Before she raped him...

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Before she raped him, the salmon-pink rash on his neck looked innocuous, even attractive—the way it slipped up under his hair like a spider web, silky-smooth and so ready to snare her in and get her all tangled up in him. But after the fact it looked more like an allergy gone wrong, hives that spread itchy-like and ridged up like a penciled-in looped maze that was just begging for an X-Acto knife solution.

He was everything she hated about California and everything she loved about it. The day she met him was an eye without an iris and everyone was swimming in his own blue pit-hole of shit and vomit. Sunglasses swallowed girls’ faces and flip-flops quacked on cement like dying geese. Each time she felt like she wanted to cringe, a pretend dragonfly rubbed down her back and champed against her skin.

She was already in a bad mood before she saw him because the bus on the way to the mall lurched into a Mexican boy selling diced pineapples and left a sticky brown-red stain on the sidewalk. Nobody inside was hurt, but inside their skins and flesh their bodies shivered hopelessly, the way a corpse does in black water as it rushes in. They filed out past what was left of the boy and what was left of the bus driver and the cops who were interrogating him, their voices rising and falling like a swarm of grasshoppers even though there were only four of them there, and assembled on the sidewalk across the street.

Not her, though—she continued walking, thinking of how the dead boy must’ve felt like a mosquito being crushed, and that made her cringe too. She passed another pineapple boy and stopped a few feet after him to glance back and watch his emaciated, burnt arms handle the apples, as if they were silver candlesticks that he was wiping off with a wet Kleenex.

It could’ve made her cry if she hadn’t seen him.

You could say he was bathing in sunlight, but really, the sunlight was bathing in him. Waves of light seemed to flush into his cayenne skin and wade there, leaving shadows of trees to waver on his body like long, black birthmarks. His hair preyed on his forehead, on the back of his neck, against the top of his ears like teeth biting into a lower lip; his eyes shut out the world around them and pulled everything in close at the same time.

Looking back, she sees their first interaction as more of a suicide mission than love at first sight: He was the terrorist and she was the commuter train, the airplane, the busy intersection. He didn’t say “Hello,” but he said something, anything, and she thought it was a mistake so she continued walking (that’s always how it happens—they mistake the guy in a black suit with the guitar case for a street performer and boom, he bursts into a million black splinters propelled by clouds of fire into them, them being the naive masses who made a mistake that could’ve cost them their life, and maybe, most likely, did.)

“Excuse me?”

She marched on, her insides frayed by the dead Mexican boy, the live one, the one she almost fell in love with at first sight.

Buildings that looked like enormous square lemons stretched out ahead of her. Under her the sidewalk seemed to spread out like the skin of a girl’s palm when she paints her nails black.

When she told her sister Lori the story of how she raped the first boy she’s ever fallen in love with, Lori thought the next part would make for a great romantic comedy:

“Excuse me, missus? I was just wondering—what your name is?”

My name? she thought and a smile like a black screw staked itself into her face. She had no name, at least for that one second of bewilderment or cold, sick, blissful calculation, or whatever it was. My name?, she thought...

“I’m not even sure myself.”

“It’s just that—I think I’ve seen you before.”

“You have?” she said. “How bizarre.”

“Yeah. Bizarre.”

“Biz—arrrrr.”

“So,” he said. “You have no name?”

Her smile vanquished, the woman gazed straight at her victim, at his crusty pink scales that lurked from the back of his neck and gave off a hot white glare in the sunlight, at the way his eyes behind the sunglasses seemed to follow her every gesture like a wet, sticky lower lip.

“I might,” she said.

“Because I think I know you,” he said. “You must be an aunt of mine or something.”

“A long-lost sister, perhaps?” she sniffed, hurt.

He took off his glasses. “Ha, perhaps.”

So cunning, she thought.

She turned on her heels and snaked out. In that one moment when she turned away from him she thought she saw his head slowly lift and then sink back into the air, as if saying goodbye, though it could’ve been a hello. She hoped it wasn’t goodbye. But her legs flowed away and so did the rest of her body, into the empty sidewalk as wide as a fallen magnolia tree and as dirty-gray as a 9 a.m. in San Fran. It curved along the edges of the curb, its limbs flirting with the L.A. smog like a whore over spiked punch. Her fingers wilted in the air, her arms flurried like a creek under fisted rocks.

In a way, she saw love, every shade of romantic love, as forbidden. Maybe that made her feel giddy with it, or enamored with the idea of it the way a man can be enamored with the idea of murder or theft. She fucking wanted to wield the thing and stick it into someone’s eyeball deep, deep in like a key into its lock and then turn, turn hard, make it hurt, make love hurt like how she knew it would end up hurting her, because she’s never loved before and the first time always, always hurts.

But it wasn’t really love, or at least she didn’t know it was, yet.
Last edited by PenguinAttack on Tue May 17, 2011 2:08 pm, edited 1 time in total.
Reason: Given 18+ rating.
my world isn't only beautiful
it is so far away




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Heyy there =]. So, I saw this in the new thingy category. And was like. What!?!? So I opened it and I sort of got hooked immediately. First off, THANK YOU. For making the girl the bad guy =]. It's refreshing and is rarely ever done with these kinds of stories. One of my little knit picks is that you didn't capitalize all of the title. Before She Raped Him... that's about my only concern with any of it. The story had a definite raw feeling to it, and the wording and openness of it all was amazing. The flow was good and the casualness of it all just made it that more intense. The part about the pineapple boy was just... morbidly amazing. But anyway, this is an amazing piece you have here and I definitely hope to read more. =]
TylynTyrannosaurus<3 (tydecker777)




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Hmm...this is a tough cookie. Your style is mature and thoughtful and I can definitely appreciate the goals you had in mind. However, you kind of overstuffed it, like making a Thanksgiving Day feast and then stuffing the turkey with every item on the menu. You did it well enough and I can appreciate the gesture, but it's overboard.

In short, your metaphors are lengthy, numerous, and conscious stretches of imagination...instead of concise, appropriate, and relevant.

Let me explain with examples.

the way it slipped up under his hair like a spider web,

"it slipped...like a spider web"? How do spider webs slip? You made the phrase relevant with "ready to snare her in and get her all tangled up", but the way you introduced it was awkward.

But after the fact it looked more like an allergy gone wrong, hives that spread itchy-like and ridged up like a penciled-in looped maze that was just begging for an X-Acto knife solution.

I liked this one, however. "Begging for an X-Acto knife solution" was great.

The day she met him was an eye without an iris and everyone was swimming in his own blue pit-hole of shit and vomit

What does it mean for a day to be an eye without an iris? And how do eyes relate to blue pit-holes of shit and vomit? These things just sound like words thrown in for the sake of words and tone, rather than sensibility.

Nobody inside was hurt, but inside their skins and flesh their bodies shivered

For the reader's understanding, a comma would do well between "flesh" and "their." "Inside their skins and flesh" is an introductory clause. Without the comma, "skins and flesh their bodies" gels into one phrase because the words are so closely related.

Waves of light seemed to flush into his cayenne skin and wade there, leaving shadows of trees to waver on his body like long, black birthmarks

That works, and I dig it. Not as much as the X-Acto knife because the light being all over his skin kind of contradicts with the shadows on his skin, but I can let it slide.

his eyes shut out the world around them and pulled everything in close at the same time.

Here, it just sounds like you're saying things for the sake of saying things to make him sound mysterious.

her insides frayed by the dead Mexican boy, the live one, the one she almost fell in love with at first sight.

This sentence here is saved by the reader's logical decision. "frayed by the dead Mexican boy, the live one" starts out as a list of the things she's frayed by. "...the one she almost fell in love with" is then an appositive, but because we went into this sentence reading it as a list, we are momentarily confused and then have to make that conscious reader's decision about what you meant. You want to try to avoid those situations as an author, so you don't risk losing our full attention.

Buildings that looked like enormous square lemons stretched out ahead of her

So the buildings were...yellow? Just because they're yellow, doesn't mean there's not a better way to convey it than just comparing it to other things that are yellow. Especially if we have to call them square lemons and defy all logic. Unless the buildings were also sour, then that's okay.

the sidewalk seemed to spread out like the skin of a girl’s palm when she paints her nails black.

Here's one where the metaphor is totally irrelevant. What do girls' palms have to do with the sidewalk? Especially when the nails are painted black? The cracks in the sidewalk are similar to the creases in her palm? Okay, I can kind of see it, though cracks are more jagged and palms are more smooth. But black fingernails? I can't place it.

a smile like a black screw staked itself into her face

I can imagine a smile screwing across someone's face. However, the word "stake" is unwanted here. Stakes are driven into objects with a hammer. Straight shot. Screws...well...screw. Twist and turn. Nothing stake-like about it.

Her smile vanquished

I'm sure you mean "vanished." "Vanquished" means it was willfully destroyed in some kind of battle. You vanquish enemies. Your own expressions vanish.

his eyes behind the sunglasses seemed to follow her every gesture like a wet, sticky lower lip.

Again, what? How do wet, sticky lower lips follow someone else's gestures?

the empty sidewalk as wide as a fallen magnolia tree

It's a logical comparison, but what do sidewalks have to do with fallen magnolia trees? It just seems as if you thought of the first thing that is wide and wrote that down. Sure, I guess trees are sometimes downed to make way for sidewalks...but really, parking lots and highways are more notorious for that. So the connection just isn't apparent.

It curved along the edges of the curb, its limbs flirting with the L.A. smog like a whore over spiked punch.

It what? The sidewalk? Because that's the last important noun I have in my mind when I'm reading this. I'm guessing you mean her body, but you can just say "her body curved..." to clear that up. I'm so-so about the limbs and L.A. smog to whore over spiked punch comparison. It seems forced, even if there is some logical connection there. Like you went out of your way to talk about her limbs and smog and such.

And then it's over.
Well, like I said. I appreciate the maturity and thoughtfulness, but it's just filled to bursting with metaphor after metaphor after metaphor, most of them feeling just kind of forced. And once you lose those metaphors, we are left with little content, actually. Girl reflects on boy she raped. Bus hits some other boy. Girl walked down sidewalk and had small talk with victim boy. Girl walks off.

Anyway, let me know if you have any questions!




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The title of this really drew me in. I think that you have a really good and unique idea here. It is not often that you see the girl as the villain, so great work with that! I also think you have a lovely and very mature writing style. However, I have to agree with sargsauce that you had way too many metaphors. Your creative story got lost in them. I have to admit that I was kind of disappointed and confused as I was reading. Here are some examples of the metaphors that didn't make sense to me:

The day she met him was an eye without an iris and everyone was swimming in his own blue pit-hole of shit and vomit. #FF0000 ">Sunglasses swallowed girls’ faces and flip-flops quacked on cement like dying geese. Each time she felt like she wanted to cringe, a pretend dragonfly rubbed down her back and champed against her skin.
The really liked the first quote, and I'm pretty sure I knew what you meant by it, but then the part about the shit and vomit totally threw me off. What do the two have to do with each other? Next, the line in red, I loved! It painted a perfect scene in my mind and I thought it was funny too. The next line confused me. What were you trying to say? I also want to point out how you used three metaphors right after each. You want to incorporate your metaphors into your story, not vice versa. You need to add more meat and details to your story.

(that’s always how it happens—they mistake the guy in a black suit with the guitar case for a street performer and boom, he bursts into a million black splinters propelled by clouds of fire into them, them being the naive masses who made a mistake that could’ve cost them their life, and maybe, most likely, did.)
Not too sure what you were saying here. Are you comparing it to a bomber or shooter? I had to read it a few times. Also, I really don't think this is necessary. Considering the length of your story, you should take it out.

Under her the sidewalk seemed to spread out like the skin of a girl’s palm when she paints her nails black.
This is a very nice visual, but I don't think it relates well to what you are trying to say. Together it doesn't really make sense.

she thought and a smile like a black screw staked itself into her face.
I'm not sure, but this similie doesn't really seem to make sense. I suggest you remove the simile in the middle.

Also another thing that confused me was the part about the boy being killed. Was he a metaphor for the boy she raped or was he purely someone else who was killed? If he was actually killed, then I don't understand what he has to do with the story? Perhaps I am missing something but it seems random and irrelevent.

Sorry, I hope I wasn't too harsh. I really do think you have a great idea here, you just have to remove some of those metaphors and add some more details so the reader can easily see that. There are still a lot of unanswered questions. Why did she rape him? When/where did she? Does anyone else know? What is their relationship (if any) Also, was their conversation before or after the rape? Anyways, with some more information and some editing, I think this could be a really interesting story. You definetely have something here! (:
I'd like to think I'm creative... instead of just plain weird ;D




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I love this you are soo mature you can tell by your story.




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This is wild. I was lost most of the time if not all of the time so it was more like reading good prose poetry. Some of the metaphors are so vague/open that they melt into each other and I like that because it makes the story read kind of like one single intense thought. Have you read Naked Lunch?
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