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Emotional Ties

by tusker 

Posted: 27 July 2008
Word Count: 1514
Summary: Did this in flash form a while ago. Now back to full size.


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The chalet nestled beneath a high dune. Other chalets, dotted here and there, hugged the perimeter of the bay. A paint starved door swung in a light breeeze and, as a cloud passed across an April sun, a sudden strong gust blew it shut with a bang.

Sadie lifted her gaze up to a bleached asbestos roof where a small chimney jutted out like a comical hat. Staring at the jib blackened by many fires, she half-expected to see smoke rise up into the sky.

'Damn!' The harshness of het tone broke hours of silence. She turned, facing a frisky sea, running nicotine-stained fingers through, thick, prematurely greying hair wishing, as she raked through those curls, that she had'nt come back.

Stirring, she clambered up onto bare feet and looked down with sad resignation at the density of her thighs. The long, white shirt she wore over denims did nothing to hide her heavy breasts and rolls of fat.

Slender hands, the best part of her, patted a rotund stomach in a pernicious ritual of self-loathing; a loathing that kept emotional ties at bay.

Slowly, Sadie walked away from the chalet down towards the sea and, as she walked, she remembered him telling her, 'Salt is a good healer.' How he loved to spout words of wisdom as if they were his own thoughts and wisdom, but those words of his had always left her cold and empty.

Soon cool water lapped around her puffed ankles. Wispy clouds skittered across the sky and watching those clouds, Sadie's tension eased. Suddenly, a shout had her spinning around but, at the sight of a child flying a kite, her heart settled down to its natural beat.

Shivering as if a cold hand had touched her, she looked to the horizon where grey clouds tumbled after white. The sun, minutes before, a golden orb, now struggled to send its rays above the advancing turbulence and, with reluctance, she left the water's edge.

Arriving back at the chalet, she poised like an interloper in the doorway. Years ago, overstuffed chairs had been adorned with vibrant throws. Colourful rugs, bought in Turkey, were scattered over linoleum. Her father had called the look, Bohemian. Sadie had thought the effect tatty.

'You've no taste,' he used to say to her. 'Now my Bethan has taste, haven't you sweetie?'

And her younger sister, with blonde curls and freckled cheeks, would gaze up at their father as if he was God himself. Bethan, quiet and even-tempered, who loved painting and making models from sea shells, basked in his adoration.

But Sadie, remembering those times, didn't harbour any resentment towards her beautiful little sister but she remembered how she despised the flattery and pathetic fawning her sister engendered from the women in their father's life.

'Doesn't your Bethan look like a Pear's child?' some would say.

And, aware of his own good looks, he would respond, 'Bethan takes after her father, don't you sweetie?' Then the flatterers would fall silent while assessing Sadie and he would say, 'Sadie takes after my late wife.'

By his tone, he achieved sympathy. But none knew the truth. Pride stopped him from admitting that the woman he called, 'The Bitch,' to his children had fled from his bullying and constant womanising.

Stepping further into the chalet, Sadie's gaze drifted to an off-white, roughly rendered wall and the brown tiled fireplace draped in a tangle of cobwebs. Beside the fireplace stood a cupboard, its red paint flaking like obscene lumps of bloodied dandruff.

Moving over to it, she opened the door, peering into its cluttered, dusty depth. Reaching inside, she took out a multi-coloured ball, trying to recall when she and her small sister had last played with it.

Suddenly, she let out a yelp when a black spider scurried up her sleeve. Whimpering, she shook the creature off and, as she did so, the ball fell from her grasp, bouncing across the floor, stopping against a lobster pot.

Closing her eyes, Sadie allowed her panic to subside. Then a memeory nudged the edges of her mind. Claws waved at her in a silent appeal to be saved.

A large saucepan steamed on the stove. Even now, she could recall the lobster's sibilant hiss and her father's laughter following her out of the chalet, down onto the beach.

'Stupid child,' he'd said on her return, hours later, but she didn't respond to his condemnation. All she could see on her father's plate were the remains of Janus, her pet lobster.

'Stop it!' Sadie cried out, shivering at the memory but the answering silence brought only the sting of tears.

The chalet door banged shut, making her jump. Then it swung open again and she saw the gathering greyness, outside. Waves, which earlier had been playful, now glittered pewter. White foam spewed onto the shore.Sand swirled across her vision.

Slamming the door shut, Sadie leaned against it, felt wood buffet her body as if being pushed by an unseen hand. Bolting the door, her gaze went to the armchair where earlier in the day, she'd thrown her rucksack.

Stepping over, she unzipped the rucksack and took out a battered tobacco tin and matches. Sinking down onto the armchair, she rolled a cigarette. Lighting it, drawing in a lungful of smoke, plunging her free hand back into the rucksack, she took out a cheap bottle of red wine.

Unscrewing the cap, she took a swig of its vinegary taste, surveying the room and its two doors leading off to the only bedroom and tiny kitchenette.

'So!' She raised the bottle aloft. 'This bloody shack is all mine!' She laughed a harsh laugh at the thought.

Screwing up her eyes against the growing gloom, Sadie put the bottle down onto the floor and getting up, stepped over to the cupboard. Stooping, scanning shelves, she found three candles and carried them back to the chair.

Lighting each wick, letting hot wax dribble onto the Formica surface of the coffee table, pressing the candles into the wax, she watched the room lighten and flicker benevolent shadows across thin walls.

Outside the chalet, the wind had gathered speed. Inside, cobwebs danced. Sadie drank more wine, striving to ease knots of tension churning in her stomach.

'Did Mummy love us?' she remembers Bethan asking her on many occasions.

'Of course she did,' Sadie would reassure her.

'Will you find her for me?' she'd constantly ask. Sadie promised she would.

On the coffe table lay a photograph album she'd found earlier. Lifting it up, Sadie willed herself to open
it.

'Come on, make a bloody effort,' she could almost hear her father shout as they posed for photographs.
Sadie, tall and gangly,gazed back unsmiling but Bethan, always dressed in flowery frocks,usually beamed into the camera.

One by one, Sadie looked at pages of memories and on reaching the last page, she groaned. Bethan at the age of eighteen, stood beside their father, smiling. But that smile seemed distorted, as if her mind was elsewhere.

Days later, Bethan, always afraid of the dark, had walked, one cold winter's night, into a tunnel and into the path of an oncoming Inter City Train.

Standing by the graveside, Sadie had met her father's cold gaze. After the funeral, she returned to her one bed-room flat and her father went home to his spacious bungalow to live with his memories of Bethan.

Now, after his suicide, five years later, the chalet is hers, a legacy she did not want or need. The bungalow had been sold off, all proceeds bequeathed to numerous charities.

'Damn you, you bastard!' Sadie's howl of rage rose above the sound of the gale, outside.

The chalet door blasted open, as if in answer to her condemnation, wrenching the flimsy bolt from its hinges. Spinning around, half-expecting her father to stride into the room, Sadie staggered back against the coffee table. A candle wobbled and fell to the floor. A flame snaked out, licking at fringes of the armchair, sending darts of fire under and into the stuffed insides.

Fascinated, she watched the flames engulf faded draylon. The chalet shook, a gusty breath touching her cheeks like an invigorating caress, Stepping over to the door, Sadie lifted her face to the wind and sea spray.

'Fire is a cleanser,' she remembered him saying as they piled rotten wood onto a bonfire.

'Salt is a healer,' she recalled him telling her sister as he bathed a cut on her knee.

FIRE. SALT. The words, his words seemed to be imprinted in large letters in her mind where they dipped and dived in rainbow colours.

FIRE. SALT. They swerved and spun outwards as she walked down over pebbles towards the sea heaving like black treacle.

FIRE. SALT. His words plunged into icy water that buffetted her bare legs, leaping up to her thighs.

Raising her arms above her head, she watched the chalet burn to the ground and, only when flames had died did Sadie let her arms drop to her sides,her mind and body now cleansed and healed.







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Comments by other Members



P.J. at 17:05 on 27 July 2008  Report this post
What a great story. I loved it.
I'd assumed they had lived in the shack so the spacious bungalow came as a bit of a shock. Perhaps a very few words to say how that had come about?
To me, with her sister committing suicide, it hinted at darker deeds by her father. Am I right? If so, could the hint become just a little stronger? The plot was brilliant and, apart from the above, all I've got are a few nits, like excess commas, an apostophe in the wrong place -
she had'nt
and a couple of spelling mistakes.
Reading it again I'm wondering if the words FIRE and SALT would read better in italics rather than capitals because, in a way, she is quoting the hated words?


tusker at 19:31 on 27 July 2008  Report this post
Thanks Pat for your kind comments.

The chalet is a summer place where people spend their holidays. We used to have them here.

I can see what you mean regarding, fire and salt. But, in the end, they aren't just her father's quotes, they are words imprinted boldly, ever shifting, in her tormented mind. Maybe I didn't make that clear enough.

Had the father carried out darker deeds? I didn't mean to hint at that. I wanted the reader to see what a domineering, mentally cruel and egotistical character he was and the effect suffered by his children.

Will go over it again.

Jennifer

Nella at 15:26 on 28 July 2008  Report this post
What a sad story, Jennifer. Very somber in tone. Well done.
I liked the setting, descriptions of the coast.

Just a couple of nit-picks:
But Sadie, remembering those times, didn't harbour any resentment towards her beautiful little sister but she remembered
The two "but"s one after the other jar a little. Maybe break the sentence up into two and replace one but with though?

het tone
the tone

Cheers,
Robin

tusker at 16:17 on 28 July 2008  Report this post
Cheers Robin.

I've been typing in the small box provided but Oonah's been here today on her way back up North and has shown me how to paste!

Jennifer

Nella at 10:44 on 29 July 2008  Report this post
Unbelievable. I'm so sorry, Jennifer, that you've been typing into the box all this time. And you type so much! Wonderful that you and Oonah could meet up and she could help you.
I hope you two had a good visit.


Becca at 13:06 on 31 July 2008  Report this post
Hi Jennifer,
I think you've conjured up a picture of family life here, and something dark beneath really well, but in terms of style, the story would be stronger without so many adjectives especially in the first section. I picked up a very strong sense of the place the MC was in, and I liked that a lot, but again, for me, I felt the story was not as strong as it could be because of another style issue, [well, at least for me it's an issue!], and that is beginning sentences with the 'ing' form of a verb. I can't recall the correct grammar term for it. About 40% of sentences in the story begin that way - stirring, Shivering, Arriving, Stepping, Moving, Closing -. I don't know how other writers feel about this, and I suppose one or two of them wouldn't be so bad. But I feel that your stories do try to reach in to deeper places than perhaps a lot of genre writing would, so it seems a shame that the writing style doesn't match that at the moment. I'd be interested to know your thoughts on what I've said.
Becca.


tusker at 13:41 on 31 July 2008  Report this post
Thanks for you advice Becca. I'm in the habit of 'inging,' which I realise can be annoying for the reader especially in a long piece. Will go through it again. My stories do tend to dwell on the dark side, particularly family relationships. I wish I could lighten up a bit.

Jennifer

Becca at 09:16 on 01 August 2008  Report this post
Hi Jennifer,
I personally like dark stories very much. Darker works tend to address the human condition,[unless they are just very bad 'horror' stories], and because of that they tend to be literary rather than genre, and style matters in literary works. One of the definitions of a literary story is that it has layers of meaning or resonance, and that intrinsic to it is the careful use of language. I feel that this story has a literary leaning and that it deserves that very careful and perfectly poised use of language. Please don't 'lighten up,' Jennifer, that is definitely not what I mean. Just match language to intensity of meaning.
Becca.

tusker at 12:55 on 01 August 2008  Report this post
Thanks Becca.

Jennifer

Nella at 08:50 on 05 August 2008  Report this post
I thought these comments were extremely interesting and useful, Becca. Many of us, I think, try to write "light" stories for womags, because that obviously is where the market is, but literary stories, to me at least, are much more satisfying and the ultimate goal.
So: Jennifer, why not give it a go and try to make a really good literary story of it? The potential is there!
Robin

tusker at 15:41 on 05 August 2008  Report this post
Hi Robin,
I used to write for women's mags and though it was nice getting paid for each story, I found being accepted by a literary magazine much more satisfying. Of course, there's no money in it. Along the way, I've met some lovely people who write for literary mags and attended some great writing weekends, even 3 summer schools. At least you can write what you want to write no holds barred.

Jennifer

Nella at 21:50 on 06 August 2008  Report this post
So you already have been published in literary mags. Sorry then for my silly remarks!
robin

tusker at 14:32 on 07 August 2008  Report this post
Don't apologise. No offence taken and they weren't silly remarks.

Jennifer

Indira at 06:04 on 26 August 2008  Report this post
It’s a terrifying and sad story Jennifer and you tell it well. The cruelty emerges staggeringly clearly.
Since I am coming in to it late, I believe most things have been addressed by the rest of the group already. I just wanted to make a few comments:

1. You manage to convey the transition in Bethan with very little:
Bethan’s distorted smile...

2. I felt the capital letters work.
3. This may be irrelevant but I had some difficulty with the visuals of the piece, in the sense, the entire story is broken into two line paragraphs so ones first impression is that it is choppy and will lack depth. Is that silly?

Overall, I was moved by the sadness of it. Thank you.




Joel at 13:22 on 26 August 2008  Report this post
This did a great job of setting the scene and I could really see Sadie sitting on the beach along mulling over her memories. That said, I wondered if on occasion it's too much.

We know that's she on a beach and going towards a chalet from the beginning.

Once that's established I think it's unnecessary to carry on with so much detail. What for example does this add to the story?

"Shivering as if a cold hand had touched her, she looked to the horizon where grey clouds tumbled after white. The sun, minutes before, a golden orb, now struggled to send its rays above the advancing turbulence and, with reluctance, she left the water's edge."

Writing a story without a protagonist in present time is always a challenge, as you have to rely on internal dialogue and exposition. I think for the most part you manage it here because the reader is curious to know why Sadie feel as she does. That said there was one expositionary para that really jumped out at me.


"Now, after his suicide, five years later, the chalet is hers, a legacy she did not want or need. The bungalow had been sold off, all proceeds bequeathed to numerous charities."

I'd edit this out. I sussed out he was dead and I don't think it's relevant that he also killed himself. In fact, it made me believe less in his character. He doesn't sound like the type of bloke who'd top himself.

I'd also get rid of this part of the final sentence. We as reader don't need to be told. You've shown us and we understand why she'd feel better.

"her mind and body now cleansed and healed."

As for the adjectives, I delete 95% percent of them. They add nothing in my opinion. For example, it's obvious you have to stir to clamber onto your feet.

"Stirring, she clambered up onto bare feet and looked down with sad resignation at the density of her thighs."


Finally, regarding the discussion about lit mags, some do pay. I've had stories in Southword and Brand recently and they both paid hard cash.

With a bit of an edit, I think definitely has potential as a lit story.

Thanks a lot for the read and good luck with it.




MF at 15:27 on 27 August 2008  Report this post
Very sad, very atmospheric.

The occasional cliche could be done away with (shivering as if touched by a cold hand, for instance), and occasional overwriting ("lifted her gaze" could simply be "looked up", no?) but I think you've got all the makings of a quietly powerful piece here.


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