Great Writing - Home > SF > Land and Freedom (Working Title) 1
READING ROOM
Great Writing - Home
Read and review others' work
Articles on writing
Advice from the community
COMMUNITY
Talk to others in the forums
Events and Competitions
GW News
ABOUT GREAT WRITING
All About Us
Contact Us
WORK AWAITING REVIEW
GW IS...
Great Writing creative writing community is designed to prompt ideas and provide inspiration and motivation within aspiring and amateur authors. Whatever your topic; from love poetry to Doctor Who or Harry Potter fan fiction, Great Writing's online writing group is where you can make new friends and improve your creative writing.
WHO'S ONLINE
We have 1842 guests online and 11 members online
Science Fiction and Fantasy
Land and Freedom (Working Title) 1
By SamK
06 March 2008
This is an extract from a novella that I have been considering. I have not had the chance to write for a very long time, and I am aware that this piece is somewhat deficient. I seek constructive feedback, and hope that some of you enjoy this. It is not sci-fi per se, but dystopianism.

 

If I could say to you, my friend, that there was one thing that meant anything it would be this: what I consider to be right and just. What I cannot say I can simply feel, and these sensations are in their return largely ineffable. I could not describe my revelation, nor explain its presence. All I know is that it is there, overcoming my self, insuperable and empowering. The visceral longing for something beyond the end, an atheistic finale. Immorality, its alluring scent, is externalised in the legacy. Triumphal and cataclysmic, but at the same time tranquil. I descend upon it as a leaf unto a pool, leaving only the merest patterns in the water. Unto death, this is what I speak of, and the solution to life: that is to say, friend, that it should be like a coma. An abrupt ending -impenetrable desires and their dance upon the conscience- is nothing but a bad finish to a worse novel. Instead, friend, draw a picture of your self and stare at it. Reach a point where it is beautiful, its aesthetic value beyond question and its meaning incandescent. Then, friend, shall you know what it is that means anything at all: to sleep rather than to die, and to long for nothing more than the satisfaction of your wants. My longings, neither carnal nor avaricious, become the continuation of something older: humanity and its improvement. Therefore I write this to you as the first and most important part of the whole, and in the distance of time it shall be known better. Becoming the past and therefore real, and so distinct as to conquer doubt.


Anon




It had been a long day, and the musky scent of old air came into the office. It was stale, as befits a dead place, where men are no better than walking cadavers. The process of working, at least in this context, became the art of unliving. The blinds were drawn down, so as to mask the sun and to hide the heads of the employees. There had been a sniper in the town, they had said, and there had been engagements on its streets. The company, its presence the corollary of invasion, was a target. Yet it was all lucrative, and so that did not matter. Nor did it concern the staff, themselves becoming more wealthy as the situation grew more dangerous. Iraq first, it had been, and now here. He stared at his fan, its oscillations and turnings. The blades whipping round beneath the wire casing, providing him with a little solstice. Upon unbuttoning his collar he stared down at the keyboard in front of him, and punched a single 'a'. He then studied its appearance, so bored as to wonder. What we cannot speak about we must pass over in silence. It seemed appropriate to the circumstances, for there was nothing to be said about the time and the place. No reason or justification for being here, beyond the acquisitive, and no lesser journey than that from one desk to the next. To make toilet was the other Odyssey, though more enjoyable for its variety: he could picture the walls, a dissimilar shade of white, and the rinsing of his hands and splashing of his face. Again, his neck craned towards the screen. Endless statistics, too little information about too unimportant a thing. Once more unto nothingness, to spell out the most recent developments in a ballad of number. It was too hot. It was always too hot. He felt as the pied-noire, or at least how he thought they should feel; a transgression into an alien land, the scion of the white man's misdeeds and the testament to some history, best explained he said to himself, in terms of malevolence and the abuse of power. For if it had not been for the third war, the proposed ending to a century or more of conflict, then he would not be here. He might be somewhere else, he decided, perhaps learning and growing. It had been an appalling adventure, but one all the same, and therefore just in its perpetration. The myth of accomplishment, the struggle against the other. The movement of tanks through villages, the queer potency. It was almost dull. Now, to speak:


Excuse me, sir.”

Yes.” replied the attendant.

Could I possibly excuse myself for a moment?”

Yes, ok.”


In diurnal course he was untrammelled and left the office. He walked down the corridor, and forgot about his report, and moved down the stairs and to the lavatories. Something was wrong inside of him, but he wasn't certain. Life felt as if it had become routine, and in turn this structure bore no significance. As he sat on the toilet and lit a cigarette, covering the smoke detector with his sock, he rubbed his face. It had all been so wrong, so unjust. They were not welcome here. They were intruders. Their heady native orisons lost in the wilderness of the city. He glanced to the mirror, where his tired eyes slid across themselves. We fear the old because we fear ourselves. What is within us, almost a pathology, waiting to spring out and surge into the bones and organs. Dominance, for that is what we long for, cannot abide the inexorability of it; we are still mortal, in spite of the apotheosis in posterity. The worst part of it all was the death of passions, the genitals shrinking into themselves and unto asexuality. He patted his thigh. He extinguished the white stick and then flushed the toilet. He drew his sock around his foot, noticing that it was paler than the rest of him. He opened the door and left for his desk, coursing up the steps with a halting grace. It was about time that he should be doing something with himself, and work was not it. He reminded himself of the book that he had, and he swelled with fond visions.



Outside of the building now, at five. He drank from a plastic bottle, his jacket slung over his shoulder as he waited for the taxi. The sun forced itself upon his face, his ears clogging with a sequestered ringing. The working day had ended and he was smoking long, hard drags from the cigarette. It was pleasant, and he loved to watch the women walk past. Some of them were beautiful, and walked in step like lotuses. They wore sunglasses and had scrawled patterns on their face, their cheekbones rising above the commotion of blushed sandy skin. If he could have one of them he would, but he had not the money. Their skirts cloistered up against the thighs, their languid advance. The process of being sexually enticing, the process of inspiring a man to to picture linen sheets and sweat. His smile was slim, but there all the same. He pushed the crooked sunglasses up his nose and drew his band back across his hair. The taxi arrived, driven by a swarthy fat man bristling above the lips. He opened the back door and slumped into a sea of leather, leaning forward to address his chauffeur.


Could you take me to the New Apartments, please?”

Certainly sir.”


So it was that he arrived home shortly and safely, having paid what he considered to be too little. He went up the building and to his flat. He went inside, sweeping the mouldy plates and beyellowed newspapers aside with his foot. He let things fall to the carpet. To the lounge, and to the sofa. He opened a bottle of wine. He grew warm in the head and dehydrated, but cared not. To the book. It was taken out from beneath a solitary pillow, brought to his eyes. He read for a while and drank a little more, deciding that he liked this author. The author's name was beautiful to the tongue, so easy to navigate. He took a page out and attached it to the wall, so that it sat beside the others; a legion of inchoate papers, combined to produce what he termed the perfect novel. Decorative, so like fine art, it could be done and redone or perchance ignored. To stare at them made his mind calm, somnambulant almost. Incumbent thoughts rooted out by better ones. It was a magnificent scroll, the teachings of the best and most perceptive. He lolled again, though, and stopped to think as he napped a little. It was warm and he was tired; drinking had been good for him.

 

Reviews

Written by stevetroster (1399 comments posted) 6th March 2008
Hello Sam. 
 
I started to read this but stopped when I realised that it wasn’t sticking. The words just seemed to wash over me and there was nothing in the first two paragraphs that engaged me I‘m afraid. Sorry. 
 
There was one thing that stuck: “In diurnal course”. What do you mean by this? 
 
Best wishes, 
Steve. 
 
Hello
Written by SamK (3 comments posted) 6th March 2008
Steve 
I appreciate the feedback. What do you mean that it was not sticking? I am sorry if they washed over you. Is there any way that I can improve this? 
 
In diurnal course? In time, the movements of the sun.  
 
Many thanks 
Sam
writer vs story-teller
Written by mia_ms_kim (891 comments posted) 6th March 2008
I've read similar styles a few times, some I couldn't get into, some I thought was interesting. I found yours interesting. I heard J Archer comment that writers and story-tellers are two different animals, that he is a story-teller. I think you are a writer. I find writers can hold a reader's attention without even having a plot or some attention-grabbing punch line, simply because he/she has the 'write' in him/her. However I find writer-storyteller combination person best catches my attention and keeps it. 
 
I don't know what exactly dystopianism is, but if you are aiming at an average reader, here is my two cents worth.  
 
1. long paragraphs - perhaps u can break them up. Looking at one paragraph filling a whole page, even half a page without any relief, can be visually overwhelming. Perhaps you can use varying styles within the paragraph, eg. internal musing, inner dialogue, quotes etc to say what you want to say more creatively. 
 
2. abstract & esoteric - perhaps u can intersperse the writing with your protagonist's movements, action, dialogue etc, something concrete. When you do that from 3rd para on, it becomes a much easier read. Abstract thoughts by itself can become confusing and unengaging to the reader, but when supported or exegeted by something concrete, can be impacting, I believe. 
 
3. characterisation - I guess I am repeating pt 2. But I found your character quirky and interesting. If you invest into your character more, ie. engage with him, give us his expression, reaction, interaction, and insights into his inner thoughts and world - ie. allow us to engage in the world your are creating through your character, I believe I can understand your writing better, therefore enjoy it more. 
 
Happy writing. 
 
Mia

Written by Fledermaus (3159 comments posted) 6th March 2008
Both good and bad things in this. 
The sentences were the right length and you did not over-use adjectives and metaphors. Little happens, but you described it in detail without getting boring. Furthermore you get a feeling of desolateness across. Dystopian indeed. 
 
Yet what on earth happened to the last paragraph? From a flowing style you suddenly descent into a bunch of short lines that all start with 'He'. Such lines are perfectly fine, but not so many of them after each other. 
Secondly the language you used. It could be because English isn't my native language, but it felt a bit as if you were trying to write in a too intellectual manner, showing off your vocabulary. It does slow down reading and distracts from the story. No doubt some people use 'difficult' words in every sentence of their every-day speech, but I got the impression that that's not the case with the author of this work. 
 
I think there's something in this, and it could just be that the overly literary style is just how you write. some people might like it... 
 
I was just a bit curious about the narrator in the beginning though: Who does he address and what sort of person is he (or she?)? He seemed confused rather than enlightened to me, yet he seemed to have an arrogant voice as if he believed he had to explain something. If he is supposed to be a wise man, I'm afraid he didn't come across like that. If he is just a confused someone who thinks he's wise, it's a very good part.

Written by stevetroster (1399 comments posted) 7th March 2008
Hello again, Sam. 
 
Nothing sticking? Let me try and explain what I mean. Setting aside your opening ‘Anon’ paragraph, I read: 
 
“It had been a long day, and the musky scent of old air came into the office. It was stale, as befits a dead place, where men are no better than walking cadavers. The process of working, at least in this context, became the art of unliving. The blinds were drawn down, so as to mask the sun and to hide the heads of the employees. There had been a sniper in the town, they had said, and there had been engagements on its streets. The company, its presence the corollary of invasion, was a target. Yet it was all lucrative, and so that did not matter. Nor did it concern the staff, themselves becoming more wealthy as the situation grew more dangerous.” 
 
I’m okay up to this point and you’ve painted a clear picture of an impersonal work environment. Although, would you not prefer ‘wealthier’ as opposed to ‘more wealthy’? 
 
But then came: 
 
“Iraq first, it had been, and now here. He stared at his fan, its oscillations and turnings. The blades whipping round beneath the wire casing, providing him with a little solstice. Upon unbuttoning his collar he stared down at the keyboard in front of him, and punched a single 'a'. He then studied its appearance, so bored as to wonder. 
 
Here & He.  
 
I have no idea where we are or who he is, so I find myself rushing through the text to find out. Yet as I read on, looking for insight, the words wash over me because they are no longer important. The only important thing now is to find out where the story is set and about whom. 
 
And: “Providing him with a little solstice.”? Providing him with a little longest or shortest day of the year! Would you not prefer ‘solace’ to ‘solstice’.  
 
I hope this adds clarity to my earlier review. 
 
Perhaps it’s just me, but I still don’t quite understand what you are saying here. 
 
“In diurnal course he was untrammelled and left the office.” 
 
Diurnal: 
1. happening during the day as opposed to at night  
2. happening every day  
3. science varying within a day: varying within the course of a single day  
4. used to describe flowers that open during the day and close at night  
5. used to describe animals that are active during the day rather than at night  
 
In the course of happening during the day he was unrestrained and left the office? 
In the course of blooming during the day he was unrestrained and left the office? 
 
All the best, 
Steve.

Written by SamK (3 comments posted) 7th March 2008
First, I should like to say thank you. I am glad that people have read this. I would like to address each comment point by point, if that is ok. 
 
 
Mia 
 
1.Yes, I do agree that some of the paragraphs are too long. I shall try to add more dialogue, but I feel that there was enough internal musing. I shall try and break it down and make these parts more explicit. 
2.I agree that there needs to be more action, but I was trying to emphasise the tranquility in boredom. I thought having too much action in the first parts would detract. I shall dilineate more often.  
3.Characterisation – the character isn't meant to have much expression at this point, is intended to be rather disillusioned and dull. I can try and give you more inner thoughts and world, but he is not particularly expressive or reactive as a person at this stage. That comes later. 
These were helpful comments, cheers. 
 
 
Fledermaus 
 
The last paragrah is week, and I know that the 'he' sentences are problematic. I wrote them primarily because I have yet to decide on a name for the character! I intend to improve this. As for the language, I am in the process of becoming an academic. I am more used to penning journals or articles than prose, and have not had the opportunity to do this for some time. The narrator is simply delusional, and, if you don't mind the spoiler, is the protagonist following his descent into madness. It is complex, and would spoil it if I explained too much.  
 
Thanks 
 
Steve 
More wealthy is good for me, but wealthier I shall consider.  
 
“I have no idea where we are or who he is, so I find myself rushing through the text to find out. Yet as I read on, looking for insight, the words wash over me because they are no longer important. The only important thing now is to find out where the story is set and about whom.” 
 
I know that there needs to be more clarity here, and thank you. It's a constructive comment.  
  
And: “Providing him with a little solstice.”? Providing him with a little longest or shortest day of the year! Would you not prefer ‘solace’ to ‘solstice’.   
 
Solstice. It can also mean the 'culimination' or 'peak' of things. The peak of his 'happiness' at work. It was also a play on solace, and perhaps could have been executed better.  
  
  
“In the course of happening during the day he was unrestrained and left the office?” 
 
Yes.  
 
Thank you all again! I hope this clears things up.
Typos
Written by SamK (3 comments posted) 7th March 2008
I am aware of the typos that pervade the above comment! I wrote it in haste and in notepad. Apologies.

   Only registered users can rate and write comments.
   Please login or register.

Powered by AkoComment 2.0!

Next item