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crucify me

 
 
autopilot disengaged
16:14 / 01.02.02
...or tell me i'm *special*

either way, here is the first part of 'the unrequited king', a short story i've assembled, over the last week, on fragments scribbled on stolen bits of paper from the office. lemme know what you think.

1
Keith wakes up in grimy sheets, greasy, sweating like a fish in a parcel of paper - knowing he’s going to get caught today.

Light settles on his skin like spores. Needle points of cold metal.

He thinks about crying – but before he can come to a conclusion, his alarm clock brrrings and he switches it off slowly. Easing a plug into the hole in his morning.


2
Keith eats coco pops with semi-skimmed milk. A child’s plastic party bowl and a steel spoon that has black plaque in its scratches and grooves.

Outside his window, boarded up, the world is tuning into day. He can see the suggestion of it happening. At the edges of the plywood blocking the view. See it dully filling the overlapping polythene, turning it the colour of milk. A plastic square between him and his wallpaper.

He puts in a pop tart.

Checks his rechargeable batteries – puts them on the counter. He wonders if he has time for a game of Time Crisis. His teeth ache, and his pop tart pops up. He eats it, wondering if he has time to masturbate.

But the day is like chalk dust, smoking into the room now, and he feels like crying.


3
The pop tart sits in his stomach like a monolith, a foreign body. Already he cannot remember a time before it was there, nor can he imagine it ever leaving.


4
He goes through a lot of air freshener.


5
He sprays it into the room before he’ll enter. Holds it out at arm’s length and counts the duration of the blast. 3 seconds is ok. 5 seconds is too much. 10 seconds or above that, and the hooks of a headache catch at the corners of his head.

He sprays 3 seconds in a horizontal sweep. Another 3 up and down. 3 + 3 = 6. But it doesn’t seem the same.

He makes a cross. Horizontal, vertical. And, as he walks further into the room, he can feel the spray settle on his skin.

He shoots a 2 second burst at where the body lies in his blankets.

It smells Alpine Fresh.
 
 
Matthew Fluxington
20:35 / 03.02.02
I've read this a few times through each of the days since you posted this - Each time, I find myself enjoying the words and phrasings, they have a very nice 'musical' quality to them. Some bits feel a bit like song lyrics. They also look nice - in terms of graphics. I'm not sure if that's going to make sense to anyone...

I can't say I'm very interested in the story, but that seems a bit intentional on your part.

I'm obviously fond of your use of language - it's just a bit like asking someone with a really lovely voice to read random things to you endlessly just because you like to hear them speak.

I'd give a much better review if this was presented to me as a piece of poetry rather than a short story.
 
 
matsya
04:24 / 05.02.02
for mine, my favourite parts are the first and the last. why?

the line about light settling on his skin like spores. all through this piece there's some nice metaphoring going on, but that one's the primo one. you might want to be careful not to spread metaphors too thick, though. it can become a bit dense if everything's like something and nothing's like itself. you know, like you're being all cleverclever and gothpoetic?

The actions in the last sequence are odd but intriguing. using the maths is a good idea. i'm always more impressed by strange behaviours that have rules and structures behind them than I am by behaviours that are simply "strange". the sensuality of the spray settling on his skin is good (like the spores of light?), and the subtle way the body is introduced is good too. it's a good internal moment; we're getting right into the character's head.

other things:

didn't like the monolith thing. a bit too evocative of the monoliths from 2001, which in turn are just a bit of a jarring image.
i thought the overall gloom was maybe a bit heavy-handed. but that could be just me. i'm not especially into gloom as its own aesthetic. as something driving a narrative, yeah, but when it's just there as a background thing, to me it feels like it's there because it's drawn from the life of the author and for no other reason. does that make sense? there's no sense of WHY the person is gloomy (although the body in the bed might have soemthing to do with it), and people who are just depressed a lot and wallow in it tend to bore me.

how's that?

m.
 
 
Kitten Caboodle
08:21 / 05.02.02
Originally posted by autopilot disengad]...or tell me i'm *special*

either way, here is the first part of 'the unrequited king', a short story i've assembled, over the last week, on fragments scribbled on stolen bits of paper from the office. lemme know what you think.

Ha! You asked for it . . .

Keith wakes up in grimy sheets, greasy, sweating like a fish in a parcel of paper - knowing he’s going to get caught today.

Good start

Light settles on his skin like spores.

Good

Needle points of cold metal.

Unnecessary

He thinks about crying – but before he can come to a conclusion, his alarm clock brrrings and he switches it off slowly.

Easing a plug into the hole in his morning.

a) what does this mean?
b) why is it necessary?
c) it's not a very good metaphor and neither is it a complete sentence. Get rid of it.

2
Keith eats coco pops with semi-skimmed milk.

Nice detail
(He uses) A child’s plastic party bowl and a steel spoon that has black plaque in its scratches and grooves.
Outside his window, boarded up, the world is tuning into day. He can see the suggestion of it happening.

Why is this full stop here? There shouldn’t even be a comma

At the edges of the plywood blocking the view. (He can) See it dully filling the overlapping polythene, turning it the colour of milk. A plastic square between him and his wallpaper.

Sorry to be anal but this telegraphic Bridget Jones style is really so 1997. If you can write properly, do: don’t break the rules simply for effect unless you know what effect you want.

He puts in a pop tart.

(He) Checks his rechargeable batteries – puts them on the counter. He wonders if he has time for a game of Time Crisis. His teeth ache, and his pop tart pops up. He eats it, wondering if he has time to masturbate.

Is the repetition of wondering if he has time to X/Y deliberate? If not, delete Time Crisis. If so, is masturbation a speedier second best?

But the day is like chalk dust,

Nice simile

smoking into the room now, and he feels like crying.

What, again?

3
The pop tart sits in his stomach like a monolith, a foreign body.

Weak. Use one simile or none at all

Already he cannot remember a time before it was there, nor can he imagine it ever leaving.

Lose this. What does it add?

4
He goes through a lot of air freshener.

Nice. Why? I’m intrigued.

5
He sprays it into the room before he’ll enter. Holds it out at arm’s length and counts the duration of the blast. 3 seconds is ok. 5 seconds is too much. 10 seconds or above that, and the hooks of a headache catch at the corners of his head.

“Hooks of a headache”? No need to try so hard. You can write but it’s not very charming to have phrases jump up and down shouting “look at me”.

He sprays 3 seconds in a horizontal sweep. Another 3 up and down. 3 + 3 = 6. But it doesn’t seem the same.

He makes a cross. Horizontal, vertical. And, as he walks further into the room, he can feel the spray settle on his skin.

He shoots a 2 second burst at where the body lies in his blankets.

At last the money shot!

It smells Alpine Fresh.

The last 2 sentences are the pay-off which make all the previous meanderings (not an insult to your prose – Kevin seems to be a meanderer by nature) worth while. Now the story can start.
Overall – good but careless writing, great premise.

This brought to you by Kitten’s House of Criticism.
 
 
autopilot disengaged
09:11 / 15.02.02
ok: first up, thanx to everyone who responded. appreciated.

flux: you weren't even intrigued? c'mon! therre's a body! in his blankets!

matsya - i know what you mean about the metaphor-heavy nature of this excerpt. i do think a little pruning is in order. however - as the piece progresses, and keith leaves the house - 'goes to work' as it were, their frequency diminishes, merely supports and illustrates the narrative, rather than creating it.

there's an element in which the broken-up fragmentary nature of this first section acts as a formal analogue for his still-cohering consciousness... but i won't labour that.

also: i tend to avoid allowing the reader to get close to my characters' motivations or emotions... believe me, when you read the rest of the story i think you'll have a pretty good feel for why he's so continually low...

kittencaboodle - i *love* the 'plug' metaphor - though, yeah, it's pretty clunky. what i'd say is that, for me at least, it completes a complex set of images - the idea that, by pushing in the alarm stopper, he's somehow blocking his only escape route - transferring time into space...

both the style and repition are gut-level choices - would be interested in hearing yr views on how they play out over course of full story - bearing in mind there's a stylistic shift imediately after the last of these segments.

next question: any of you intrepid souls interested in doing just that? it's only four pages...

c'mon...
 
 
matsya
09:11 / 15.02.02
yeah, okay email it to me and i'll have a looksee.

m.
 
 
autopilot disengaged
22:36 / 20.02.02
woo-hoo!

y'know, matsya, some people claim to rule.

but you really do.

rule.
 
 
autopilot disengaged
09:21 / 06.03.02
okaaaaaay...

so: BarbeReaders HO!

anyone read 'the unrequited king' yet? hm?

wanna talk about it?

hello?
 
 
Ethan Hawke
13:46 / 12.04.02
Because Haus reminded me of it in the "How to do the creation thread":

Exactly a month after I received it, my review of "The Unrequited King":

I have to say I am really intrigued by this piece. Unfortunately, the weakest part (for me) is the first page, which balked me at my attempts to read the rest of it. I'm glad I persevered though, because I think there are a lot of good ideas in here, and a lot of excellent images. My complaints about the first page (in addition to the line-by-line things below) were the insertion of several sentence fragments that described something in Keith's environment in detail. I'd rather have these (creative and original) descriptions attached to actions on the part of Keith, rather than floating free.

I'm also a little confused about the relationships of the characters. At first I wasn't even aware there WAS a second a character. Granted, part of the point of the piece seems to be to show how Keith treats his wheelchair-bound (son?brother?Twin?) as an object, but for a while I actually thought it WAS an object, some sort of dummy in a wheelchair (stupid idea, I know). While it is important to show Keith's attitude, it is also important for the reader to have empathy for the person in the wheelchair.

Anyway, some specific comments (mostly related to the first page)

Author's work in Bold
Keith wakes up in grimy sheets, greasy, sweating like a fish in a parcel of paper - knowing he’s going to get caught today

Confusing - if the metaphorical fish is in paper, it already has been caught.

Light settles on his skin like spores. Needle points of cold metal.
Two paradoxical images - Light settling first, and then (I assume) Light as needle points of cold metal. The two are warring concepts.

Easing a plug into the hole in his morning
Fragment - kind of confused by that.

3. The pop tart sits in his stomach like a monolith, a foreign body. etc.

I like this image a lot. My only suggestion would be to use a stronger verb than "sits" (crouches? Squats?) and axe the "foreign body." Anything that would be taking up residence in his stomach would by implication be a foreign body.

He's floating down a river of lava, standing on a giant berry
You lost me with this one. It reminds me of crash bandicoot or something. Which is good.

Eep! I just read the next section and it IS a video game reference.

Going on-- I really like the video game sequence. You made something completely uninteresting to me in real life fraught with symbolism and movement.

The ending - I am a little confused. I had to go back and read the first part again. On my first read through, I thought Keith himself was in the wheel chair. Then I thought he just had a dummy in there. Then I went back and realized he was spraying air-freshner on someone ELSE's body on the first page. Someone who he props up in a wheel chair and who sleeps like the dead.

I am confused as to the ending (sections 18-20)because it seems like two things are happening at once - Keith having an out-of-body experience, looking at himself while he's asleep. Or Keith looking at the sleeping form of whoever was in the wheel chair. Or the person who was in the wheel chair looking at the sleeping Keith. Color me confused.

Anyway, I am very intrigued and if you do a second draft, i'd be happy to read it. (though it may take me a month again)
 
  
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