Warning: This work has been rated 16+ for language.
At about midnight on Sunday we hit a deer. It was a small deer—a fawn, with spots of pale white tiptoeing across its back and its sides like flecks of snow—but when we hit it I could feel the whole car rattling and rattling; it rattled me awake. My snake diorama was tucked away in the back and I heard it slipping down through the luggage.
“Shit,” said Jake. He stared. The headlights blared crookedly forward, dim and smothered, and he stared into them. I did too, tense enough to feel my heartbeat, and it felt too slow, too heavy. I felt sweaty; I extricated myself from my blanket, letting it drop to the floor of the car, and drowsily I asked what had happened. No one spoke in the ensuing silence, until Aicia did.
“Stay in the car, Gavin,” she said. I heard her clawing open her door and the car’s warmth bled out like an open wound. Jake followed her out. From the back seat I could see them both through the windshield, engulfed in the silver half-light of the headlights and staring down at something below my field of vision. I felt scared and cold and tired, so I picked up my blanket and stumbled outside, out onto the concrete that was so black I couldn’t even see it, couldn’t even tell it was there. My blanket was also black; I pulled it around my shoulders like a jacket and it fluttered behind me.
I walked around the car until I could see what they were watching. It was a dead fawn. I was seven, but I’d seen enough movies to know what death looked like. Though its body was bloodless and unbroken, I could tell it was dead by how still it was, like it was waiting for something, waiting and waiting. It looked cold and I had a sudden impulse to throw my blanket over it, but I opted not to. I didn’t know what Jake or Aicia would think if I did that.
“I didn’t see it,” Jake said, apologizing not to us but to something else, maybe himself. He crouched and he looked at it. A light was swimming in its left eye that was either a corner of the headlights or a star hanging overhead. Jake stared at it and it stared back. “You came out of nowhere,” he said, this time speaking to the fawn. It didn’t respond.
At some point Aicia raised the issue of how badly the car had been damaged. It was Jake’s car, so he turned and did his best to feel along the bumper. I followed his hand with my eyes.
“I don’t feel anything,” he concluded. “Maybe a small dent. I don’t know. I’ll look at it closer tomorrow.”
I was breathing into my blanket. I was breathing into it so that my cool breath got trapped in a space I’d enclosed between my chest and the blanket and floated around there, slowly dissipating into the warmth like melting ice. I looked up and said, “We should move it.”
“We should move it,” echoed Jake.
“Let’s just put it in the grass over there,” said Aicia. “By the side of the road.”
“That’s a good place to put it,” Jake said. He paused, still fixated on the deer, then added: “It would like that.”
“We have to carry it.”
“Okay.”
Aicia crouched to get a good grip on the deer’s lower back, and in doing so seemed to notice for the first time that I was out here with them.
“Why are you out here?” she said to me. “I told you to stay in the car. I told you to stay there.”
"He wants to see what he killed," Jake said. It seemed like a perverse thing to say but Aicia didn’t respond. Jake reached and curled his arms around the deer's neck, careful not to touch its head, and I was standing by him and for some reason I dug my fingers into the fur too. It didn't feel like death.
“Lift,” Jake said. It was small even for a fawn, but lifting it seemed to be difficult for them; when they did, its head hung limply from the lower neck and grazed my knee each time I stepped. We dragged it through the haze of the crooked headlights and into the grass past the concrete, further and further and further into it. The blades seemed to grow increasingly tall as we proceeded until they were brushing up against the bottom edges of my blanket, which I still had sprawled across my back and shoulders. Jake kept pressing on and on, like he was chasing something.
At some point though we made a tacit decision to stop, and when we did we laid the fawn down and without much ceremony turned back in the direction of the car. There was a silence, after that, and I could hear my cousins breathing, could hear their feet stepping through the grass loudly and wearily. Aicia was the first to speak.
“Gavin,” she said.
“Yeah,” I said, in a small voice.
“Spread your arms.”
I spread them. The blanket fluttered.
“You’re a bird,” she said.
I looked down. My blanket was spread and flat under my arms and I realized that it wasn’t a blanket but two wings.
“I’m a bird.” I felt wrong.
“You’re a bird.”
*
Monday we did reports. Most memorable was Stella Sherwood's report on owls. In her diorama she hung an owl from strings—a real owl, she said, a stuffed one. Was that what a real owl looked like? Its wings were unwound and fanned like cirri against the nighttime backdrop of the diorama, locked in eternal flight by rigor mortis and plaster. Too-big wings, I decided, looking at them. The body I could nurse in the hollow of my palm but the wings, those two dark clouds, were wide enough to swallow up the whole classroom, the whole world. They reminded me of my own wings from the night before. I kept thinking about that, about the deer.
"Owls have special feathers that let them fly silently," Stella Sherwood was reading. "That's how they catch their prey. They swoop in, get the prey with their talons, and then swoop away.”
I felt wrong. After school Henry Nadeau came up behind me pretending he was an owl. He pretended to catch me with his hands, which he curled up like talons, and swoop away. I pushed him into the wall hard before he could.
"That's not something to joke about," I told him.
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LIFE CYCLE
There are a hand full of talks that most parents really don't look forward to delivering to their kids, and death is near the top of that list. In the most common situations the 'death talk' is only brought up when death is experienced, similar to this story... "The Fawn I Killed."
THE HOOK -
Very much like a car accident, the intro is abrupt and to the point: death happened. It came out of nowhere, and was virtually unavoidable, and now our characters are going to have to deal with it. I also enjoyed the subtle description of the snake diorama; that's important for later on.
THE STORY -
Split into two scenes, the audience views the narrative through the lens of a young boy during his encounter with a dead fawn. It happens in the middle of the night, in the middle of the road, and like most encounters with death it takes time to register fully in the characters minds.
One of the high points in fact is how much this seemingly ordinary accident seems to linger and give the audience time to absorb what happened. To quote the author describing the fawn",...I could tell it was dead by how still it was, like it was waiting for something, waiting and waiting." In that waiting the descriptions of the scene permeate in the mind of the reader; the cold night air, the asphalt that lies under the characters like an abyss, or an open grave.
A prominent theme that sticks out is the imagery and references to the main character being linked to death himself. The cousin, the driver of the car, even suggests that the reason that the young boy got out of the car in the first place was to see what 'he' hit: as if it was the boy's fault. Then there is the black blanket, like Death's shroud, that the boy wears.
Eventually, what is great about this story is the conclusion where the boy has a different perspective on death altogether, or at least separate from those of his classmates. When another boy from the main character's class pretends to be an owl, a predator, the young protagonist is clearly upset, venting his trauma and perhaps believing he was an active participant in the cycle of death. There is a lingering feeling of guilt that seems very real.
THE GIST -
So many layers in such a short period of time. Even if it wasn't the author's intent, the allusion to animals particularly caught my eye. In the B-Plot of this story is a boy who is in the midst of a school project; 'pick an animal and display everything you know about it' was most likely the project title. Like most seven year old's, you want to pick the most bad-ass animal you can think of. So at the beginning, we start out as a snake.
That image of a snake falls, and shifts as soon as we hit the fawn.
Then we (the audience through the boy) experience death. We see what happens to the prey and feel empathy.
In an attempt to accept death, or just ignore it, rise above it, one of the cousins tells the young boy he is a bird. Don't stay on the ground to long: keep moving, keep flying. Don't let sorrow be a burden that weighs you down.
Back in the classroom however, we still see that our main character is struggling to accept the death he witnessed. Every other kid still wants to believe they are at the top of the food chain though. Unlike our main character, when you're still wrestling with that feeling of loss and death... "[it's] not something to joke about."
THE CRITIQUE -
So. Many. Layers. Unfortunately I can't find anything really constructive to say to help you improve this piece. Get yourself a literary agent, find a magazine that accepts short essays.
An excellent read.
THE END -
I can't wait to see what's next from this author. So, keep at it and ",if you're going to write, write like your soul depends on it."
Oh, man. I wish I could give you something helpful, here, but I just wanted to let you know that this was so good. My only complaint is that I felt like there should've been more at the end...or maybe it's just that I didn't want the story to run out.
Dash it all.
Blue
This is pretty impossible to critique.

I feel like this had poetry elements woven into it; perhaps that's because of your wordplay. Every word, every detail to describe the scene and the imagery and the people, it was all beautiful and strong and clear. It's like you put a lot of work into forming each sentence, like you dissected each word to find what isn't perfect and fixing it.
Your imagery was seriously the strongest factor in this story. Each moment, each thought, was conveyed using imagery. Nothing was overly emphasized or detailed.
On the overall message of this, I'm not sure there is one. Maybe there doesn't need to be one. The point was that a fawn was killed and it affected the seven year old boy more than you'd think it would.
Sorry if this isn't much or a critiquing review, but I think that this was very good. Overall just well written. I enjoyed this quite a lot, so thank you for sharing.