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Young Writers Society



Pillboxed 4 (16+)

by Hannah


When Anjali was gone with her grandmother, Farah tried her best to be pleasing. She would wake up every morning and put tea on to boil, even though she preferred orange juice to scented hot water. She would do the dishes from the previous day as quietly as possible, and set them all on the rack to dry. She’d sit in the kitchen, undressed, unprepared, sleepy-eyed until Gautam staggered down for breakfast.

“Today’s going to be a good day,” she’d say to him. She would push up a smile. She would brush her hair behind her ear even though her finger caught in the tangles. She would push a hip out so that she stood off balance, hoping he’d catch the curve of her body beneath her nightgown and just the possibility would make him content.

“How do you feel today?” she’d ask. Each answer ran through her head: Furious. Bitter. Wrathful.

A few days after Deepti had left, Gautam had taken Farah into his arms and said,

“Do you remember the night we first moved here, I pulled you out of bed and bundled you into a taxi? You fell asleep in the back on the way, but I woke you up to tell you that we had reached the land of gold, like we’d dreamed? And the sun was just coming up, so it hit hundreds of crisp kernels of gold on the corn stalks in the field at dusk. You told me you were tired, so I said you could go back to sleep if you wanted, and you did, still in my arms. Do you remember that?”

Farah nodded.

“Farah, we were born to grow together. We were like two seeds planted feet from each other, but we’ve reached out and entangled, and how can you leave that?”

“How could you do that to my mother?”

“If you heard the things she said to me.”

“You’ve told me everything she’s ever said, and still.”

“I didn’t mean to let myself go.”

“Did you see the bruises?”

“You wouldn’t let me out of my room. Listen, Farah, we need to work together as a team.” In his voice, somewhere, there were barbs emerging. She felt the edge in his words and backed off.

“We need to work together from every morning until every night to find out what went wrong and how to fix it,” Gautam said. He brushed a thatch of hair out of his eyes. He hadn’t had a hair cut in weeks, and the black mess was mixing with the bushes of his eyebrows.

Farah nodded. “Fine,” she said.

“We’ll get Anjali back,” he said. But he lied. For months, Farah and Gautam lived in the same house, but passed by each other. Farah looked up at Gautam just as he looked back at the floor.

One afternoon, Farah drove herself to the adoption agency and signed the papers that gave Deepti custody of Anjali. She didn’t expect anyone to understand. She hardly understood herself. She could not be in the same room with Gautam without imagining his hands digging into the wrinkled skin beneath her mother’s chin, or of the vastness of the white around Anjali’s small dark pupils when she came into Farah’s room still whimpering, “Daddy, daddy, daddy...”

When she got home, she slipped into Gautam’s arms and let his fingers dance across the lines of her forehead, around her eyes.

“See how happy we are when we’re just happy together? We can be this way,” Gautam said. But he had said it so many times it felt like a curse. When his hands ran over her neck, she could not stop herself from shivering.

Another day, Farah picked up the newspaper from the front steps and read it while she stood there, not ready to go back inside to watch Gautam drink his tea. She read about The Line, and about a woman who had seen so many orphans there that she had to go home to get away from the hopelessness. Farah felt as though she were trapped in the moment between pulling on the thread and when the thread finally unraveled. She got in her car and drove to see Anjali, still in her housecoat and nightgown, bare feet on the gas pedal.

“Mom, I have to go to school,” Anjali said, pushing past Farah to get to the sidewalk.

“You don’t want to come home?”

“I have school.” The doors of the school bus closed behind her with a hiss.

When Farah returned home, she collapsed onto the couch and said,

“My daughter doesn’t love me anymore.”

A month later, in Spring when Deepti died in her sleep, her will sent Anjali to Calcutta. Farah hit her fists over and over again on the dashboard of his car in the parking lot after finding out her daughter had already boarded a plan. Then Farah would take three hours every day to wake up enough to go to work. She would sometimes forget to brush her hair, and Gautam would stop her at the front door to run her brush through the strands for her.

“Darling,” said Gautam.

“Why should I try?”

“Darling, don’t say those things. There’s always hope. You and I are still together. You still have me.” He smoothed down the rat’s nest in Farah’s hair. “I’m right here,” he said.


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541 Reviews


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Sat Feb 02, 2013 2:08 pm
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Lauren2010 wrote a review...



Hannah! I acted too late to catch these still in the Green Room. D: But as loyalty to our dear brotherhood I shall review still!

I agree with Pengu about the shift in focus here in this chapter, and also feel it's a great move from the story. I think we needed those past events to get us placed right in the story and now we can move forward with a better grounding in the line of events. Of course, as Pengu also said this chapter does have a less poetic feel to it. I think you could work in some more of that poetic sense without losing much stability, though.

Gautam still sucks. He's become very much an emotional abuser. He's allowed their daughter to be taken away (which I'm still having trouble understanding; did he ever want Anjali? Did he ever actually love her? I could believe it if - as I think it was hinted - Anjali was a "surprise" pregnancy and Gautam was very angry over it, over his loss of control over just Farah), isolated Farah, and made her feel reliant to his happiness even though it only harms her.

Most of this chapter was very clear, but there was one point that I had to stop and try to figure out what was going on:

“How could you do that to my mother?”

Upon further reading I remembered the choking incident, but even then not very clearly. I know there was some point where Gautam tried to strangle Deepti, but I don't know that any reason was ever given for that incident other than Gautam is a terrible person. Basically I'd like a little more context to that situation (probably when it arises originally) so I don't have to feel lost here when I don't know what he did to her mother.

The only other thing that bothered me was Anjali's disinterest/anger toward Farah. I understand she could be upset that her mother gave her away, but her fear of Gautam should have led her to understand she was being protected? I was under the impression that Farah would visit Anjali regularly enough, and that Anjali wasn't under any misconception that her mother didn't love her. But if that's not the case then, well, context! xD Also, I wanted to strangle Deepti myself when she sent Anjali away. D: Poor Farah.

Other than that another great piece! Off to read more! :D

Keep writing!

-Lauren-




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Sat Feb 02, 2013 2:57 am
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PenguinAttack wrote a review...



Gautam, you still suck, but in the opposite order cause I reviewed 5 before 4.

So here I think shifts in focus a little bit and that's excellent. the previous three are involved a lot with Farah's emotions and we get less of what has happened and what is happening around her. Here we get a much better sense of grounding in the story. That said, it's also slightly less artistic or poetic, and that's a side effect of having better grounding. The sense of stability comes at the price of the fluid images from before.

This is totally okay though, because suddenly we're not floating anymore, Farah isn't floating, her feet are on the ground, even though it is constantly shifting, and the focus is tighter. We learn more about Gautam here, not a whole lot more, you're doing well to introduce him to us slowly, because while I know the next part involves him, we don't yet want to know any of his motives. At least we didn't before, now it's much easier to look at the piece and say "Gautam, what IS it with you?" and we want to know why he's such a contradictory beast.

Here I think you tell me that Gautam didn't want Anjali in their life.

“See how happy we are when we’re just happy together? We can be this way,” Gautam said. But he had said it so many times it felt like a curse.
Here Gautam isn't just saying "we can be okay, we can continue on" he's saying "isn't it better now we are alone again? Do you remember how we used to be, when things were still good? Before your mother, before our daughter?" and that's wonderfully done because it continues to add layers of meaning to his previous indifference to her unhappiness, and his jealous question about her love for him. He's being painted as a bit of a wife-beater to come, if that makes sense. I can easily see him snapping and hurting her. Just as I can see her killing him sadly, dispassionately, and honestly. I think we learn more about their relationship even before the Event (Deepti) and it isn't one of marital bliss.

You're writing this very strongly and your narrative is continuing in a manner I think adds to the tension and suspense. We know something is coming, just not what. I want to know what that is terribly seriously! And so I'm looking forward to the rest of the parts.

Thanks so much for the read, it was as ever wonderful.

~ Pen.




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Fri Feb 01, 2013 9:59 pm
guineapiggirl wrote a review...



WRITING BY HANNAH! AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
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AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
AAAAAAAAAAAAAAAGH! I am very excited. Now I will read it. Oooh, I feel nervous. This is part of a long thing, isn't it? Hmmm, I'll do my best with just this section :D OOh, excited....
This piece intrigued me... I want to read all the previous sections now!
I'll start at the beginning:
"When Anjali was gone with her grandmother, Farah tried her best to be pleasing. She would wake up every morning and put tea on to boil, even though she preferred orange juice to scented hot water. She would do the dishes from the previous day as quietly as possible, and set them all on the rack to dry. She%u2019d sit in the kitchen, undressed, unprepared, sleepy-eyed until Gautam staggered down for breakfast."
One bad and two goods about this opening. The bad is the first little bit before the comma, 'When Anjali was gone with her grandmother'. This feels and reads awkward. It's sort of strange. Should it be 'when Anjali had gone with her grandmother'? Anyway, it's just because it's the opening line (although I guess it wouldn't be in a full thingy) and so it needs to be really good.
Next, the next line. I just really like that little detail about preferring orange juice to scented water. I don't know. It just really struck me as being lovely.
And the final thing was the undressed, unprepared, sleepy-eyed bit. It's just nice the way you've got the three things here. It's a really good description technique, it's sort of thorough without bogging down. You do it again a few lines later when you say Furious. Bitter. Wrathful.
Something I really like is how, throughout, you have this theme of thorns and barbs.
Something I don't like so much is the dialogue. There's just something about it which feels a little lacking. Perhaps try some of that stuff where you put descriptive words of the way they spoke afterwards? I don't know, the speech just fell flat a little.
Also, towards the end, the whole thing moves really quickly. I think it's the way there's Farah in the car, then Anjali and Farah talking, then Farah's gone, then Anjali's back home, and then it's Spring. Flesh this bit out a little. Give us time to breathe.
Overall, I think you've got a really lovely writing style. The only thing I didn't like is the dialogue. I think you have wonderful description and little details like that stuff in the opening. I love the first half of this but think the second half needs just a little work.
:D
Hope I've helped :D





“Rise like Lions after slumber In unvanquishable number. Shake your chains to earth like dew Which in sleep had fallen on you— Ye are many—they are few.”
— Mary Shelly