks; you have to experience it.", and that makes me kinda sad. The last description we get is of the sky and the stars, I really liked that. Any mentioning of Africa we get after that is the same sort of moral story we've all heard before, it doesn't really stick in your mind as much as this vivid imagery at the beginning did, because it's the same sort of story we've heard over and over before.

I'm really curious though; is this the entire piece, and the bedroom scene has been cut out completely? The proposal is here, so I'm guessing so. That scene really threw me, the last minute plane ticket, and the proposal, all in the middle of the night. I think I'm too much of a cynic to buy into it ;)

Anyway, hope I was of some help to you! If I've not been clear enough on anything, just let me know :D

-Tinny
please grant me my small wish; (love me to the marrow of my bones)



"I love you as certain dark things are to be loved, in secret, between the shadow and the soul."
— Pablo Neruda