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Bucephalus

 
 
All Acting Regiment
21:18 / 02.11.05
The woman was on her knees in the wet dirt and snow, and it soaked her and teased out the first twinges of arthritis. Behind, the woods were leafless: a trick of bareness, because they still hid with their numbers the same range they'd hidden with their green coats months before.

Out in front, the estuary was in frightening contrast: wide, open. When the shingle shore halted there was nothing but white, strained through with grey and brown pebbles, until the shivering view reached the opposite bank where the forest sprung up again, wiry against the white sky.

She swallowed, took two hoary breaths, swallowed again. Her pupils were tiny dots that swung left and right like young mosquitoes jerking in a mirror. They fixed on things only for a few seconds, latching without comprehension on a twig, a log, or a slab of slate. The snow began to fall again, anonymously, peppering the branches and drifting on her eyebrows and cranium, the turned collar of her dress, piling against her legs with cold method. She remained in position, and didn't move anything except her eyes.

The footsteps came, swift, crunching on gravel and snow, and he turned his head as if straining to twist the trunk of a tree. There were three, no, four, maybe six sets of them; and the sound of their movement swam through the trees and thudded in her chest. She peered between the wooden pillars, trying to discern shadows and wind from form and direction.

“You can't cross the ice”, the heavy voice said, breaking from the trees, heralding that bronze kingmask of a face, heavy and thick with muscle and entirely free from emotion. For a second, the Oxhead was half in and half out of the broiling limbs, and then the winter sun hit him full on, a heavy rectangle of intent. The leer he wore rode up his cheeks into a cruel vee slit.

She stood. She'd been running the park for a day now. She could feel the oppressive weight of his presence, knew it nistinctively, had known it when it lunged with piston footsteps through the open snowy grass. She'd seen it shatter the wooden gazebo to matchsticks. He was a real man, the Oxhead- that's what Father said- a real husband- though Father had no money. Money was good wherever it came from, whatever services it payed for. The chase was all the Oxhead asked.

She turned and looked at the Oxhead, and then looked away, and then began to run, again, feeling the incredible ache in her thin-stretched muscle as her ffet began to pad the ground. The Oxhead again began to lollop after, his brogue hoot filling the air- “You can't cross the ice!” Her feet left the stones, smacked against the cold, frozen water, skidded, she slipped, grasped, dragged herself along, and all the while knew he was just behind her.

Then there was a sudden nightmare crack, the sound from when she broke her Mother's mirror as a girl; she peered behind her to see the Oxhead flail for a second between harsh slices of ice, the water reaching up and drenching him. His roar was like a lion. He had followed her onto the ice. She laughed, even through the stitch, let herself laugh, as the pursuer sank howling into the water.
 
 
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03:23 / 03.11.05
A damn fine story. I'm no writer nor even an editor, but let me offer some suggestions, which you may take or leave.

Out in front, the estuary was in frightening contrast Needs some kind of an action verb here I think. I would venture changing this sentence to something like "The estuary stretched out in frightening contrast ahead..." The first two sentences with the being verbs are fine, I think, but this one too is a little much, and pulls me out of the scene which I experienced very clearly up until that point.

Her pupils were tiny dots that swung left and right like young mosquitoes jerking in a mirror. Again with "were." Maybe "Her pupils, contracted to tiny specks, swung left and right..."

The footsteps came, swift, crunching on gravel and snow, and he turned his head as if straining to twist the trunk of a tree. Who is "he" here?

nistinctively typo.

He was a real man, the Oxhead- that's what Father said- a real husband- though Father had no money I'm not sure "though" is appropriate. What are you trying to achieve by opposing those ideas: Father says the Oxhead is a real man and a real husband, however father has no money? I'm not sure I see why you used that word instead of another conjunction.

payed => paid, I believe.

ffet typo.

began to pad the ground Something about this doesn't seem effective but I'm not sure if it's "began" which makes the action less immediate, or "pad" which makes the action less urgent. I would have said "as her feet beat the ground" or something like that.

The Oxhead again began to lollop after, his brogue hoot filling the air Again with began, which really does seem to remove the action a step and make it feel less present. Lollop I'm not sure is a good choice; it makes me think of rabbits. You might choose some words here which evoke horses and hounds, if you want; or maybe that's too cliché. I would set off "again" with commas before and after, since you did it before, but I like to use repetition— especially where I'm describing repetition— and it might not be your style.

Her feet left the stones, smacked against the cold, frozen water, skidded, she slipped, grasped, dragged herself along, and all the while knew he was just behind her. You could draw this out really effectively, as she scrambles across the ice, sometimes on her hands and knees, shredding her nails scrabbling for purchase, watching as tiny fibrous cracks spread out in front of her.

she broke her Mother's mirror as a girl "Mother" doesn't need to be capitalized if a possessive adjective precedes it; you could remove "her" to make it echo "Father" a few lines back.

the Oxhead flail for a second between harsh slices of ice This is particularly effective description. I like "slices of ice" quite a lot.

His roar was like a lion. This is not. Again I'd do something about "was" there; it keeps us from hearing it. "His lion's roar" did something, resounded maybe, or almost drowned out the screech of ice on ice, or shook her bones— something active and engaging.

He had followed her onto the ice. I gathered. This sentence tells me nothing new.

even through the stitch Make me feel that that's painful, if you would, please. I like pain.

Overall, a thrilling vignette, a very powerful moment which could be made more powerful with a few changes to the description and word choice, and with maybe a few more suspenseful lines as she drags herself across the ice. Alternatively, you could choose to make the moment of decision the climax. Does she decide to run across the ice because she knows he'll follow, or does she only guess? Or does she decide to run across the ice because death in freezing water is a preferable risk to whatever he will do if she stops running? If you hinge the story on the moment of decision, then the outcome is almost irrelevant; if you pin it on the outcome, then you can leave the reader guessing about her thought processes, or even if she's thinking at all or reduced to prey-animal impulses. Either way, though, I recommend that you take the moment before that moment which is all-important and stretch it out— her indecision, or her crawl across the ice.
 
 
All Acting Regiment
06:11 / 03.11.05
Thanks for the crits! All good points, but the following stood out.

Who is "he" here?

Bugger. Hold-over from original draft. Supposed to be She. Just to be clear, there are only two characters here.

Lollop I'm not sure is a good choice; it makes me think of rabbits. You might choose some words here which evoke horses and hounds, if you want; or maybe that's too cliché.

He's laughing, he thinks she can't get away, thinks he's succeeded, so it's not a true run, it's a game now, it's a piss take. That could do with being made clearer. I see your point.

"Mother" doesn't need to be capitalized if a possessive adjective precedes it; you could remove "her" to make it echo "Father" a few lines back.

Good point- I meant to do that.

I'm also aware that I had the Oxhead "leer" and yet be "devoid of emotion". Hmm.

Thanks for your comments about how to end the piece. I think I'll make it definite that she'd rather face the water than him.
 
 
matthew.
12:52 / 03.11.05
Legba - you have a very nice lyrical style. It flows rather well throughout the story. Pretty much my crits have already been stated by id's phenomenal post.

The only thing I would add is a comment about the very first sentence. The woman was on her knees in the wet dirt and snow.... If you were going for some sort of obtuse or opaque plot, then just to add some tension, I'd change "The woman" to simply "she". You don't refer to her as a woman again in the story. This simply adds more opacity to the story and creates a stronger sense of mystery right at the beginning. I don't mean mystery as in "It was the butler". It's just that your piece seems to have been intended to be hazy.
 
 
ONLY NICE THINGS
13:55 / 03.11.05
More when I get a moment, but my top-level on this is that a good yarn is being messed around by attempts at a high literary style. I may be failing to appreciate the finer elements here, but I found that the use of the more deluxe-model words and metaphors really hampered my enjoyment. Examples:

Hoary breaths - hoary means speckled with white hair, essentially. A hoary breath here means... a breath that sends out a cloud of white vapour? It may be a denotation of age - the hair and beards of old people are often described as hoary, and we have been told that she is suffering from the first twinges of arthritis - but as a description of breath? I don't know - I find it difficult here, and it breaks the rhythm.

The mosquitoes - this, for me, kills the momentum. Again, we have the mosquitoes - signifiying spasmic motion, so far so good. We have the mirror, which is picked up in the mother's mirror at the end and could have resonance with the frozen lake. But the mozzies in the mirror - why? Why are they in the mirror in the first place, and who is watching them in a mirror. Also, why are they young? I may not be much of a student of mosquitoes, but as far as I know mosquitoes of all ages buzz around like loons. Which is the other thing - mosquitoes characteristically emit a high humming noise, whereas the woman here is presumably silent. I don't get the love from this metaphor.

Cranium - The cranium is the part of the skull that covers the brain. If the snow is falling on her cranium, then being pursued by the Oxhead is only one of her problems - she has also had the flesh stripped from her skull. I may be missing something, but I'm not seeing a metonymic load here, so why not "head' or "the top of her head"?

Brogue - brogue, here, is presumably being used in the sense of a strong (usually) Irish accent. Why? I mean, why does the Oxhead have a thick Irish accent? What does it tell us about the character? I'm not sure about the hoot either - the character is already theriomorphic, but you have him as a horse, a bull, something that lollops and is thus neither. In amongst all that, the hooting suggests some sort of bird - this Protean quality might be something you're aiming for, but I confess I found it a bit distracting. Would a roar or bellow be too unplayful?

id entity makes good points about the ending (although I'd fight shy of his advice on putting commas around again) - at present it feels a bit flat - he says she can't go on the ice, she goes on the ice, he goes on the ice, he can't, as it transpires, go on the ice. I think that's a good structure, but it needs more. Why does he go on the ice, for example? If he doesn't think it will support her weight, why does he take that risk? You should be able to do something external to communicate more of what's going on here - is it hunt-madness, frustration? Maybe she could look back and see him at the edge?

Speaking of the ice, it were good, I think, if you made more of the fact that it is frozen. Estuaries are both tidal and mix salt and fresh water- they are pretty hard to freeze, and if it is frozen then that means that it is bloody cold, which might contribute to the picture further up the story.

Oh, and one fairly minor point: I'd look at your use of the colon. It crops up twice in the early stages, and the first time it feels a bit like a stubbed toe. The second time is fine, but I agree with id that the preclause needs work - "In contrast, the estuary lay flat before her:" or something to that effect.
 
 
All Acting Regiment
16:29 / 03.11.05
Wow, thanks Haus. I'm not even going to take you up on those points, they're all pretty much perfect and I'll set straight to work on them. Especially thanks for plucking those metaphors, I find it really hard to do that myself.

As I've often thought before, do you come as a plugin for Open Office by any chance?
 
 
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16:48 / 03.11.05
Haus: He. If you please.
 
  
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