I want to stand here for a while, just taking in the silence of the neighborhood, but the sudden appearance of two fierce-looking stray dogs from the other lane makes me change my mind.
I roll up my trousers up to my knees and walk carefully through the edge of the pool of water in front of the gate, avoiding its murky-looking center. The muddy water seeps into my shoes. Great. The gate is not locked. There’s a doorbell switch near the marble nameplate. I press it out of mere curiosity, making old floodwater ooze out of the sides of the switch, dribble down my palm and soak the cuff of my shirt. So far, so good. I also notice that a few bricks near the nameplate have come off from the wall.
A sudden, swift breeze messes up my hair. The rusty metal knob of the gate creaks as I enter. I put my luggage down on the walkway.
I now notice the house more clearly; all the windows of the first floor have been left open. There appears to be no furniture in the rooms. The interior looks soaked even from the outside, it seems that everything has been moved to the attic and the upper floors.
The flood occurred in September didn’t it? It’s March already.
What makes me more concerned is the realization that not much has dried up even after five months. I can only imagine what the flood level must’ve been during the rains, and to my horror, the water has left its mark on the walls, in the form of a line, running parallel to the ground at a height of about twelve feet. Above this line, the walls aren’t wet; the second floor looks dry, although dusty.
Something appears to have snapped near the foundation of the house, as if the front part of the house has sunken into the ground beneath. I see cracks. That is when I gasp.
Ma was right.
Although it is strongly built and founded, I can tell from a glance that if it rains heavily one more time, and the water remains logged in the neighborhoods again, the earth beneath the structure will no longer be able to bear the weight of the house and will give, causing severe damage to it.
Why haven’t they left already?
The lawn looks desolate. At the edge of it is a plum tree. I remember this tree; Pa had planted it about ten years ago. It looks bent, with most of its branches broken, but has somehow survived the flood miraculously. There is no trace of the flower beds that Ma would so meticulously look after. The vegetable garden in the backyard must have suffered the same fate, I guess.
I’m shaken out of my thoughts by the sound of a window opening on the second floor. It’s Ma.
She stands there for a moment, expressionless, her hands on the window panes, her green dupatta moving slightly in the gentle breeze.
“You’re here.” She smiles, and disappears into the room. I hear hurried footsteps on the staircase. Then, the main door in front of me opens and she rushes towards me, before I can say anything she pulls me into a hug.
“He’s here, he’s here.” She says, barely breathing, a bundle of mixed emotions, she say a lot of things, but her voice breaks with every word she utters, and I realize that I didn’t really comprehend the extent of how much I missed her until now.
She holds my face in her hands, smiling and teary at the same time. I see that she has new wrinkles near her eyes, but they make her look more beautiful. While I try to get a handle on my own emotions, I am reminded of Niaz’s smile. He has her smile.
“That’s enough for now, come on in now.” Says Pa.
He is by the door, laughing as he leans against the doorknob for support. He puts on a chape’in, a pair of sandals,and walks towards me.
He gives me a bone-breaking bear hug and a knuckle-cracking handshake. I’ve always wondered if he does that on purpose. He doesn’t look that strong now- with shoulders a little stooped. He also seems to hold on to things for support every now and then. His beard has the same old volume though. But it was grey and black when I last saw him three years ago. It is grey and white now.
They’ve grown old.
They lead me in and up the stairs to the makeshift living room they’ve created in the middle of what used to be the large hall that was reserved for special occasions, family gatherings and weddings, or when some guests or Pa’s business friends came over to visit.
I now notice that they’ve prepared the room for me, and have cleaned up the carpets, the curtains and practically everything looks neatly arranged. I look at the shiny furniture, the vases, framed childhood photographs of Niaz and myself, methodically put up on a shelf. Everything looks perfect, and yet I feel uncomfortable about this for some reason.
I feel like a guest.
I don’t like it this way, to be made to feel like a visitor in my own home, but I do. And as they ask me to sit down and ask me about what I’d like to eat, I know that I can’t blame them for it. This feeling- it’s in me. It’s my problem that I feel like an alien among my own, the foreigner who’s always been away, who’s grown apart from his family over the years, and slowly, without even realizing it, has never really been around for anything- calamities or celebrations.
I drink hot Saffron tea, zafran kahwa, in quick gulps to clear these sudden, stray thoughts from my mind.
It must be the lack of sleep messing with my head.
They’re happy, it’s all good.
Pa’s seated beside me, with a remote control in his hand, watching the news. There’s something about Syria, something about two dozen civilians being killed in an airstrike on some crazy extremist group.
Ma is bringing platefuls of wazwan for me.
“Here… have some.”
“No, sit down Ma, sit down, kahwa will do.”
“Why didn’t Niaz come in too?” She asks.
“He meant to, but the car wouldn’t enter. You know, with all the water outside.”
“That water-pumping vehicle thingy came to our mohalla the other day. I personally requested the driver to vacuum this puddle in front of our gate. But it’s like my words fell on deaf ears.” complains Pa, annoyance in his voice.
“Based on the look of you, you have been dieting, I presume?” He asks me.
“I’m somewhat vegetarian now.” I joke.
“Somewhat vegetarian? What’s that like? Vegan on weekdays and non-vegetarian on Sundays, ha?” Ma laughs.
“Only on Sundays. See, that’s the point. A nice leafy diet for working days and beef kababs on Sunday.”
I eat till I’m full and ask them about the flood, the damage to the house and how they got by during those days. Hearing their stories trouble me all the more. They tell me that the water entered the first floor through the doors, windows and cracks, and whatever way it could find, completely submerging it; they were wise to have shifted everything in time, before the relentless rains started gaining momentum.
“I had some of my suits and clothes in that cupboard downstairs; I lost them to the water. The car was a wreck when I checked it in the weeks that followed, during which the water started receding. We also couldn’t salvage the fridge and the washing machine. Your mother saved the oven though. I rushed for the television and here it sits.” says Pa as he switches the TV off.
“The locals volunteered, especially the youth, whatever help came, it was just ordinary people distributing food and warm clothes. I even saw boys from our own mohalla helping the stranded through boats.”
They tell me that they had to move everything from the first floor, up the stairs to the second floor all by themselves. Ma holding one end of the tables and the chairs and Pa holding the other.
“It was fun actually, moving furniture together.” says Pa, nudging my elbow and looking at Ma. “Romantic as hell.”
“Only if your knees wouldn’t start creaking.” replies Ma making a face at him.
I like how they are in their fifties and can still flirt with each other.
“Why, what happened to his knees? Pa, what happened?”
“I went to the doctor, alright, there’s nothing to worry about. It’s just knee strain caused by all the heavy lifting.” Pa winks at me.
I get down on the floor and check his knees. Probing the knee caps with my fingertips at various points and making him stretch and bend his legs.
“I almost forgot that you’re a physiotherapist.” Says Pa.
“Yeah, and the best physiotherapist in town too. You need to rest, don’t exert yourself, especially your knees until they get better. You need a break from all that heavy-lifting of yours. No more moving furniture.” I tell him as I sit down again.
We talk about my life in Dubai, about my work, there’s an awkward silence when Pa asks me if I have any intention of getting married. There’s silence in the room, but it is a strange kind of silence, interrupted every now and then with the three of glancing at each other and talking about ordinary things. A couple of hours go like this.
I get up to glance outside the window and it’s already starting to get dark. Pa is sleeping on the sofa and Ma is singing amidst the clinking of plates in the kitchen.
I look at the photos of Niaz and myself on the shelf. In one photo, we’re riding horses at Pahalgam. It was a good day, and we had a lot of fun. I remember it. There are also nervous photos of Pa and Ma holding hands when their marriage was arranged by their parents. They look young, and naïve. They must’ve been twenty-something then.
There’s also an interestingly large photograph in the corner.
A photograph of all the neighborhood kids, huddled close together, outdoors, probably right after a cricket match. I don’t remember this one clearly. But it must be from the time when there was a lot of unoccupied land in the neighborhood where we would play cricket all day. I was ten or twelve, and I wasn’t the best cricketer, which explains why I’m in the background, There’s a girl pulling on my hair, while I pull on hers.
It’s her.
Shirin. I remember her. We were classmates, neighbours. Shirin, the girl with the silver-braces, who helped me do my sums right, the girl with the longest braids in the class who spoke in algebra.
I wonder if she still lives in the other lane.
I recognize another face in the photo- Padma, the fast bowler whose speeding yorkers I disliked. She belonged to one of the few Kashmiri Pandit families of our neighborhood- the Rainas. She was a bit older than us, the school topper. Her family left for Jammu during the early 90s when a large majority of Pandits migrated from their ancestral valley due to the pro-freedom insurgency in the 90s. She was a nice girl, and everyone felt her absence after she and her family left. There she stands in the photograph– flashing a victory sign and smiling.
I last saw her while strolling through Old Delhi a few years ago; we recognized each other from a distance as Kashmiris do. She told me she worked at an IT firm there and her family was still settled in Jammu.
I also notice a familiar face in the photo, he's standing at some distance from the group, looking away. I think his name was Farhan. I never knew him too closely. But I remember some things. I remember that he had pencil-thin arms due to which some of the kids would tease him and not let him play, so he would just sit and watch us play (or walk away?) I can’t recall clearly, but I have a strong recollection of feeling sorry for him, for not having the courage to differ from my peers and go up and hand him the bat or talk to him. I was afraid they would make fun of me too.
There is Riyaz, wearing a red sweater, looking up at the ball he has thrown up, which is a blur in the photograph, but must’ve been suspended in the air in that moment of equilibrium when it was clicked. He lived with his widowed mother right next to our house. His father had died from a straight shot to the chest in the Gaw Kadal massacre, when soldiers fired upon people protesting against house-searches and use of excessive force by the troops. Riyaz was a good off-spinner (or was he a leg-spinner?) He was a spinner though, and was too good a bowler for his age.
We started losing interest in cricket slowly. The opening up of army bunkers on every nook and cranny of the city also played its own deterring role and our cricket club gradually started losing members over the years.
I search the photograph for familiar faces.
There’s Niaz scratching his belly with a wicket stump. And the rest of the faces– they are those cool guys and girls who lived on the other side of the mosque, the ones we copied and tried to be like. I don’t remember any of their names.
My neck is aching.
Ma’s voice wakes me up from my reverie of reminiscence.
“I put all your things in the room upstairs, they’re all unsorted, I didn’t want to misplace anything.” Ma says, as she picks up the plates and trays from the table and leaves the room.
“I appreciate that, you should rest now.” I tell her.
Pa is snoring on the sofa.
The house hasn’t changed as much as I have.
On the floor, I notice a gap between two adjacent carpets. The cement is still wet beneath. I let out a sigh and sit down on the floor.
Where will they go if something happens to this place? What if there is another flood, or more rains, or an earthquake? Why did I even come back here?
I sit there for a very long time.
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Alright so now I do a review.
Hope you're doing well today or tonight... You know what? Let's just get on with the review.
Maybe you meant "give in" instead? Maybe it was some other word. I'm not sure. There just seems like there should be another word after "give", ya know?
Heey, Pa and me have the exact same mind! That's what I was thinking!
Lol. Romantic as hell. XD
Awkward silence... Lol, I feel kinda awkward when my parents start talking about my cousin's marriage. How awkward must it be to have them talk about your own marriage? *shudder* Also, to be honest, I think Zaid should tell them if he does want to get married or not. He's thirty-two, for goodness's sake. He's had quite a lot of time to think about it. Unless he was way too busy at work.
Mmm, just like Pomp said, I have a weird feeling that maybe Shirin is important here. She might even, ya know, be the "love of his life". Dunno. Just a wild guess since she was the one who helped him, had the longest braids, etc, and he told us about her first. So yeah.
Okay. So that's it for my review. Hope this helped in one way or the other. I will get to the next chapter laaaater, because... Summer studies. I'm loving this so much.
Keep on writing!
~Liberty
O.O Dunno what this is.
Never mind. At first I saw that it was empty. I did that ^ to the comment, and then I refreshed the page and then BAM the review was there. Dunno what happened.
I liked this chapter, so I don't really have much to say here. I think this is the best instalment by far--the prose has this quiet honesty to it, and it's very representative of your poetic style, too, I think.
I'm a sucker for realistic fiction--especially war stories, because I both love and hate the detachedness that comes with books, the fact that you realise that this stuff has been happening, but somehow it's suppressed by years of acceptance and quiet suffering. Subcontinental history is rich--it feels weird to refer to events that happened even a couple years ago as history, but that's kind of what it becomes. Unnecessary tangent aside, I liked how you inserted necessary info so deftly into the piece, but being a history nut (+someone who isn't all that familiar with Kashmir's more-recent history except for some major facts), I'd love some more detail in there. Like with the Gaw Kadal massacre. Surprisingly, you don't hear much about this stuff here. I was hard put to find a local article on it. I understand the Jammu/Kashmir conflict, but a lot of people might not, so it'd be cool to insert a quick mention of that somewhere between the lines.
I feel like Shirin is going to be important. But she might not be. I'm torn on all the mentions of characters here, because I would love to know what's happened to them in all the time Zaid's been away. I do hope there's a link to them in future instalments--it'd kick a lot of character development into gear, both on Zaid's side and in the people his actions directly affect.
I feel like, nearing the end, this chapter was more narrative-based than consisting of actual scene. For now, leave this as it is, but try focusing on achieving more balance between the two in future chapters. It's important not to swing between the two of them, like a pendulum, but to sew a kind of ... patchwork of scene and narration. There are times when I adore the minimalist description, and times when I wish there would be clusters of description tied up with a little bow to form a neat bouquet for the reader.
An example:
I thought of rain gently pattering against the window here, for some reason. It seemed to fit the mood. And mood's kind of what I'm on about--the narrator mentioned this fact, but didn't continue on the same tread. The smallest reaction from Zaid--a half-smile, a gentle reminder of the bubble of shelter and familiarity that he grew up in somehow showing itself in his expression/actions--that's what I'd like to see here. Nothing in a novel, no sentence is purposeless. Everything leads somewhere. So don't leave those thoughts hanging, or linking in jarring sequences to the next sentence down the line. (I can't really see the link between Zaid's dad snoring and the italicised thought following this sentence. This might just be me. >.>)
THIS IS WHAT WE WOULD LIKE TO KNOW, ZAID.
I apologise for what has been a completely unhelpful review. Hopefully, I can be of more help in the next chapter.
Keep writing!
~Pomp
You might've noticed that I don't actually describe anything except Zaid and a couple of other characters, he hasn't even met any neighbor yet and hasn't even described the damage to the other houses in the neighborhood etc. This is deliberate. I'm trying not to get distracted by world building yet. I'll add that layer of detail after the first draft (This is in reply to your remark in your previous review as to why I hadn't described more of the city's ambiance and the surroundings in general.)
And yes, it sucks that so much of Kashmir's history is undocumented. This is partly because it has always been viewed as a case of two giants fighting over a a borderline. The real stakeholders, the people caught in the middle and their right to self-determination are often left out of the narrative. But hopefully, as more is written by Kashmiris about Kashmir, the narrative will change (and is already starting to change!). I'm keeping the descriptions of historical events short and to the point because I don't want to be distracted from the main story, if you know what I mean.
And no, this was helpful. I've noted what you've pointed out, thanks for your time.
Hey!~
I loved reading this chapter. It might be my favorite thus far. The background you provided for Zaid, particularly the reminiscing back to his childhood, inclined me to connect & relate to his character more than I had in previous chapters. You did a wonderful job with description. You have fantastic attention to detail. I don't think I had any complaints whatsoever as it relates to the plot for this one, so first I'll just go through a few nitpicky things.
I would take out the first "up".
You have a lot of run-ons, which at first, took away from the story for me, personally. But stylistically, that might be the feel that you're going for, so maybe I should stop being so picky about it. It depends on what you want. Since this seems to be a narrative, you might want to adjust the way you write to reflect on the way Zaid thinks and feels. With sentences that proceed like this
and this
it gives me a "Catcher in the Rye" feel. Besides a little awkward phrasing, that would be all fine and great, except honestly, I don't think Zaid is a Holden Caulfield. Speaking characteristically, while he has some wistful/nostalgic interior monologue in there, I don't think he fits the part. The stream-of-consciousness/run-on/untrimmed nature of the text makes him seem slightly uneducated and, since his personality isn't overtly clear (as Noelle mentioned), I don't know if that's your doing as the author, or Zaid's as the first-person POV. Whether you're telling the story, or Zaid is, make sure you polish things accordingly. This is about him, not about you. And while he might be you, figuratively speaking, it's all about keeping him in character.
In these two sentences:
Again, you're smushing independent clauses. You can choose to split the sentences with a period or a semicolon. In the first sentence, I'd break it up between "outside" and "it", and in the second sentence, between "me" and "before". There were a significant number of occurrences of clause-smushing throughout the chapter. I didn't pick them all out, but you might want to read it over.
This blatancy is the most perfect thing. It's her. This gives us more insight to Zaid's feelings about this girl than anything else. The way that he refers to her as her, as if she's the only one. I love it.
I like the idea you have here, but again, it's awkwardly phrased. "which is a blur in the photograph, having been suspended in the air in that moment of equilibrium when the shutter-button was clicked." I would change it to something along those lines, if it were me. I do like that imagery, though.
Despite everything that's been said about the lack of development in Zaid's character, I'm in love with the interior monologue he perpetuates throughout this chapter. It lets us know a little bit more about his character, and yet again, adds another layer to the story. I actually kind of enjoy how you're holding us at a distance thus far. You're letting Zaid's personality slowly seep through, letting him be shown to us through gradual indirect characterization.
I like the direction that this story is heading in (if there is a set direction, that is). I started this review nearly a month ago and forgot to come back to it, so I apologize if my thoughts are a little scattered; hopefully there are at least portions of this that make some sense.
Best of wishes
Savvy
I need to learn where to split my sentences and how to separate long clauses into smaller units. Noted. I'll get back to this.
Thanks for taking the time out to review this <3
And no, I don't know where the story is headed, but I might post a new chapter soon.
Hi there! Noelle here to review as requested.
Since I did read the previous chapters, I'm going to start with a comment from them. I haven't read very many narrative or "real life" novels. I enjoy the fantastical, magical part of a story taking place away from the reality we know. However, there are those few stories that interest me despite them being about regular people. So far you haven't pulled me in yet, haven't made me really want to follow Zaid's life. He's just a man who's visiting home after three years. What is it about him that makes his story so important? There's been a lot of dialogue and barely enough description of setting for us to know where he is. I've found myself actually wanting to read about his thoughts, emotions, memories. The events of the story are important, but there's more to it than just going through the motions. Dig deeper. Resurface old memories. He hasn't been here in three years. The mention of changes from the floods is good, but that's not all that you have at your disposal. Give us more. This:
is what I've been looking for. Being back is sparking memories. In those memories we get to see into Zaid's childhood and younger years in life living with his parents. We're getting a bit more of him as a character and not just another Joe on the streets. I see a lot more of it here in this chapter than the previous ones.
While we're on the topic, let's focus on Zaid. He's your main character, the narrator of his own story. Yet we haven't seen much of him. Figuratively. At this point he doesn't really have many obvious personality traits. What I've gathered about him so far is this: social, a bit lonely, just trying to get through life. From this chapter I can gather that he is also quite concerned about his family and friends. We're getting closer to being able to understand what he's all about. My only concern is that it's coming too late. This is chapter three. As a reader, I expect to understand at least part of the main character by the end of chapter one. As I mentioned, I need that reason to care about his life.
I can't pinpoint it exactly, but imagining Zaid gasping is just... odd? The image of a gasp is more silly than serious. That's how the word is. And the vibe I've gotten from him so far is that he's not like that. Not to mention he already knows that the house is falling apart because his mother told him so. He'd be less surprised and more understanding. The reaction here just doesn't fit his personality.
The main thing that makes a story a story is that things happen, obviously. What makes it literature is bringing those events to life within the character's life. At the moment those two parts are a bit detached. It's like we've been given a list of what's happening: airplane ride, finding the ride from the airport, obligatory catch up with the brother, seeing parents, talking with parents. That's where the emotions and thoughts come into play. (I think that's the 800th time I've mentioned that in this review. Yay repetition xD) That's your connection. A professor once made us do an exercise where we wrote a story and overloaded it with description and limited our dialogue and action. From there we were able to see what was needed to make it work and what wasn't. Occasionally I'll go back to that if I'm stuck trying to connect. It's actually quite helpful. My point is, the less you focus on dialogue the easier it is to find the parts of your character that will really make the narration pop.
There's very little imagery and setting so far. I know what country this is taking place in, but since I've never visited that country I don't know what it looks like. I've been imagining something that would be around where I live, but I know that's not anywhere close to what it would actually look like. There's always that argument over whether imagery should be left to a reader's imagination or explained specifically. The way I see it, writers need to guide their readers's minds to the image they're creating, especially if the setting is a real place. There's not really much imagination from us to see this setting.
As for the technical side of writing, you're good. Everything flows well and there aren't any grammar mistakes I see. It's quite the polished piece of literature.
The main thing I see that needs work is expanding the story line to include setting and making it more about Zaid than just the story.
I hope this helped! I feel like I just rambled a bit so if it doesn't make much sense that's why >.>
Keep writing!
**Noelle**
Thanks!
I was so happy that I had finally caught up with the chapters when I was writing the review to this last night. I guess it was short-lived. So, because of that I'm chewing on chocolate toffee as I write this.
I have mixed feelings about this chapter, I like it but towards the end I lost interest partially because it was a very inconvenient time to introduce new characters and to have flashbacks. At its best, we get a bit more insight into Zaid's childhood at it's worst its info-dumping in the most ungracious way. Due to the long paragraphs and the cluster of information in it, I actually had to read through that bit twice because I skipped it the first time not because it was bad but because I didn't see the importance of it in this chapter. They are Zaid's friends and has links to his past, but you spend more time describing what happened to them instead of the link which makes me wonder 'what was the purpose of that?' It has no direct relationship with the content before and after it, this chapter seem to be focused on Zaid's relationship with his parents and emotions seeing the flooded house.
There is nothing that is new that I haven't mentioned previously, as this is a first draft and you're new to novel writing. You have yet to find that balance between narrating and actually showing (in terms of emotions) like the last chapter. Looking forward to future chapters
but slow down, it won't hurt you.-Hir
You're making me want to write about my childhood and my hometown, ugh. I'll come back and review this later. <3