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The Palm Reading

by woodsville 

Posted: 26 August 2010
Word Count: 559
Summary: Brief encounter 2010 style.. set in a claivoyant's shop


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The sun hid behind a slate stacked January morning on the coast, when I stepped in to a clairevoyant's shop. The winter emptiness contrasted with this enchanted place, which had an openess, a warmth hidden away. The owner smiled, inviting me to sit, resting my arm on green beize; crouched on the far edge of that table were a crystal ball and pack of cards the tools of the trade. My eyes chattered endlessly while I looked at her face.

One hand cradled mine and the warmth was welcome on the winters morning, any chill evaporated in the kindling of her touch. She pushed back her headdress and began the archaeology of the flesh, the free hand swept over my blanched palm, retracing the silent, dusty years.

Those jewellers eyes bobbed as she coloured in brighter days. As I listened, the voice grew distant, dreamy even as she dipped into the raggedy cross-stitch of my hand. The sound drifted from some dull, forgotten place, but the feathery touch lit candles of delight.

The muffled voice grew in pitch as she asked, who I wanted to forgive? The surprise took me back to a bluebell wood – my eyes watered at the memory. The moment when I knew that my love would never be reciprocated, so I spent decades dwelling on misfortune. It seemed a lifetime ago, so what good would come from unearthing September roses?

Since, brief relationships kept me from being hurt; although it felt safe wrapped in mistrust, I was tempted to do away with those ties. Then to my regret, one day no one seemed to care, if I leapt into the light.

After what seemed like an age, I looked up at the palmist, whose voice peeled away layers of musty habit. A bells clapper was swinging in my head, announcing a great mistake, but, she would not let go, still wanting to know, who I wanted to forgive? A sudden moment of awakening occurred as if I were Sleeping Beauty in reverse.

“Damn it, me,” I said angrily. The crystal ball and pack of cards were replaced by a shining cup. As I lifted my gaze, I saw another face.

The winter chill jolted me into the present, the Palmist had that knowing smile. She looked at me for what seemed a long moment and said,

“I get a lot of client’s like yourself, wander out of a fog, confused from a world they seem to know. Quickly, all's revealed - a settling occurs and they leave relieved. I give them a drop of tenderness - spiritual advice.” There was a softness to her tone. What were narrow pupils relaxed and large black dishes returned.

I felt the warm kindling of her cradling palm still holding my outstretched hand. Still there was that awful feeling that a grip was slipping. Again, an awakened passion would be snuffed out and darkness envelope that new found space.

“Please listen carefully to what I say, you have to start forgiving yourself first before others, otherwise it lacks honesty. It's pointless dredging the past, you must live with what has happened. In the remaining time, you may or may not have the intimacy you so desire, but continuing to hide will certainly prevent others seeing your genuine kindness.”

I thanked her for the frankness, settled up and left






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Comments by other Members



Becca at 09:06 on 01 September 2010  Report this post
Hi Patrick,
Welcome to Short Story. This is a very short story, more like flash fiction, I don't know whether with more words you could coax the story out of the text? Is the story about a long ago love affair or getting advice from a clairevoyant? For my money, I'd be more interested in the untold story from the past because the clairevoyant text isn't so much a story but more a description of a scene.

'The surprise took me back to a bluebell wood – my eyes watered at the memory. The moment when I knew that my love would never be reciprocated, so I spent decades dwelling on misfortune. It seemed a lifetime ago, so what good would come from unearthing September roses?'
The above is the untold story, but, as reader I know very little about the MC, and I found the idea of him spending decades dwelling on misfortune, didn't endear me to him. I'd have wanted a more in-depth characterisation in order to perhaps care about his misfortune. I've never heard the expression unearthing September roses, so I don't know what it means. So, again, as reader, I'm left very much on the outside - not drawn in.

Fair enough, your MC has a revelation that he has to forgive himself for whatever, but that's the trouble, what is the whatever? Again, I don't feel you've created a partnership between yourself as writer and me as reader.

Although too many adjectives [and adverbs] always weaken writing, I like the idea of 'the archaeology of the flesh' and the 'raggedy cross-stitch of my hand.'
I do like the dreamy quality you evoke in the story but I think this is at the expense of substance.

If I might say so, I was slightly alarmed at what was happening with the eyes of the two characters, 'My eyes chattered endlessly...' and 'Those jewellers eyes bobbed...'. The verbs you use here are not ones I'd associate with what eyes can do. There's something fundemental here that I'd like to touch on, and it's about style I think more than anything else. It's the business of making the inanimate animate as in 'The sun hid...' or 'crouched on the far edge...' or 'whose voice peeled away...' Hand in hand with this style, 'distancing' usually occurs as well. So for example in your story:- 'One hand..' this was her hand and she's already been introduced, 'the feathery touch...' and 'The muffled voice...' this is her touch and her voice. So, the question I'd ask is what function do you think distancing has in fiction? I find it doesn't make things more dramatic, and I imagine, although I'm not sure, that this was its original purpose. I've no idea when distancing became a feature in writing, but I think it goes back to before the 1930's.
Have you read any Raymond Carver, or Ernest Hemmingway?
Becca.



woodsville at 11:31 on 01 September 2010  Report this post
Hi Becca

Thanks for your feedback. I will try to re-write some of the points you make, because I want to involve the reader in the story and as you point out you feel excluded. It was something that I had thought about, but not got round to clarifying.

On distancing I wanted to create the sense that the clairvoyant and the main character were on the one hand distanced by 2 points in a similar situation - he enters a shop that is open and welcoming and yet not obtrusive in his life. Its a stage he has to reach and the clairvoyant has also experienced something similar and overcome the challenge. So the "feathery touch" etc. is his sense of appreciating that life doesn't have to be positive or negative that there is a middle way to being vulnerable.

On the other hand its ok to say there is a middle way, but how does he fashion it. How do you make yourself vulnerable when you've spent much of your time in a safety zone/comfort zone convincing yourself that this is the best way. Its not something that is unique to short stories it happens to everyone, because there are no mentors who can guide us in different directions - we each have to find our own way. Like she says you come in out of a fog that you think you know well, but obviously don't.

I have areas for development

Characterisation of both individuals
Distancing
sense of connection rather than disconnection


On the eyes bobbed etc. I was trying to create a sense of movement without labouring the point. I take your point about eyes chattering it is mixed metaphor and they can appear like snow.

The intention was to write a prose/poem, but it hasn't worked terribly well. I think its the images they have to be far more subtle. I'll read some Raymond Carver

Becca at 11:45 on 01 September 2010  Report this post
'How do you make yourself vulnerable when you've spent much of your time in a safety zone/comfort zone convincing yourself that this is the best way.'
Right and so this is the nub of the matter and the place where the conflict is. But the MC doesn't deal with the conflict so much as recognise it, and therefore there is no resolution. Although a short story doesn't have to have resolution, I think to make it work there has to be a strong sense of the conflict itself and the character's awareness of and relationship to that conflict, otherwise the story doesn't move forward, and it's very often the forward movement of a story that gives it its energy.
Becca.

apcharman at 11:50 on 01 September 2010  Report this post
Hi Graham,

On the forum a couple of days ago we were discussing fantasy fulfilling figures; How James Bond was Ian Fleming's fantasy self, Smiley was a fantasy of LeCarre and so on. In this conversation I was suggesting that it is useful to write a fantasy for which readers can share enthusiasm.

This feels like strong general advice in reaction to 'The Palm Reading' so I'll offer the fully formed question:
What aspect of your main character (MC) do you think will appeal most to your readers? And if the MC is deliberately unsympathetic (i.e. an anti-hero) then what aspect of their predicament do you think will have universal appeal or interest?

There may well be something to this character and this situation that we as readers may find entertaining or enlightening, but as it stands you have offered the portrait of someone locked in self-pity who seems to encounter an enchantress who might help him, but who settles up and leaves before she has the chance to do so.

Is this a study of someone who will not help himself, or someone trapped by circumstances?

I think this is a very compact, intense piece of writing, which, if you focused on the appeal to the readers, could be made powerful and impressive.

I hope that is useful

Andy

woodsville at 19:48 on 01 September 2010  Report this post
Hi Andy

On reflection, I'll keep the notes on the story so far and let it sit in my imagination. There are several points that I need to reflect on

1) If I go down the spurned affair route it may piss the reader off because they may think oh well why didnt he just get over it and move on.

2) If I go down the circumstance route - i.e. a traumatic situation can be equally galling, because of the frustration in not being able to confront a terrible situation. It requires time to resolve itself and no amount of point scoring from someone else can shift what appears to be an individual's stubborn position.

I do think life is tragic for a lot of people, however many paper over the cracks and get on with it. My MC has run out of paper and the cracks are still there, but more manageable now. Perhaps he has more sense of direction and at last knows what he wants. In my work I do come across souls trapped by circumstance - victims of road accidents etc, for whom life has changed (negatively) and dealing with that often involves a level of abstraction, because the reality is unbearable.

I was watching "Remains of the Day" again the other evening and do see parallels with the Butler Stevens.

Thanks for your comments, I'll certainly address them, but later in the year.



matheson at 13:20 on 05 September 2010  Report this post
Hi Graham

not sure from your last line if you are still 'open' for comment on this piece. If you are, I think it's worth reflecting on your ambition to create a 'prose poem'. I agree with you that this has not been entirely successful but the difficulty, it seems to me, lies in the text carrying a bit too much freight i.e.

the 'poetic' use of language
the unresolved vignette in the shop
the submerged backstory

I think your use of language, which is clever and creative in places, clutters the story...if it is a story...to the point of making it unmanageable. For example the first clause, for me, completely blocks the entrance way to the piece, like a rockfall in a mine. I read and re-read and yes there is an interesting word-painting idea in there but it doesn't belong in that place. Like Becca I LIKE many of the images (though sometimes they mix unhelpfully e.g. bluebells and September jarred )...but it felt there were too many of them for a piece of writing that seemed to be trying to GO somewhere.

I do think if the backstory could be submerged still further the vignette could stand on its own legs but only, I think, if there is a conflict AND resoultion 'in the room'...like so many of us, for the MC, resistance to forgiving himself might be greater than forgiving others...but that flare of resistance did not appear and the moral of the tale was not 'won' through overcoming that resistance (nor...as an alternative...discarded because he is not (yet) ready).

I think there is good material here...but it needs whittled down and stretched. Hope that makes some sense.

Regards
John


<Added>

Soprry...I should check profiles more carefully....

Hi Patrick...apologies for my misnaming.
John


woodsville at 18:36 on 05 September 2010  Report this post
Hi John

Thanks for your comments they are really useful. I've been reading "Seeing Stars" by Armitage and after my 1st draft went back to his prose/poems and could only find 2 that fitted the bill.

My feeling was that to be a prose/poem only 2 characters were necessary - a brief encounter. But I had difficulty with the images, because if each 1 is powerful/fresh it clouds the narrative, but if there are too many dull images you cut off access to the reader. There was a balance in terms of images to be struck and I haven't the skill/technique to put them in place yet, but I do feel that a prose/poem rests on that. I believed that a melody had to be played out in very subtle shifts reflecting a concertina like change.

Then Becca talked about psychic distance and I thought sod it - I'll leave what Ive written as notes.

Take the mixed metaphor "eyes chattering", what I was trying to do was keep the immediacy of the moment, but convey a sense of uncontrolled emotion as when words fill a silence between 2 individuals, so the gaze is focused for quite a time or at least he feels its quite a time. I want to play with a sense of time as in long and short moments: where habit regulates our perception of short moments and childlike surprise the long moment, but I feel that mounds of description or dialogue just get in the way and destroy/undermine impact.

It was a good learning curve for me to know when to use rhythm and when not. In the poem it appears far too much and damages the overall melody or concertina effect of image making. I do feel that a sense of immediacy brings with it authenticity, so the MC may see where he has messed up on whatever situation the story cooks up, but to then shift to a resolution would be a knee jerk reaction. I feel he would have to dwell on the mistake before being ready to take on a sustained shift in behaviour - bit like packing in smoking/drinking.

I would like to create a victim of circumstance, but commitments mean it will have to wait till the New Year.

Patrick



Becca at 18:47 on 05 September 2010  Report this post
Hi Patrick,
The distancing I was talking about wasn't psychic, but the writerly device of introducing a character by name or by using 'he' or 'she' and then referring to them as if they were strangers that the reader hasn't come across before. I've just never understood its purpose. I didn't quite realise this was a prose poem which I think would perhaps have different purposes to a short story. I don't think I'd be confident enough to critique a prose poem effectively!
Becca.

matheson at 07:42 on 06 September 2010  Report this post
Hi

point taken about the pace of change. If resolution is too knee-jerk and (as Becca said) are not mandatory then at least I think there needs to be more bite in the resistance. I look forward to seeing your next draft when circumstances allow.

best

John


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