z

Young Writers Society



Machinations #2 (part 1)

by Kylan


Seville, Spain

Charlotte Rush slapped the tape recorder on the café table and sat back, letting her eyes trace the geography of the clouds – tattered rags of cotton – that were being marinated in a washed-out blue above them. She liked it here. It was such a far cry from Starbucks cups and cubicles like coffins. The ambiance was nothing like the concertos of car horns and police siren overtures. Things were natural here. Things were fresh and new and saturated with atmosphere. Something other than the high-maintenance, octane-caffeine cocktail driven gilded-cage Americana.

Spain.

With air that tasted like the skirts of Flamenco dancers and smelled like stucco roofs and Picasso with chipping paint.

She could live here. Godssakes, she could die here.

In the direction of the tape recorder she recited, “June second, 1992. Interview with Mr. Benjamin Partridge.” She looked over at the bull-necked man opposite her, his face rutted with chiseled crevasses and painted the color of dying incandescent lightbulbs by cigar smoke. His tie was loosened. His lips were tight.

He was playing with an unlit cigar.

“Let's make this quick, kid. This heat is killing me.”

Charlotte smiled, “You're living in the wrong place I guess.”

“Live? This is where I get drunk. This is where I come when I wanna dust my feet of the crummy bureaucratic whores in Washington who rape the constitution and snap me legal handcuffs. And then I fly somewhere else. Somewhere with a cooler climate and different selection of booze.”

“Spain's a shot of tequila.”

He nodded and tapped the cigar on the table. “Yeah. And you can quote me on that.”

“So what's the weather like in Israel?”

“How the hell should I know?”

“Your bombs are going off all over the place there. Your guns are making beautiful music there. Hot place to be. Just jumping.”

“Gotta make a living, kid. One day, when you've got a real job, a job that doesn't involve pasting mud all over reputations that've taken a lifetime to build, you'll realize that.”

Charlotte smirked. “What about the people who aren't living anymore, huh? What about the dead kids lying in the streets with holes punched into their stomachs?”

“No. None of this guilt stuff. I don't talk the language of sentimentality, honey. I talk bank account numbers and dollar bills. If they're paying out real money, I could care less what they're doing with my weapons.”

“You know this is going to be front page, right?”

“Screw the front page. You want a statement, I'm making one. I'm a capitalist. I sell weapons to the highest bidder with only my stockholders in mind. I'm not in the business of world peace, I'm in the business of signing deals and popping corks.”

Around them, people's voices rolled down cobblestone streets like loose coins, skipping down gutters and executing graceful pirouettes as they made stationary orbits on stair steps and café entrances and at the feet of tourists and men and women on their way to work. Ringing like discarded bullet shells, they faded into the smothering heat. Heat that filled open living rooms like rubber cement. Heat that asphyxiated flies and painted grass brittle, dull colors.

People sweated their voices.

Their voices slipped from their pores and down their faces and tinkled to the sidewalks as coins.

And the streets were littered with the corpses of flies and liberated dimes.

Charlotte sat back and watched the road ahead twitch and shiver like a mile of ribbon, asphalt ripples caused by people's footsteps and breathing and sweat droplets. Partridge slipped the cigar between his lips and wiped crown-jewels of sweat from his hairline with the back of his hand.

Charlotte felt disgust percolating in her stomach.

The guy was everything she had come to hate. The embodiment of decadence and apathy and consumerism. He was like some kind of industrialist poster child, sitting there with in an Armani suit and smoking a ten dollar cigar. Rolled tobacco that dripped blood. Blood that spattered his designer suit and dripped down his face.

The blood of a thousand gutted children.

She smiled at Partridge.

He smiled back. And his teeth were stained with crimson.

“Okay. So you're in this to make a profit. You take a profit from a sub-machine round and turn it into nice green numbers on your bank statement,” she said.

“Not that green.”

“Whatever. I've got another question for you. Are you a religious person, Mr. Partridge?”

He smirked. “Religion is a difficult thing to define.”

“You think there's a God?”

“Sure. Why the hell not?”

“So do you have any moral convictions? Any limits? Is there a line drawn somewhere you wouldn't cross.”

Partridge stared at her.

Charlotte shook her head and leaned forward. “The people over there are like children. Children on a holy playground with grudges that last with for an eternity. And you're putting guns in their hands. Your tossing them missiles and bullet clips and feeding the flames. Is that crossing the line? Would you hand a kid a pistol and tell 'em to go take care of their own problems.”

“It's not the same.”

Charlotte slammed her fist against a table and the tape recorder shuddered. “You bet it is! It's exactly the same. Except these kids are paying you for the privilege. They're slipping you checks so that you can give them the means to put craters in that playground. And frankly, honey, you're just too gutless to see past your own rationalizations and into the mirror!” She could feel her chest heaving and her expression twisted like blistered paint. She knew she was being unprofessional, she knew she was making enemies, but for God's sake, his ignorance – his indifference – hit her like something physical. As if he was throwing bricks at her.

All of her articles like windows.

Splintered pieces of ink-stained glass strewn across the ground; dead soldiers in ideological streets.

He was spraying acid all over her carefully crafted philosophy of mankind:

Sociopathic maniacs who had good intentions and a at least a small streak of humanity.

“Are you finished, Ms. Rush?”

His words were daggers. “I could just talk hours with you, sir.”

“I bet you could. I'll be expecting something good in the papers tomorrow. Maybe even a photo of me and horns sticking out of my forehead penciled in. Talk to your editor about it. I'm sure Washington would eat it up.”

“Listen – ”

Benjamin Partridge held up his hand and shook his head, getting to his feet slowly. “Sorry, hon. You crossed your own line. You stabbed calm and collected in the back five minutes ago.” He slipped a lighter out of his pocket and touched it to his cigar – blooming embers – and smoke stumbled from his mouth like the breath of an industrial skyline.

“Give my regards to tequila, will you?”


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172 Reviews


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Mon Jun 02, 2008 6:39 pm
Lynlyn wrote a review...



Man. You're so awesome. And I'm so jealous.

Charlotte smirked. “What about the people who aren't living anymore, huh? What about the dead kids lying in the streets with holes punched into their stomachs?”

This transition seemed really quick to me. I think that the transition from professional to unprofessional could be smoothed a little more by making this sentence a little more subtle - something vague and reporter-ish versus the a very personal sting.

I second Esme's comma suggestions (no point in retyping 'em ;) )

I don't think there are too many fragments, I just think that there are one or two too many line breaks. Some of the description about people "sweating their voices" - that whole epic simile could be compressed into one paragraph, methinks.

Darn, you're good.




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Fri May 30, 2008 12:51 am
BigBadBear wrote a review...



Hey, Kylan! Well, I'm going to echo every critique when I say it was friggen awesome. Not that that's totally surprising. Has there ever been anything that hasn't exceeded my 'Wow Factor'? I thought not!

Anyway, there was only one part when I got confused. They were in the heated discussion, and I couldn't tell who was talking. Kinda difficult to keep things straight. It's right here:

“Your bombs are going off all over the place there. Your guns are making beautiful music there. Hot place to be. Just jumping.”

“Gotta make a living, kid. One day, when you've got a real job, a job that doesn't involve pasting mud all over reputations that've taken a lifetime to build, you'll realize that.”

Charlotte smirked. “What about the people who aren't living anymore, huh? What about the dead kids lying in the streets with holes punched into their stomachs?”

“No. None of this guilt stuff. I don't talk the language of sentimentality, honey. I talk bank account numbers and dollar bills. If they're paying out real money, I could care less what they're doing with my weapons.”


(Sorry for the long quote! :red:) Anyway, I would've appreciated at least another dialogue tag here somewhere. But then again, it doesn't matter. I got lost easily.

This was absolutely incredible. I don't know why I didn't read this when it first came out. Anyway, I'm gonna go to part two now.

-Jared




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Sat May 24, 2008 3:28 pm
Kylan says...



The fantasy is coming...

:wink:

Anyway, thank you all for your critiques and praise. Part two is up and expect #3 (part 1) tomorrow maybe.

-Kylan




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Fri May 23, 2008 5:37 pm
GryphonFledgling wrote a review...



Very, very nice. Seriously, you are just killing me with this thing. It's just too wonderful.

Charlotte does get pretty unprofessional pretty fast. Perhaps you could get a little more into her head so that we can see the building frustration before it all finally explodes? As is, we hear about her reasons after the fact. Why is she interviewing this guy anyway? What is her ultimate cause?

As is, however, I really enjoyed both of their characters. They have such nicely conflicting personalities that are played to the hilt so that the conversation is just amazing. Fabulous dialogue.

Love your imagery. I'm going to shrivel up and die in shame. Absolutely marvelous stuff there.

Lots of praise, no real constructive criticism. I hate leaving reviews like this, but it's too good to not say anything about.

An actual question, however: why is this put in the "fantasy" section? As of right now, there appears to be nothing "fantasy" about it. Will this change? Don't get me wrong, I'm loving it, but the genre you have put it in appears to be rather misleading right now.

On to the next section!

~GryphonFledgling




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Wed May 21, 2008 6:46 am
Esmé wrote a review...



Kylan,

First of all, I’d like to say that I couldn’t wait for the next installment - and here it is, making me all giddy. So, I’ll discard any attempts at making a passable into, and just go on reading.



Quote:
With air that tasted like the skirts of Flamenco dancers and smelled like stucco roofs and Picasso with chipping paint.

Hmm, personally, I’d like to see that expanded.


Quote
“You're living in the wrong place I guess.”

Comma, I think.


Quote:
“Yeah. And you can quote me on that.”
“So what's the weather like in Israel?”

Hmm, I’d like to see a smoother transition.


Quote
“So what's the weather like in Israel?”

Another comma?


Quote
Charlotte felt disgust percolating in her stomach.

Nothing wrong with that, but the last paragraph also starts out with “Charlotte”, and it stands out.


Quote:
She smiled at Partridge.
He smiled back. And his teeth were stained with crimson.

Loved that.


Quote:
Is there a line drawn somewhere you wouldn't cross.

Question mark.


Quote:
Would you hand a kid a pistol and tell 'em to go take care of their own problems.”

Question mark.


Quote:
Charlotte slammed her fist against a table and the tape recorder shuddered.

Perhaps: “the table”.


Quote:
He was spraying acid all over her carefully crafted philosophy of mankind:
Sociopathic maniacs who had good intentions and a at least a small streak of humanity.

Hmm, perhaps the part after the colon should be in the same line as the text before? Also, I’m deliberating on how it would look like if there was a comma instead of that colon.


Quote:
“Give my regards to tequila, will you?”

Nice one.



Okay, so that is the end of the nitpicks; on to my impressions. Dialogue ran smooth, and the descriptions were lovely (but I really would like to see the part I highlighted expanded…). As to characters… the interviewee was real, alive, and struck me as very three-dimensional. Same could be said about the interviewer. Other than that transition part, I don’t think I have anything to ramble on and on about.


Thanks for posting, I’m waiting for the next.
Esme.




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Wed May 21, 2008 5:13 am
Alteran wrote a review...



Kylan wrote:
Charlotte Rush slapped the tape recorder on the café table and sat back, letting her eyes trace the geography of the clouds – tattered rags of cotton – that were being marinated in a washed-out blue above them. She liked it here. It was such a far cry from Starbucks cups and cubicles like coffins.I think that should be Coffin like cubicles The ambiance was nothing like the concertos of car horns and police siren overtures. Things were natural here. Things were fresh and new and saturated with atmosphere. Something other than the high-maintenance, octane-caffeine cocktail driven gilded-cage Americana.color=red]I really lied that last bit. A really great description[/color]


Kylan wrote: The guy was everything she had come to hate. The embodiment of decadence and apathy and consumerism. He was like some kind of industrialist poster child, sitting there [s]with[/s] in an Armani suit and smoking a ten dollar cigar. Rolled tobacco that dripped blood. Blood that spattered his designer suit and dripped down his face.


Kylan wrote: Charlotte shook her head and leaned forward. “The people over there are like children. Children on a holy playground with grudges that last [s]with [/s]for an eternity. And you're putting guns in their hands. Your tossing them missiles and bullet clips and feeding the flames. Is that crossing the line? Would you hand a kid a pistol and tell 'em to go take care of their own problems.”


That was freakin' amazing. I mean wow. The descriptions, the dialogue, the content are all brilliant. I really don't see anything you need to work on to be honest. There were a few slips of an extra word or something minor but other than that I think it looks great.




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Wed May 21, 2008 1:01 am
Black Ghost wrote a review...



Hey Kylan! Another great installment. I love your dialogue, it's very snappy and realistic at the same time. It flows well, and the conversation seems very natural. Your description is fabulous, as always, and I only have a couple of comments to make:

Is there a line drawn somewhere you wouldn't cross.”


I don't know if you meant an question mark there or not. ^_^

All of her articles like windows.

Splintered pieces of ink-stained glass strewn across the ground; dead soldiers in ideological streets.

He was spraying acid all over her carefully crafted philosophy of mankind:

Sociopathic maniacs who had good intentions and a at least a small streak of humanity


Please don't take this the wrong way, because I think you're writing is excellent, but do you think that you may be using fragments just a little too much? Fragments are great here and there when used sparingly, but I personally think that an abundance of them makes the whole feel very detached. And again, this is just my personal opinion. It's you style in the end and you can take or leave my thoughts. :P

[s]BlackGhost[/s]





You are going to love some of your characters because they are you, or some facet of you, and you are going to hate some characters for the same reason.
— Anne Lamott