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Young Writers Society



Three of Clubs

by fearlessalways13


Three of Clubs

Around 5 o'clock every evening or so, an old man quietly flips the sign on the shop door to “Closed.” He gently takes our deck off the shelf and spreads us out on the mahogany counter. The Elder plays solitaire as though it were an Olympic sport, his fingers flying swiftly across our backs and his brain working like gears, turning and turning. I love the feel of his warm, callused hands moving smoothly, and hearing him sing softly to himself as he plays.

If you have stumbled upon this story, I applaud you. It is a simple story, with an old man, some playing cards, an a small antique shop. But it is not worthless, for I do not tell stories that mean nothing.

Allow me to introduce myself. Sort of.

I do not have a name, strangely enough, though I do have a house. Clubs. Three of clubs, to be precise. I suppose you could say that is my name. Is this beginning to sound like a riddle? Good.

My memory begins in a box. Flimsy, that box was, though it stood tall and strong with all of us cards packed inside it. It was small, and it was snug, but it was home.

Perhaps I had been some other place before that box, but before the box, everything is foggy.

I know I was in a store, and I know it was small. The old man owned it. He was old and rough around the edges. His forehead was creased in constant puzzlement, and he had deep laugh lines rimming his ice blue eyes. When the other cards spoke of the man, they referred to him as simply The Elder. The name fit him, I thought.

The Elder was a pleasant old man. Aside from the rare occasion of a bad day here and there, he was generally, well, happy. His jolly laugh shook our deck as it bounced off the shelves of his shop, and his smile was like the sun, radiating out so vibrantly you could nearly feel it. In the end, The Elder's heart was large and full like the moon, and I loved him very, very much.

Back many years ago, he had met and fallen madly in love with a beautiful waitress with shiny brown curls who worked at Ricky's Diner downtown. The Elder called her Betty Blue Eyes, because that was what her name tag read. He said looking into her eyes was like throwing your head back on a crisp fall day, gazing up at the cloudless sky without a care in the world. When he looked at Betty, he felt forever free and full of life.

The Elder and Betty were married for more than fifty years, years of challenging, happy, memorable moments that both would cherish always. Each morning, rain or shine, Betty came and dusted every shelf of the story, dusty or not. She handled our deck with great love and care, and I grew to enjoy seeing her as the sun rose in the sky each morning. The Elder loved Betty more than his own life, and when she experienced the first of her seizures, The Elder was beside her before she knew it.

After a long, hard road of sickness, Betty passed away peacefully while sleeping. The Elder was never, ever the same.

His eyes dulled grayer than his hair, and his lips remained fixed in a tight line. The laugh lines upon his face grew sunken, defeated. His body sagged. Even his voice became scratchy, and he snapped at himself and the customers often. This was not The Elder I knew and loved.

But, every Sunday morning, The Elder would come to the shop, and he would talk.

To whom, I am not sure exactly. But I have a secret, for even playing cards have secrets: whether he was or not, I liked to believe that The Elder was speaking to me.

The Elder told me about his life, his memories, Betty illuminating nearly every one. I think he missed talking to her, and this was his way of consoling himself.

I loved hearing his stories. He told me about his childhood and about the pale green house he grew up in with the picket fence and crab apple trees. He told about the time he and his brothers had a crab apple war, when one flew and slapped his eye so hard he nearly cried. "But I did not cry," he said, "for I was a tough boy.”

I loved hearing him speak. His raspy, thick voice echoed in the empty little store.

One autumn morning, though, he spoke not of his memories, but of the future. He spoke of what was to come. He spoke of something that gave me that sinking feeling, where you feel like you are being dropped a thousand feet with no warning.

The Elder was closing his shop.

Closing the shop.

Closing.

Leaving.

Gone.

I tasted copper. I heard ringing. It was not the jovial sound of church bells on Christmas Eve, but an unbearable piercing noise. The cardboard walls of the box were suddenly speeding towards me. They closed in, fast, and squeezed me so hard I could no longer breathe.

Why ever was he doing this? Was he too unhappy to go on with the shop? His shop? Were the tears he struggled to hide finally pouring down his cheeks, revealing him? Did his heart feel lost, as though Betty had taken half away with her when she passed?

Did he not care about us, about his possessions, his store? That is how I felt, at least. While the other cards muttered emotionless remarks about how he was just a stupid old man gone mad, I felt as though I had just been shot through my center.

I realized The Elder continued to speak. Had he been speaking the entire time I was absorbing the news?

I then listened and learned why he was closing.

"This shop is nothing but pain. All that pain after her death, it's all here. All of it. There is no way I can escape it – it never leaves me. Why? Why doesn't the pain leave?”

I felt as though all the wind had been knocked clear out of me.

“Because I refuse to leave it, that's why. I've refused for so long, held on to it too tightly. No, not any longer. Done. Everything is done now. I'm leaving you, pain. Goodbye.”

And with that, he blew out the candle on the counter top and slammed the shop door behind him.

* * * * *

In the following weeks, the little shop was a front page article in the local paper, and customers flooded in for a final visit. The Elder just fumbled with his glasses and spat out prices when ringing up purchases at the counter.

And in the following weeks, The Elder no longer played with us. Our deck gathered bits of dust on the shelf, and new decks were placed in front of us. Had The Elder truly forgotten us? Forgotten me?

I felt sickened, abandoned. This had been my home, after all. Ever since I could remember. All my memory, all my being, all the cards and people and voices and smells and sounds, they would vanish.

For the first time in my life, I felt as though I would cry. A playing card cannot cry, of course, but I felt a large lump within me, a stinging sensation. I could not speak. I heard nothing but that continuous ringing. I did not cry tears physically, but inside, I was sobbing.

Finally, the day came. It was a Sunday so, as always, The Elder entered the shop and spoke to me.

"Any last words, pain? For this is it. I am leaving you now, leaving for good. I am sad no longer. My anger is gone. And soon enough, you too, pain, will disappear. What a good day this is!”

The Elder paused, as though suddenly unsure of what he had just said. Was it really a good day? What he said next shocked me.

“ Oh Betty, who am I kidding? This day is not good, not good at all. Why aren't you here to help me? There is no one here, no one. I am all alone with my pain. That is why I must go, so I can leave the pain here. I must, I just--”

A loud, annoying pound on the door interrupted The Elder. This angered me.

Two burly men, by the sounds of it. I could tell by the thud of their clunky boots and the scratchy deepness of their voices. They spoke to The Elder in a Southern drawl, an accent I once found to be cheery and pleasant to listen to. Today, I could hardly bear it.

"All of it, sir?" questioned one of them. I knew he was referring to the scattered boxes around the shop. The shelves were empty now, and our deck was at the brim of a large, cardboard box that was once used for canned tomatoes. I felt unimportant, just another card in the deck, another deck in the box, another box being loaded onto a truck. The Elder had decided to not even keep the belongings of his store. He was having them shipped to a far off cousin of sorts, so that he may begin his own store. I knew it would not be the same, not ever.

"Yes, yes. Just go on,” replied The Elder angrily.

The workers paused, by the sounds of it. I could tell they were startled by his response.

"Yes, sir. Right on it then," said the other of the men.

At that, I felt large hands grasp the box tightly, readjust, then lift us up with a "humph". We were being carried away. This is it, I thought. Goodbye, Elder. Thank you for all that you have given us.

Suddenly, my favorite voice in the world beckoned.

"Wait," said The Elder.

"Sir?" said the man carrying our box.

I could hear the soft thud of The Elder's steps nearing the man, nearing our box. I heard the rummaging of cardboard above me, then sensed the light drowning the inside of the box. I could feel a warm, callused hand closing around our deck with a firm grip. The Elder had decided to keep only one possession: me.

"Go on, then. Everything else may go," said The Elder. At that, the two men carried off all the other boxes into the large truck. The Elder flipped our deck around in the palms of his hands. "Yes, this is all I need," he said to himself. I still believed he was speaking to me.


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202 Reviews


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Sat Apr 09, 2011 2:28 pm
Octave wrote a review...



After reading this piece, I'm afraid I'm going to have to disagree with the others. >.O" However, I do believe this deserves to be on the front page, among the most liked.

Don't get me wrong. This piece isn't half-bad, and it has the one thing I find missing in most works I review: voice. You nailed it here. Sometimes it's a bit awkward, and at other times it's a mite dreary, but the foundation of your voice in this piece is solid, and it'll only take a little sweeping to clear it.

The piece itself, I'm afraid, is plenty flawed. In the beginning, the voice is fresh and engaging, but the story moves slowly. That's okay. I can forgive that. Then in the second paragraph you go and blow the fourth wall. That I can't forgive.

The fourth wall is not something you blow unless you're extremely talented, and even then, it's still a huge gamble. That destroyed my decent first impression of the piece, but I figured you didn't mean it that way, so I read on. Just remember - you don't want the reader to realize this is just a story, or that someone is telling him all this. The best stories drown you in their worlds and make you want to refuse oxygen in favor of staying underwater, under the writer's spell. :)

I agree that sometimes, very rarely, it's possible to blow the fourth wall and get away with it. But it bears repeating to say that you don't do this unless you're so talented the sky is jealous of you, okay? Or unless you're so confident you're willing to risk it. It's just safer not to.

In the beginning of this piece, you get coy, particularly in the fourth paragraph. This, however, is a subjective thing. I dislike it, but obviously, the others don't mind it. Just be careful with coyness. It can come off gimmicky sometimes, and to me, this felt pretty gimmicky. Then again, I have pretty low tolerance for this kind of stuff, soooo. >>"

Your prose has a rhythm to it, and that's good. It has decent flow - not the best, but passable. You'll want to read this again, because there are some spots that stick out. Read it out loud so you can catch the areas that feel stiff.

Your problem lies in your love affair with descriptions, and the emotions present in this piece.

Descriptions are difficult to handle - there has to be enough of them for the reader to love, but not too much as to suffocate the reader. I felt suffocated here, and I think you overdid it when you rambled on for about a paragraph or two about the old man. It gets repetitive. You tell me this, then you show me, then you tell me the same thing again, then you show it again. It's a little tiring. You can cut down a good number of words if you simply avoid telling. Trust me; you don't need to tell. You show enough. :) It's odd how others only tell, but you're likely to reinforce your telling with showing. I promise - your prose will lose nothing if you take out the sentences that tell. For example, you don't have to tell us that the old man is jolly. You do a wonderful job of showing it later.

Your emotions are lacking. This is cleverly covered up by the quirky voice of your piece (see how magical voice is? =D), but the truth is this didn't make me feel anything. My eyes actually glazed over at one point, and I got bored. A quirky voice can only hold a sagging plot for so long. Your conflict doesn't feel real; it's not tense at all. Give me something to work with here. You don't seem to give a clear view of the stakes.

For the old man, it's obvious what he wants: he wants to move on. Problem/conflict: the shop is in his way. I need to feel this. I'm not sure why he didn't sell it earlier. You have to make me feel why his inner conflict, or at least give me some sense of it.

For the narrator, I didn't feel his despair enough. You showed it to me, but it's still a little lacking. I couldn't feel my heart shrivel when I found out the shop was closing. It could be because of the telling. Sometimes you lean back on telling - you never let me feel the card's emotions. You could do this by actually describing more, or showing more thoughts. Scratch the describing more part. You gave me a good enough sense of the store; now, give me something that belongs to the card. It's strange how sometimes you seem so aware of what you're doing in this piece, but neglect to give me enough emotion. It's almost as if you're holding back.

Take my heart and crush it, okay? I'll appreciate it if you do.

Your dialog practically killed the last part of your piece. It didn't feel real. In fact, the last part of your piece felt awkward. You relied more and more on telling, and this roughed up the showing you displayed in the beginning of your piece. Step back and read. Your emotions aren't showing; they're being fed to the reader. Rewrite it so they show, and they're not told.

Finally! This is nitpicky, but you switched tenses there. ;) It's not obvious, but I noticed you started the piece with present tense and ended with past. Tricky, but pick one tense and stick with it.

Your character development's good, and your plot's a bit slow (you can afford to speed it up, but I'm afraid it'll ruin your rhythm if you do), and overall, I'd give this about a six or seven out of ten.

Again, great job with the voice! If you work on this and revise it, feel free to drop me a PM asking me to read it. ^^ I'd love to. And if you have any questions about this review (or need a more in-depth one), just ask. :)

Sincerely,

Jae




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Fri Apr 08, 2011 10:33 pm
eldEr wrote a review...



Hello! Isha here to review as requested! ^.^ (Sorry it's taken so long!)

I suppose that since you don't have any, I'll start off with something I don't usually do - nitpicks. (I normally do concept reviews.)


I know I was in a store, and I know it was small. The #FF0000 ">old man owned it. He was #FF0000 ">old and rough around the edges.


Just something that bothered me a bit here. You notice the bits I highlighted in #FF0000 ">red? (Well I hope so, it's sort of hard to miss. :lol:) You have already stated that the man is old in the first sentence, so in the description following - you do not need to tell us that he is old. It's repetitive.

His jolly laugh shook our deck as it bounced off the shelves of his shop, and #FF0000 ">his smile was like the sun, radiating out so vibrantly you could nearly feel it.


This is just more me being picky than anything else - but the description I highlighted in red is a bit cliched by now. You don't have to change it, but it would be nice to see if you could come up with something less-used - something of your own rather than something that's been done so many times before.

Back many years ago, he had met and fallen madly in love with a beautiful waitress with shiny brown curls who worked at Ricky's Diner downtown.


I was going to point out something about beautiful waitresses and a bit about cliches here, but instead I'll focus on sentence structure. This sentence was a bit... jumpy and hard to read - especially the last bit about her working at Ricky's Diner. It seemed a bit run-on and awkward. Try rephrasing it a little.

The Elder and Betty were married for more than fifty#FF0000 "> years, years of challenging, happy, memorable moments that both would cherish always.


Rather than a comma here, you should probably use a dash. (-) You've probably noticed me using them a lot already. ;) I have an obsession. (A period or a semi-colin will probably work just as well.)


Nitpicks aside:

I really, absolutely loved this piece. There's not a whole lot more I'm going to say, as my reviews usually depend on more to point out and improve. The emotion in this piece was wonderful - the happiness and the sadness alike. There were a few things near the end - where the card was feeling emotion that seemed a bit off to me. I didn't know how to explain it there, so I will quickly try and explain it here, though I doubt I'll do a very good job with it.

The way it was written, it seemed like the card was breathing; it felt a lump, or something similar as you said - which is what threw me off. I just thought that there was probably a better way of wording it or a different kind of description to use. It made it sound like the card had an esophagus, which I hope cards don't have.

Otherwise, like I said before - this piece was different, and I really, really did like it. I smiled the whole way through - even during the sad parts. (That sounds awful I know, but I smile when I enjoy a piece - even a sad one.) The ending actually made me laugh a little - it was expected and unexpected all at the same time. (The very last line was probably my favorite out of the entire story, come to think of it.)

And, that's really all I have to say!

Thanks for the request and thank you very much for the request!

Keep writing,
~~Ish.




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Tue Apr 05, 2011 4:22 pm



Much thanks to both of you for your insight! Thank you also for taking the time to review this little story. (:




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Tue Apr 05, 2011 8:52 am
Bellaxx wrote a review...



It was a bit confusing to who the character was at the start, but as soon as you work it out it makes sense (as much as the main character being a three of clubs could be). I do like it like this though, the confusion of the reader adds to the story. I didn't find any grammitical/spelling errors and I really liked the unique idea. So... well done!




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Tue Apr 05, 2011 8:40 am
summerlovee says...



This was so good, as soon as I saw cards cannot cry
I realised that it was the voice of the card.
That is a very good idea and I enjoyed reading it a lot!!
I hope I can read more of your work.
<3




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Mon Apr 04, 2011 4:31 pm



Just a quick sidenote to all who will review this piece: Indenting did not work even when I copied and pasted from my document on the computer to YWS. So sorry! Just so you know, each paragraph is, in fact, indented, so please don't comment on that error. Thank ya!





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