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Portrait in Twilight: The Death



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Sat Jan 13, 2007 10:00 pm
Dream Deep says...



Portrait in Twilight: The Death - A Duel in Surreality: 13 January, 2007

...:Previously "Letting Go":...



...



Death prowled in the streets of Eudraid, a shadow coming down through the marketplace. It was in the night that he came, for he loved the darkness and was used to it. Hell itself was dark – but it was not cruel, as people thought it to be. Nor was Death cruel, not like the ancient gods of blood and agony and sacrifice. He was a gentle god who took pity on pain - and tonight the Death came to Eudraid.

There were no people out this late, which suited him. He went down through the abandoned stalls of the marketplace, the striped canvas of the hangings rippling and billowing in his chill wake. At the gate to the inner city, he came upon an old, wizened beggar who was staring up at the moon, almost wistfully. When the shadow of the Death approached him, he did not shy away, just smiled wryly up at the figure as if to say Yes, so it’s death, but what can one do about it? It occurred to the Death that the man, so long from home and whatever family he might once have had, was not in his right mind. It didn’t matter – sometimes the desperate saw something more clearly than others; sometimes they were merely less afraid to face it. It was not the beggar’s time. The Death stood still and considered him for a moment, then dropped him a single coin and said "Not tonight, my friend". The beggar snatched up the token wealth, quick from habit and necessity, and looked after him almost crestfallen as the Death moved softly on.

The Death, for his part, knew his way around the city. He had been here before, attending to this or that, and he went immediately down along the old way; the old way, the back way – people called it different things. It was a low and abandoned street, set into the rock where the river’s tides washed periodically over the stone and ground it slowly smooth. He went up that damp way and into the houses of the city where the wealthy lived and were happy among the excesses and extravagances of their station. One house in particular caught his eye - it was a grand one, lovely stone and a fine garden which left the tendrils of vines trailing over the fence and curling up the dark pillars. Such a wealthy family owned the house that there were guards; he faded to shadow and past them in the regal glory of invisibility. They did not see but they felt the chill, and blessed themselves.

Into the hall the Death slipped on a silent breeze, which made the candles gutter. There was a wedding feast going on in the great hall, fires blazing and rowdy laughter, music and dancing. He disliked the commotion – death seldom came into such public places. The noise of the gathering drove him upward, up into the cool dark of the second floor. The dusty, wooden floorboards did not creak beneath him, for his strides were as a silent as his presence. It was on the second floor that he found what he had been looking for; the thing to which his sense for the dying and pain had led him. There were two sisters in the first bedroom, combing their hair and getting themselves ready for bed. And at first, they did not see him.

The dark haired one sat on the edge of the bed with her legs drawn up and her arms about her knees, watching her sister fumble with her ribbons. She sighed to herself and a after a little while said, emotionless, “Can you believe the noise they’re making downstairs?”

The sister finally tamed her ribbons and shook out her golden curls. “They have reason to celebrate, it’s not everyday that someone gets married.”

“It’s not everyday that someone can’t hear themselves think, even a floor up, but you can see they don’t care about.”

Her sister let out an exasperated sigh. “Oh Mila,” she started, as if they’d had this conversation before. “Just let them be, hear? When you get married, are you going to have a feast in utter silence with no music, dancing, or laughter? People are going to have to breathe, you know.”

The one with the dark hair, dark as the Death's own eyes, flopped moodily off the bed and went to the window. She hugging her sleeveless arms to her against the cold. “What if I don’t get married?” she asked in all hauteur.

“That’s ridiculous!”

“It is,” Mila admitted, climbing back on the bed and bouncing a bit. “But if we get married we won’t be able to see each other anymore. We’ll have to go live with our husband’s families. You’ll be some beautiful duchess and I’ll be some great lady and we’ll have our own households to run, and we’ll never get to be together.”

“We could marry handsome twin brothers. Then they would have the same inheritance and we’d live in the same house and we would still do everything together.”

“But what if the men we fall in love with aren’t twins?”

The light-haired sister shrugged, as if this hardly had an effect on her plan. “They will be,” she said, and threw a pillow at Mila, who fell over, giggling. “They have to be.”

“And we’ll always be together then, right?”

Her sister finished brushing out her hair and flicked it aside to grin at Mila. "Right.”

The dark-haired girl smiled and rolled off the bed on her feet. She was drawn inexplicably back to the window and pulled the curtain back. “It’s very dark out there,” she said after a little while.

“Night is,” said the other.

“But it’s a miserable dark – I don’t like it.” The girl stayed contemplating the street below for a few more moments, the river street where death had walked that very night, then spun suddenly around to seize a brush. “Do you think it’s getting cold in here?” she asked. Her eyes, dark as the loathed night of Eudraid, moved past the dresser to the doorway. And saw the Death standing by the hangings of the bed. She threw the brush down and blundered for a corner, almost as if she was trying to tell if the figure in the bedroom was terrible enough to ellicit a scream - her sister didn’t see. The light-haired one stared at her like she’d lost her mind. “What’s the matter with you?” she asked as the Death moved past her shoulder and crossed the room. The girl shuddered at the touch of cold but she didn’t turn and she didn’t see him even when he passed her. “Mila? Mila, what’s wrong? Tell me what’s wrong!”

Mila was in her corner, sunk down against the floor. She hid her face in her arms, terrified now by something that her sister could not see, and dared a glance up at the shadow. There was vague recognition in her face. She knew why he was, if not what, exactly. “Go away,” she whispered into her arms. “Go away, go away.”

Her sister grasped her shoulder and shook it. “Mila? Mila, honey, there’s no one there. Look, see?” She half turned and waved her hand about in the air. It passed through the still air that was the Death’s arm but did not touch him. Mila started to cry, edging toward hysteria. As she gasped for breath between sobs, she tried to talk to her sister. The golden-haired girl could not understand her.

“Come away,” the Death said to Mila. “It’s time for you to come away just now.” But he waited – for he was a kind and gentle god, forever childless; his heart melted at the sight of her misery. “I shall give you a moment,” he said. “But then you must come.”

Mila made no indication that she had heard him. She put her head down against her sister’s shoulder and held onto her, her tear-streaked face peeking out through tangled hair.

“I’m so afraid,” she whispered and closed her eyes tightly against the tears. Her arms frantically locked around her sister’s neck and held on.

“Hell is a dark place,” he granted softly. “But not cruel.”

Hell?” she asked, her voice fading. "I don't want to go to Hell."

“I will walk there with you,” the Death said. “And it won’t hurt.”

He went to her as her sister pleaded and begged – stop talking about that terrible thing, don’t talk about hell, what’s gotten into you? Mila, can you hear me? The words sounded distant and unimportant, a million miles away. Mila let go of her by degrees and pulled herself up against the wall. Her sister’s rambling voice grew shrill as the Death came to her.

“Can my sister come with me?” the dark child whispered at the last, when he was right before her, his shadow falling over her hair. “We said we’d always be together. Always. No matter what. And...” She was trembling again. “And I don’t want to go without her.” She put her fingers over her face again, shivering, and slowly let them drop.

The summer haired child shook her and slapped her, crying now. “What are you saying?” she cried. “Who do you see?” Mila pushed her away, but gently, tears still in her eyes and her cheek bright red and stinging from the smack. The sister clutched at her arm, pulling her.

“No,” the Death said softly, at last, considering it. “But someday. Someday she’ll find you. It would be unfair to her to have her come now.”

“When will she come?”

“When she has lived out her life,” said the Death, though it tore at his heart “and she can bare the strain and weight of it no more. Then she will come.”

“Why only then?” Mila whispered, sinking down again as if pain, into her sister’s arms. Yes, the sister was crying, smoothing her hair. It’s okay, just sit here Mila. I’m here, I’m here for you. We’ll go get Dad then, he’ll know what’s wrong. Please, Mila, please stop talking though. No more about hell.

“Because,” the Death told her. “You are of a different nature. You see so much; you feel so much, you were old before you were young. Your sister is still a little girl. The little girl you should be, and never were. You are so tired even now, child, must you wait so many more years to realize it?”

The girl sniffed and stood up, pushing her hair behind an ear. “No,” she sighed finally, reached out and took the hand he proffered to her in the dark. She gripped his fingers, hard, as he drew her soul close to him and her sister kept screaming. She was aware of the body she left curled up on the floor, tear stains still drying on its pale cheeks. The Death gathered her to him, smelling of darkness and peace and age. “The dark is not so bad,” he promised her, and so it was not.

In the bedroom, the summer-haired child sobbed in the corner with her sister’s body in her arms and tried to get her breath. When she did, she screamed. As he faded into shadow, the Death covered Mila’s ears so she would not hear it and the people came running at last, a frantic pounding on the stairs. Mila murmured “Is she all right?”

“She will be,” he said. Though as the Death brought Mila down into a still sort of night, his heart ached more at pain of two little girls letting each other go than it had in many ages.

The summer-haired child was still sobbing as Death went into hell and though she could not see him, she screamed after him “I would have gone. Can’t you see that, I would have gone with her.”


--
Last edited by Dream Deep on Tue Nov 06, 2007 2:32 am, edited 7 times in total.
  





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Sat Jan 13, 2007 11:00 pm
Emerson says...



his strides were as a silent as his presence.
take out the extra 'a'

The dark haired one sat on the edge of the bed with her legs drawn up and her arms about her knees, watching her sister fumble with her ribbons. She sighed to herself and a after a little while said, emotionless, “Can you believe the noise they’re making downstairs?”
the word 'about' seems strange to me there. I know what you mean, but I had to read it a few times to ...follow it. And again I knew what you meant by 'emotionless' but it just didn't sound right, I expect an -ly word or something. lol.

but you can see they don’t care about.”
care about each other? Care about us? The sentence ended strange, or I'm missing something...

She hugging her sleeveless arms to her against the cold.
somethings odd about this sentence. I think it should be 'hugged' and I think you are missing a word somewhere.

The dark-haired girl smiled and rolled off the bed on her feet.
and on to?

The girl stayed contemplating the street below for a few more moments
this part makes me uncomfortable, should there be a comma after 'stayed'?

Her eyes, dark as the loathed night of Eudraid, moved past the dresser to the doorway. [I don't think you should start this sentence with And, maybe 'she'? it sounds weird!]And saw the Death standing by the hangings of the bed. She threw the brush down and blundered for a corner, almost as if she was trying to tell if the figure in the bedroom was terrible enough to ellicit a scream [Eh, I don't really like this part before here, the girl blundering for the corner. I can't see it happening, and it doesn't feel scary. You have to make me, the reader, feel what she is feeling. I should be scared, shouldn't I?]- her sister didn’t see. The light-haired one stared at her like she’d lost her mind.[New paragraph?] “What’s the matter with you?” she asked as the Death [do you have to call him 'the' death? It sounds weird.] moved past her shoulder and crossed the room. The girl shuddered at the touch of cold but she didn’t turn and she didn’t see him even when he passed her. “Mila? Mila, what’s wrong? Tell me what’s wrong!”


sinking down again as if pain
as if in pain

tried to get her breath.
is this like catching ones breath? O.o

his heart ached more at pain of two little girls letting each other go than it had in many ages.
at seems like the wrong word for here.

She gripped his fingers, hard, as he drew her soul close to him and her sister kept screaming. She was aware of the body she left curled up on the floor, tear stains still drying on its pale cheeks. The Death gathered her to him, smelling of darkness and peace and age.
this part here was wonderful! Il est parfait!

My only complaint is the transition from happy children to, omfg the death is after us! Children. It happened too fast, and so it felt unnatural until after a while. Otherwise, this was really good. Your style is long winded with description, which isn't really my thing, but it wasn't bad at all! It was very creepy. Nice job!
“It's necessary to have wished for death in order to know how good it is to live.”
― Alexandre Dumas, The Count of Monte Cristo
  





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Sun Jan 14, 2007 2:48 am
Poor Imp says...



'Tis DD's entry! (You see, I had said you'd manage to get it in. ^_^)

My duty, naturally, to read and critique the entries for the Duel.

I very much like the introductory paragraph. Though certainly telling, the story's told in a narrative style fit to it, and the atmosphere is well-woven by the storyteller's tone.





Death prowled [s]in[/s] the streets of Eudraid, a shadow coming down through the marketplace.


Ah - and you still have a touch of isaacasimosity. ^_~ Verbosity, as you know and I've remarked upon in connection with the chair, can't over-do itself or repeat...

Above - sans 'in' (implied). And then - a shadow coming down seems to image a descent of Death into the city; but you've already said he's prowling there. Perhaps 'a shadow passing down the [streets? byways?] of the market[place].'

Hell itself was dark – but it was not cruel, as people thought it [s]to be.[/s]


To be might be left merely for the cadence of the sentence. But I think it hangs at the end more than anything else.

Nor was Death cruel, [s]not[/s] like the ancient gods of blood and agony and sacrifice.


Nor gives the negative - why 'not' again? ^_~ Needless there. The picture is intriguing - a grey, pitying Death unlike the bloody gods associated with his task.

He was a gentle god who took pity on pain - and tonight the Death came to Eudraid.


The storyteller's lilt in the repetition is apt, and gives the narrative a pleasant distance, keeping it from mere statement or mere horror. An instance of good repetition. ^_^

There were no people out this late, which suited him. He went down through the abandoned stalls of the marketplace, the striped canvas of the hangings rippling and billowing in his chill wake. At the gate to the inner city, he came upon an old, wizened beggar who was staring up at the moon, almost wistfully. When the shadow of the Death approached him, he did not shy away, just smiled wryly up at the figure as if to say Yes, so it’s death, but what can one do about it? It occurred to the Death that the man, so long from home and whatever family he might once have had, was not in his right mind. It didn’t matter – sometimes the desperate saw something more clearly than others; sometimes they were merely less afraid to face it.

It was not the beggar’s time.


Long paragraph there, and I've broken it up. The length is never a difficulty - it's a welcome breath of Dostoyevsky Russianesque to read them. ^_~ (True and earnestly.)

I've only italicised the words that seem reiterations. 'Old' you have before 'wizened' and with the commas, it seems to trip-up the sentence flow. 'Just' interjected strikes a similar note - it's heavy in an even flow. Perhaps 'but'?

Aside from the mechanical, the beggar's musing (or Death's imagining of what his expression means) is excellent.

The Death stood still and considered him for a moment, then dropped him a single coin. The beggar snatched it up, quick from habit and necessity, and looked after him almost crestfallen as the Death moved on


'Almost' again. The second sentence comes rather awkwardly as well. Both 'habit' and 'necessity' may mean the same thing under the circumstances. In its ordering, it feels like a long proclamations of actions on this, to that, after... Perhaps if you dropped a conjunction or two? Like so - 'The beggar snatched it up, quick from habit [ or necessity's habit? if you like both ], his gaze following, crestfallen, as Death moved on.'

Something like so, maybe.

The Death, for his part, knew his way around the city. He had been here before, attending to this or that, and he went immediately down along the old way; the old way, the back way – people called it different things. It was a low and abandoned street, set into the rock where the river’s tides washed periodically over the stone and ground it slowly smooth. He went up that damp way and into the houses of the city where the wealthy lived and were happy among the excesses and extravagances of their station. One house in particular caught his eye - it was a grand one, lovely stone and a fine garden which left the tendrils of vines trailing over the fence and curling up the dark pillars. Such a wealthy family owned the house that there were guards; he faded to shadow and past them in the regal glory of invisibility. They did not see but they felt the chill, and blessed themselves.


'Passed' yes? not 'past'.

You've set a tone of melancholy passivity - the passivity in sentence structure length, and structure, assisting verbs 'was', etc. But it echoes Death deftly. Naturally, I'd keep a wary eye on being too wan. But you haven't been, and the description is excellent, a still, passing beauty in Death's eye.

He disliked the commotion – death seldom came into such public places. The noise of the gathering drove him upward, up into the cool dark of the second floor


'Death' or 'death'? Death, lower case, I think comes without personification in the oddest of places. But perhaps 'Death' as a figure is wary of them?

The noise of the gathering drove him upward, up into the cool dark of the second floor. The dusty, wooden floorboards did not creak beneath him, for his strides were as a silent as his presence. It [i]was on the second floor that he found what he had been looking for; the thing to which his sense for the dying and pain had led him. There were two sisters in the first bedroom, combing their hair and getting themselves ready for bed. And at first, they did not see him.


Scene again is well-conceived. The setting becomes heavy in the repetition of sentence structure, along with a sometimes tendency to say what needn't be put to words. I've italicised what sticks out most. 'What he'd been looking for...' is enough, when it comes to Death, perhaps? Though I like the sense of death, pain, it doesn't add as much, I think, as it drains. (It's more noticeable, at times, in long sentences...) Even, simply, changing up the second sentence -
Beneath him, dusty floorboards never/wouldn't/didn't creak, for his strides were as a silent as his presence.



The dark haired one


...with a hyphen, added, for 'dark-haired'.

[...]sat on the edge of the bed with her legs drawn up and her arms about her knees, watching her sister fumble with her ribbons. She sighed [s]to herself[/s] and a after a little while said, emotionless, “Can you believe the noise they’re making downstairs?”


'To herself' may be, again, rather redundant. The impression of the girl is understated, as the tone is throughout; but that's a strength overall of this. ^_^


“It’s not everyday that someone can’t hear themselves think, even a floor up, but you can see they don’t care about.”


...'care about' -- it?

Her sister let out an exasperated sigh. “Oh Mila,” she started, as if they’d had this conversation before. “Just let them be, hear? When you get married, are you going to have a feast in utter silence with no music, dancing, or laughter? People are going to have to breathe, you know.”


Dialogue is deft as telling what you don't want to drop dead-weight into the narrative. Their, at first, seemed ambiguous; that might fit into the dialogue were both voices a bit more distinct. (Though that's on the side of nit-picking - the dialogue does it job, in all practical terms. ^_^)


The one with the dark hair, dark as the Death's own eyes, flopped moodily off the bed and went to the window. She hugging her sleeveless arms to her against the cold. “What if I don’t get married?” she asked in all hauteur.


I'm going to start counting the times you use their hair to denote who is speaking. ^_~ And, possibly, the simile of Death's eyes might fit in better a a first impression, at the first telling of 'dark hair'?

...in all hauteur - oy, a bit awkward there. Simply, 'with hauteur' may do the sentence a life of good. ^_^



“It is,” Mila admitted, climbing back on the bed and bouncing a bit. “But if we get married we won’t be able to see each other anymore. We’ll have to go live with our husband’s families. You’ll be some beautiful duchess and I’ll be some great lady and we’ll have our own households to run, and we’ll never get to be together.”

“We could marry handsome twin brothers. Then they would have the same inheritance and we’d live in the same house and we would still do everything together.”


They sound hopelessly and very characteristically like sisters. ^_^ I wonder, with only a brother, you must have been listening in on other's conversations...? ^_~

The light-haired sister shrugged, as if this [ could?] hardly had an effect on her plan. “They will be,” she said, and threw a pillow at Mila, who fell over, giggling. “They have to be.”


Again, perhaps isaacasimosity? 'The light-haired sister shrugged, as if this hardly applied' or '...as if this could hardly effect her plan.'


“And we’ll always be together then, right?”


It may be an inexcusable association with Tov, but 'right' felt abrupt in the diction of the two. 'Hear?' says one before. 'Yes?' I think. Though the echoed response won't work with either of the above.


The dark-haired girl smiled and rolled off the bed on her feet. She was drawn inexplicably back to the window and pulled the curtain back. “It’s very dark out there,” she said after a little while.


'Dark-haired' again...

“Night is,” [s]said the other.[/s]


Even Dostoyevsky could let his characters speak for themselves. ^_~ Watch that you haven't explained every remark - the above is curt and to the point, and more noticeable for not having a tag than for having one. ^_^


“But it’s a miserable dark – I don’t like it.” The girl stayed contemplating the street below for a few more moments, the river street where death had walked that very night, then spun suddenly around to seize a brush.


A pronoun may serve as well as 'girl' above.

“Do you think it’s getting cold in here?” she asked. Her eyes, dark as the loathed night of Eudraid, moved past the dresser to the doorway.


...Is the night loathed? or does she loathe it? A sense of the fear or distress, is perhaps, what you've gone for there? It seems uncertain - and that's not the impression a story ever wants to give unintentionally. ^_^

And saw the Death standing by the hangings of the bed. She threw the brush down and blundered for a corner, almost as if she was trying to tell if the figure in the bedroom was terrible enough to ellicit a scream - her sister didn’t see.


This is your action, this is the crisis. But the sentences in structure don't reflect it. 'And saw Death...' is excellent. You don't tend to use the present progressive. It might serve here.

So, rather than 'blundered'...
She threw the brush down and [ stumbled? ] blundering for a corner [ of what...? THE corner? ], [s]almost[/s] [ah, with strong action, don't weaken with an 'almost'! ] as if she was trying to tell if the figure in the bedroom was terrible enough [true or real enough? ] to ellicit a scream ['to ellicit' may be too precise and too Latinate for the suddenness or violence of the action] fullstop/period? -

Her sister didn’t see.


..and then leading into the following sentence, sans 'light-haired' -

[s]The light-haired[/s] [She ]one stared at her like she’d lost her mind. “What’s the matter with you?”


[ finished in the next post -- ] IMP
ex umbris et imaginibus in veritatem

"There is adventure in simply being among those we love, and among the things we love -- and beauty, too."
-Lloyd Alexander
  





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Sun Jan 14, 2007 3:06 am
Poor Imp says...



Mila was in her corner, sunk down against the floor. She hid her face in her arms, terrified now by something that her sister could not see, and dared a glance up at the shadow. There was vague recognition in her face. She knew why he was, if not what, exactly. “Go away,” she whispered into her arms. “Go away, go away.”


That strikes it chord perfectly. One can slip into Mila's distance without anything catching to recall the outside. 'She knew why he was, if not what' says what it needs, deft and sans too much explication. ^_^

The golden-haired girl could not understand her.


'Golden-haired' again - yet here it sits in contrast sharply to Mila, and to the Death she's just not touched. ^_^

“Come away,” the Death said to Mila. “It’s time for you to come away just now.” But he waited – for he was a kind and gentle god, forever childless; his heart melted at the sight of her misery. “I shall give you a moment,” he said. “But then you must come.”


The conception of Death is intriguing - you've put it well, and against the violence of most 'Deaths' it's melancholichally heartbreaking. 'Tis a human Death, if he pities. But it also presents the reader with a way of relating to death and to Death. ^_~ Good, all 'round.

“I’m so afraid,” she whispered and closed her eyes tightly against the tears. Her arms frantically locked around her sister’s neck and held [s]on[/s].


Extra prepositions - nye nuzhna. You don't need them. ^_^

Perhaps 'frantically' after 'locked'?

“Hell is a dark place,” he granted softly. “But not cruel.”

“Hell?” she asked, her voice fading. "I don't want to go to Hell."

“I will walk there with you,” the Death said. “And it won’t hurt.”


If even once the dialogue between the sisters stuttered (only possibly) it does nothing of the sort with Death. This dialogue shows more than paragraphs. It's beautiful.

He went to her as her sister pleaded and begged – stop talking about that terrible thing, don’t talk about hell, what’s gotten into you? Mila, can you hear me? The words sounded distant and unimportant, a million miles away. Mila let go of her by degrees and pulled herself up against the wall. Her sister’s rambling voice grew shrill as the Death came to her.


Just as Mila lets go by degrees, so you've done in the narrative, disengaging from the present, from life with tone and with the sister's begging fading into italics. ^_^

“Can my sister come with me?” the dark child whispered at the last, when he was right before her, his shadow falling over her hair [ his shadow fallen across her hair? ].


The summer haired child shook her and slapped her, crying now. “What are you saying?” she cried. “Who do you see?” Mila pushed her away, but gently, tears still in her eyes and her cheek bright red and stinging from the smack. [s]The[/s] [Her? ] sister clutched at her arm, pulling her.


The sisters become confused - pronouns, hair, names - what defines them? 'Summer' is again, an apt image to contrast. Again, it goes back to 'hair'. ^_~


(I have to finish a bit later - I'll edit it in. !_! I hope what's here so far is intelligable and not too slurred by a tired Imp's typing...or alliteration. ^_~)


EDIT:
In the bedroom, the summer-haired child sobbed in the corner with her sister’s body in her arms and tried to get her breath. When she did, she screamed. As he faded into shadow, the Death covered Mila’s ears so she would not hear it [ 'while' rather than 'and'? ]and the people came running at last, a frantic pounding on the stairs. Mila murmured “Is she all right?”

“She will be,” he said. Though as the Death brought Mila down into a still sort of night, his heart ached more at pain of two little girls letting each other go than it had in many ages.

The summer-haired child was still sobbing as Death went into hell and though she could not see him, she screamed after him “I would have gone. Can’t you see that, I would have gone with her.”


A question mark, possibly, at the last - 'her'?'

That's nearly superfluous. I enjoyed this - it grows on you, if you will, and creeps up (like Death) until you're too involved to dismiss it. Its beginning may be somewhat convoluted, may certainly have its moments of overt verbosity ^_^' - but it's a mark of a good writer and storyteller that by its finish, you've forgotten that. By no means does that mean anything ought to be left out of place near the start.

The end was lovely, poignant - and you've taken Death and made him more and less than simply cold. ^_^

IMP

[critted for the Cabassi]
ex umbris et imaginibus in veritatem

"There is adventure in simply being among those we love, and among the things we love -- and beauty, too."
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Sun Jan 14, 2007 6:50 pm
Dream Deep says...



Thank you so much, Clau and Imp, for the crits and comments. ^_~ I will edit them in directly.

I do apologise, though, for the typos and verbosity in places. I have a confession to make, about this entry - I did not spend all three weeks writing it. ^_~ No, I had a completely different entry written up for the first deadline... then when we were granted an extra week I realised I didn't like it. On the night of the twelfth/morning of the 13th, I was writing a new entry, which was subsequently thrown away. So on the afternoon of the day it was due, I opened a fresh document and wrote the whole thing from scratch, read it once over, revised and posted it so as not to miss the due date. ^_~ That might account for some of the issues with the piece, and I really can't tell you just how grateful I am for the time you both took to point out all it's lacking points.

It's not, writing-wise, one of the better stories I've written, but it was an experience. DD and deadlines don't get along very well. ^_^

Thank you guys.

--

Claudette wrote:My only complaint is the transition from happy children to, omfg the death is after us! Children. It happened too fast, and so it felt unnatural until after a while. Otherwise, this was really good. Your style is long winded with description, which isn't really my thing, but it wasn't bad at all! It was very creepy. Nice job!


Hah, that did occur to me, at the end. It does seem rather fast there, doesn't it? If there's a rewrite, I'll try to smooth it out a bit. ^_^
  





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Thu Apr 26, 2007 3:17 am
Wiggy says...



That almost made me cry! *wipes away tears* Awesome job! I'm sure it'll get published...I'll sue the editor if it doesn't!
"I will have to tell you, you have bewitched me body and soul..." --Mr. Darcy, P & P, 2005 movie
"You pierce my soul." --Cpt. Frederick Wentworth

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Thu Apr 26, 2007 3:42 am
brix_strat says...



*claps* I loved it! You are an amazing writer! I envie you! >< Keep it up! And i will sue the editor too if it doesn't get published. *nods* XD
Once there was a boy named Jimmy....then there wasn't.
  





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Thu Apr 26, 2007 1:28 pm
Dream Deep says...



Well now that I know I've got such excellent legal counsel behind me, how can I go wrong? ^_~

Thanks for the encouragement; it means a lot. I'll have to let you know how it goes. ^_^ *hugs* Thanks, you two.
  





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Fri May 04, 2007 3:20 pm
Myth says...



Green = Comment/Correction
Blue = Suggestion
Black = Review

*

There were no people out this late, which suited him.


How about: No one out this late ...

The Death stood still and considered him for a moment, then dropped him a single coin. The beggar snatched it up, quick from habit and necessity, and looked after him almost crestfallen as the Death moved on.


Death being generous? Nice going there to make him different =]

It was a low and abandoned street, set into the rock where the river’s tides washed periodically over the stone and ground it slowly smooth.


Suggestion you may or may not want to use/think about: ... and ground it smooth, slowly.

Such a wealthy family owned the house that there were guards; he faded to shadow and past them in the regal glory of invisibility.


Wouldn’t that be: he faded into the shadows ...?

The dark haired one sat on the edge of the bed with her legs drawn up and her arms about her knees, watching her sister fumble with her ribbons. She sighed to herself and a after a little while said, emotionless, “Can you believe the noise they’re making downstairs?”


‘about’ should be around, take out ‘a’, and I think ‘emotionless’ should have ‘–ly’ at the end.

She hugging her sleeveless arms to her against the cold.


Something is wrong with the sentence, probably the ‘to her’ part. I know what you mean to say, I just think you need to write it differently, or just take out the ‘to her’ and it makes sense. At least it does to me, but your choice really, if you changed ‘hugging’ to: hugged

The light-haired sister shrugged, as if this hardly had an effect on her plan.


Better to replace ‘light-haired’ to: other (girl) or Her sister ...

The dark-haired girl smiled and rolled off the bed on her feet.


Since we know this is Mila, could you just call her by name rather than the long winded version of mentioning her hair? It works for her sister as Death (and the reader) isn’t given her name.

“But it’s a miserable dark – I don’t like it.” The girl stayed contemplating the street below for a few more moments, the river street where death had walked that very night, then spun suddenly around to seize a brush. “Do you think it’s getting cold in here?” she asked. Her eyes, dark as the loathed night of Eudraid, moved past the dresser to the doorway. And saw the Death standing by the hangings of the bed. She threw the brush down and blundered for a corner, almost as if she was trying to tell if the figure in the bedroom was terrible enough to ellicit a scream - her sister didn’t see. The light-haired one stared at her like she’d lost her mind. “What’s the matter with you?” she asked as the Death moved past her shoulder and crossed the room. The girl shuddered at the touch of cold but she didn’t turn and she didn’t see him even when he passed her. “Mila? Mila, what’s wrong? Tell me what’s wrong!”


This should be separate paragraphs, you have both sisters as speakers so I got confused as to what was said by Mila and Nameless Girl. Or maybe it’s because Death doesn’t know her name, possible right, if it (no gender stated) kindly gives a coin to a beggar?

She hid her face in her arms, terrified now by something that her sister could not see, and dared a glance up at the shadow.


to’ rather than ‘a’? Or you could take it out.

Mila started to cry, edging toward hysteria.


I’m pretty sure that should be: towards

Mila made no indication that she had heard him. She put her head down against her sister’s shoulder and held onto her, [s]her[/s] tear-streaked face peeking out through tangled hair.


Reads better without the final ‘her’.

He went to her as her sister pleaded and begged – stop talking about that terrible thing, don’t talk about hell, what’s gotten into you? Mila, can you hear me?


‘gotten’ is out of place, doesn’t seem like a word the nameless sister would use.

“Can my sister come with me?” the dark child whispered at the last, when he was right before her, his shadow falling over her hair.


No need for ‘the’.

*

Hello Professor Deep!

I finally get to read your entry =]

One suggestion is to take out ‘the’ every time Death is mentioned, it’s like a person’s name, you wouldn’t say: the DD returned to YWS when Myth was about to leave—would you? Plus it was a little annoying to read. I don’t know if anyone mentioned anything about ‘the’ already, sorry if they have!

Really don’t know what to say, but it seems weird how the beginning is so very different from your ending. Like two different stories merged together. I didn’t understand why Death took her though no one really knows the answer to that, wait, that doesn’t make sense.

I did like the contrasting of the sisters, dark and light, and Death being different from what we usually get and there isn’t really a mention of what he/she looks like apart from a ‘shadow’ and so it really is up to the reader to make create their impressions of Death.

-- Myth
.: ₪ :.

'...'
  





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Fri May 04, 2007 8:45 pm
Dream Deep says...



Thanks very much for the crit, Myth. It's always a pleasure to get your critiques - those sharp eyes apparently haven't lost their ability to catch errors over your absence. ^_~

And on that note? I'm very glad you're back. *hugs*
  








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— 4th Doctor