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Damselfly



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Sun Jul 04, 2010 12:26 am
blackbird12 says...



She walks through a field of serene emptiness. It is a field of secrecy, a hallowed place home to memories both sweet and fierce. The air is restless. Wild grass bends and rises, bends and rises, as though a nascent pulse sifts in the earth beneath it. The sun hangs in the sky precariously, as if by a thread, just grazing the treetops. Her neck falls back and her eyes lift upward. She watches the spools of raw wool inch by in the sky. The murmur of the creek lingers in her ears, jostling alongside the echo of his words.

I tried. You didn’t.

The colors of the horizon change, and dusk begins to form. Her bare feet wade through the field, the blades of grass tickling her skin with a soft slice.

I let it go. You didn’t.

From far away she seems an emblem of serenity, elegant and stoic: a mere specter of life. But inside her tumbles a creature of strange power, waiting to be unleashed.

I stayed. You didn’t. But no more. I’m leaving.

Without warning her knees buckle, and she falls onto her back. The grass bends beneath her body, as though submitting into an embrace. A bumblebee buzzes near her ear, and the swift razor sound of it comforts her--an unmistakable sign of life. She lies motionless; her lover’s words, and her own actions, immobilize her. Thick sunlight seeps into her pores like paint. She could stay like this forever, until rainwater collects in the basins of her collarbones, until the earth recognizes her as a corpse and pulls her under. Forever.

Near her head is a wild violet, straining in the throes of first bloom. Its beauty aches. Upon a blade of ribbon grass she sees two damselflies mating. They are very close to her, thoughtless to their surroundings in the moment’s searing brevity. Their lithe bodies curl into one, and their black wings absorb the light. The grass quivers in the graceful frenzy of their embrace. With effort she raises a hand to touch them, a chance to feel that same brief heat…

But in an instant the pair complete their task. Abandoning one another, the damselflies soar in opposite directions, never to meet again. She sighs, an almost inaudible sound. To love so freely.

There is a rustle to her left; she turns to the source of the sound. He lies beside her, hands folded behind his head, eyes fixed on the bleached-blue sky. She should have known she would find him here, so close to his own home, a sylvan hollow of shared memories. He glances at her, and his lips tilt into a crooked smile. She moves her body closer to his. The same hand she raised to touch the damselflies now alights on his cheek. Her fingertips brush against scars of acne.

“You’re back,” she whispers. The giddiness of the disbelieving courses through her, more potent than any rush of heroin. She inhales his distinct scent, cigarettes and lye soap.

“I was always here,” he says. “It’s you who’s gone.”

“I’m trying to… to get better. I’m trying to… be here.”

“I know.” But it’s not working. What he does not say hurts the most.

Letting her hand fall from his cheek, she lies on her back once more. As the sun descends between the trees, sparrows twirl above in patterns known only to them. She tries to focus on the surroundings, but his gaze upon her is like a thorn, pulling at the corner of her eye. Like the damselfly she is senseless with desire, unaware of what dangers lurk within wild grass.

He murmurs her name; the sound ripples down her spine. His fingers press on her skin, and the heat of his body burns. His smell of cigarettes, thin and acrid, prickles in her nostrils.

“Please--” she cries, her voice trailing off into a whimper.

He kisses her bare shoulder. It is a kiss like poison, one that inflames the skin and leaves behind a scar in memory. She trembles, running a hand through his thatch of sandy hair. A moan escapes her--an unfamiliar sound. Her lips reach for his, but at the last moment, at the moment before purest contact, he balks.

She bites her lip. “What’s wrong?”

He cannot look at her. “I can’t… do this. Not anymore.” His fingers massage the scars at her wrists; they have almost faded entirely, but the memory remains vivid.

Fresh unshed tears singe her eyelashes. “Don’t say that,” she says. Her voice is raw, emerging from unexplored depths. “Don’t ever say that--”

“I’m sorry.” Sweet venom drips from his voice. The words seem to tear him apart, but he plows on. “I loved you, but--”

Loved. That final letter destroys her.

“No.” It is all she says. Not a question, not an outcry--only a declaration of what cannot be.

Sighing, he slides onto his side and is silent. “You can’t let those wounds go,” he says at last. Her gaze swivels to her wrists. The jagged scars burn.

Bereft of his voice and his touch, she must cope with her fate, a back perpetually turned upon her. In desperation she falls against him, nestling in the gentle curve of his back. Embracing her lover, her torturer, her executioner. Inside she howls.

In an instant he vanishes, whisked away into oblivion. For he was never there. It is nothing more than an elaborate game of make-believe, designed to comfort her but successful only in hurting her. He is still gone. All that is left is a shallow indentation in the grass, a throbbing emptiness. The pain of his departure is full and clear, as though she has opened her veins once more.

He is gone, but the field is alive with his scent and his memory. His voice carries on the waves of grass. Though lovelorn, she rouses herself from the earth. Blood rushes to her head as she stands. Following the hum of running water, she saunters toward the creek. Instinct controls her. At the creek the damselflies glide without fear, dangling on cattails, skimming on the water. They live, they fly, they mate; then, the cycle renews.

She aches for them, to be like them. But now she understands that she can be like the damselfly. She can live without care, for life is nothing. She can love without thought, for love is nothing. So reckless a life will inevitably kill her, sooner rather than later. Damselflies have short lives, and so will she. But she would rather submit to death having known ecstasy than having shunned it.

She kneels and dips her face into the creek. She drinks deeply of its waters. The taste is clear, invigorating; particles of silt grind against her tongue. Now she rises once more, feet sinking into the supple soil. The damselflies hover around her in a flurry, their obsidian wings catching the light. Licking her lips, she stares at the horizon. The numb shell of her surface shatters. The taut muscles in her neck ache to shoot from her skin like shards of glass. Her eyes fall closed, and she feels the breeze’s brush upon her.

Death, she is prepared.

(edited for the helpful suggestions)
Last edited by blackbird12 on Thu Jul 08, 2010 3:37 pm, edited 11 times in total.
If I had wings, I would have opened them.
I would have risen from the ground.

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Sun Jul 04, 2010 6:19 am
SporkPunk says...



Hiya, Blackbird! Sporks here for a review.

So, what first caught my attention was your title. Good choice using the image of a damselfly and the connotation of it being the MC's reckless life, I liked that a lot.

As for grammatical nitpicks, I couldn't find anything glaringly wrong with your piece. Your dialogue is held together well, and the fluidity is spot-on. Your tenses are great, and your use of similes and metaphors is impressive.

For the actual story, it was entertaining and very readable. It wasn't horrendously long and drawn out, you kept the story arc moving well, and the pace was just right. I like how we know neither character's names, and how the imagery worked with the piece.

Unfortunately, I can't go completely in depth, as you seem to have a good command of the English language, and your story itself was quite intriguing. I liked it quite a lot. Keep writing!

~Sporks
Grasped by the throat, grasped by the throat. That's how I feel about love. That it's not worth it.

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Mon Jul 05, 2010 9:55 pm
Rosalie says...



Hey, Blackbird!

I'm going to be honest--I just read Spork's review, and I suppose I'm really dumb. I'm not exactly Captain Subtle, but I really didn't understand this piece. But that's okay! Even dumb reviewers can be helpful. I'll try to explain why I didn't get it, and hopefully that'll help you when you go through and revise.

1. Emo Poemz

I just read through this piece for the third time, and finally realized that the words in italics are those of her arm candy's. Either way, you should probably make them a little more interesting. Take this line:

I tried so hard. But I can’t take it anymore. Now you’ve destroyed what’s left…


The reasons that I couldn't really understand what was going on at first was because 1) his statements were really vague and 2) because they're fairly clichéd. Hell, you could put them in stanza form and stick 'em up on your Myspace. There is nothing wrong with an emo poem. But if you don't feel like writing for tweens/Bieber fans exclusively, you'd probably be best off sharpening the focus. You're BlackBird12, not Socrates. Vague, esoteric musing is for Socrates. Specific drama and pain is for BlackBird12's characters. Why are they breaking up? Fit some specifics into the piece, and it will go a long way to make the whole concept more original.


2. Pretty Pictures

My second realm of confusion bleeds from the first. All of your writing is very pretty. Stylistically, it's solid, and there isn't a grammar error in sight. This is a matter of personal preference on my part (and I'm sure you'll find readers who disagree with me), but I don't really see the point of vague characters hanging out in a vague location. Sure, the "field of serene emptiness" is beautiful. It creates a really gorgeous image in my head--it's a fantasy, almost, except the fantasy is broken by some sort of lovers' spat. Cool. But there really isn't any significance of the setting to the characters, or the plot itself. It's dreamlike, but it's never directly mentioned or hinted in the story that it is, in fact, part of a character's dream. It's never directly stated that oh, this is the field behind her house, or the field where they shared their first kiss, or whatever. It has no significance, and thus, we have no idea what her emotional reaction should be.

It's a pretty girl wandering around a pretty field for no reason, musing about some boy that we're not really sure about. The setting does an awful lot to change a character's mood or outlook (check out The Power of Place, by Winifred Gallagher). It can put them at ease, or tuck them in snugly into their childhood beds. By explaining why the setting was chosen, we also have some insight into the lives of these mysterious characters, which is a subtle way of adding more detail without writing out their life stories when that might not be exactly relevant to the plot.


Thanks for the read! let mek now if you have any questions or want me to review something else.
  





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Wed Jul 07, 2010 11:43 am
Yuriiko says...



Hello there, BlackBird!

Here as requested and I'm sorry for the quite delay of this. it's just because you caught me up during school. :wink:

First off, I'm not going to take this piece line by line. It's because as far as I can see, this story's pretty neat and clean. And when I say that, you're spellings are good and so as with your punctuations. I'm maybe not the right person to correct on your grammatical errors part, but I say, this is thumbs up. :wink: For short, you entertained me and caught my attention until the very last word.

Second is that, your choice of words are really flawless. There are no awkward or silly sentences, so be happy for that. I say that when I pause while reading something, and I look over into a dictionary or even a thesaurus. I admit that English isn't my first language. hehe.

Anyways, I partly agree with Rosalie on one thing:

Okay, I like your initial paragraph. You do have good descriptions which make me imagine things while reading this. I say, I'm actually impressed. But something bothers me up, don't worry though. :wink: When I imagine it, I feel too that it seems to be like a dream. How you narrate things around your MC, appear as if she's in a dream. (Oh, I said that twice)
And I'm going to emphasize it. Haha, not really. But as I can see, this is like a prosaic story. I was even thinking you can turn this into a good poem. :wink: Because of the damselflies and the everything that flies around her, it complements that it's in another world. Hope you understand me. :)

II.

So, I'll go then to my second point of view.

You portray their facial expressions but I don't quite see some emotions going throughout this piece. Sure, I understand your MC but it feels like it lacks something. Something that I don't know how to describe it. :wink: I just want to know why the man is like dumping the girl, without even a reason to tell or let us know about it. And why the girl is on the field. This is just some of my curiosities, so why won't you tell us more about their relationships towards each other?


Lastly, I think you manage to do a good job on the 'Show don't Tell' thing. But too much isn't good, right? Though I'm not saying you don't show, I just want to say that balance everything out.

Overall: Aside form all the things I've commented about, I like this. This is a good read and I which I had read this sooner, really. :wink:
So, PM me for questions. :D

*likes*

Keep writing!

Peace out! :smt004

~yuri
"Life is a poem keep it in the present tense." -Sherrel Wigal
  





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Wed Jul 07, 2010 8:34 pm
possibleintrovert says...



First off I really like this. I thought your tone to be melancholy and dreary which I loved!

Near her head is a wild violet, straining in the throes of first bloom. Its beauty aches.
The phrase in bold kind of threw me off. What does it ache to? The ground or her?


"No.” It is all she says. Not a question, not an outcry--only a declaration of what cannot be.
Ok so I loved this line! Just putting that out there.
"I won't quit to become someone's old lady."
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Fri Jul 09, 2010 1:42 am
Emerson says...



Hey there! sorry it took me a bit to get around to this, I've been off doing other things! But I am here at last.

I loved this section almost more than the previous thing I read by you. You had very powerful imagery and every line was so infused with the pain of the girl I could feel it. I can tell here that you didn't wavery on using strong imagery v weak imagery, you just went for the best parts, which I like. There were a few lines I wanted to comment on:

Her neck falls back and her eyes lift upward.

In my mind, necks generally don't fall back, so this line sort of caught me off guard.

She aches for them, to be like them.

Despite what I said, this one place where you didn't cut to the powerful. I'd suggest, simply, "She aches to be like them."

Damselflies have short lives, and so will she.
No comma after lives, imo.

I love the symbolism of the dameslfly and the meaning it gives to the girl's life, it's so dark and depressing, and yet relatable. I really love your voice, the darkness all your writing has, all the hurt. No matter what it is you seem to have an undertone of despair. I'd love to see you write something, though, that's more action and less.. moping? I mean, these aren't bad at all, they're beautiful, but I'd love to see if you could move your work from simple emotional musings, to actual stories, if that makes sense. Since this has no conflict/resolution structure, it's not really a story. Which doesn't make it bad, no - it's beautiful. But I'd love to see what else you can do.
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Fri Jul 16, 2010 2:55 pm
Lava says...



Hey!

Sorry, it took me a while. I was overwhelmed with initial college work.
Thank you for such a wonderful read. I loved how you interwove the imagery with emotion and how, even though you never said much about your MC, I could really connect with her. Great work.
Its beauty aches.

Somehow, this line breaks the flow in my head. It's just my thought.
a chance to feel that same brief heat…
Well, I'm not sure of this line. The ellipsis bothers me and this line doesn't make me 'feel.'
Loved. That final letter destroys her.
I think it should be word, not letter.
Death, she is prepared.
Aye, I do like this end,but the lack of a solid reason bothers me. It makes me feel like she's ready to plug out her life because of some boy-trouble.
As far as the vagueness goes, I do like the style, the mood etc. But, yes I would like to see more, because this is more of a drabble, than a short story. Not that I didn't like it, but I do prefer something with a slightly stronger backbone. Feel free to disagree, though.

I hop I helped. Keep writing!
~Lava
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Pretending in words was too tentative, too vulnerable, too embarrassing to let anyone know.
- Ian McEwan in Atonement

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If I were a girl in a book, this would all be so easy.
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