just as vowels space out consonants so we can understand words, great pastoral fields stretch between cities so we can understand:
the breadth of the world,
the lines that eddy down from the crown of the earth to its base,
the feeling of infinity you find when you stand in the very middle of a great slab of concrete, feet planted firmly with blank air in every other direction.
blue wears too-long overalls that have been so scraped from the gravel roads she walks barefoot that when she sits on the top rail of the fence out front of her home, the white threads that held the denim together hang down as fragile as lace curtains.
what she wanted was to build a dam. she started slowly, gathering sticks and rocks in separate piles in her backyard so that her roommate, dina, asked her if she wanted to just use the rake. but dina saw that blue's hair fell in shining electrified coils in front of her eyes, that the tips of her ears were spiked with sweat, and then at the bottom, the glare that set blue's lips in a line as flat as the horizon, and she turned back inside so that the screen door swung shut and clattered wooden and once the sound finished echoing against the garage out back, blue was alone again.
she started slowly, like the last bit of syrup tries your patience when it crawls along each and every crevice of the plastic bottle, even though you hold it vertically.
once the sticks started falling from the top of the pile to the bottom, blue went looking for all the tablecloths in the house. again, dina watched her, but this time from the chair in the corner by the window, not once daring to move and make the brittle legs scrape the wood floor. so blue gathered the tablecloths in peace, tore down the curtains, and hid in her room.
days and days went by with early fall's white sun turning the polished hard wood floors unbearably hot. dina kept her feet tucked up under her when she could, and other times raced across the kitchen floor to grab food from the cupboards or the refrigerator, to get back to safety as soon as possible. once blue came down for lunch and found dina hunched with her feet clammy against the marble counter-top of the island in the kitchen.
later, blue marched out and a parachute trailed out behind her, boasting floral patterns and plaid and checks, sewn together with red thread that could still be seen grasping messily the edges of two fabrics. blue had never learned how to sew, dina thought, then took another bite of her sandwich.
but it was the last time blue saw dina or dina saw blue, because blue threw stick after rock after stick on top of the patched-up parachute and dragged it all away toward the stream that was a mile across un-tilled fields.
the place that blue came to was quiet. it made her slower, even, than before. she watched ants wander over pebbles thrice their size. she saw them pick up detrius. she saw them eat and saw them disappear back into their hole.
then she stepped into the water. it curled around her leg. it was cold with the coming winter's breath, but warmed enough on its long journey above ground, past cattle with big warm lungs that breathed on it when they drank, that blue could stand it in and feel no difference between the temperature of the air and the water.
she first stuck sticks up out of the mud of the bed, testing to see if they'd stay upright against the current. many sticks, hollow or weak, or too-light for whatever reason, found their burial that day. many others floated on to be caught by reeds or vines that overhung from the shore. when the sun set, the wall of sticks stuck up from the water like black pegs on a glossy black table, and blue slept under a willow tree.
*
suffocation. all the air she could want filling her lungs, and still suffocation because of the fact that blue could not measure the millimeters the water rose above her ankle and whether or not it were still rising. and because she'd never learned where the stream came from; no mountains -- unbroken horizon.
there were ants swirling in lazy clouds of legs and thoraxes and abdomens around her. some clung to the baby hairs on her legs and tried to crawl up, but she kept laying stick after rock after stick on the dam and her overflow continued to blossom lake-like.
she was suffocating because she had it in her to flood the world if she just climbed up the back side of the dam to keep laying the bricks on top. and what was there that inspired breath more than destruction?
standing in the middle of a slab of concrete brought her peace because she knew the wild earth lay dead below it. the lines of latitude and longitude meant the wild earth had already been conquered in academia, meant that it was all mapped out and available to lay waste to. every ant would drown, every mammal would end up as floating skins, and birds would fall like cannon balls when their strength finally gave out.
and maybe the would would have burned around blue.
if it hadn't been for the touch of a fish.
Hannahbobannah,
It has been so long since I last reviewed prose, you’ll be lucky if I made hair or hide from this. Even luckier if you get anything from my review! Your introduction is beautiful, though would you consider “blind air” rather than blank? I think it suggests something a little more and sounds a little more sinister but vulnerable.
This is mad awkward in here. There’s something about how this particular set runs on that means when I hit “safety” it all falls to bits. It might be because it has too much in it, your other images are singular almost, but this one has tucked and raced and food from cupboard or refrigerator, and I lose it there, it’s too much. I’d lose either fridge or cupboard, even though they’re descriptive and I understand the style you’re using, they’re losing out on you.
Lose the second “out” here.
Does this mean that the mile was that far away, and so she dragged it that far, or that the stream stretched as long as a mile and over un-tilled fields? This is probably a simple answer, but it confused me in the syntax.
“World” I presume.
So this is amazing, utterly beautiful and peaceful and wonderful. I have missed your writing and you have improved while you’ve been away. The structure and purpose of the piece work against reading it easily, we’re being pushed against as readers because we want to have a more structured and clearly linear timeline. However, you say ‘get off’ to our clamoured complaints because this streams forward in a delicious stream of consciousness which is at once frustrating and enlightening. What falls out here is in the syntax, which is where my above confusions come from, they’re small problems for my brain but they stop me from maintaining focus on your work for what it is, and your work deserves to be read without minutiae distractions.
I want to tell you that the end is particularly anti-climatic, but it’s frankly what should be. Many deaths end without an event and I think this one is perfect. Blue is convening her life through simple broad strokes and it is a simple small stroke which takes her out. I liked Dina but I also didn’t, she’s a supplementary character and I think that’s fine, although what she’s doing jars me a little bit.
Again, this is gorgeously set and written, I’m jealous, write more.
-Pen.
ugh, thank you pingu. so helpful. really, especially the reminder that the syntax is going to jar you out of it. i knew as soon as i finished that in the future i had to re-train myself to untangle my sentences, so you've cemented that. also, i think i had something else in front of air before i chose blank, but i'll reconsider. o3o thank you thank you so much i will consider everything here!
Hey Hannah! I'll do my best to give you a great review. My reviews are based on the five conventions. I think this is a style of poetry I have never encountered before called prose poetry, or something. I've never read or written prose poetry, but after reading this, I might have to start! The five conventions are structure, organization, word choice, voice, and idea. I will focus on word choice, voice, and idea since I'm unfamiliar with this style of poetry. Although I will touch on organization, I won't bother too much with structure.
Sometimes the the structure can be confusing on a sentence and paragraph level. It's because I'm dyslexic, and without the capital letters, it can be hard for me to determine where a sentence begins and ends. I would capitalize the first letter of each paragraph if I were you, but that could be a stylistic choice.
Your organization is great, but I feel like the story doesn't have a clear cut 'beginning', if you get what I'm saying. I think if you extrapolated on Blue and Dina, that would help define the beginning better.
I'm with Wonder! Your word choice is beautiful! I love your descriptions, this story felt like a dream, and I was amazed from beginning to end. You have a very abstract idea, and at times it was hard to follow, but that just added to the dreamy feel. Great job!
Your voice is strong in this story, and you do a wonderful job creating imagery. I really enjoyed reading this story for the description alone, the rest of it was great too, but man! It was beautifully written.
I'm not sure I got the idea. I'll have to give it another look to get what's going on. Since it's abstract, I'm not going to tell you to make it more clear. An abstract idea should take some time for the reader to mull over. To quote some guy or something, 'A great story is one that gets you talking.'
This story will leave me thinking for a long while! Great job Hannah! Keep up the awesome work!
thank you, shino! i will definitely give more of the characters. i'd like to, so i will. could you maybe let me know the particular points at which you got lost? at which it was hard to follow? i feel like most of it lies in the fact that i stuffed too much into single sentences, but knowing your reaction would help me a lot. thank you!
Hi, Hannah! I don’t think I’ve read anything of yours, so this is super exciting!
I think you mean ‘world’ there.The one nitpicky thing I could find.
Alright, so, first, I really enjoyed your beginning. Your first few lines truly work to pull in your reader, and keep their attention. And I don’t know if not using capitals was a stylistic choice, but it makes your story seem less formal, more casual and it works. I also liked how you introduced your characters, Blue and Dina.
Blue and Dina, however, need more specifics. Their personalities are clear, but beyond that, not much. I think this is something else you are leaving to the reader, but I picture them as young children, maybe preteen years. I wish you would give a little bit more details with these two characters.
Honestly, I an a little hazy of the events and the sequence, but I think I understand. I like how you don’t tell it to us straight, though, you morely leave it up to the imagination and the reader’s conclusion.
Your narration is brilliant. I adore your word choice, and your uses of literary functions. It’s so grown up, and I just love it!
~wonderland
thank you for your comments, and i agree with you about expanding more on blue and dina. i made a conscious effort to get one sight of blue and then forgot, so i'll go back and improve that. also, i'd like to improve the sequence of events, because i don't want to leave you completely confused. thank you for taking the time to read my work.
thank you very much for your review. i hope you can accept the fact that though capital letters are in the commonly accepted conventions of literature, they do not, in fact, determine the quality of the piece. i'd like to hear more about what you thought the story was about or what you felt.