z

Young Writers Society



All through the night

by Kylan


Song: The Rake's Song (The Decemberists)

025. antagonist

--

They submerge me in the warm bathwater, knees and belly surfacing, my lungs collapsing like paper fans. I can barely breath. Stomach contracting, lifting. The punching, drumming. Breathe. My belly, my baby. The porcelain of the bathtub is slippery under me, the room is smoky, hazy, the fire turning everything red-faced and drunk. Just breathe, girl. They stand over me. James with his slumped, corroded face and the half-blind midwife with her right eye milky as a fingertip. The midwife talks to me. Just talks to me. The words fall, the belly seizes. I pray. I send my prayers off like petals listless from a blossoming tree. God in heaven, help me. Help me with this child. The windows are fogged, cracked. Outside, it snows. The trees white and sagging, like old breasts. The hymnals whistle through the slim cracks in the clapboards.

“You gonna make it, Miz Josie. There ain't been a single child I ain't been able to deliver smooth and red, Miz Josie. You gonna do just fine. Just push. Push him out.”

Push.

James stands hunched and bland. His lips bulged forward, his forehead sloped. Yellow teeth, barbed, shoveled. Hands in his pocket, cigarette dangling from his mouth, his face bent, splotched, like a good book. He stares at me. Just stares. I know what's on his mind. He wants a boy, godssakes. He's grinding over that thought, shaking it out, fermenting it. I push and push and tell it to come out a boy, or lord in heaven, I think he'll kill it.

I feel as if my guts are being gathered in fistfulls, uprooted.

Hair sticky on my face, heaving, pushing. Belly ribbed and mooned like a bullfrog throat. The faces above me like planets. Just push, Miz Josie. Child at my doorstep. A-knocking, knocking. The strum of each contraction. Building up, condensing. My son. My son. James chewing real slow. His jaw lifting, snapping. The trembling cigarette, bouncing and red-eyed as an insomniac. The midwife's hands probing, guessing, blotting. Eyes staring forward, detached as orbit-less moons. The shriveled brow. The raisin lips. Screams coerced from my lungs, squeezed out. The baby emerging, crowning. Spreading, spreading. Fingers frantic and jobless. Breathless baby, breathless boy.

He chews and smokes.

I push.

The midwife with her pilfered hands and her coaxing, cooing. Bones and veins emerging, surfacing. Temples rounded, pressured, feels as if I'm gonna bleed from my eyes, ears, nose. Heartbeat residing in every artery like churchbell. James swings his head. The gutless room crowding around me. Pushpushpush.

“I can see it, Miz Josie! I can see it! Oh, he comin out real fast!”

I hold the edges of the tub. My knuckles turn white and stark, like barren wives. Rimmed eyelids, shackled breath. In and out. In and out. Puffing cigarette. Drawn lips. And the baby! The baby! Neat, candied face. Features small, gray, wrinkled. The old man expression. Indelible cheeks. Warm, sloppy body, held up against mine, blue and noisy. I hold my breath. Wish it out. I wish it into my arms, into this godforsaken world.

He taps his foot.

Just cry.

The tears, unbidden, unwelcome, like ants when the warm weather comes. Soft communication, sliding chin-ward. The midwife holds my hand. James wouldn't touch it. He lights a new cigarette. He appraises, examines. Blank head of silence. Fumed, gassed, his face like a trench. He catches me looking at him. Smiles. I close my eyes. The smile festers like a rumor.

“He's comin out. Godssakes, this'll be the fastest birth I ever done!”

Oh Lord, Lord. Make him good, make him right.

Just scream.

It snows.

I feel him leave me. Cold, whiteness spreads through my body, my chest. I decompress, uncorked, uncanned. Dizzy, dizzy. Fireflies of light crinkle in and out of my vision. James rises. The midwife scoops him out of the tub, snips the cord, wraps him in a blanket, all in one swift movement. Spanks his footsoles. There is the quietest, valved intake of breath. And he starts crying, wailing. His voice pealed and nodding. Shrill and wonderful. The midwife bounces him. I stretch out my arms. Baby, baby. Names? The necessity of a name hits me. James looks at it. His face shrouds, purples.

“What's wrong with it?”

Midwife with tight, white lips, her eyes laden. She hands me the bundle, kicking, slippery. What's wrong? I accept him.

“That's too bad,” she said. “That's just too bad. Happens ever once in a while. Nothin you can do about it. I'm sorry, Miz Josie.”

I look down. Broad, slabbed face. Slanted eyes, misshaped ears emerging like fungus. Webbed finger gaps, toe gaps. The thin, translucent forehead, all his veins and capillaries spread out like a map. Floppy eyelids, a swollen, empty stare. The fatty blubber skin. Wads of drool at the edges of its lips. Moron face. Dim, clumsy intelligence.

James looks at the midwife.

“Out,” he says.

She stands, shaking her head, collecting her rags and instruments.“I jest does my job, mister. I jest do my job the way it supposed to be done. An mistakes happen to the best of us, I'm sure. Retard or not, I'll still be expecting my pay. Five dollars by sunday, an I'm real sorry but – ”

“Out.”

She shakes her head again, big swinging, sweaty lantern, opens the door and steps out. Loose snow and little breaths of the night swirl in. The midwife leaves behind a cavernous silence, which rests and yawns like a housecat.

The baby cries. Open, pink mouth. Toothless, a snubbed nose. Its tiny fingers curl and uncurl like brainstems. Wailing, wailing. Loud and insurmountable. I look up at James. He just smokes. Bland eyes. His hard, black face pushed forward.

“James,” I say.

He reaches. “Give it to me.”

“What? James, what – ”

“Give it to me.”

“You can't do anything to it! It's a baby! It's our baby!”

I feel like fool sitting in the tub with a screeching baby in my arms, naked, sunken, protesting, light-headed, the room cupping around my like the face of a curious child.

My baby.

Wordless, James reaches for the the child. I shrink, roll, slide, screaming. He grabs a fistful of my hair and yanks me back. Baby wails even louder, trembling, tightening. Nonononono! Give it to me! For God's sake, you good-for-nothing whore give me the little bastard! James slaps me. I gasp, shiver. The baby slips out my arms. He snatches it up. My whole face feels like it's about to come loose. All the sockets and bones grinding. Waxy eyed. Pink and naked, the moon and snow staring blue and motherly through the window like a nurse. I cry, sob. James wraps himself in an overcoat and a scarf. Wailing, squirming baby. Hair plastered to his forehead like insect wings. The knubbed, bloody belly button. James, James! It's a baby! It's a baby, godssakes! What are going to do?

He opens the door and steps out into the bruised night.


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Mon Jun 01, 2009 6:22 pm
Hannah wrote a review...



Hey, my dearest, darling-est yellow angel. <3

I. Little Things

James with his slumped, corroded face and the half-blind midwife with her right eye milky as a fingertip.


I think you could make this a bit more personal by saying whose fingertip her right eye might be as milky as. If the mother is pale, say 'my', or something like that. Maybe as pale as the moon's fingertip or something like that. I don't know. Just make it more personal. I think it needs that.

The trembling cigarette, bouncing and red-eyed as an insomniac.


Well, I'm not an insomniac, so I don't actually know, but what I hear from friends who can't sleep is that they try to sleep, laying still and willing sleep to come, but it never does. Red-eyed, then, is still appropriate, but bouncing? -shrugs-

The old man expression.


I don't quite get what you mean by this, but not only that, the 'the' makes this sentences /too/ specific/personal. The rest of this part is new and vague and I'd suggest saying 'an old man' instead of 'the'. It's weird, but these little articles stick out more than anything else, which is, I suppose, good. The rest of this is /very/ solid.

I feel like fool sitting in the tub with a screeching baby in my arms, naked, sunken, protesting, light-headed, the room cupping around my like the face of a curious child.


*me , first of all, and secondly, I like the image of the curious child, but cupping would make it seem like the face would have to bend outward from the edges, rather than inward as a normal face is shaped. Cupping is good, but maybe you could say hands instead of a face? Otherwise change the verb.

II. Overall

:( :( :( !!

This is so sad. What's weird, though, is that although I know it's sad, I'm not feeling that right now. I didn't really get the amount of emotion that I expected to. I think it's because this is just a small piece and you don't really want to expand it all that much, but if you did, you /need/ to try to get more of the mother's emotions in at the end. The crying, yes, that means she's sad, but I don't /feel/ it. >_<;

PM me if you have questions, love.

-Hannah-




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Sun May 24, 2009 10:45 pm
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Juniper wrote a review...



Hi Kylan! June here!

I'm honestly going to hope this is what you told me to review yesterday? If not, attack me and then let me know which one I should review and I'll do it as soon as possible.


So, all I can really say here is wow.


I love the way you've written this, carefully capturing the tension and anxiety that the characters are feeling. The dialogue was incredible, as well as the setting. Very realistic; I found it to be quite an accurate portrayal of the confusion the mother's obviously feeling.

Angel pointed out that this story lacked pain. I slightly felt the same way on reading that, but I'm feeling now as if it's unnecessary; all of everything else that you have captured excellently in words here builds up to it. Her pain is written to us in unwrit words; I don't feel as if you need to expand on that part as of now.

I love your description as well. It's vague, yet clear at the same time-- which I love, because you're leaving plenty of room for us-- the audience-- to imagine the situation for ourselves. You've done an amazing job with this piece, although it was... horrifyingly amazing to read. Am I making sense?

Another thing that I like here is how disconnected the characters are. James, as we see, barely has a heart. Smoking while this woman's in labor, shooing the midwife away, and finally departing with the baby? That seems utterly nonsensical, yet it's not at all out of place. I think you did amazingly on that, because the only connection we feel between characters is the connection between the mother and the baby.


I think you did extremely well on this. It's kind of... gruesome, but all the while amazingly brilliant and refreshing to read, in an odd way.

Way to go, Kylan. Awesome as always. Next time you ask me to review something of yours, I'll probably just say, "It's awesome."

:P

Gold star =]

Juniper




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Sun May 24, 2009 4:12 pm
Angel of Death wrote a review...



Hey Ky!

It's been a while!

I'm not going to focus on grammar or sentence structure or anything, because everything flowed well and your grammar is always impeccable.

Content-wise, I thought this was a really good story. The way you described labor and the midwife and James as he took in the baby...brilliant but there was one thing, I couldn't get a hold of. The pain. Where was the pain? I know that labor is disgusting and wonderful at the same time but there's also pain. And I really couldn't understand how your MC could take in all of these descriptions without it being altered by the pain she would be in.

Overall, I liked this story a lot and I wish you luck in Cal's contest.


~Angel




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Sun May 24, 2009 4:04 am
nixonblitzen wrote a review...



It's just so awful.

What I'd really like to know is how you knew how to describe labor! The descriptions were really well done - grotesque and lovely. I like how some of your imagery is connected to the birth idea - trees like old breasts, the room like a child's face, the moon and snow like a nurse.

Hands in his pocket, cigarette dangling from his mouth, his face bent, splotched, like a good book.
I didn't really like this "good book" simile. It didn't feel like an effortless comparison, as the others do.

I found the dialogue really delightful.

Okay, so the majority of the story is this tension, this buildup to her delivering the baby. A couple of times I got confused, thinking that he had been born, but really she was just imagining it:
And the baby! The baby! Neat, candied face. Features small, gray, wrinkled. The old man expression. Indelible cheeks. Warm, sloppy body, held up against mine, blue and noisy.
Like here, for instance.

I felt like, after all the tension of the labor, the delivery was kind of anticlimactic. I mean, after all that imagery, it's just "I feel him leave me"? I do like the next like though:
Cold, whiteness spreads through my body, my chest.


The midwife scoops him out of the tub, snips the cord, wraps him in a blanket, all in one swift movement. Spanks his footsoles. There is the quietest, valved intake of breath. And he starts crying, wailing. His voice pealed and nodding. Shrill and wonderful. The midwife bounces him. I stretch out my arms. Baby, baby. Names? The necessity of a name hits me. James looks at it. His face shrouds, purples.

“What's wrong with it?”
I don't understand why she calls the baby "him" a few times, but then they change to "it". It seems like the fact that it's a boy should be emphasized, announced in some way, because that was really important to them.

Moron face. Dim, clumsy intelligence.
And I love this.

I know this is your style, and it's really strong, but sometimes there are too many present participles. It makes it hard for me to read, at times.

Another masterpiece.
-rachel





I just write poetry to throw my mean callous heartless exterior into sharp relief. I’m going to throw you off the ship anyway.
— Vogon Captain (The Hitchhiker’s Guide to the Galaxy)