Warning: This work has been rated 16+.
"I don't know," I was saying. "It's just that often, and particularly, to someone as I am who is always so damn aware of everything, I have this sense of justice, that the fact I'm so aware means I should be cut some slack. Like this immense fear of death should render me immortal. This acknowledgement of an immense fear of death. And I guess I want it to be so because it's one thing to want something so wholly and another to watch yourself consumed by want. It's killing." I turned to look at her. She still looked at the ceiling, her hand on her bare stomach, seeming to absorb what I was saying. "I don't know. I really don't know. Perhaps I'm cool with the plan not working. Perhaps. And lately I was thinking of entering a competition, and praying to win because I needed the five thousand. But then I thought someone probably needed it more than I did. So I said I wouldn't enter. But then, that meant I wouldn't enter any competitions, and I thought of entering, and I thought it was by grace not by works, but then, I might not be the recipient of grace this time. How do I know when? And then it got very fantastical, me hearing from God. He's whispering to me the right codes for the lottery, you know." She's smiling vaguely. I need to keep on talking but I watch her. Her fingers aren't still. They're tracing circles round her navel. I want to do that. Infinitely.
I say, "Let's travel to Maidugiri."
"Have you ever been?"
"I'm not sure. My dad always spoke of it when I was little and so I have memories of the place, the heat and the rice and the sprawling fields of sand. Whenever I speak of the North, I say I've been to Maidugiri."
"There's never a short answer with you." She says, still staring, but her tone has noticeably convoluted, and I tell she's joking. I laugh.
"Let's run? Now. Take a night bus. Look for lodging. I have about half a million in the bank. I'd work when it runs out. We could get married. I'm disillusioned with school." She looks at me now, the way she's been looking at the ceiling. "I love you."
She pokes my bare chest first, her eyes glinting in remembrance. Then she slaps me lightly on the cheek. "Holden."
""Ehn?" I try to feign ignorance.
"Bastard. I would have run."
"Let's."
She's silent.
"Let's."
"Bastard." She says. Then she stands, the sheets falling off her bare body, and says she'd like to have her bath. Maidugiri is a long journey after all. I look at her, and can tell she knows I'm looking, until she's gone into the bathroom. And I smile, knowing she's teasing, and think myself in love.
Points:
Time spent:
IP address:
Canary word: Present
Possible AI signals:
Original Text:
Are you sure you want to delete this comment? This cannot be undone.
Mark this comment as a review? Points will be awarded to the poster.
Your comment was posted, but it wasn’t long enough to count as a review. Reviews need about four complete sentences (at least 250 characters). Try writing another review that explains your thoughts in more detail — the author will appreciate it, and you’ll earn points for it.
Hello! I haven't reviewed a short story in quite some time, so I thought I'd change that.
My common commentary in a review is to ask for more emotions, descriptions, settings, etc. When it comes to the line of generic vs. specific, I can almost always be found on the specific side. However, here, I feel that the story can stand on its own merits. Though I don't get a clear picture of the appearance of the couple, their room, or the circumstances that they remember and are charmed by, I believe that those concepts are irrelevant. What matters here is the conversation between the two, and that is conveyed beautifully. I like the narrator's opening descriptions on death and grace, the latter ironically verified in a much more subtle way than the narrator might've anticipated, thanks to the way his girlfriend is happy to leave with him and start a new life. The first paragraph may have been long and, originally, rather daunting to read, but I feel that it outlines a nice bit of philosophy, explains the narrator's personality, and sets up the story well. As such, the story starts on a high note, and the loving tone and good nature of the subsequent conversations and plots keeps it strong.
As for criticisms, I don't have much to say. "I should be cut some slack" reads awkwardly, and actually confused me the first time I read the sentence it was in. "People should cut me some slack" may seem more informal, though, but I think it would be more fitting, if I consider the relatively informal tone that the narrator adopts in his words. Otherwise, I don't know if the space in "I love you" is intentional or not. If it isn't, I'd advise removing it; if it is, it might be better to replace the space with something more correct punctuation-wise, like an ellipse or a comma (the latter isn't necessarily correct grammar, but I think the rules can be bent here). Otherwise, everything else is just some minor issues with pauses and commas that don't mess up the flow of the story that much, and can be resolved by just reading the story out loud and seeing where you pause. All in all, though, what a wonderful short story! Great job!
Hello, Mich4el! PastelSlushie here for a review. Let's get right into it!
The first thing I want to point out is the majority of this story is in one big paragraph. The big jumble really got me confused and I lost my spot quite a lot, making me start over. The plot you chose seems to have no backbone, it seems to start at random. Combine all these factors, and you have a story that didn't interest me very much.
The majority of this story is just talking, which I would suggest cutting down a lot, add more actions of what the characters are doing. Add in little details here and there. Every story needs an even balance of quotation and sentences, and this is leading all the way towards quotation, which, again, leads to an uninteresting story.
The overall view of this story looks very messy and rushed. I knew I was going to be in for a ride at first glance. The majority of it is crammed into one sentence and everything else looks weird. It seems the only reason you separated it was because the girl started talking. We only see actual actions from the characters until near the end, which is not okay.
Feel free to send me a message if you have any questions or disagree with anything in my review. Best of luck in your future pieces.
Pastel
What you said about another paragraph starting only because the girl began talking is true; it made me really see the issue. Thanks. And more action. noted. Thanks for reading
Hello there!
I haven't even started reading it and your sentences just won't stop. They keep going. I mean, you need to make sentences a little shorter.
"It's just that often, and particularly, to someone as I am who is always so damn aware of everything. I have this sense of justice, that the fact I'm so aware means I should be cut some slack"
You could have shortened it. And I really don't understand, what your character is trying to say, if possible, do explain below.
Here again
"And I guess I want it to be so because it's one thing to want something so wholly and another to watch yourself consumed by want."
First, it is really confusing. Second, if anyhow it makes any sense, some commas would be better. "I turned to look at her..." At this point you should have changed the paragraph. I mean, i haven't even read it completely, but when I take a overview, it looks so messy. It's like you have crammed this first part of the story and the latter is staggered.
Now, take cognizance, over what I'm going to say. You either write as a first person "I" or second person "we" or third person "you". And while writing you change the nature of sentences. If it's been started as past tense, it stays like that, until your story ends. You have made that mistake.
First work on these things. When your writing looks alluring, people want to read it.
Have a good day my friend.
Hey. Er, I guess the first quote was about tye narrator talking about how being so aware of certain things should make the outcomes positive. And the second is about that awareness again. I don't know if this is explanatory enough but I hope it is. I noticed the tense thing. Switching tenses tend to feel right for me; I have to work on that. Did I change point of view? Thanks for reviewing. And: how exactly did the work look alluring?
No you didn't change POV.
Yeah, you did changed sentences from "I turned to look at her" to "she is smiling..."
I don't think that's acceptable.
By alluring, I meant endearing, attractive, very readable. You do that by using punctuation and paragraphs.
In your work, there are no para at the beginning. And then by the ending, there are plenty.
Well, that's what I think, if you don't agree, it's fine. I could be wrong.
The entire 'story' is dialogue, hence the paragraph thing.
ok
That isn't even an excuse :-/ I'd learn from your criticisms
All my best wishes with you.