There’s a half-cloudy, half-sunny sky above us. Niaz drives with his eyes on the road and a smile on his face as he jokes about me, my life and in general - everything related to me.
“I heard you give foot-massages to those sheikhs back there in Dubai.”
“Niaza, can we just get home quickly. I’ve been really worried about everyone.”
“Oh, okay, okay. Three years, man. Three years. Can you imagine.” he keeps glancing at me.
“Eyes on the road, brother, eyes on the road.” I remind him.
It’s not exactly a nice view outside, at the side of the road everything looks wet, there are still puddles of mud on the road, and every now and then, I see shopkeepers and store-owners getting everything rebuilt, repaired and repainted. In these scenes of reconstruction, I see traces of life returning to its usual rhythm and routine.
“How is little Shahid, has he gone to school today?” I ask, still absorbed in the view outside.
“Yeah. Where do you want to go? My place? Or do you want to go see Ma and Pa first?”
“Um, yeah, let’s go there first. Hey, how much was your house flooded?”
“I told you over the phone na, some of the streets got water-logged in our area, but thankfully, no flooding of the house, thankfully, none.” he pauses, changing the gear.
“The flood mostly affected the low-lying areas in the city, the uptown areas, the other side of Jehlum. Also, the bund broke, and it was pretty bad down there too, not much flooding in other parts of the downtown though. To sum it up- every area was affected, yes, but some more than the others.” he stops the car at the red light at the Jahangir Chowk crossing, I gaze absently at the cars whizzing by on the flyover above us.
“Ma and Pa though, they had to move up to the second floor of their house, the lower one was completely submerged.”
“Yeah, I couldn’t call them for days. I made a billion calls man, but the network was down. I was so worried, man.” I say, recalling how, during the rains, I had desperately tried calling everyone I knew in Srinagar to enquire about my family.
“It’s okay though, brother.” he slaps me on the knee. “It’s all good now.”
“Yeah.”
Niaz stops by a shwarma place, goes up and returns with two hot platefuls in his hands.
“Here.” he says, handing me a plate
“Ahh, just what I needed, I’m starving. But let’s keep these here at the back and go see Ma and Pa first.”
“We can eat while driving.” he says, starting the car.
“No, I don’t think that’s a good idea, Niaz.”
“I can handle it. Watch me.” he munches on a shwarma roll in his left hand while he controls the steering-wheel with his right. I glance at the odometer reading: sixty.
“What are you?” I shake my head hopelessly.
“What am I? Oh, I’ll tell you about myself - I’m Niaz.” he begins, his mouth full, munching on shwarma. “I live off a dead-end job at a bank. My wife hates me. My son hates me too. I have no life, no career, I live in a city with no opportunities- a city that is always recovering, either from floods, or from curfews and strikes. I like shwarma and being a driver for my twin brother, who is always away, giving foot-massa….”
“I told you to stop it!” I say, rather loudly, genuinely annoyed now.
“You sound more irritated in real life than you do on Skype.” he laughs.
We drive in silence; the only sound to be heard is the azaan from the nearby mosques. The call to prayer. Niaz turns on the car radio loud enough to block it out. I look at him, mildly shocked, and he winks at me. This is what I don’t like about him- those moments when his playfulness turns to noncompliance, his crooked sense of humor that I’ve never liked, the way he projects it at me. I’ve hated it. I’ve hated it since as long as I can remember.
“So how have you been, Zaid?” He asks.
“What do you mean?”
“How’s it going for you over there in Dubai?”
I don’t reply for a moment, partly because I’m too tired, and partly because I don’t know the answer to this question.
“It’s going okay, I guess. Nothing special, nothing new or different. I’m a physiotherapist, what do you expect?”
“Made any friends?”
“I have colleagues at the hospital, sure, people at work, and my clients.”
“I said friends.”
I look out the window at the waterlogged streets outside and notice that we’re getting closer to our parents’ residence.
“I wake up, I shower, I go to work, I work, then I come back to my apartment and I sleep. The next day, I wake up and there you go, a frickin’ loop.”
We both laugh.
“So, not many friends, then.” Niaz asks, driving into a side-lane that leads to our parents’ residence.
“Yes, not many friends. There, I speak in English mostly, my Arabic is poor, and my colleagues are mostly locals, you see- so no real socialization.”
“Ha! I remember how poor your Arabic pronunciation was, even during the days when we used to go for tajweed tutorials for Quran recitation, remember? At Karim maulvi’s darsgah, do you remember?”
“Yes I do remember, but it’s not like you were a sweet-voiced qaari either.”
He laughs and slaps my knee.
“But you know what, in a city that big, you don’t really care that much about these little things. I love my work, I earn and that’s enough for me.” I say, talking partly to myself.
“Hm, okay.” Niaz looks at me, as if calculating the expression on my poker face.
“What about you, Niaz, how have you been?” I ask.
He chuckles, “I’m so fine and dandy that God himself wouldn’t need to worry about me.”
“No, really, how’s it going with Shazia bhabi, and with Shahid all grown up, eh?”
“It’s all good, baraadar. I’m thankful for everything. My boy, Shahid, he keeps me sane.” he says, waving his hand.
“Do you still write?” I ask.
“Oh, I do, I do.” he nods, and swallows.
I infer from his lightning-fast reply that he’s lying, but is too proud to admit it- to admit that he doesn’t write anymore. I don’t see why though, because he wrote a lot when we were in college, and was passionate about it.
I don’t question him about it further.
I notice that we’ve reached our destination- our parent’s residence- there it is, the place where I was born, thirty two years ago, the place where I had grown up, the house that my late grandfather had built, and my father had renovated during his youth.
The house named Firdaus, the letters engraved in bold Urdu and English scripts on a marble plate that still sits embedded in the part of the wall close to the gate. There is also a faint trace of a house number ‘HNO 67’ painted on the gate in green, carelessly, invasively - probably by municipality officials.
I stare at the structure in awe for a moment, and ask myself if this is what coming home feels like. No reply comes. From the distance I see a fine layer of dust covering its white-plastered exterior, yet it is there- standing tall and steady.
But Ma said it was about to… I wonder to myself.
Surrounding the house, I see and recognize the houses of old neighbors- and notice that some new houses have popped up too.
Niaz parks the car on the side of the lane.
“There you go, I think you should walk from here. The water will get into the car’s insides if I drive too close to the gate” he says, motioning towards the pool of water near the gate.
“Yeah, you’re right. Okay then, I’ll see you tomorrow, shukriya for the lift.”
He nods at me, smiles a tired smile and drives away.
Points:
Time spent:
Canary word: Present
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'Kay, just little comments again.
The first four dialogues were my absolute favorite.. Lol, I think this is my favorite part. XP Also, is it supposed to be Niaza? I thought his name was Niaz...
I need a shawarma now. Someone... please...
I adore Niaz's sense of humor. XD I'm being honest with you right now about this: The genre for this chapter should have been humor. Also, I just realized we still don't know who "I" or in other words, Niaz's brother's name is.
Tsk tsk tsk.
Oh his name is Zaid. Nevermind.
Also, the house's name is Firdaus. Marvelous!
Hi.
WHY HAVE YOU NOT BEEN UPDATING THIS?
I do hope you're still writing this. A mob of very angry YWSers will be ambushing your wall otherwise
and no one wants that.Anyway, on to the critique. I'll make this quick.
Sub and Savvy have already mentioned that this chapter is dialogue-heavy, but I don't think getting rid of superfluous dialogue solves that matter. The problem here is that the majority of your dialogue takes the form of talking heads, and that leaches a lot of room for characterisation and replaces it with whitespace. Plus, interspersing description + important info amongst dialogue is a very subtle method of getting stuff across to the reader without overwhelming them. It really gets you into the scene, integrating bits of action (like when the characters interact with their surroundings, fidgeting, tapping their hands against the dashboard--you get the idea) and sensory description together with dialogue. And sensory description is something that I'd like to see more here, even with all the minimalist explorations of Zaid's surroundings. (You're a poet; I expect more expression here!)
Quick notes on grammar:
1] The capitalisation rules applying to dialogue tags (he said, she said/cried/whatever) are not applicable for sentences that stand on their own. An example:
~ the 'h' in 'he' will be capitalised. I saw a couple more instances of lower-caps in sentences following dialogue, so just skim through those whenever you revisit this chapter, and you're good.
2] Comma splices. There's only one instance of this (paragraph 11, last line), where the comma before 'I gaze absently' should be either a semicolon, a period, or a coordinating conjunction.
I like how you get quiet snippets of characterisation through dialogue. At this point, I think Niaz has more facets to him than Zaid has--he's a bit of a flat character, but that's no matter, because he'll acquire voice as the story continues. What I do think is a cause for worry is the fact that even in a mostly character-driven novel, there is a key conflict that the character must face--this is mostly internal conflict that weighs on their external happenings--and while this conflict has been hinted at, we've never really been properly acquainted with it. Which we need to be. If not in the first chapter, then in the second. My take on this so far is that Zaid's biggest issue's going to be his cultural disconnect--I gathered this mostly from the third chapter, where we probe deeper into his reaction upon getting home--and this will somehow be important in the trials his family faces in the post-flood series of events. I think there's a lot of potential in /this/ chapter for a bit of background--a backstory, if you will, where Zaid sortof explains his time in Dubai, how he ended up working there in the first place, and his reaction to seeing all the familiar places at home so affected by the flood. The emotion could come through stronger in this chapter. I want to see you do this.
You have a real knack for chapter-endings. There's a real nice, crisp nostalgic feel in the way you write them; I love it.
Quick questions--what does Zaid intend to do on his visit? How long is he here for? Has he got any plans or will he just stay at home and catch up with family/will he be going around town and having a closer look at the aftereffects of the flood/will we be meeting the wife-who-hates-Niaz?
(Also. I dislike the habit municipality officers have of painting on doors so sloppily. You'd think they'd be more careful, but the cleaner the door is, the more they consider it their duty to turn it into a mess. >.> Nice detail, though.)
Keep writing! Keep it up!
Hope this helped.
~Pomp
I like your reviews, woman
Hey there, I'm back. I'm not sure how helpful this review would be, treat it as a comment if you wish.
As Savvy have pointed out this is a pretty heavy dialogue chapter however I don't think it's a bad thing, not all chapters have to include a balance of everything. Every chapter has their focuses that being said it doesn't mean that you can use dialogue however you want.
At the moment you can get away with the slight awkwardness in the conversation because Zaid and Niaz haven't seen each other face to face for quite a while now, and from personal experience a little awkward is natural. It'd be strange if there wasn't some kind of barrier between the two. There's a lot of small talk in this chapter that doesn't seem hold much weight in terms of content and characterization, thankfully your writing is very light so it doesn't affect the overall pacing as much.
I want to address those things separately but before I do what this chapter gives me is a distorted feeling. This would probably because you aren't quite sure where you're head with this, and thus you're throwing ideas out there. Which is great, there's a lot of potential in this. I love culture-infused stories and your writing style is easy to read and intriguing. But the thing is, you've got interesting little snippets here and there that seem to start and have no end. They don't connect together to enhance whatever you're trying to tell us.
The chapter seem to have three main focal points: Zaid's life in Dubai, Niaz's life and his kid, their parent's house and flood and this little one concerning Niaz's writing. You cast a bit of light on every one of those points, but those points are not significant or big enough to make an impact on the overall chapter. If Niaz and Zaid have been skyping, wouldn't Niaz already know what Zaid's life is like in Dubai so why bother with those customary greetings? But since you've already talked about it, I want to know more about Zaid's life in Dubai. Why did he move there? What did he do? How many times did they Skype per week?
So the two of them stops by to grab a wrap (yes, I googled it
And there's the writing, so apparently both of them writes!? Expand more on this, I'm curious. Why did you mention it, is writing something special to them? It must be if Niaz is lying about it, does he feel ashamed? Another thing I've noticed with your writing is that you're quite literal in the way you describe emotions. There is little imagery within your chapter at the moment, which in itself is not a bad thing if you cane invoke emotions without them. I suggest adding a bit more figurative language or add some feelings into your words because they're a bit flat at the moment. The way you write is very serene and due to that, there's also a strange pull to it. But at the same time, the emotions you put on your characters are also clashing against each other. At the start of the chapter, Niaz starts off cheerful and upbeat if not somewhat sarcastic, yet by the end of it the mood has become subdued and somewhat morose.
I just have trouble empathizing with Niaz because a drive shouldn't have tired him out that easily. Of course you might argue that it's implied that Niaz is already tired but there's not enough lead up to that for it to work.
One thing you seem to rely on heavily is conveying your character's emotions via the dialogue and not much via anything else.
With all that's been said, I'm still enjoying this so please keep it up. As per usual, if you have any questions please feel free to ask me.
I've yet to come across someone who questions me, I want questions actually.-Hir
There are a few creases in this chapter, as you've pointed out. But I don't think I'll iron them out just yet because if I do so, I'll end up giving up on the novel altogether. So that'll have to wait till the first draft is done.
Thank you for reviewing!
That's totally fine with me.
Hey Autumns~
This chapter, while enjoyable to read, seems a little bit more rushed than the last. However, I do have to say that your storyline seems to be holding up pretty well. I'm engaged and wondering what's going to happen next. Part of that is because you don't really have any traceable plot, at least not to this moment. As I believe Hiraeth commented on in response to her review of your previous chapter, sometimes it's good to explore without a plot.
Although, I do warn you against proceeding too far in this manner. In the past, I know I've started novels that are ultimately plotless and become either boring to the writer or tediously repetitive to the reader. You may be a better writer than I and easily be able to execute a novel that's character-driven as this seems to be thus far, but I would advise you to be careful; to pay attention to how your reader may feel while reading. If you don't think they would experience any heightened sense of either suspense or, more likely in this case, emotional/mental engagement, at any point, then your story may be flatlining.
Anyway, onto the review.
This is more of a prompt than a question, so I understand why you used the punctuation you did. However, personally, I would change the period to a question mark. It puts more emphasis on "quickly" in my opinion, and therefore better reinforces the question.
For me, ending "Can you imagine" with a period kind of sharply contrasts Niaz's body language. He's obviously very conscious of Zaid and how he will respond, as made apparent by the fact that Niaz keeps glancing his way. "Can you imagine." says to me that Niaz is deep in thought, shaking his head, looking into the distance. "Can you imagine?" makes it less rhetorical.
You have some unnecessary repetition here with "thankfully" and "man". I would get rid of it, if I were you, but if you think it helps characterize the situation, then that's okay. Just calling attention to it.
I noticed that in this chapter, you didn't have as good a balance between dialogue, description, & background; it was mostly dialogue. It seems like stopping the car, walking up to the shwarma place, and retrieving two hot platefuls would at least require two or three sentences. Especially considering that I have no idea what a "shwarma place" is, or what the two hot platefuls are of. From the following paragraphs, it's easy to conclude that shwarma is a type of food, but it's hard for me to picture what kind of food. I know you don't want it to be overkill, but a little more description wouldn't hurt, especially since you're using another language here and there. A little mystery is cool, but you don't want it to be too obscure.
The transitions were also a little awkward. Niaz getting out of the car to get food seemed random and sudden (which may be in line with his character. But if that's the case, there was nothing that suggested to the reader that the randomosity should be a note on his personality).
This is a sentence fragment. Sometimes they work as fragments, but not here. I would change it to "The house is named Firdaus..." or something of the sort.
Sorry to take out such a big chunk. But I wanted to address this part of the scene because a lot of your transitions seem very forced around here. We get a sense of Niaz's personality here, which is good. But otherwise, you have a lot of things going on that aren't very clear. Firstly, in the first paragraph I pulled: I can't tell if Niaz is being sarcastic. There are some things that, from context, I know are real. But other things, like the comments about his wife and son hating him, I can't tell with. Especially since you later say how Shahid keeps Niaz sane, and that "all is good". Maybe I'm just overanalyzing. That, or I'm extremely tired while writing this. xD
Anyway, you describe the silence after Zaid was irritated with Niaz, which implies a tense atmosphere. And then suddenly, it seems,
Just a moment before, they had been somewhat tense, and Zaid had thought to himself how tired he was. Both of them laughing together merrily seems like a reaction that's long overdue. Zaid seemed exhausted with the conversation just a second ago. I would say instead, "I let out a bitter laugh", or something.
I know this review contained a lot of criticism, but I felt that you probably wanted me to be constructive. But overall, I really enjoyed the exchange between Niaz and Zaid; we catch wind of their general characters here. Niaz seems like the funny and daring brother, while Zaid seems to be the more practical one. I'm excited to get to know more about their pasts and to see what's in store for them in the future.
Good luck with this, and I'll get to reviewing the next chapter as soon as I have time. <3
Best of wishes
Savvy
Criticism is much needed, so don't worry about being harsh!
Also, if I ever finish the first draft of this novel, I'm going to come back to these reviews of yours and consider making the appropriate fixes. I just don't want to edit too much, which happens too often with me, and following which I usually end up giving up the novel. This is the first time I've written a third chapter, haha.
Thank you, once again.