It was the kind of day where sadness slid down your shoulder blades; melancholy formed droplets at the top of your brow. Children cried, adults laughed, but the two sounds were indistinguishable.
A scarecrow with a rainbow velour satchel stood at the intersection of Maple and Chestnut; staring first at the row of identical white-trimmed houses, then at the piece of paper in his hand. 17645 Gardenia Lane; Mrs. Evelyn Kistlan. The note was typed on pink paper with a pale rosebud ink; and the scarecrow cursed his secretary before shoving the note back into his bag and walking across the street.
Gardenia Lane was a street where urban folded into rural; where picket fences encased the bristly-headed mignonette from European planes and dolichos from the African jungle; their purple lips slightly parted in a petal sneer. The scarecrow strolled down the sidewalk graffitied with children’s chalk sketches and lined with crabapple.
The house he needed was second to the end; colorful festivities were in full swing. A three-legged picnic table was set in the front yard; bearing the weight of two huge bowls of punch, three pitchers of root beer and four cartons of ice cream. Balloons and candy-bright streamers were strung to almost every stationary object in site. Voices seemed to melt together in midday sun and sluice the whole house with excitement, energy. This August day had all the qualities of being perfect; at least for the residents of this domicile. Happiness seemed almost tangible; quantified in the number of balloons and quality of punch; broken down into an equation of laughs per minute. The wonder of children’s birthdays; a handful of Party City merchandise can turn a miserable summer day into a handful of hours glittering with childhood perfection. This was the kind of day that was remembered, forever.
The scarecrow leapt deftly over a wagon and walked up the steps; left hand buried deep in his satchel. Straw brushed against glass as the scarecrow stroked the the pulsating pieces of mirror like a talisman; the glass that concealed, protected, things manageable and beautiful. The glass that would salvage Mrs. Evelyn Kristlan.
He walked through the door and into the kitchen; where the festivities were in full swing. In the midst of hungry children and burning entrees and worried grandmas, there stood a housewife part disillusioned suburbanite and part Amazon woman. She lifted the tray of brownies out of the oven at just the right moment, handed pink-frosted cookies to the children running by, and offered iced tea to elderly people settling into cushions decorated with pastel paisleys. She wore the polka-dotted party hat on her head as though it were an Egyptian headdress, and the scarecrow, unseen by all, sat down for a moment and took her in.
There was a sadness that clung around her frame like a gossamer veil. He knew that she had been exposed to several other tragedies; this one would not be her last.
Suddenly, everyone was gone. The cake had been lit and carried into the front yard; six striped waxen candles adorned with flickering flame; grandparents flung themselves next to the birthday boy, eagerly snapping pictures. A cloud had covered the sun as a heavy breeze came limping in.
It was just Mrs. Kristlan and her unseen guest.
Evelyn wiped her hands on the towel once, twice. Then unto her apron. Her fingers were clammy. The scarecrow clasped his hands together; waiting.
“What do you want?” even though her voice was a whisper, it resonated like a shriek through the scarecrow’s body.
“Pardon?” The scarecrow was postitive she couldn't see or hear him, but nonetheless the question shocked him into responding.
“Why are you here? Again? On Alex’s birthday?" She scraped her knuckles against the countertop; shivering slightly.
“I- I’m sorry. Have we met?” The scarecrow clung on to the velvet strap on his bag,meeting her eyes evenly and feeling like a teenager caught striding in past curfew.
"Don't apologize, this isn't your fault." The Scarecrow sometimes forgot that his job was to alleviate the pain, not carry it to people.
“Have we met!? Oh, god have we met.” The woman’s eyes circled the room with desperation; she licked her shapely lips. “You were here when my mother died, and the day before New Year’s Eve, when I was nineteen. When I lost my first child, little Jamie." She swallowed before continuing."And a hundred other times…" She closed her eyes and felt her way through the years of torment and misery; remembering the nausea, fear.... and the tinkling of glass shards.
Her eyes suddenly found him, sitting on the loveseat under the open window, gusts of air rattling through him.
“What are you? A demon-herald or a guardian angel?”
The scarecrow sighed. These things happened once in a while; people who lived through so many tragedies, all unfair and untimely, that they were able to perceive his presence; slight tremors in the ground before an earthquake. They had cultivated another sense.
If it were up to him, the sympathetic scarecrow, there would be no bad hands in this game; no individuals who had to take hit after hit after hit and still be on their toes, ready for whatever catastrophe the winds decided to carry in their direction.
But scarecrow wasn’t assigned that job; he had more attractive cousins who got to decide those matters. He was simply the one who made these things a little easier.
“Mrs. Kristlan; in a few minutes a hospital is going to call you from New York. They are going to tell you that they identified your husband’s body as one of the survivors of the plane crash. The plane’s left engine failed as it was descending; not too far from the landing strip but far enough. Your husband is not dead, but Mrs. Kristlan? He’s in a coma. A coma that he will never awaken from.”
Silence. And then, as tears slipped down her face, Evelyn whispered, “Thank you god, oh thank you. Not Alex. Not my baby Alex.” She pulled the party hat off her head and clutched it to her chest.
Scarecrow turned from her tears; unwilling to learn every mother's unspoken prayer: that her husband die, her family move away, her flesh be fillet from her bones before contemplating the death of her child.
The scarecrow pulled the piece of glass out of his bag and flung it into the air. There it expanded, shining a thousand different colors; and stretched until it stood, a glittering wall beating out the rainbow like moth’s wings, between Mrs. Kristlan and the telephone. Evelyn barely noticed it was there; she was whispering words to herself, as if trying to summon the lyrics of the long-forgotten song that belonged to a happier time, when she was complete.
The scarecrow turned to leave; but she stopped him dead with her words.
“Will I ever have to see you again?”
The scarecrow turned, and looked into her watery eyes, saw them dulled with years of pain. He shuffled his feet; cleared his throat, and clawed his way back into the rainbow bag.
“Here.” He held out five pieces of glass in his brittle stick-fingers. When she wouldn’t take them, he set them on the counter in front of her with a mournful tinkle. “I’m sorry. You'll need them.”
“No. No I won't, damn you." Evelyn looked straight into his eyes. "Take them, take them back! You gave it to us, so undo it! Take away this curse!" She picked up the pieces and flung them against the wall, shuddering. But they did not break.
"I wish I could, Mrs. Kristlan. I really do. But I don't decide these matters."
She turned her head away from the pulsating pieces of silver, focused her eyes on the tacky furniture. Tears slid down the sides of her nose; pooled at the bottom of her chin. Her mouth formed one word, barely uttered. "Monster."
But the scarecrow just shook his head. He wanted to look into her eyes and tell her it would be fine; it was worth the struggle, in the end. But he did not speak the language of fate and sorrow and he could not lie.
The phone rang just as the scarecrow walked out the door. He didn’t want to be here for the rest; announcing to the relatives, explaining to Alex why Daddy was not going to walk Alex to the park or read him stories anymore. Besides, he had work to do.
He felt the pieces of glass in his pocket. Glass was so wonderful, so versatile. Put a wall of glass between you and a tiger and suddenly they're beautiful, princely creatures. Put a wall of glass between you and some war footage and its not frightening, not real, just a bunch of Hollywood magic. Put a wall of glass between you and your half-dead husband… not quite the same effect. But it helps soften the blow of the hit; helps compensate for the terrible hand that fate dealt you.
The scarecrow with the rainbow velour bag squinted down at the writing. Butter-yellow ink on pale daffodil paper. 19934 Carrot Drive, West Virginia. Or was it Carrow Drive, 10084, North Carolina? The scarecrow sighed and shoved the note back into his satchel. Another place, another tragedy. Sometimes he felt like he needed a glass wall to protect him from all this misery.
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Dear Empress
Wow, I cannot stress how beautiful this piece was. It seriously bought tears to my eyes.
You have a excellent way of stringing words together in perfect harmony. It was a blessing to read. Not often you'll find a piece like the one you have written.
There was a few things I didn't understand: the glass shards, for instance: Was this a metaphor for the tragedy she will or did experience? But yet, this might be confusion in my young mind.
Keep up the wonderful work.
-Maddy
Phoenix here with a review
What exactly does that mean. I'm assuming it means her hair is redish blonde. Would I be corrcet?
I'm not sure if I like that peice of personfication, unique yes, but odd.
I'd say sneaking, striding indicates confidence, which further indicates that the teenager doesn't care if he gets caught. Most teengers sneak in if they've been out late.
“What are you? A demon-herald or a guardian angel?”
I'd say you only need one example. I like the tsunami one.
This is really good, it shows a unspoken emotion. Parents value their kids above all, even their spouses. This is much more interesting then if you would have had her break down crying.
Since I was able to see this by her reaction I don't think this part is nessisary. Have the scarcrow turn away from the tears, but the reader will already know about the mothers priorities.
.
Talking about tacky furniture kind of distracts from the emotion. Just my opinion.
Like someone said this is amazing.
This is really good, what I said is the nittiest(granted not a word) of nit picks because there were no major problems. The emotions were real and the description were good. And the parallel with glass is amazing. So keep this up.
Hey there!
Ok, so apart from most of the things people have said above, I found very little wrong with this. I loved it!
Your idea was different and I have totally fallen in love with it.
My favourite part, so beautiful.
I. Love. Your. Description/Imagery. Skillz.
It evens deserves a Z at the end of skill. Yes, you do get a Z.
So, I am sorry I can't be more help but if you follow the tips above then you'll be fine! It's honestly wonderful!
~Amy
Blu here, as promised!

Cool story! I would definitely buy it if it were published.
Okay, I am going to say this as simply as I can. Stop abusing the semi-colon!!!! Please. He told me that you're misusing him and is going to run away if you continue to do so. Well, not really, but he does ask you to stop.
Moving on....
He danced up the steps??? Huh???
Great details, here.
This sentence felt a little off, maybe? I don't know. It just... doesn't sound right. Maybe you should rewrite it or switch the words around?
Characters
Right now, Evelyn feels a little 2D. Flesh her out more, add some more detail! We can feel her pain, but we don't really understand her.
Overall
Awesome job! You just have a few mistakes here and there, but otherwise, you're doing absolutely fine!!!
Keep it up!
~blu
Here I am as asked and ready to bow to your bidding.
Opening Line
So, the opening line is always the most important part of a story. Well, maybe not the most important, but it’s definitely essential. And I think that your opening line isn’t quite up to par. I think that the second line would be so much better. Just start it: “It was the kind of day…” and I think you might have a stronger opening. Also, ‘shoulder blade’ is two words, not one.
Another thing I want mention is making that semi-colon into an ‘and.’ Usually, I’ll tell writers to make their opening sentences short, but I think a longer, powerful sentence works well here. In the end, it would look like:
“It was the kind of day where sadness slid down your shoulder blades and melancholy formed droplets at the top of your brow.”
Unto??? Huh?
Overall Impression
Honestly, I’m head over heels in love with this story because it’s so powerful and it has so much meaning. It tells a story with so much emotion and feeling that you can’t help but feel touched by the story of this messenger of misfortune.
But if you have any questions, feel free to PM me.
~lilymoore
I've got to agree with Pudin, if you ever published a book, I'd definitely be one of the first to buy it^^ I love the way you wrote this, and seeing as how most of the nitpicking has been done, I'll just say how much I loved this story. Big ups for originality, too.
Thank you for reviewing my story. Here's where I return the favor. :]
This sentence works well in that we understand what you mean. However, the two thoughts are just so unrelated that it seems random and abrupt to include both thoughts in such a tight sentence, to the point where the implication is that it's lonely on account of it being ninety-two degrees, or vice versa. I think it might work better to separate the two thoughts, or weave them in with other details, so we know that they're only related in one sense, rather than directly related, if that makes sense.
Did you mean to say sadness slides down our butts? The image is odd, so I wasn't sure if it was intentional or not. If it WAS intentional, it's fine to put it there, but I might change backside to something less polite. If you're giving us metaphors about our cabooses, you may as well be rude about it, right?
I like this image, but I think it might work better if we had some established setting first. I'm imagining a suburb, but I can't be sure as a reader. Just a few more images to give us a sense of setting would I think would really help this particular image, just so we don't imagine adults and children floating out in space.
That semi-colon should just be a comma. And yay for being right about my hunch of it being the suburbs, but it wouldn't have hurt if I had known that a paragraph ago.
I've never seen an address with more than three numbers, but I realize it can vary for some people. I'm just not sure where it varies.
I'm going to put your semi-colon on lock-down. XD There's three ways you can do this:
... with paper and a pale rosebud ink; the scarecrow cursed his secretary before shoving the note(...)
... with paper and a pale rosebud ink. The scarecrow cursed his secretary before shoving the note(...)
... with paper and a pale rosebud ink, and the scarecrow cursed his secretary before shoving the note(...)
You'll see that the semi-colon functions much the same as a period, rather than a comma. The difference between the two are fairly obvious in that unlike a period, a semi-colon can bridge a connection between the previous thought, whereas most people will read a new sentence as being a separate thought from the one before it.
I feel that either the first two would be preferable, but the choice is yours to make.
You and your semi-colons. I love them as much as you do, but you must respect them!
... where urban folded into rural. Picket fences encased (...) and dolichos from the African jungle, their purple lips slightly parted...
That's how I would do it, at least. I'm sure there are dozens of other ways to do it, some of which use semi-colons, but the way you have it now isn't fully correct as is.
Also, when you say "where urban folded into rural" I'm not sure what you mean. If you mean suburbia, you should just say it's a suburb. It's its own category now and although it technically lies in the middle between rural and urban, it's really its own kind of thing all together. Plus, when you put it as "where urban folded into rural" you make the community sound unique--suburbia is anything BUT, so people won't think of something as ordinary as a suburb when you say something like that.
Should be a comma rather than a semi-colon.
I think you mean "sluiced," although it's a word I would never use unless it really seemed to fit, whereas here it seems a bit odd.
The next three semi-colons right after the one I pointed out before should also be commas.
I think this sentence was a bit weak compared to the ones before it, and could be hacked off.
What kind of wagon did he leap over? I'm sure you mean the kind that kids ride on, but I'm not entirely sure since the wagon wasn't mentioned earlier. Does he really dance up the steps? It seems a bit weird, and I'm not really familiar enough with this character to really be sure that's what you meant. And again, that semi-colon in that sentence should be a comma.
I would like to know what kind of mirror it is, just so I can imagine it in my head a bit better. Just a little bit of what it looks like would be fine. Mirrors can be a great many sizes, so for all we know he could be carrying a full-length mirror to a pocket-mirror and anything in-between.
All of the semi-colons from He walked through the door and into the kitchen... to that this would not be her last should be commas.
While you're using pretty language, I don't see anything with it. It could mean a number of things, some of which are a bit confusing. Summer could mean red or blonde, and autumn could be brunette or red--and at that, is her hair really half-and-half? It's a bit odd, so I'm not sure if I'm entirely accurate when I have that image in my head. Just be a bit more clear.
The second semi-colon should be a period. The first is a bit tougher--I know where you're going with it, but at the moment the semi-colon doesn't seem to have much purpose, but anything else wouldn't be technically correct. If I were you I would just rework the sentence all together so the candles are in their proper place, so to speak.
"as a heavy breeze came limping in"--I don't fully understand the image. Heavy would suggest it's a fairly strong wind, while limping suggests it's fairly weak. It doesn't really work as a contradiction of sorts, since I don't get any idea of what you mean by it. It's should be more about the image than the words, remember.
Because this is so unrelated to the previous sentences, you should clarify it a bit. Maybe put a "in the room" at the very end, or something to that effect.
The second sentence is a fragment, so it should just be connected with the first. I think it should be "onto" as opposed to "unto."
The next four semi-colons after that sentence should be commas.
Evelyn's dialogue should be in one paragraph, like so:
Or you can make it into two paragraphs--but either way, her dialogue should be fairly close together.
It seems odd that we're suddenly getting so much of Evelyn's perspective, where before it had been from the scarecrow's. I think the scene would work fine if you cut out the bit where you're refering to what's going on inside her head--"felt through the years of torment and misery" etc. etc.--and just had her speak and have facial reactions. That's enough for the reader.
I think you should just look over all of your semi-colons and see how they work as commas. They happen too often for me to point them out now.
"or the tremors in the ground before a terrible earthquake" I'd hate to be a smart-alleck, but technically tremors in the ground IS an earthquake. Maybe just try a different image.
It should be "awaken from."
I think this could be scrapped--I think it takes away a bit from the previous paragraph more than making the point more powerful.
Stick-fingers? I'm not sure what those are. Just wondering more than anything--if you could describe what they looked like a bit, it would help.
I think the last part could be nixed, simply for being melodramatic. Ending it at "take away this curse" would have a nicer effect.
Overall I really liked the story. I wasn't sure why you described Evelyn as being an Amazon, or something to that effect, since I thought you were going somewhere with it, but overall I thought the story had a very interesting concept and the images you used were very poignant and stuck well. It just needs some spit and polish and it'll be gold, definitely. Nicely done.
Empress!!
If you ever get published be sure i'll buy your books. Now on to the story.
I love the storyline and the description and your style is definitely unique. YOu're a very talented writer. (unlike me)
YOu gave the reder a clear picture of the story, although there were some parts were I got distracted from the story becuse there was a bit of purple prose, and it really distracted me. But your description was great and the story was great.
Sorry for this not been quite a review, but I'm running out of time and well, I've had quite tough days. (I think you know why)
BUt overall, this is a nicely written piece that it may need just a few grammaical correction
XOXO
Pudin
Thank you, thank you, thank you for the comments! You're too nice.
and I changed edifice to domicile:law somebody's true, fixed, and legally recognized place of residence.
I chose jived because it reminds me of a swaggering, self-assured teenager walk. You know, a jive, a mix between a swagger and a waltz?
And no thesauruses were raped in the making of this story, i swear. I am not one of those people who clicks on words> synonms and clicks on one of six words; none of which I understand the meaning of fully.
It was a lonely day of ninety-two degrees. The kind of day where sadness slid down your backside; melancholy formed droplets at the top of your brow. Children cried, adults laughed, but the two sounds were indistinguishable.
I love this, it conjures up an image so well.
This is an interesting idea, tell us why. You sort of do but it isn't really clear why a bunch of flowers mean it is where the urban meets the rural. Also the plains of Europe? Where is that?
Traveled jars, nothing wrong with walked if you can't think of anything else
The scarecrow leapt deftly over a wagon and jived up the step
Again why jived? If you really mean it its ok, but if not walked is fine. It reads a little like you've been thumbing through a theasaurus. Edifice is another good example, it means large imposing building, not house.
This doesn't make sense, everyone is gone but the granparents are still eagerly snapping pictures?
But scarecrow wasn’t assigned that job; he had more attractive cousins who got to decide those matters
Great line.
sedan I'm guessing.
nice idea, they're is what you mean though.
it's a good story, got potential to be better. The glass idea is interesting, that people need to distance themselves a little from tragedy. I think you should expand on this story, make it longer. Your scarecrow is likeable and interesting, but you don't give the reader much of him. At the moment I think the woman's character is a little weak, you might want to work on her. Also I think you need to tone the whole vocab thing down a little. Coffee ground eyes? Sluice the house with excitement? Hair of shimmering summer and whispering autumn? I think you have a unique voice and that's really good, just sometimes you seem to be trying to hard to be flashy and wordy.
Good start though.