Friday, January 20, 2012

Telephone Lines

I
Convulsing and weeping, a woman – previously a girl, but recent explanations had altered this formality – sat hunched in the dark, dingy corner of her bedroom, realizing all too late the horrors of the naked truth of a parent’s love. Drops of grief, despair, and anger leaked out of her hopeless heart and streaked her once blissful face with trails to remind of her mother’s festering lie and utter abandonment. Ahead, as she stared ominously through the pane of a warped window, danced round, dull globes mimicking gloomily and splashed in patterns of desolation.
A constant buzz enveloped the air around her and seeped uncontrollably into her pained ears; yells of concern too far away to reach, records of messages too repetitive to impact, scratches of claws at the door separating her globe of misery from reality too sympathetic to acknowledge. Scarred with the reflex of retreat, the woman allowed no outside influence to break down the icy walls that were crafting a fortress around her wounded heart. Learning from experience, she created a membrane immune to the pseudo-promising effects of love, for love must not exist if the one who tirelessly lugged her around for nine months did not return her daughter’s unfaltering affection.
Struggling to accept the cold bitterness of reality, the woman racked her mind for endless possibilities: what could have led to the scandalous horror of the lopsided devotion dealt out from mother to children? The idea that her brother was a better, more compliable child couldn’t possibly be an option – that was absurd! She had always played the role of the perfect child, filling her life to the brim with her mother’s needs. Surely there was another, far more reasonable, explanation; surely her mother had the ability to rationalize this absurd prospect; surely she loved her children both equally.
II
The sun radiated beams of cheery, sunflower yellow onto Main Street, where every household swept open their windows to the world, welcoming the warmth into their homes. Sounds of children laughing, parents chatting, and doors constantly swishing open and close echoed distantly throughout the walls of the Anderson house; with the curtains drawn as tightly as Mrs. Anderson’s pursed lips, only sounds could penetrate the weary walls of severity.
With perfect posture, Willa Anderson sat perched upon a stool, vigorously scrawling math facts onto her notepad. Her heart, however, was not fully emerged into her work, for a troubled mind kept straying off task. As her mother scolded her once again for daydreaming, she meekly squeaked, “Mama, why’d you name me Willa?”
Sighing, for her daughter never stopped asking useless questions, Elizabeth uttered, “Willa, that is not of importance now, if you do not focus on your studies, you will never succeed in life.”
“But mama, the other girls were making fun of my name – said it was a boy’s name, they did.”
Irritated that her daughter, with whom she felt no connection, would not continue to work – to stop forcing awkward conversation – she exclaimed, “Well, maybe I wanted a son!”
Cheeks aglow, Willa buried her nose into her notebook. The highly developed ego was instantly pummeled; she still encompassed the curiosity to think, and thinking was scathing. Aligning her thoughts, she inquired, “Is that why you love Tristan more than me, mama?”
“Willa, you know that’s not true. I did not mean what I said before, but you just exhaust me sometimes. Do not tell lies, it is not becoming,” but even as the words tumbled out of her mouth, ring with sincerity, they did not, rather they struck bitter chords of dishonesty.
III
Intent on halting the endless sniffling and sobbing, Willa Anderson arose from her makeshift tomb – one of wrinkled sheets, dirtied tissues, and tear-stained pillows – and resurrected herself to a life of cold, heartless, methodical labor. After hours of scrutinizing the situation, it was obvious that her mother had granted the key of her heart graciously and solely upon her son, Tristan; it was obvious that she could do nothing to win over her mother’s affection; it was obvious that she could, that she must, move on with her life.
Sound from the sturdy entrance of her grand fortress had so intruded and invaded her sanctuary that it imprinted words of remorse never previously heeded. The repentant words of her worried mother evaporated into the intricate tunnels of her ears, “Willa? Willa, dear, pick up the telephone this instant! Neglecting to answer the phone is irresponsible and simply impolite! Oh, I’m so very sorry sweetheart; I am really calling to relay my apologies to you. I cannot be sure of why this has happened, but my psychiatrist explained that it is quite common for a parent to care for one child more than another, it happens-”
“Mama?” said Willa as she bounded out of her dark fortress and out into the cruel and devastating world, snatching the communicating device that had led to such terrible communication, “Mama, don’t go insulting my intelligence by saying you love Tristan more than me, I know it’s not true. Just because you are erroneously choosing to attend his insignificant high school football game rather than my grad school graduation does not mean I was the bad child, leading to your unbalanced love. Maybe he’s sensitive, or has low confidence. I don’t care what the problem is, but there is a different reason that you give more effort to be at his disposal rather than mine.”
“Willa, sweetheart, I know this is a shocking and unfathomable idea for you to process, it took me twenty years to comprehend it myself, but you must understand, it’s not your fault I care more deeply for Tristan, I was just never built to be a mother.”
“No Mama,” said Willa as she choked out an unnatural and eerie chuckle, “No, I don’t – I won’t – believe it. I’ve spent the better part of the last three days enclosed in a room with just my thoughts and myself, so I know you love us equally. I know there is no other explanation, and if you cannot accept that fact, I would appreciate it if you would stop contacting me.”
“Willa,” The word drew itself out of Elizabeth Anderson’s mouth with exasperation and longing.
“Goodbye mother,” And with that, Willa Anderson, once a girl, now a woman, unraveled the wilting ribbons connecting herself and her mother as she corralled the courage to cut the telephone line.

Mimic Lines from “An Occurrence at Owl Creek Bridge” by Ambrose Bierce:
“Overhead, as he looked up through this rift in the wood, shone great golden stars looking unfamiliar and grouped in strange constellations” (197).
“The intellectual part of his nature was already effaced; he had power only to feel, and feeling was torment” (195).
“Something in the awful disturbance of his organic system had so exalted and refined them that they made record of things never before perceived” (195).

Author's Note:
I wrote this piece for the short story unit in English Class. The mimic lines are from Ambrose Bierce in the short story, "An Occurrence at Owl Creek Bridge". Willa, the main character, utilizes the defense mechanism of denial.

18 comments:

  1. This was really good Karen! It's a terrible thing to think about, but you wrote a beautiful story about it! I love the repetition of her becoming a woman and how much change this even has on her. Great story!

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  2. Great story. It had good rhythm and diction. The defense mechanism was clear and you used the quotes well to add to the story. If I would change anything it would be to stay in each moment a little longer. However it had great voice and effect.

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  3. You wrote this story with incredible diction. Your word choice was clearly well thought out. Having the girl call her mother "Mama" made the ending all the more sad and powerful. I like the defense mechanism you chose--it wasn't just a random, crazy psychopath; it was something most people can relate to. This line particularly showed it: "Learning from experience, she created a membrane immune to the pseudo-promising effects of love..." (Plus, I like the scientific reference!)

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  4. I like how you take a girl and take her from being kind of innocent, to perceptive, to denying her own perception, to a woman, fully cognizant and accepting of the world as it is. Your vocabulary is good, but at times you need to watch the words you use...at times you get too verbose and at other times you don't really use the words in their normal context. But overall the effect gained from the diction of the mother works in describing what you are looking to show.

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  5. Imagery was fantastic, you really accomplished the "show, don't tell" rule. You did a great job of painting a picture in my mind, especially with your word choice. Just be careful of sentence structure and run on sentences, it got a little confusing in some parts.

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  6. Karen, you are such a good writer. Your story is filled with imagery and it flows really well. You used a lot of the literary techniques that we learned so naturally. The only thing that I found was that there were some sentences that seemed like run-ons. Otherwise, great story!

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  7. Oh-my-goodness, this was an amazing story. I know I am not supposed to say that I wouldn't change anything, but I can honestly say here that I wouldn't. I think that mimicking Ambrose Bierce was a very smart move, because it enhanced your story and took it to a whole new level. Your use of diction was fantastic, and my heart ached for Willa, I could never imagined not being loved from my mother. Such a great job!

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  8. Great job showing Willa's conflictions. I truly felt for her, and her use of denial was perfect and VERY realistic. I agree with Jacob - you did get a bit verbose at times - but honestly, it's not really that big of a problem. Wonderfull writing!

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  9. karen! you are an amazing writer! your diction enhanced your story well and the imagery was strong. i don't have any negative comments for you, GREAT JOB KARE

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  10. This act of imitating an established author's style is very challenging, and a cool way to develop your own style more fully. You do it so well, but then you always were such an excellent writer. I miss reading your work. Thanks for the sharing.
    Do you think embracing Bierce's style had an impact on you as a writer?

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  11. That was amazing! Every time I read your stories or responses I am always jealous of your FANTABULOUS writing skills! Your diction was amazing and your use of denial was very clear! WONDERFUL JOB!

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  12. Karen, I can honestly say this is one of the best stories I have read all night long! It was so powerful and the diction and imagery really enhanced the plot. You did a great job of showing and not telling. At times the spacing was a bit confusing, but that is bloggers fault, not yours. Overall great job!

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  13. Wow Karen! That was excellent. I love the way you kept going back to that transformation from girl to woman. Your flow was silky smooth, and your mimic lines fit in just like they were your own. Your diction and description were wonderful. Honestly, great job!

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  14. Karen, words cannot explain how much I envy you. You are such a fantastic writer, the way you make everything flow so well and the diction you use in your writing. It is just amazing. I really liked how you have the talking between both characters, it really set the scene. Good job!

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  16. Karen! This is soo good! The conversation you had between characters gave the story a really cool effect, and I haven't seen anyone else do that in their stories yet, so nice job! I agree with Jacob though, sometimes the word choices were a little awkward, but I love your voice and the way that your writing flows together. Great job! :)

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  17. I loved the way you implemented your defense mechanism in the end, with the mother telling her daughter that she loves her son more but denial still prevailing over the truth. Really liked the fortress analogy, building the isolationist shell to protectt herself.

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  18. I loved the way you implemented your defense mechanism in the end, with the mother telling her daughter that she loves her son more but denial still prevailing over the truth. Really liked the fortress analogy, building the isolationist shell to protectt herself.

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