Cover art for TEETH / 2018: chapter 1

TEETH / 2018: chapter 1

by Skorpionne

Published August 20, 2026

16+ Mature Content

In digestive system

Warning: This work has been rated 16+ for mature content.

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This novel is extremely in-progress - the first few chapters are more polished, but eventually we'll hit my trademark messy/anything-goes drafting style.

CWs for this chapter: body horror, implied starvation/disordered eating.

The third house to take her is rented, not owned. It sits in the suburbs of Peterborough: grey, semi-detached, shrinking back from the road as if it would rather not take her at all. The foster family is sufficient. So is the house, and the clothes, and the trees. They give her food; she eats until her body swells. Chrissie looks in the mirror and does not recognise this stranger, this girl with meat on her bones. She does not sleep at night, just walks the house alone. There are bookshelves stuffed with unfamiliar titles; a Persian rug; parents who sleep through the night. There is so much to understand.

She empties her bladder, notes that the toilet needs cleaning, searches the cabinet for bleach. As soon as the door is tugged open, she is hit by a hot, dense wall of putrid must. Inches of beige plaster cower just beyond the door-frame - after that, all is enclosed by reams of pink-red flesh, impossibly deep, stretching down into the narrowing dark. The stench of it stings her eyes, makes her want to retch. Her heart is pounding, but she keeps her body still.

Eventually, she lifts a hand and sends it reaching in; a burst of warm air rushes out to meet her, steam condensing on her skin. She drops a knee onto the sill, graps out for balance. The flesh shudders, clenches, heaves as if to vomit at her touch. It's wet as well as warm; slime seeps through her jeans. Chrissie grimaces and continues reaching out, even as the muscles in her shoulder start to strain and her hand dips beyond view. Then, all of a sudden, there is another hand on hers - Chrissie grips it tight before it can withdraw. Their twin thumb-pulses strum against each other's skin. The stranger’s hand squeezes hers - nails dig into Chrissie’s palm. There is a sound like a choking sob.

Chrissie pulls her hand away.

She blinks, and all of it is gone. Nothing but cleaning supplies and folded towels. She scours every cupboard, every corner, every door - night after night after night, until her eyes are red and raw. The throat, however, refuses to appear.

---

A dirt track slices up a shallow hill in the nearby park. The grass has gone yellow in the sun: a thousand brittle strands, tossed and broken underfoot. It is one of many quiet days; they drop past one by one, like slabs of featureless stone. One step, and then the next. Bit by bit, Chrissie shakes her muscles loose. Today more than ever, she can feel the food and rest reshaping her. Her body moves different. Her teeth don’t feel right in her mouth.

She doesn’t notice the carcass until she steps in it. There is a second of resistance, then a squelch and a crunch as the ribs give way, then a dark mass of flies roaring up from underneath her foot. The beast is small: rabbit or squirrel or rat, too decayed to tell for sure. One glassy eye stares up into the sun, rimmed by peeling skin. The broken bones lie nestled round her foot. One by one, the flies begin to settle. A cloud begins to creep across the sun.

Chrissie peels back her foot from the red-but-greening mass. In one jerky motion, her hands scoop it from the ground, sending the flies into chaos once more. Too fast. Too rough. A tiny, brown organ ruptures against the tip of her index finger. Half-digested grass seeps through her hands.

She digs it a grave, scrabbling in the sun-burnt earth. By the time she gets back, the moon is high and bright. She rings the doorbell; they didn’t give her a key.

---

The foster mother gets all teary when the time comes for Chrissie to leave. She can’t imagine why. When asked for a hug at the doorway, she agrees and then stands limply in the older woman’s arms. They draw apart, and Chrissie sees the greying roots, the sallow jaw, the darkening skin under her eyes. She wonders, with a sickening jolt, if this woman has been losing sleep over her.

The social workers take her to the car, chattering happily about the traffic and the sunshine and the weeds. Chrissie nods without listening, pulling the seat-belt tight across her chest. The hand had been so soft. The girl in the throat (Chrissie is certain from the voice that it’s a girl) - would the rest of her feel that way too? If only she had searched harder. If only she had crawled into it when she had had the chance. The car pulls out of the drive. Chrissie’s head rests against the passenger seat window, stays there even as the car’s vibrations ripple through her skull. She is still but she is moving. She is here but she is gone.

Comments & reviews · 2
User avatar
4revgreen
Review
4revgreen wrote a review Review · Yesterday

I have been intrigued by this project since I saw you log it with the writer's log because 'Digestive System' just made me think this was some sort of biology project. I am sensing you have a fascination with the body & it's systems or maybe even just teeth (this being called teeth and your poem about humans having a third new set), and anyway, I am excited to read this!

The third house to take her is rented, not owned. It sits in the suburbs of Peterborough: grey, semi-detached, shrinking back from the road as if it would rather not take her at all.


This is a brilliant opening. The idea of the house being alive is obviously pertinent throughout the whole piece, but this first piece of personification is so good, as it perhaps acts more like a sign that Chrissie is the one shrinking back and projecting her feelings upon her new foster home. 'Rented, not owned' is an interesting comment to make, especially for someone in foster care. It makes me think that because it is rented, it is not owned by the foster family, and therefore is its own entity, rather than an expansion of its owner.

They give her food; she eats until her body swells. Chrissie looks in the mirror and does not recognise this stranger, this girl with meat on her bones.


Eating until her body 'swells' is such a creepy description. She's not just eating until she is full, but swells is something that evokes pulsating, breathing, like her body is it's own thing, not just a part of her.

There are bookshelves stuffed with unfamiliar titles; a Persian rug; parents who sleep through the night. There is so much to understand.


Poor Chrissie. I sense she has been through a lot. This is just a sad observation; things that are so normal to the most of us need to be understood by her. I think the same with her looking for bleach.

Inches of beige plaster cower just beyond the door-frame - after that, all is enclosed by reams of pink-red flesh, impossibly deep, stretching down into the narrowing dark. The stench of it stings her eyes, makes her want to retch. Her heart is pounding, but she keeps her body still.


Here is where it gets scary! I know you said it was a WIP and not perfect, so I am sure you are going to be coming back to these scenes. It's creepy and gross as it is, and honestly works with less description, but I would love there to be a longer description of this flesh, and perhaps what Chrissie thinks of it. There's not a lot of time between her first seeing it and sticking her hand in. I'm not sure that's the first thing I would do if I discovered a wall of flesh in my house.

The next scene where a hand grabs hers is incredible, so I wonder if perhaps she hears something from the other side and that's why she puts her hand through? Or more of an internal buildup throughout so we know this is the kind of thing Chrissie does. In the scene where she steps on the dead creature, I think you have an opportunity to show perhaps these things don't bother her. She digs it a grave, which means she has to touch it and move it. You might have a reason for putting this afterwards, but perhaps if there was a scene where the foster family find a dead creature in their garden or house and she picks it up without thinking to bury it, you'd show us she isn't bothered by gross things and more likely to put her hand through. Obviously, you might be planning to add more to this already and in that case ignore my suggestions!

One glassy eye stares up into the sun, rimmed by peeling skin. The broken bones lie nestled round her foot. One by one, the flies begin to settle. A cloud begins to creep across the sun.


I love all these descriptions, but it's a little choppy with all the short sentences

She rings the doorbell; they didn’t give her a key.


This made me really sad for some reason.

The hand had been so soft. The girl in the throat (Chrissie is certain from the voice that it’s a girl) - would the rest of her feel that way too? If only she had searched harder. If only she had crawled into it when she had had the chance.


This sort of internal question from Chrissie should perhaps happen a little more often.

Overall, your writing is incredible for even a short draft. The language and grammar are impeccable, and I would be so excited to see a future draft of this, and i'm also intrigued as to where this will go next. Is there a reason it's called Teeth when no teeth are present in the scene? It made me think maybe the flesh/throat in the cupboard was going to be a mouth, or she would feel teeth in it.

My one tiny gripe is that it all happens quite fast, and we don't know much about Chrissie other than she is in foster care, and now she's being moved elsewhere. I think even a small scene with dialogue or interaction with the family and the house that's a bit more drawn out could really bring her to life without too much telling. But I'm aware of what you said in the A/N so honestly I just can't wait for more.

User avatar
Tikaya
Review
Tikaya wrote a review Review · Aug 20

Ok so the Green Room is getting dangerously close to the limit and I now Rev is also excited. So let’s head straight in!

Also a tip: Never ever poison the well right from the start. You can always share stuff abt your novel AFTER the readers had time to digest it and form their own opinion.
(Yes, I hate A/Ns that tell me “oh noes, my story is not good enough” LET ME BE THE JUDGE OF THAT!!! It always makes me less excited to read on :/)
Like, you can say in an A/N at the end that you had mixed feelings abt this or that. Or, you can ask questions abt the chapter (preferably open ended ones like “how do you feel about X” and not “Why is X bad?”)
…okay this A/N wasn’t even that bad btw I am just anxious abt the “the latter chapters aren’t as good” and THEIR corresponding A/Ns xd

The third house to take her is rented, not owned
I like this entry. I also like that you could feasibly say that the houses are sentient with this (even if they probably aren’t) which is a cool vibe.

Oh I also like how you establish a strong character voice in this first paragraph. I feel like I have a clear picture of Chrissie just in how you chose to have her narrate this.

…the house IS alive?
Oh something is definitely going on here and I am intrigued. Someone in the walls, or a different dimension or something? I like how you describe this, how Chrissie is not that phased and even reaches into the thing, as if she expected it, on some level but also as if she didn’t? It is super intriguing for sure!!

The throat, however, refuses to appear.
Oh this was a moldy throat? I didn’t know that. It sounded more like a flesh-tunnel to me. But that is a good detail to know. Either this IS magic or it is a hallucination and the latter would mean something abt her mental state!

a thousand brittle strands, tossed and broken underfoot.
I like this description!

I wish you would elaborate on the before times more, instead of saying yet again that she has changed:
she can feel the food and rest reshaping her.


Love this as a final end to the paragraph:
A cloud begins to creep across the sun.


they didn’t give her a key.
Another great end to a paragraph (and section in this case!)

That said, I do feel like the carcass is rather random? I don’t rly like how she manages to NOT notice it? It is bright enough for you to describe the colour of the grass after all…

I don’t think the brackets do the flow of your sentence a favour here:
The girl in the throat (Chrissie is certain from the voice that it’s a girl)
That said, I wonder if Chrissie thinks abt being in the position of that girl, from the way the rest of the sentence goes?
I am also not sure abt the logistics? Did a lot of time pass and she is done with foster care or was she not compatible with the family? Why is she taken away and why is the foster mom …. So teary over it then? I am so confused by this last part.
I mean if she is taken away for compatibility reasons… why is the social worker talking abt traffic? @.@

So yeah, I liked this even through my utter confusion atm =D


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Skorpionne replied · Aug 20

Thank you so much for the review! All will be revealed in due course. :)

(and re the author's notes - I promise I am not trying to be self-deprecating, it's just a factual description of how they've been drafted. As in, 'actually put thought into how things are worded' versus 'jotting down what happens in the most brute-force way possible with an intent to completely rewrite it later' lol. But I think I fell into that trap anyway, so thank you for the reminder!)



Owning our story can be hard but not nearly as difficult as spending our lives running from it. Embracing our vulnerabilities is risky but not nearly as dangerous as giving up on love and belonging and joy—the experiences that make us the most vulnerable. Only when we are brave enough to explore the darkness will we discover the infinite power of our light.
— Brené Brown