The Long Road

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SkeeK

The Original, Rock n' Roll Doggie, VIP PASS
Joined
Jun 8, 2000
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4,163
Location
Hamilton, ON
The engine sighed to a halt. Splashes of headlight on the night asphalt faded.

On the porch of his squat brick house, he loitered several moments and breathed the cold clean air through his veins. He exhaled sharply, turned, and clattered through screen then wooden door.

Sat uneasily on the brown recliner?s ragged edge, he pulled off his battered shoes and dropped them one at a time into a lopsided sprawl on the carpet.

In twenty minutes, he sat in the kitchen, still wearing his coat, with his back to the window and his head bowed over yesterday?s lasagne. He raised the fork stiffly to his mouth, chewed mechanically, and swallowed. The pattern extended across twenty minutes. Supper was his least favourite time in the world. But you had to eat. He tried to breathe evenly. Tick. Tick. And Tick again.

A jolt of sudden and violent unease sprung through his stiffened arms. Pasta sailed through the air and the fork skittered to the floor. His teeth clenched; his eyes clamped shut. And he knew she was behind him.

Stooped over to retrieve the glittering utensil, he saw a fragment of straight blonde hair. Flash of quizzical lip. Flicker of pale, curved cheek. Steeled grey eyes.

It was always hard not to look at her. But it was far more difficult to meet that gaze, and so he kept his head turned and lowered. Sometimes he did dare to glance, or even to stare. He knew though that whatever he did, wherever he looked, it wouldn?t change a damn thing. Still the clenched stomach, the leaden fingers, and the constricting throat.

As he staggered back to his seat, the floor rolled dangerously. For a moment he was free of gravity, and when he tumbled back down, their eyes met. He hadn?t truly seen those eyes in years, and it had been almost as long since he?d burned every photograph where they appeared. But there they were again?identical to the very tilt of the eyelash. Precisely as they?d been on that last night.

As always, the accusation was plain. Sometimes he wished he could shout, ?You?ve got the wrong guy!? Sometimes he did anyway. And sometimes he thought he was lucky he lived alone so there was no one to think he?d cracked. But he regretted that thought as soon as the corner of it entered his mind.

He stood there, transfixed and unsteady. Bile churned and the room spun. His head thundered. A stampede of crushing memory surged through his conscious. A very real and vivid pain crashed against his ears and forehead. And always those eyes ? at the centre of everything.

In ?73, he?d finally put the house on the market. Two days later he?d called his real estate agent and cancelled. He was never sure why. Maybe there are just some things you can never run away from.

With supper finally finished, his shoes were on, and he dashed as best as he could down the walk toward the driveway.

He drove. The dark road swung out in front of him and shadowy trees loomed on either side. The creaks of withered tree-limbs, and the whistle of a violent wind (spun) through the rolled-down windows. Dotted yellow lines blurred together as they sped past him. His shoulders sagged into the soft car seat cushion, and he breathed in as much of the night air as his lungs could hold.
 
You've got some pretty vivid images there boy.
I founjd that as I was reading it I was short of breath, just like the narrator. It's amazing how stories can envoke that in you...

I like it. Is this the first chapter of a novel?
 
There isn't more, as of yet. This was written as a stand-alone piece for our school newspaper, though I realize there is much more story to tell.

I really took to heart the advice to "show not tell" and as such, while the situation taking place is known to the writer... all the details of the past, and who the face belongs to etc. are not necessarily evident though they are implied.

I wonder if I should just spill the beans of clarification, or leave it in the air for people to get from it whichever they want.

The possibility of me turning this into something a fair bit longer is definately there... there are many possible avenues to explore with this character, though it may take a while to get around to it.
 
Show....don't tell.

Make people work for it.

"I like mass better in Latin. It's so much nicer when you don't know what they're saying"
--a line from WHile you were Sleeping


--basically just meaning that I like it better when things are spelled out concrete for me. I like being able to imagine/guess who the face belongs to. Ultimately, it's your choice I suppose. If the people at your school might respond better to knowing, then by all means, go ahead. ;) :up:
 
I'd give the reader a little more, I'm really bad at discerning the finer details in literature without help, but this is very open to interpretation from what I can see. That being said, you have the most incredibly interesting style and such vivid discriptions. Pure colour is what I'd say.
 
See I'm not sure how to put the finer points of detail in the story without making it seem blaringly obvious. For some reason I just can't bring myself to out and say it.
 
SkeeK said:
any feedback? anyone? someone?



i wish you would make your themes more subliminal. :eek:




i kid, i kid



non-exposition detail is always the best in short stories imo. have you ever read "summer" by david updike? it's got a similar style to this, where you get just a little of an instant at the very end of the story which was developed with memory-soaked symbolism throughout the story.
 
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