This is an extract from my WIP, which is set in mid-Victorian London. Here the narrator (Victor) is trying to bring a dead girl (Lenore) back to life.
I saw Newman for a moment still and bowed in the darkness, then the gate clicked shut and I took Lenore into my cellar workshop.
It was pitch black inside, but I successfully navigated my way by touch to the table and laid Lenore down on the work surface. I struck a match and lit all the lamps I could find. I could have gone upstairs into the house and got more, but I didn’t know if Effie had left the house yet. She usually left around ten—what time was it now? It didn’t matter, this was enough light. I lit the big lamp hanging from the ceiling above the work table, and it swung back and forth on its chain sending wild black shadows climbing up the walls and into the corners before I steadied it.
Lenore lay on the table in her white wrappings. I took a deep breath, went to the cupboards and began laying out my tools. The big hand saw, the little hand saw, needles, catgut, carbolic spray, clamps, swabs, forceps, tweezers, scalpels, kidney dishes; and here, from the sterile secure box in the locked cupboard, I took out the bellows-pump. It gleamed dully in the lamp light, shining brown and grey, and the sight steadied me. This would work. She was dead, so it would take a little more work than I had expected, but it would work. I could do this. I could do this.
Kettlesing arrived just as I finished washing my hands. He was scowling, and kicked the door shut behind him, demanding, ‘What the hell happened?’
‘She died,’ I said.
‘What? I thought she was good for another month!’
‘Evidently not.’
‘But you can still do it, yeah? Fix her and resurrect her and...’
‘Yes. Don’t touch anything, it’s all been cleaned. Wash your hands.’
‘All right, all right, I know.’
I pulled down my goggles and took up the scalpel. Lenore’s skin was the dead dull colour of old fish scales, the metal scalpel obscenely bright against her mottled flesh. Kettlesing sat on the steps, his shirt sleeves rolled up and his hands held away from his body. ‘So that’s Lenore,’ he said.
‘Yes.’
‘Victor. Are you sure you can do this?’
‘Yes,’ I said. I lifted Lenore’s small white arm and made the first incision through the skin from her right armpit, under her sternum to the left armpit. The blood welled up around the edges of the cut, but it was dark and sluggish, and I quickly swabbed it away, and inserting my fingers in the opening, peeled back the skin on both sides of the chest and clamped it in place.
Kettlesing made a tiny gruff noise inside his throat.
‘If you’re going to vomit, there’s a bucket by the door.’
‘’Course I’m not going to bloody vomit.’
‘Make sure you wash your hands afterwards if you do.’
‘I’m not going to sodding vomit.’
Another incision into the fatty tissue and muscle. More blood seeped through. Swab. The flesh was dark red, almost purple in places, raw and still juicy, and it was warm under my fingers as I pulled it back to reveal the ribcage. Clamps. I paused a moment, wiped my forehead on the back of my wrist and picked up the small hand saw and set its teeth against the costal cartilage of the eighth rib close to the sternum. It bit into the bone with a rough growl, and I braced the body with one hand, keeping it steady to avoid splintering. The cartilage gave way easily, and I worked my way down on both sides. Eighth rib, ninth, tenth, eleventh and twelfth. I removed the eleventh and twelfth, and took a handspan of bone on each side of the sternum from the eighth, ninth and tenth ribs and dropped each piece in the tin tray by the work surface where they glistened with red dribbling stains of blood.
The shadows flickered on the wall. The river sighed softly to itself.
The ribs were still attached to the spine at the back, but now I could reach the lungs, which had already collapsed. They were riddled with the tubercular cavities, patches of what should have been healthy red tissue now blackened with the disease. There was the bronchial passage, and here my fingers held the right lung. There. Now the scalpel moved.
‘Thread.’
The thread was put in my hand. I tied off the blood vessels, then cut the bronchial passage. Now the right lung was free, and I lifted it out of the body and placed it in the tray. Now the left lung. Here, close by the heart, then out and in the tray. They lay together like miscarried twins, red and foul and bloody, the dead black tissue staring up at the shadows on the ceiling. More thread, slipping between my red fingers. More blood vessels. And now remove the windpipe, just the lower section, with enough left to join to the bellows-pump. There.
‘Get another tray.’
The bellows-pump was luminous under the shadows, the brass metal plates glowing into gold and silver. It fitted into the chest cavity under the sternum, the sawn-off edges of the lower ribs fitting into the grooves on its sides, allowing the mouth of the tube with the wirecoil inside to rise out of the ribcage. The heart slid into position in the hollow on the left side, and I attached the tiny pins to keep it in place, and then more to the true ribs. The wirecoil bent under the sternum and up, and I held it straight, then released the clamps and smoothed back the slabs of flesh into place, then the skin.
‘Needle.’
The needle felt strange in my hand after the scalpel, too small and too narrow, but the suture was clean and straight, a line of black stitches walking across the chest, down and up and down and up again. Very black against the white skin. No matter. Now the brain.
Turn the head sideways. Back to the scalpel. A small incision at the back of the head under the hair, then my fingers curled underneath the flap of skin, and I pulled up the scalp to expose the skull. It was pink underneath, red blood, white bone, darkly pink. I cut through the skull with the drill saw and made a small hole an inch in diameter. A hollow needle full of the infusion of piperonal and absinthe injected directly into the brain stem, and immediately after, the long brass dynamo pin. My hand skidded on the dynamo handle as I wound it around and around, and sparks jumped as the current leapt along the pin. Sparks dancing devil-bright and wicked. Blood on my hands, blood smears on the handle. The sweet smell of the piperonal. Dynamo humming and buzzing. Connecting the wirecoil in the chest to the box with the trough battery. Crackle of power. Sigh. The bellows-pump contracted and with a gusty sigh, the chest rose and fell, rose and fell, and there, a faint quiver under my finger on the limp wrist, a pulse, growing and gaining strength. Turn off the dynamo and draw out the pin. Now pull down the scalp and suture. Clean the inside of the mouth and throat free from blood and mucus. Her heart was thumping away, forcing the blood back into life, her whole body quickening back to life under my hands.
Kettlesing’s voice seemed to come from a very long away, as though at the end of a tunnel. ‘...Victor.’
I couldn’t speak.
‘Victor. Victor.’
I coughed, said hoarsely, ‘Yes.’
‘Have you—are you finished?’
I looked down and for the first time, saw Lenore. Her mouth was a little open, and I could see the gaps in her gums. My fingers had left bloody prints on her face and throat. The purple mottling of livor mortis was already beginning to leave her skin as the blood started to flow again.
My throat was very dry. I had prepared a basin of salt water, and I sponged the body clean and spread tansy paste over the suture marks.
‘What’re you going to do with her now?’ Kettlesing’s face was grey.
‘Put her in the side room. I made up a bed there.’
‘Is she alright?’
The hiss and creak of the bellows-pump was very loud.
‘We’ll know when she wakes up,’ I said.
‘When’ll that be?’
‘I don’t know.’
‘God Almighty, Victor.’
I took off my apron and left it on the surface. I scrubbed my hands and arms and splashed water on my face, then lifted her in my arms, carefully, carefully. She was heavy now, the bellows-pump weighing her down, and there was a stiff pain in my back and shoulders.
Outside, the dawn birds had begun to sing.
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Hey Twit! Here as requested.
I really liked this piece! It was very vivid and descriptive with wonderful descriptions during the scene. I thought it suited the piece really well, although in places there was too much action and as others have said, I would've liked to see a bit more emotion because he seems far too distant to everything. Judging by Kettlesing's response when he saw her ("So that's Lenore.") I would have thought he would be feeling at least something as there seems to be a much larger connection between her and him that isn't revealed.
While I loved the writing - it was very smooth and flowed well - I did begin to feel that by the time we reached the section where he began to do some work on the brain, it was getting a little bit too long for me. It felt like it was reading a little too much of a guide to a certain surgical procedure rather than a story in places.
On that note, I couldn't help wonder about readers who wouldn't understand some of the terms used here. Most would probably understand 'bronchi' or 'cartilage' or maybe even 'sternum' but I'm not so sure about 'tubercular cavities'. Has it been mentioned in previous chapters about what disease she had? It would certainly make a lot more sense if it was.
Gleamed dully sounds strange here.
On a positive note, I didn't think there was anything major that affected the piece negatively
That's all from me! If you have any questions, feel free to PM me and I'll be glad to respond
Keep writing,
~Blues.
Hey Twit,
I hadn’t realized how much I actually missed reading about Victor and his grand escapades at playing God. Since I’ve read some of Serpent’s Teeth, it was very easy to get back into things and I was obviously drawn right into your story without hesitation.
You wrote quite fluidly and I could tell there was a lot of thought put into your sentences. Also, I do like your new title much better. It seems much more fitting than Serpent’s Teeth and it’s got a nice ring to it.
Okay, so if we concentrate on writing, I don’t really see any huge gigantic flaws that I would otherwise point out. You write so well. I thought your writing, as I mentioned, was quite fluid and easily understandable – no real cracks or breaks or awkward wording. Some of your descriptions were chilling and the imagery you created was grotesque in my mind (If Kettlesing doesn’t want the bucket, I’ll take it!) but yet it was equally fantastic, no doubt.
One of the few things that I do want to say about the description was that it became too overbearing by the end, not in the ‘ew’ kind of way though. After he was handed the needle, I sort of found myself dozing off a bit and I felt like I was being stalled. I understand you want to walk the reader through the entire procedure but it was on spoon too much action, I think.
With that said, I’m going to double up with Audy and say that you could add some of Victor’s emotion as he begins to complete his work. Victor indeed seemed quite passive, even his dialogue was void of much description. Since this is such a momentous event in the novel, I would’ve liked more feelings so he could elaborate on them later.
What is going through his head? Is he scared it might not work? Is he nervous? What does he think of Lenore? What does he think of himself afterward? If you can slip some of this in during the procedure, I think it would keep the reader’s attention focused and interested.
Anyway, you’ve managed to suck me right back into this story and I do hope you post more snippets of this soon and let me know if and when you do so I can indulge.
All the best,
-S
Oh, this is too cool Twit!
I've been meaning to read Serpent's Teeth, and this reminds me of it? Sometimes I wished I had a lazy weekend where I could just sit back and really enjoy and relish into works like these. The prose is very smooth and polished in the sense that it is not in the least distracting or jarring; it got me from beginning to end [i]in the scene[i], rather than focusing on the words or construct.
Prolly the biggest distraction for me though was the first sentence:
The "for a moment still and bowed" phrase kinda irked me the wrong way because I wasn't sure whether it should've been read: "for a moment, still and bowed..." meaning that the speaker saw Newman on the ground -- or if it should've been read "for a moment still, and bowed..." meaning that the speaker himself saw Newman and bowed down to him.
I had a similar irk with "cellar workshop" - cellar is a noun, not an adjective? I suggest "...my workshop in the cellar" would work better, or some variation of that.
Aaaand that was it. Seriously, after that point I got swept by the narrative.
My first impressions
I love your choice of names - very much so. There's Victor of course, who is Frankenstein I imagine. And Lenore. The reference to her name reminds me of Poe's Lenore - which adds just this right amount of spook and intrigue and ghostly loveliness. Plus there's all that gothic, victorian romance to the name. There's that too. And Kettlesing. <3<3 Genius!
Speaking of names, let's talk about characters. Now, I know this is just a short excerpt, but I would've liked more character-building/development in this, just to counter-balance the more technical and methodicalness of the whole...err...surgery. It doesn't have to be a lot. You have a lot of action going on here, and not much of a balance when it comes to reflection.
Maybe by this point of the story we already know who Lenore is, but who is she to Victor exactly? Or rather, how does he feel seeing her dead, operating on her, and then bringing her back to life? We can sort of tell by the end of this that Victor is speechless or perturbed by it - but it would be neat having his thoughts or if not, some kind of dialogue between Victor and Kettlesing other than the whole "straighttobusiness" aspect of them that we got here.
Now, the surgery itself - the descriptions of all the tools, and the blood and gore and guts, and the cuts and the gritty, horrifying details are just gorgeous! Or shudder-inducing. Yeah, that's a thing. Literally, I winced and scrunched my face quite a bit throughout this reading, and I liked how you played with language too - and kept the sentences crisp and the narrative moving. I do think that the section went on a little too long -- but just a smudge. I think the fact that it is long and grueling needs to be felt, and it is felt. Just that all your details and hyper-description of each and every step got a bit clunky after a while. You have very crisp lines and your pace is rather quick, so when you have a lot of details and long paragraphs like that, it gets to feel a bit bogged down. After all, how many times throughout this piece do you describe blood?
Still, this was enjoyable and it served to pique my curiosity and seek more of your stuff in the future C: All the best!
~ as always, Audy
Oh, you know on second thought - I think that by adding the reflections in there, you might be able to fix the "clunkiness" of the narrative - after a second read-through, it's not necessarily clunkiness (though you can always polish it up) it's the fact that the narrative, because it's action, and because of the tension, it keeps building and building and building - and by having all this description, it gets heavy. I mean, that's a good feeling and prolly intentional. But readers need catharsis and a moment to breathe. So balance! Character-Reflection! Now...I hope that makes sense @_@