The Death of Ahmed Salem Mohammed

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For those who are sensitive to the issues raised in this story.
Spoiler
This story is in no way reflective of my views. It is only a story. I wanted to explore the issues that confront suicide bombers. At first I wanted to look at Kamakaze pilots from WW2 and look at the nationalist devotion, the delusion on patriotism, that lead to self sacrifice. However I opted for Modern Al Qaeda suicide bombers simply because I feel I can be more empathetic with the more modern form of suicide bombers. I feel the religious aspect is easier to explore. So before you read, if you have been effected by terrorism or are sensitive to such issues perhaps this story isn't for you.

For Critics
Spoiler
I am looking for feedback on style and narration. Are there any factual errors? Can you relate to Salem? Is there any information I can do with out? Also nitpicks are welcomed as I am yet to fully mastered GPS (especially punctuation.)


The Death of Ahmed Salem Mohammed

His name is Salem. In his Suitcase are clothes, shoes, the Karan and fifty kilograms of semtex explosives. He walks through the revolving door, eyes averted, jaw down. He waves away the concierge, and makes his way through the hustle-bustle of porters and guests; a family sits on lobby seating, luggage at foot.

The young made-up receptionists pause, lips still shaped to the last words they spoke, they eyed the tall dark figure pacing across the lobby. As he arrives forced grins draw across their faces, they ask questions then hand over the room key. After calling the lift with a long calloused finger, he turns and watches the front desk; over a shoulder and tucked against shoulder length blonde curls is a tiny pink face capped in azure wool. The mother takes her room key from the desk walks near Salem, his gaze meets hers, and she smiles, amongst the full black beard his mouth moves to smile.

The room is fitted with all the luxuries a capitalist world can grant with half a wall worth of flat screen television and enough bed for a village. The bathroom is sterile and, set in marble, is a deep spa-pool. A room in the Ritz wasn’t easy to get, nor was it cheap, but money means nothing anymore.

He looks out from forty stories, squinting against the last of today’s sun passing through the huge glass windows. He calculates due east then pulls a chair to the foot of the bed, far away from every wall. Sitting with legs crossed at the ankle the divine recital begins.

***

Praise Allah.

He finds the control. Television offers nothing until he sees the round ball moving about the pitch. The red team is the most revered in Eritrea, Arsenal. No more than ten years ago, long before he was taken across the red sea, football was all he knew, not on grass, but on the blood dusty plains of Northern Africa. The boys of his village gathered and at random decided two to become the captains of two teams, one Arsenal, the other Chelsea. Picking one at a time, they were divided; Salem had always been picked first, even before the taller older boys.

Sometimes, his mother would stand in the goal, her legs like stilts, moving about precariously. That was when her hands were steady and her eyes worked, before they rolled back, one looking left and one looking right, neither seeing.

Allah will greet him with open arms as his crusader.

He realises how remarkably calm he is, hands steady, eyes fixed.

It is dark outside, and almost as dark inside. The game ends in a scoreless draw, which is not to say Salem hadn’t spent every moment inching closer to the edge of the chair. Now he finds the light switch and opens his suitcase. After carefully removing one full change of clothes, the tightly packed explosives are exposed.

Salem undresses and for the last time looks himself over in a full-length mirror. His body burns wherever those black-beetle eyes wander, the scars, the dead still hands, and finally they burned themselves.

He will leave this vessel behind.

***
Praise Allah.

The plans were set over a year ago; it could only me Salem, he was chosen. Others will expel the infidels in the nation of Islam; his work was here in London, his time is now.

First, the vest comes over his spider arms. With sculptors’ care, he places the semtex in each pocket, back and front. The charge is positioned, but not attached, not yet. The manual detonator tails from the vest to his pant pocket. With languid precise twists like tuning a violin, he moves up each individual button, neatly closing the plain white shirt over the vest and suddenly looking plump. A tie shuffles up to his throat and finally a long dark over coat.

Six o’clock arrives. He draws a full chest of breath, exhales. One hour to go.

***
Praise Allah.

The Ritz Restaurant has a two-month waiting list. The interior brims with guests, genteel-class caricatures. Waiters in waistcoats, groomed and exotic, move about with noses high. Plump cheeks are stuffed with pumpkin veloute and braised duck. Haughty accents ring from table to table except at an empty lone two-seat reservation at the centre of it all.

When the lift stalls twelve stops short of the restaurant, Salem’s heart jumps up his throat. The pram juts into the glossy elevator and he lets out an audible breath. The blonde smiles, reaches across Salem and presses ‘Lobby.’

The baby wakes, its marshmallow arms, ending with tiny fists, move about amorphously. She opens her toothless mouth, screams a breathless scream, it echoes like a banshee.
“Oh I’m sorry, did the big elevator scare you.”
The baby’s screams come in staccato, punctuated with short gasps. After only a few hushes and moment of rocking, its mouth closes then its eyes.

Salem watches, wonders if they were going for dinner. Then he considers if his sweat would soak through this thick coat, it doesn’t matter anymore.

***
Praise Allah.

Conversation heeds and most eyes stalk the tall black man with the beard as he follows the maitre d to his seat. When his waiter arrives Salem points at the menu selecting Leek Vinaigrette with Crab and Lovag. A four-piece string and brass band begins, gently filling the room with muzak. Someone laughs loud.

Salem marches towards the bathroom, finds an empty stall, connects the charge, and closes his shirt again. He stops in front of the mirror, framed like art. His skin dark, his eyes darker still. Sweat beads all over. He checks his watch to find it’s time. He moves to the door in long confident strides, eyes wide. Tomorrow the world will know his name.

Praise Allah.
Last edited by joshuapaul on Mon Jul 25, 2011 7:26 pm, edited 1 time in total.
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I'm not going to go through typo's or grammatical errors, although I spotted a few.
I enjoyed this story. You seemed able to provide an insight into this man's final thoughts. However, I would have liked to see more of his motives. It's obvious that he believes he will welcomed into heaven, and is doing holy work, but there is more to it than that. Was he brainwashed into his beliefs as a child? Is someone egging him on? At the moment he seems like a lone wolf, detached from the rest of the world, even from his shadowy comrades that put him up to it. This seems like an accurate depiction of a suicide bomber's frame of mind, but some back story would be nice.
I enjoyed how the football game brought back memories of his past. He chooses to spend his last few hours enjoying a sport which he has been a (presumably) life-long fan of, and this brings something human to the terrorist's personality.
I really don't know what else to say. This was a great piece, and I look forward to reading more from you.
A lie can run around the world before the truth has got its boots on.
- Terry Pratchett

Si non confectus, non recifiat - If it ain't broken, don't fix it.




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You've got a few grammar and spelling mistakes, but nothing that a quick edit wouldn't have fixed.
My biggest problem with your story is that I want to know what Salem is thinking. I want to know why he's bombing the Ritz. Heaven is always a possibility, but revenge is more likely. His mother was mentioned playing football and then her eyes went wonky and blind. What's going on there? You won't need more than a few lines to explain it all and it would add so much more depth to the story. A few more insights into Salem's thoughts instead of just his actions would be nice too.
I think this is a good start, but that it could be much better. I hope it gets there too.
I believe that life is a game, that life is a cruel joke, and that life is what happens when you're alive and that you might as well lie back and enjoy it.




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Yes, a few errors in grammar here and there. Like the capitalized "Suitcase" in the beginning. And somewhere, you were missing an apostrophe, but I can't find it now.

a family sits on lobby seating, luggage at foot.

The young made-up receptionists stop mid-conversation, eyeing the black man crossing the lobby. They force smiles, ask questions then hand over the room key. After calling for the lift, he turns and watches the front desk; over a young blondes shoulder is a tiny pink face capped in azure cotton. The mother takes her room key then moves by Salem,


Telling telling telling. You've told us one thing after another: there was this person and that person and another and another and he walked and he looked. But what about it? Give us something so we know what you want us to feel.

The room is fitted with all the luxuries a capitalist world can grant; half a wall worth of flat screen television and enough bed for a village.

Improper use of semicolon. Semicolons separate two independent clauses (read: complete sentences) that are closely related in topic. Consider the subtitle under my user name: "I had studied Latin for nothing; no one spoke it in Latin America." That's correct. But in yours, "half a wall worth of flat screen television and enough bed for a village" is not an independent clause.

Television offers nothing until he sees the round ball moving about the pitch. The red team is the most revered in Eritrea, Arsenal.

It took me a few double-takes (sextuple-takes?) to figure out what you were going for here. Unnecessarily ambiguous.

Sometimes, his mother would stand in the goal, her legs like stilts, moving about precariously. That was when her hands were steady and her eyes worked, before they rolled back, one looking left and one looking right, neither seeing.

How should we feel about this?

The game ends in a scoreless draw, which is not to say Salem hadn’t spent every moment inching closer to the edge of the chair.

Very weird phrasing here.

“Oh I’m sorry, did the big elevator scare you.”

Pay attention to your overall story. In the entire story, there is only one quotation. And it's this. In any published work, that would mean the line is extremely important. But here, it just draws unnecessary attention. I strongly suggest removing it.

In his Suitcase are clothes, shoes, the Karan and fifty kilograms of semtex explosives. He walks through the revolving door, eyes averted, jaw down.

It's with this that you establish your style that continues throughout. Short, punctuated, unfeeling lists or actions. You make him out to be more of a hitman or assassin than one that is acting in the name of a god. This curt, formal approach seems more appropriate for a hardened James Bond-esque character that has done jobs like this dozens of times. But you only get one chance to be a suicide bomber--one chance to sacrifice your mortal skin and the relationships you have with loved ones to reach some sort of believed afterlife. I would think there would be an emotional response from that.

Have you ever heard of or seen a movie called "Paradise Now"? It's a pretty good movie about two childhood friends from Palestine that get recruited to be suicide bombers in Tel Aviv when they're just young men (twenties or so). It's not overwhelmingly emotional...it can be subtle, it's dignified at times, it's desperate at others. But there is emotion. "Am I doing the right thing? Will my mother still love me after I'm gone? Who will watch after my little brother? We have been wronged and I am making it right. I don't know what to think. What about that sweet girl who said she loved me?"

The story you have presented here is tainted by the view of an outsider. You want to connect to your character, but everything you have given us is through the eyes of strangers. You briefly conjure him up as a character when he's alone in his room and thinking about his past...but he doesn't even respond with any sort of emotion to his past. He comes across more as a programmed robot.

Be careful. You went into it wanting to explore the issue...but because it's so single-minded in its narration (do the task, praise allah), it becomes something akin to pro-radical propaganda.




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Although I am intrigued by the idea of a story such as this—using a perspective that is not traditionally presented—I think you should be very wary of the level of research you put this kind of piece.

His name is Salem. In his Suitcase are clothes, shoes, the Karan and fifty kilograms of semtex explosives. He walks through the revolving door, eyes averted, jaw down. He waves away the concierge, and makes his way through the hustle-bustle of porters and guests; a family sits on lobby seating, luggage at foot.


It is more often seen as Koran or Quran (this is more phonetically correct that “Karan”). Also, the way you have written this makes it sound like Salem is walking around with his mouth open (“jaw down”). Slow down your description a little and let us take it in. Also remember that Semtex added a taggant in 1991, making it significantly more detectable. You might think about going with something a little more subtle (and therefore more believable), move your timeline back, or consider bringing it in from an outside source (rather than having him presumably bring it on the plane).

The young made-up receptionists pause, lips still shaped to the last words they spoke, they eyed the tall dark figure pacing across the lobby. As he arrives forced grins draw across their faces, they ask questions then hand over the room key. After calling the lift with a long calloused finger, he turns and watches the front desk; over a shoulder and tucked against shoulder length blonde curls is a tiny pink face capped in azure wool. The mother takes her room key from the desk walks near Salem, his gaze meets hers, and she smiles, amongst the full black beard his mouth moves to smile.


The first sentence of this paragraph took me a few reads to understand. It’s almost passive-sounding, and I feel like you could break it up into two sentences. Additionally, although I recognize that you are keeping us confined within Salem, I have a little trouble with how you are presenting this. Even though you are not involving outside characters with dialogue, we still don’t know what is going on with Salem, beyond his physical actions. It’s like we are watching a silent movie. This will be a lot more compelling if you dissect his reasoning, his emotions, even his body language.

Also, the forced grins seem a little out of place without any emotional context. Why are they forced? I realize that maybe you are alluding to the racism that Salem is facing, but you go on to contradict your point when the mother smiles at him.

The room is fitted with all the luxuries a capitalist world can grant with half a wall worth of flat screen television and enough bed for a village. The bathroom is sterile and, set in marble, is a deep spa-pool. A room in the Ritz wasn’t easy to get, nor was it cheap, but money means nothing anymore.


A bold decision, and not likely one that a soon-to-be suicide bomber would make. What he should really be doing is keeping his head down, and staying alert. Or, if he isn’t, you should give some justification beyond “money doesn’t mean anything anymore.” Fulfilling his mission does mean something.

He looks out from forty stories, squinting against the last of today’s sun passing through the huge glass windows. He calculates due east then pulls a chair to the foot of the bed, far away from every wall. Sitting with legs crossed at the ankle the divine recital begins.

***

Praise Allah.

He finds the control. Television offers nothing until he sees the round ball moving about the pitch. The red team is the most revered in Eritrea, Arsenal. No more than ten years ago, long before he was taken across the red sea, football was all he knew, not on grass, but on the blood dusty plains of Northern Africa. The boys of his village gathered and at random decided two to become the captains of two teams, one Arsenal, the other Chelsea. Picking one at a time, they were divided; Salem had always been picked first, even before the taller older boys.


Because you haven’t injected any real emotion into the retelling of this memory, I think it comes across as being detached, and you lose the intended effect on the reader.

Sometimes, his mother would stand in the goal, her legs like stilts, moving about precariously. That was when her hands were steady and her eyes worked, before they rolled back, one looking left and one looking right, neither seeing.
Allah will greet him with open arms as his crusader.


This is a big jump. Mom dies of unknown cause...and Salem joins a terrorist organization? You have to help us understand, and we can’t from this sparse taste of Salem’s past. We want to know more! We want to get inside his head! But we can’t.

He realises how remarkably calm he is, hands steady, eyes fixed.

It is dark outside, and almost as dark inside.

The game ends in a scoreless draw, which is not to say Salem hadn’t spent every moment inching closer to the edge of the chair. Now he finds the light switch and opens his suitcase. After carefully removing one full change of clothes, the tightly packed explosives are exposed.

Salem undresses and for the last time looks himself over in a full-length mirror. His body burns wherever those black-beetle eyes wander, the scars, the dead still hands, and finally they burned themselves.
He will leave this vessel behind.

***

Praise Allah.

The plans were set over a year ago; it could only me Salem, he was chosen. Others will expel the infidels in the nation of Islam; his work was here in London, his time is now.


Oh! Good! Elaborate on this—about why Salem is so motivated to die for his God.

First, the vest comes over his spider arms. With sculptors’ care, he places the semtex in each pocket, back and front. The charge is positioned, but not attached, not yet. The manual detonator tails from the vest to his pant pocket. With languid precise twists like tuning a violin, he moves up each individual button, neatly closing the plain white shirt over the vest and suddenly looking plump. A tie shuffles up to his throat and finally a long dark over coat.


Remember, again, that a detonator (metal) would absolutely have showed up in airport security.

Six o’clock arrives. He draws a full chest of breath, exhales. One hour to go.

***
Praise Allah.

The Ritz Restaurant has a two-month waiting list. The interior brims with guests, genteel-class caricatures. Waiters in waistcoats, groomed and exotic, move about with noses high. Plump cheeks are stuffed with pumpkin veloute and braised duck. Haughty accents ring from table to table except at an empty lone two-seat reservation at the centre of it all.
When the lift stalls twelve stops short of the restaurant, Salem’s heart jumps up his throat. The pram juts into the glossy elevator and he lets out an audible breath. The blonde smiles, reaches across Salem and presses ‘Lobby.’

The baby wakes, its marshmallow arms, ending with tiny fists, move about amorphously. She opens her toothless mouth, screams a breathless scream, it echoes like a banshee.

“Oh I’m sorry, did the big elevator scare you.”

The baby’s screams come in staccato, punctuated with short gasps. After only a few hushes and moment of rocking, its mouth closes then its eyes.

Salem watches, wonders if they were going for dinner. Then he considers if his sweat would soak through this thick coat, it doesn’t matter anymore.


Stay on this a little longer. What does he feel when he realizes that this woman and child are part of his plan? Regret? Renewed vigour? What?

***
Praise Allah.

Conversation heeds and most eyes stalk the tall black man with the beard as he follows the maitre d to his seat. When his waiter arrives Salem points at the menu selecting Leek Vinaigrette with Crab and Lovag. A four-piece string and brass band begins, gently filling the room with muzak. Someone laughs loud.

Salem marches towards the bathroom, finds an empty stall, connects the charge, and closes his shirt again. He stops in front of the mirror, framed like art. His skin dark, his eyes darker still. Sweat beads all over. He checks his watch to find it’s time. He moves to the door in long confident strides, eyes wide. Tomorrow the world will know his name.

Praise Allah.


Overall, I think this is a great concept, and you write very well. You have a definite voice, and if you tone down the detachment, this has some serious potential.

Good work!
Данијела (Dani)



Should we not walk? On our feet? The ones I now have again? I do like my feet. They are befittingly perambulatory.
— Pattern (Rhythm of War by Brandon Sanderson)