“Rose!”
The girl’s head snapped up in the direction whence the voice had come. Through youthful, grasshopper-green leaves and thick, decades-old underbrush, she could see patterned trousers, standing stolid atop the lazily rising hill. Watercolour pinks blossoming from the maternal horse chestnut made for pretty obstructions between Rose and her mother’s face. In the background, the Rainbow stood comfortably. Hot scents of coriander, turmeric, and fenugreek rolled Indian-style towards the little girl.
“Coming, mummy!” Rose twirled around and hopped lightly from her perch on the rotting log. She held in her hands the delicate form of a tiny green sailboat, fit for a crew of aphids. A leaf the size of her six year old palm was pulled upwards at both ends by rough sweetgrass to create the hull. These two pieces were then tied to a spindly stick that balanced rather precariously in the lower point of the hull. Rose had ingeniously proceeded to weave another wide leaf down the stick as the sail. She now placed it delicately – in the spirit of dandelion fluff – on the trunk of a tree that had fallen horizontally through the wild wood. The sailboat was nestled safely between the nook formed by the wizened trunk and a protruding branch. Tied to the branch hung four brassy bells all in a row, weathered and dull from years of exposure to the elements.
It was this set of bells that Rose now rang. The sound was shrill and without tune and ravens fluttered from their high above perches in the trees. A glimmer of a smile appeared on the young girl’s rosebud lips. Her green eyes twinkled with childish ecstasy and, with one last glance around the magical grotto, Rose pattered over the miniature bridge, ignoring its high-pitched complaints. Her mother, an ivory girl with dark hair and smiling eyes, waited at the top. She bent down and adjusted the large, doily-like collar of her daughter’s dress.
“Snooks, Abracadabra won’t come if you’re always trampling around in the Wildwood,” she said, walking towards the Rainbow. Rose scurried after. They climbed the front veranda stairs together and Mummy opened the screen door. They usually left the dark wooden door hinged to the interior wall because they were constantly going in and out. Rose approached with trepidation. It had not been so long ago that an aggressive wasp from beneath the doorframe had attacked her index finger. It had hurt and marred an otherwise fun memory with Grandpa, throwing a pool noodle back and forth, like a baseball run through a spaghetti machine.
Inside, the smell of spices hit stronger, but little Rose liked it. Grandma insisted on curry because Petie had loved it so much. It was the one thing he had insisted on when they had married and even though his wife had little aspiration to live out her days as a housewife, she learned how to make a mean curry. It all stemmed from his childhood growing up in Burma. And now Mummy had learned, in spite of the fact that no man sat loyally on her right.
The table was laden with all the proper condiments when Rose took her place in a woven basket chair. Mummy had placed sesame seeds, diced tomatoes, and spoonfuls of heavy yoghurt in blue and white china bowls. A purple-labeled glass jar, the contents oily with spice, was closest to Grandma’s seat; everyone knew she enjoyed chutney far too much. Grandpa had thrown in his two cents, adding paper thin leeks and watery cucumbers to the table. This was one of Rose’s favourite meals at the Rainbow and yet her mind was on Abracadabra, who she could only imagine was flitting about the Wildwood, dining on mushrooms with her neighbours the ants and beetles. So, as she dug into her delectable home-made meal, there was no hungry vigour, no smacking of the lips, but rather the movement of well-oiled gears in her mind, humming quietly.
When the meal was finished, Rose was still unable to escape back to her fantasy world. Grandma moved to the television room with the ghastly wool carpet to watch her Wheel of Fortune and the other three collected the dishes for the washing. After, Mummy showed Rose for the first time how to make a pink gin and tonic.
“This is Grandma’s favourite drink so this is very important to know how to do,” said the ivory-faced woman, as she pulled out a highball glass from the cupboard, dropped a few ice cubes into it, and placed it on a silver tray. She then stooped down so that she was eye-level with the liquor cabinet and pulled out a tall bottle with a blue label, the words “Plymouth Gin” in heavy-set font. Next was a much smaller bottle, topped with a frighteningly yellow cap, and it looked almost like something that might contain some sort of dreadful medicine. As Mummy opened it, Rose noticed her slight grimace. “This is called Angostura bitters. Grandma likes four dashes of this followed by two shots of gin – that’s the other bottle.”
Mummy retrieved a small shot glass and passed it to Rose, gently instructing her to pour two of those of gin into the glass once she herself had thrown the requisite amount of bitters. Finally, cracking open a yellow can of Schweppes, the little girl slowly topped up Grandma’s drink as her mother smoothly cut an inch-long strip of lime. She lightly cut this into the side of the glass and the pair stepped back to look at their work.
Rose liked the colours. The drink itself was a soft pink, but the ice cubes gave it a whitish tinge. The bright green lime made everything seem a little more jazzy and interesting. However, when Rose took a step forward, the smell made her nose wriggle up in disgust. She could not understand how her grandmother could take pleasure in such a strange, unpleasant concoction. Perhaps when she was older, classier, and wiser.
The six year old took up the silver tray in her two hands – “Be steady, Snooks,” reminded Mummy – and walked with the utmost care and patience through to the television alcove, which was just off of the sitting room. Grandma sat in a large rocking chair, diagonal from the screen, that had been refurbished with heavy white cotton years ago. There was always the high, silk wingback chair with the oak arms and legs that was positioned at a much better vantage point, but it had been Petie’s so people rarely, if ever, sat in it. Grandma smiled appraisingly at Rose, who now approached with trembling arms.
“Here you go, Grandma,” said Rose hopefully. The older woman took the glass in a veiny hand and sipped.
“It’s perfect, darling.” Grandma gave her only great-granddaughter a loving pat on the head. Rose leaned forward and gave her a quick peck on the cheek before hopping away, silver tray in hand. She was happy because the drink had been approved, but she was even more happier that she was now off the hook. The Wildwood awaited and so did Abracadabra.
After quickly returning the tray to a bewildered Mummy, Rose put on her red leather shoes and raced at top speed over the small hill, down past the lake where the Ogopogo dwelled in its depths, and across the rickety bridge, where she immediately became immersed in the fresh scent of moistly decomposing leaves and blooming May flowers. A gentle breeze blew in from the water, catching long strands of brown hair that fluttered annoyingly across Rose’s face. She stepped softly forward towards the bells and where she had placed her minute sailboat. It was no longer there. Sometimes, Rose wondered how Abracadabra ever got around to collecting the little gifts that were left to her by the children that frequented the Rainbow. She couldn’t have been much taller than the little girl’s smallest finger, with limbs not larger than toothpicks.
Actually, it was not uncommon that Rose ever wondered how Abracadabra would look like to the naked eye. The little girl swore up and down that she had seen the remnants of tiny footprints, gold and sparkly, trailing up the side of the tree trunk. Once, the silky head of a buttercup had been left next to the Wildwood bells and Rose was certain that it was a cap Abracadabra had accidentally left behind during her errands. Nevertheless, the imaginative girl never pictured her mysterious friend in anything but a loose gown made of the smoothest violet petals, with undulating hair the colour of prairie grass. Her skin would be as clear as porcelain, her kind eyes bright with sunny flecks, and wings so precious they might have disintegrated at a human’s most timid touch. Rose had at times spent hours scouring the rotting underbrush for Abracadabra’s home, eager to offer the elusive being sweet hugs and admiring kisses. She had upturned large mushrooms, mossy rocks, and soft driftwood but to no avail. Rose had never laid eyes upon her Abracadabra.
But now was not time to mourn the unknown and unseen. Rose’s sailboat was gone, which only meant that a gift lay hidden somewhere in a forested cranny. This was how it worked: the bells were rung and Abracadabra would leave a special little something for that special little someone. It was not required to leave something as well, but that was Rose’s warm-hearted initiative. Her heart remained idealistic and hopeful in the face of the evasive woodland dweller. So now she trotted carefully between the weeping willow’s tears, roots that sabotaged even the most skilfully placed steps, and mud that squelched like quicksand. Her red shoes were soon brown, the backs of her legs splattered with dirt. As she ventured further into the more overgrown parts of the Wildwood, the sound of the creek dissipated and only the ravens fleeing their heavenly posts kept Rose solidly in reality, although it was only a matter of time before the young girl would be lost to the fantastical lights of a dreamscape.
In the dimming light, Rose saw a faint paleness. Moving closer, she abandoned all hopes of keeping the last of her dress’ hem clean as she ripped past ancient logs and sticky burs. She crouched down and withdrew a tiny porcelain figurine from two rocks and a jumble of roots. In her hand was the most magnificent fairy, with silvery wings, long flaxen hair, and a slender purple gown. She stood on a careful representation of a mossy knoll, dotted intermittently with lupins and white yarrow. On her face was an expression of utter serenity and wisdom. Her eyes, though really only small, painted yellowish dots, seemed to penetrate Rose’s own childish ones. There was something almost familiar about the fairy, something almost alive about her, that the immature six year old couldn’t even begin to to place. Rose was a thousand fathoms from reality, wrapped up in the fairy that stood lightly in the centre of her palm.
With stars in her eyes, Rose ran back up to the Rainbow where the sun now set upon its front door. She glimpsed Grandma through the window, who sipped the last dregs of her bitter pink gin, and Mummy who had joined her after the dishwashing – although boredom was most evident in dull eyes. Grandpa was, of course, nowhere to be found, having likely holed himself up in the Bunny Room where moth balls and weighty volumes abounded. Their great-granddaughter, daughter, and granddaughter, respectively, was far from their minds, and she now slipped by with whispering footfalls. She entered the Big Bedroom that she shared with Mummy, a place forever plagued by a strange, damp chill due to badly insulated windows. The stone fireplace was never used except as a dust collector. Sometimes, it played host to other dust collectors as well – trinkets better left forgotten. The flowery rug imported from some distant cousin’s dilapidated Tenbury Wells estate had faded from years of sun abuse. Whatever grandeur this room had once possessed only now remained in its name, nonetheless condescending.
Yet, the Big Bedoom had that air of authenticity, of nostalgia not gone amiss, that sparked such a pastel whimsicality within Rose’s soul. This was the best place for her newly acquired cadeau, she decided. Moving to the other side of the room – for some reason, a part she rarely ventured in – she glanced around, wondering where might the best place for the porcelain figure. And then she saw it: a series of five dusty books, the gold text on their spines no longer legible, that were positioned underneath an oft looked-over windowsill, as was made clear by the fact that it hosted a variety of insect corpses. It was an enduring place. Rose placed the fairy in front of the ancient tomes, before starting for the door. Just as she was about to exit, the little girl turned back, eyes alight.
“Don’t worry, Abracadabra, I’ll be back soon.” And so it was that Rose skipped away, skirts sashaying, into the real world.
But she never forgot.
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Hello Lavvie, Pretzel here for another review on this lovely Review Day, So I have probably read this three times before even attempting a review, the reason being that I actually needed to have the time and motivation to complete this task.
I'm doing a new format, whilst giving you eight point, so please bear along with me. <3
Anyways, let's begin, shall we?
I like this innocent perspective that comes from a scene from almost every childhood. It seems like it can relate and reasonates with the memories of the readers as well, dinner at grandma and grandpa's house where you're cooking your native food.
1. Characterization
Ok, so I got really confused at first on what the relationship between the characters was, in terms of family. And thanks for at the end telling us that Rose was a great-granddaughter, granddaughter, and daughter. I guess I was just wondering about because it seemed like the greatgrandmother was making some sort of dish that her deceased husband has always liked to eat, but at time I was confused if she wasn't feeding this to her son (the grandpa).
I also noticed an excessive amount of internalization, because as a character it seemed like Rose really carefully wondered about every single action that she was doing, which slowed down the story along with the over-done flowery prose. Don't get me wrong, description is great, but too much description, that actually detracts from the plotline, isn't really necessary. Not only did she, for most of the chapter be in her imaginative land, but she also observed every single detail, or something that I would assume is a "familiar" forest since she has probably been living here for six years or such.
2. Continuity
Again, going off the first point, I don't really believe that's it's necessary to plot every single point and step that Rose takes. Especially since you have written this from a third POV, it's quite difficult to remain more observatory than involved in a simple walk in the woods, which is something that I think every reader could realize.
I am sure that some details can be deleted, for the purpose that the reader can actually have an active imagination and make their own inferences on how Rainbow looks like and so on.
3. Techiniques
So basically you really tend to rely or adjectives and adverbs. In a lot of places, actually almost every descriptive noun, you try add an adverb or adjective into. Also, as a compliment I do have to say that your verbs are very clear and precise, which makes all of these extra adj. and adv. not needed to understand the action that's going on. As long as your verbs have painted a strong mental image, with editing, you could probably take out most of those flowery words.
4. Format of the Text
Ahh, the word that I'm looking for is : verbosity -it's probably because you fell in love with your words too much, as I have already explained in previous paragraphs.. You basically have to go through this yourself, as a writer, but mainly a nitpicker and learn how to lean, trim, and tighten those words. This has become a habit for my poetry, and while this surely isn't poetry this still applies. When you are starting to try and get rid of the clutter, you can ask yourself questions such as:
"Do I need this word to be there? (absolute)"
"Is there any way that I can reaarange/omit the words in this sentence, to still carry the say meaning but make it shorter?"
Basically every single word has meaning, and wise writers choose their words very carefully. This is a skill that needs to be practiced over and over again, and over time you will probably be much better at it than you were before.
5. Dialogue
There was very very minimal dialogue, but I just wanted to point out the one and only piece of it that actually stuck out to me. The mother was was reapeating that phrase twice, which honestly made it seem very clunky to me. I think that you omit that second repetitive words.
6. Plots
So basically, I think that there were too many distractions to the main plot, which gladly you made it well done by making it very clear to the readers what Rose (Snooks) was trying to do. She goes and eats a family dinner (and while that does bring nostalgia- it's a filler to what she really wants to accomplish, why can't we just start after dinner or something like that). And then when she made the drink for grandma, other food-related distraction. You honestly could have summed up those two parts in 2-3 sentences, and it would have been all good and done.
7. Pacing
I guess that going back to dialogue a bit, you need to try to balance dialogue and action equally, even if she is in the woods by herself. Perhaps she could talk out loud to Abracadabra, since we're not actually inside her head... So far, judging by the couple of lines that I have written, Rose's dialogue is absolutely excellent and beautiful, but I want to see more of it. Please keep in mind that if you write pages of description without dialogue, I will lose contact with Rose as a character.
8. Conflict
The resolution, hmmm, so unexpected. Just like that, she found the porcelain fairy and she stopped fantasizing and imangining and dreaming and such and then suddenly something changed and she went into the real world and left the doll behind? (after all-she's still only 6)I'm just very confused and trying to piece these endings together. I wanted to know what happened after this, how the doll impacted Rose's adult/teenagery life, if she never actually forgot it. You should work on those loose ends by trying to wrap it up with a satisfactory ending that won't leave your readers so hanging on the edge with almost nothing.
That's all that I have. I'm sorry if this turned out to be harsh, because I honestly do love your grammar and unique writing style. I hope that you understand this, and least some of my rambling, and if you have any questions feel free to let me know!
~P.S.
Aw man, this was super cute!! Writing in the viewpoint of a child can be hard, and I think you've hit it spot on. Little touches like calling it the "Big Bedroom," and the childish names like the Rainbow and Abracadabra, and how she finds all the adult stuff soooo boring. XD It was just fun.
I feel like it might have been a little description-heavy. There's a lot of information being delivered here, and I don't feel like I've been given a reason as a reader as to why I'm being told. This feels like it's meant to be a very thoughtful, calm, emotional piece. In the comments, you said it was a nostalgic trip for you. It'd be so fun for you to make us feel the same soft, happy feelings you associate with this story! The descriptions feel very....descriptive? Like you're describing a picture, or a movie in your head. What do you want me to feel? And how are you going to do that?
I would also focus on what questions you want your readers to be asking. I remember one book I read that was extremely info-dumpy, and I absolutely loved the book, and I asked, "Why is it okay here when this, for me, is usually a dealbreaker?" it was because by the time he got to the info dump, my general reaction was, "Ooh, goodie, I've been wondering about this! I finally get to figure it out!"
"Who is Abracadabra? Will the boat be there when she gets back? Is Abracadabra okay? Is she going to be able to escape dinner, or will the adults keep her there forever?" Questions create that tension, or more like that pull, that keeps your readers reading. I felt like most questions I could have been asking were answered before I asked, or buried in information.
That said, as a writer, I really liked your descriptions. After I finished, I realized that the pictures I had in my head were very bright and colorful. Brighter than a Ghibli film, sort of bright! And that was awesome!!
We shall write deeply and eloquently, we will weave colourful tapestries of words for our adoring readers, we shall lead them through the fragrant forests of our imagination... yet in this, we forget what we want to say, if anything at all. The tapestry style of writing works only in short segments, only on special occasions. Most writing, to be successful, needs to be like a taut rope than a tapestry. The rope of this piece is more occupied with its laces and bowties to be taut, or otherwise tensed to any degree.
The plot, as I see it, is of a girl making a little sailboat and offering gifts to her (doll/imaginary friend?) and setting it on water. Then, a long segment about mixing Grandma's favourite cocktail follows. I got the impression that this was not intended to be an important part of the story, there only to delay Rose while her fairy friend accepts her gifts. Then she finds the fairy, brings her back home, and sets her on the family mantelpiece -- and marches into the uncertainty of the real world! The pomp and circumstance is thick enough to cut with a pink cake-knife.
I am not sure what this piece is trying to achieve. It feels like it's trying to convey the mood of childhood idleness and innocence, but idleness is hard to convey in writing -- because one needs to expend energy reading it in the first place. I would have appreciated a plot of some kind, where I could root for the main character: "aww, you go, little tyke!" Here there wasn't really... much to root for. A meaningful reflection could've gone over pretty well here, too: she prepares the gross drink for Grandma, and then this scene is interspersed with Rose as a young woman at a party enjoying a cooler and flirting with guys. That may have hit a note.
Some of the descriptions are a little odd. Rose's mother is described as ivory two times. At first I took that just to mean she was white. The second time, I started to wonder if her character actually has something to do with ivory, whether I should be associating elephant tusks with her more closely than a fleeting metaphor of colour. And as I'd already alluded to, there was a lot of fluff here in general, a lot of description that doesn't seem to be achieving anything. The phrase "the delicate form of a tiny green sailboat", flush with purple, could've been "little sailboat". We already know it's made of a leaf, we know it's green and delicate. Why restate what was already written?
I don't know. Perhaps this piece carries more meaning to the author than to me, being a veiled recollection of the past through rose-coloured glasses (pun very much intended and looked forward to being used throughout this whole review), and as such, was a pleasure for the author to write and read. I, however, having visited this world, do wish that there was more to do than look at the pretty scenery.
Your servant,
cC
Thanks, cC! You're right; this was a bit of a nostalgia trip for me. I'll keep your suggestions in mind while I revise. x
I love your use of imagery throughout the story I can clearly see what you are trying to depict. In the first paragraph on the third line you spelled the word solid wrong. Since your writing in third person i don't you should refer to her mother as mummy. I feel that when you say" two of those of gin" it could be worded at tad differently. Overall this was an amazing short story. You were very descriptive, which i loved. It was a fun story to read and i am exited to read more.
"Stolid" is a word. Google is at your fingertips.
Thanks, cC.
@Lavvie I'm extremely sorry i will be extra careful not to do it next time.
Haha it's not a problem