dismantle the sun [1]

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This is the first part of the story so forgive the [non] ending. There's a lot more to come, but I wanted some general reactions to it, because this is the first story I've written in over about nine months and need outside opinions. Be aware it is technically sci-fi because it's set in the near future. I figured it might get more views here.


dismantle the sun [1]

His therapy was enumeration.

The helpless nights, the humdrum days, the half-starved dog they called Lucky until a roadside bomb painted his hairy, panting body on to the side of an APC, the haircuts, the miserable, implacable heat, the hubris of the young, the humility of the battered, the hyperbole of the media, the unspeakable, the unquantifiable, the numbness, the longing, the four-letter word for a distant memory, the nagging doubt, the fertile fantasy. Home.

The war cost him: half an arm and a quarter of a leg, a year of his life, his father's watch, two friends, one commanding officer, innumerable packs of playing cards, sobriety, two teeth and a dog.

His mind turned everything into bullet points. His eyes gathered information like a quartermaster's supply list. Eighty-eight men on the plane. Twelve women. Four children. Six stewards. Eleven empty seats. No leg space. Flight time four hours twenty minutes.

Innumerable flight delays had forced him and sixty-odd other soldiers to buy their own tickets home. It was the type of gross incompetency from the government that he might expect from a new recruit. But there was no anger, not anymore.

He counted the clouds.

---

On the way back from the airport, they crossed the old bridge. The rest of the neighbourhood was shifting, morphing into modernity. The houses bright and shiny, the roads clean and smooth, the street lamps tall and glowing. Gone were the potholes, the graffiti, the imperfections. Except for the old bridge. It stood out like flotsam in a calm ocean. Muddy and black and coppery bricks in a suburb of sky-scraping apartment blocks and robotic upgrades. Even its old faithful partner, the train tracks underneath, were dismantled and replaced. In the night the new levitating machines ghosted through without a sound. Gone was the rattling, the night-time horns, the scattering of debris from the cracks in the wall. He saw all this in the brief seconds they crossed it. His family didn't blink. They had seen it transform slowly, imperceptibly. Changes staggered. For him it was as if they had ripped out his teeth while he was asleep and left him to lick the recesses.

The old bridge was home. When they were kids, it was a football stadium, the cup final, penalty shoot-outs and last-gasp winners. A ball, five mates, a hastily-drawn chalk goal, a brick wall of an old bridge, a road with no cars and imagination gave endless summer days of boyish competition. The crisp smack of leather on the brick wall. Grazed knees. Disputed fouls. Wayward shots that spooned way over the wall and into the wilderness of the train tracks. The long walk of shame for the boy responsible: past the wall, squeeze through the gap in the fence, semi-tumble down the steep bank, check for trains with eyes and ears, dart out, grab the ball and sprint back. A suitable punishment for delaying the game, for your own poor technique and for dispelling the fantasy and returning the game to nothing but brick walls and train tracks. For reminding the participants that they hadn't escaped the neighbourhood, not yet, and their only safe place from the tumult of home was dreaming of something more. For that, you got to gamble with your life.

As they grew, the bridge grew with them. It measured their height – the dichotomy between those who had to jump to see the trains, and those that balanced on the tips of their toes, was an important social yardstick. It was a meeting place, a rendezvous, a sit-down, a boxing ring, a battlefield. He smoked his first cigarette in a break between kick-ups, aged ten, spluttering and coughing like an old steam locomotive climbing a mountain. Four years later he was chucking empty beer cans over the wall, seeing who could throw the furthest. Sometimes they bought bottles just so they could see the satisfying explosion of glass.

He looked back as the car pulled away and wondered whether their names were still etched in the top-right brick. The graffiti and the burn marks were gone. He couldn't remember the last time he had seen kids kicking a ball about on a street. Too unsafe in the modern world. It was grass or nothing by the command of the council and by the enforcement of the new community police. Protected. Sanitised.

----

His wife pulled the car into the drive: “Here we are,” she said, smiling. “Home.”

On the TV, a young, blue-eyed, government spokesman: “We exist to make people's homes safe and happy. We are here to reinvigorate the spirit of the community. It's time for us to stop being scared of going out on our own streets.”

The kettle whistled.

They had a new cat. Sleek and black. It peered at him suspiciously and kept its distance, scouting him out.

His son disappeared without a word, slipped upstairs and closed the door to his room.

Last time he returned from tour they had a party. A long, bright banner. Extended family. Old friends. They drank beers and didn't mention the war. Loud music, kickaround in the garden, bowls of crisps, laughter. The last time he had talked to his wife he told her not to do it this time. It was odd, but he couldn't remember why.

A storm crackled in the distance.

“Home-made cuppa,” his wife said. “Bet you missed that.”

----

The robotic prosthetics made his skin itch. In the night he woke up and stared in horror at his new arm, scratching at the wound, He couldn't get used to the strange weight and its cool feel. It reminded him of the science-fiction stories he read as a kid. The doctor had explained there was no feasible way for the arm to take control over his brain, and had even stifled a giggle when he asked. But he saw little good in a limb that connected directly into his nervous system.

He laid awake until dawn, his wife snoozing softly. Awkwardly and slowly he went downstairs, still limping despite the new metal foot attached. He needed a cig but couldn't find a packet anywhere, so he left the house and headed for the cornershop. His wife had told him over last night's supper about a new one at the top of the street which filled your basket automatically. He avoided it, cutting down the alleyway and through the back streets, heading towards what he knew best. The old store where, as kids, they would steal anything they could. It was near the old bridge and he felt inexorably drawn toward it.

It was a dusty, frozen morning.

There was an odd bustle of young professionals. Briefcases, laptops, high heels clapping, aftershave in the wind, the rustle of newspapers. Excited chatter. He rounded the corner and the shop was no longer there. There was no chipped paint on the shop sign, or post-it notes advertisements in the window, or even old Bill Cochrane lingering by the door frame, cigarette in hand, ready to chase off the troublesome kids he recognised.

A café had taken its place, its outside plastered with chain logos. Not even independent. Two men in suits exited the place and he smelled the warm, smooth coffee from inside.

“--late yesterday thanks to the that selfish bastard who killed himself.”

“Another one? That's two in a month.”

“If I have to stand on the station for hours just one more time, I'll break that bridge mys--”

This town had never been a commuter area before. But then, he concluded, the new trains could travel three times as fast. Everywhere was commutable now. The changes were still astonishingly rapid, he thought. Last time he had been back, the town clung to its industrial past with obstinate pride. The discoloured trickle of a river, piped underground through the gut of the town centre, transporting fleets of litter in one end and out the other. Empty factories above. A forest of chimneys and red-brick relics. It was probably expensive suites and fitness gyms now.

He chased after the pair of suits in his desperation for a smoke. He watched their eyes pause on his arm.

“You couldn't spare us a cigarette, could you, lads?” he said loudly, hoping to mask the desperation in his voice.

The taller one shook his bearded head. “Those things kill.”

“There are worse ways.” His words heightened the awkwardness and the suits tried to pull away. “Wait – I overheard something about a suicide on the bridge.”

A nod. “Not the first one, neither. It's become every self-destructive's favourite jumping spot. Council's planning on tearing it down.”

Suit two gave a thin smile. “When they get around to it.”

“Anyway, we've got a levitating train to catch, mate.”

Eyes on the arm once more.
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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This is a really great start, so I only have a few comments to make, and they're all grammatical:

His wife pulled the car into the drive: “Here we are,” she said, smiling. “Home.”
The colon is unnecessary here; a period would work better. In my opinion.

In the night he woke up and stared in horror at his new arm, scratching at the wound, He couldn't get used to the strange weight and its cool feel.
Either a period after "wound" or a semicolon - if the latter then of course un-capitalize "he."

He laid awake until dawn, his wife snoozing softly.
"Laid" should be "lay," and instead of a comma there ought to be a semicolon, in which case "snoozing" becomes "snoozed." I understand what you wanted to do with this line, but it's a bit awkward and technically incorrect.

Anyways, those are the only grammatical errors I caught. The story itself is going very well, I like it a lot. You're doing a beautiful job with the mood of the piece. I hope to see more of this soon!

~Blue




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Hey Jack,

Glad to see you're producing again, man, gives me hope I can get back on the bandwagon too. First and foremost, I have to say this depressed me. Depressed me because I'm in a similar state of disuse and disrepair (purported in your case, anyway) and I couldn't hope to produce a piece this well written. Not now. That said, I do have a few comments to make.

His therapy was enumeration.

The helpless nights, the humdrum days, the half-starved dog they called Lucky until a roadside bomb painted his hairy, panting body on to the side of an APC, the haircuts, the miserable, implacable heat, the hubris of the young, the humility of the battered, the hyperbole of the media, the unspeakable, the unquantifiable, the numbness, the longing, the four-letter word for a distant memory, the nagging doubt, the fertile fantasy. Home.

The war cost him: half an arm and a quarter of a leg, a year of his life, his father's watch, two friends, one commanding officer, innumerable packs of playing cards, sobriety, two teeth and a dog.

His mind turned everything into bullet points. His eyes gathered information like a quartermaster's supply list. Eighty-eight men on the plane. Twelve women. Four children. Six stewards. Eleven empty seats. No leg space. Flight time four hours twenty minutes.

Innumerable flight delays had forced him and sixty-odd other soldiers to buy their own tickets home. It was the type of gross incompetency from the government that he might expect from a new recruit. But there was no anger, not anymore.

He counted the clouds


Generally, I loved the opening. It's solid stuff. That first paragraph sort of nagged at me though, it's a little too run-on, which was your intent no doubt, but some extra punctation to help break it up, wouldn't go astray, say - a dash - or parenthesis. Your choice really, but for example:

The helpless nights, the humdrum days, the half-starved dog they called Lucky (until a roadside bomb painted his hairy, panting body on to the side of an APC), the haircuts, the miserable, implacable heat, the hubris of the young, the humility of the battered, the hyperbole of the media, the unspeakable, the unquantifiable, the numbness, the longing, the four-letter word for a distant memory, the nagging doubt, the fertile fantasy. Home.


I also can't help thinking you'd benefit from an 'and' at the end there, connecting the last two. None of this is strictly necessary, given you do achieve the effect you're after but I think it could help, without detracting from what you're trying to achieve. You'll see that I've bolded 'innumerable' and that's not simply because it's repeated (although you could easily substitute one for 'countless') but because it strikes me as odd in a section exemplifying this character's almost OCD with regards to numbers - why is it that, with those specific cases, cards and flights, the amount suddenly didn't matter? If it's therapeutic for him, what is it about these two that made him switch off? Was it deliberate and is it important to the story?

Finally, I adore the last line.

The rest of the neighbourhood was shifting, morphing into modernity. The houses bright and shiny, the roads clean and smooth, the street lamps tall and glowing. Gone were the potholes, the graffiti, the imperfections. Except for the old bridge. It stood out like flotsam in a calm ocean. Muddy and black and coppery bricks in a suburb of sky-scraping apartment blocks and robotic upgrades. Even its old faithful partner, the train tracks underneath, were dismantled and replaced.


My eyes kind of glazed over a bit here. Although an image immediately sprung to mind - it's a very common passage of description, a very common theme, old v new - it was generic and a bit boring and honestly, implied in the very sentence about morphing into modernity. I think it would be stronger if you cut out this passage and went straight from:

'The rest of the neighbourhood was shifting, morphing into modernity. In the night, the new levitating machines ghosted through without a sound.'

Suddenly, that image is predominant, it's the now that matters, and we can superimpose it over the implied shift from ghetto to futuristic modernity. The next few paragraphs are great, it's not just old v new description, it's not to do with buildings - which at the end of the day, you don't care about, it's the memories that matter and the paragraphs that follow are strong because they are personalised, they integrate the bridge as a character, as a force in his childhood and as a glaring reminder of its age and irrelevance in a time with levitating trains. The bridge in and of itself makes that passage I highlighted, unnecessary.

café had taken its place, its outside plastered with chain logos. Not even independent. Two men in suits exited the place


I have to say that I do find the theme a little tired, I wish it were less about consumerism and more about a solider not being able to deal with change in the home he was fighting to protect, and I think you're losing that line a little bit, leaning too heavily on this, but there's a line or two that if cut make it a little more palatable, certainly for me anyway.

The discoloured trickle of a river, piped underground through the gut of the town centre, transporting fleets of litter in one end and out the other. Empty factories above. A forest of chimneys and red-brick relics. It was probably expensive suites and fitness gyms now.


I especially hate that last line. Is there a reason in particular he doesn't like fitness gyms? Or suits for that matter? I think a suit can look rather fetching on occasion.

He chased after the pair of suits in his desperation for a smoke. He watched their eyes pause on his arm.

“You couldn't spare us a cigarette, could you, lads?” he said loudly, hoping to mask the desperation in his voice.


This ought to be rearranged, since there's no apparent reason for them to stop/notice him.

He chased after the pair of suits. “You couldn't spare us a cigarette, could you, lads?” he said loudly, hoping to mask the desperation in his voice

He watched their eyes pause on his arm.


“Anyway, we've got a levitating train to catch, mate.”


That is rather sloppy. I don't think anyone would ever refer to it as such, especially if there were accustomed to it and/or it was the only form of train around at the time, which is implied. Then, it would either be just 'train' or maybe some kind of slang, like 'Anyway, we've got a levvy to catch' or something along those lines. I just can't see anyone using that line. It's sort of like me saying 'I'm off to my use my touchscreen ipod now!' Or I'm going to use my tablet PC, etc.

Aaand that's all, folks! There's not much to it plot-wise, and I couldn't decide whether I liked the intermediate passage where he arrives home. I like the detached, almost ethereal description, similar to the opening, but it jarred a little especially against the heavily descriptive trip down memory lane that comes beforehand. Honestly, for your first piece piece in a while, this is seriously good stuff, with some great touches here and there. Hope this helped,

Cheers
Mah name is jiggleh. And I like to jiggle.

"Indecision and terror, thy name is novel." - Chiko




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Fantastic setting and mood. All I know is brick, smoke, and flashes of advanced technology.

On the way back from the airport...Protected. Sanitised.

You have nice words in this section. However, because there's so much listing, you've lost your reader in a limbo where we're not entirely sure what we're physically experiencing.

What I mean is, our only hint of what is physically happening in the present day are these lines:
On the way back from the airport, they crossed the old bridge.

He saw all this in the brief seconds they crossed it. His family didn't blink.

He looked back as the car pulled away

All the rest of it is in his head. And because there's such a massive amount happening in his head, the actual actions get lost, and we forget that he was crossing a bridge, and we are lost in descriptive limbo.
Furthermore, you have:
they crossed the old bridge.

But we don't know who "they" are, until we get to the line:
His family didn't blink.

then we assume that maybe "they" is a family. But are they on foot? We don't know until, much later, we see:
He looked back as the car pulled away

that lets us know they were driving.

So a small issue that can be fixed easily. But an issue nonetheless that causes the reader to flounder for a concrete image.

squeeze through the gap in the fence, semi-tumble down the steep bank, check for trains with eyes and ears, dart out, grab the ball and sprint back. A suitable punishment for delaying the game...For reminding the participants that they hadn't escaped the neighbourhood...For that, you got to gamble with your life.

It took a little bit of inferring to realize what you were going for was that the punishment was the potential to be run over by a train. Until I got to the "gamble with your life", I read it as "your punishment was the shame of squeezing through cracks, tumbling down a hill, running out desperately on the tracks, and just generally looking undignified." Perhaps you should inject more mortal danger into it. Relate a story where a kid did get hit by a train. Or a near hit, where the train blasted by with such force, it ripped the ball from his hands. Etc. Because, again, until we get to that last line, we don't know exactly what you mean.

For reminding the participants that they hadn't escaped the neighbourhood,

Not sure if this statement holds any power, since we don't know that the neighborhood is undesirable yet. We don't know that they want to leave the city until this sentence.

As they grew, the bridge grew with them.

I'm not sure if that's an appropriate phrase. "the bridge grew with them" insinuates that the bridge itself changed. But rather, it was their relationship with the bridge that changed, not the bridge itself. The idea you seem to have conveyed throughout is that the bridge itself is an unchanged artifact.

seeing who could throw the furthest.

"Farthest." Farther is a measurable distance. Further is to-a-greater-degree. Throw farther. Learn further.

the burn marks were gone

Burn marks?

A ball, five mates...gamble with your life.

This section is a bit too heavy on the incomplete sentences. You can have as many as you like, but I think the lists need to be broken up more often with a few more complete sentences. In the above section, in 160 words, or half a typical book page, there are no complete sentences. Just a bit long to go without letting up the intensity.

His son disappeared without a word

It's not until here that we piece together his family members. Way back earlier, they met him at the airport and drove him home, but it's not until here that we say, "Okay, 1 wife, 1 son." And because you're revealing them so gradually, we almost wonder if there's any other family members you're hiding. Is there a grandma under a blanket?

The kettle whistled....“Home-made cuppa,” his wife said. “Bet you missed that.”

Again, we're floating in limbo. Where is the narrator standing? In the foyer? In the kitchen? I know it's the style you're using, but at least the narrator should know where he is in relation to anything else. Looking out into the backyard wistfully or something. The wife's face just kind of rises out of the darkness to offer him a cup of coffee/tea/whatever.

The doctor had explained there was no feasible way for the arm to take control over his brain, and had even stifled a giggle when he asked.

Small grammar issue. No need for a comma there. Commas used with a conjunction are only necessary when they separate two complete sentences. For example:
"The doctor explained, and he stifled a giggled."
"The doctor explained and stifled a giggle."

his wife snoozing softly

"Snooze" has a rather temporary connotation to it. You snooze when you nap. But when sleeping for the night, you sleep. Just a suggestion.

Awkwardly and slowly he went downstairs, still limping despite the new metal foot attached.

The use of the adverb "awkwardly" is weak here. The "limping" illustrates his unwieldiness better than "awkwardly" does.

or post-it notes advertisements

"or post-it note advertisements" reads better.

The taller one shook his bearded head.

It's nice that he's bearded, but did you need to add the odd phrase "bearded head"? Unless these are characters that will stick throughout the story, it's inconsequential whether or not he has a beard, but you've made a sacrifice by using the strange words "bearded head."

we've got a levitating train to catch

I agree with Jiggity. And I do so by depressing the keys on my electronic keyboard.

Overall, though, I enormously enjoyed the mood and setting. I hope we get to know more about the narrator soon because we don't really know much about him except 1) he was in the war (what war?) and 2) he is turned off by this futuristic world. We don't know how he feels about his wife, about his son, about himself.




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Thanks guys. I'm finishing off the story this week so I'll let you know when it's all done. Lots of great advice up here.
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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Wonderful story. The MC seemed real and not just a story character. Old ideas like war and modernization suited the mood and setting of the story. I felt a bit nostalgic reading this story. My little town here also had grown into a small-size city and many of my childhood places had been demolished and replaced with concrete buildings.

I shared the same feelings as the main character. Confusion, regret and sadness.
Yes, i agree with Sarg. That last part was a bit awkward. You should put in a slang word or something. It just seemed so formal and stiff.

I think you should write more parts where he spends time with his family and get to know them. You just mentioned his son once in a single sentence and that's it. The ENd. What's his son's name? How's he like? Please write more in this part.

His wife too. I don't feel connected to her. It's like that she's just a doll without any characteristics and not a human being. I recommend writing and expanding the wife's personality.

By the way, that bionic arm sort of reminded me of Deux Ex: Human Revolution the game. It's not yet released but I'm pretty excited. Good job and i'm hoping i can read more of this story in the near future.

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When you look into the abyss, the abyss also looks into you -Friedrich Nietzsche




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I like this. It has a nice rhythm to it and it sorta reminded me of The Giver for some reason. One thing though, I couldn't really get a sense of when this was taking place. I know it takes place in the future, but is it the remote future or is it a future much closer to us? Keep going, I want to see more! :D
Check these out please! :)
Alezrani
Will review for food thread



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