Story Discussion, dr_mabeuse, 2/20/05, main queue

dr_mabeuse

seduce the mind
Joined
Oct 10, 2002
Posts
11,528
This story was written for the Magic In America challenge, in which the idea was to create a story embodying a uniquely kind of American magic as opposed to the more familiar traditional European witches/spells/vampire kinds of things. I'll tell you right now that it's not erotic. It was supposed to be when I started out, but it just didn;t turn out that way.

At 8000 words it's pretty long, and I apologize for that. To atone for the length, I've cut it into 2 posts. If I've done my job right, you'll want to read to the end, but if not, I'd still like opinions on what you've read.

Thanks in advance,

---dr.M.



The Keeper of the Streets

The clouds over the lake rose up like bunched knuckles in the dark winter sky, like a fist full of snow. There would be something cold and wet falling from the sky before the night was over, and Lia reminded herself to keep an eye on Peter and leave when he did. She didn’t want to be out in the sleet on Michigan Avenue at one in the morning looking for a cab, not in this outfit.

The very thought gave her chills, and the thin yet elegant gown she wore didn’t help. She finished her lipstick and adjusted her scarf so that it hung just right off her shoulders. Mark was right: she did have beautiful shoulders and a lovely neck, and the rhinestone necklace and her upswept hair showed them off just right. The gown was perfect too: a smooth expanse of burgundy satin that followed the curves of her body so closely that the smooth rolls of her abs were subtly visible. Not a trace of fat on her. And not a stitch on underneath either. The points of her nipples were just visible, and she liked it that way; sharp little points: weapons of battle in Lia’s unceasing war for supremacy.

Whoever that bitch was who was trying to make time with Peter Bessinger was about to find out that Lia Callison had brains to go with this beauty, and claws too.

“Too much wine! Too much wine!” Candy Moser pushed into the lady’s room, fanning herself with her hand.

Candy had a weight problem and so was no competition for Lia, therefore they were friends, or close enough.

“God, is this a view?” Candy asked, going over to the large windows overlooking the lake. “If this is the view from the lady’s room, can you imagine what the condos must be like?”

“To die for,” Lia said. “Jason’s on the 33rd floor. Jason Grippman? Looking west, of course, over the city itself. That’s really the best view. Looking east you only get to see the water.”

“But those clouds!”

“Mmm.” Lia ran her gloss over her lips. “Yes, I suppose they’re nice. If you’re a meteorologist.”

Lia dropped her lipstick into her bag and turned to Candy.

“Who’s that girl talking to Peter B? The redhead? Green dress? Boob job?”

Candy came over to the sink and ran her hands under the electric faucet. She wet her hands in the sharp spray and patted her face.

“I think that’s Claudia something. Something Irish. O’whosis or something. She’s on the speaker committee. A junior partner at Ferris. She’ll be working with Peter when he goes over there. You know he’s already tended his resignation at Denton-Langer.”

“Of course I know. Senior partner and all that. Taking his city contracts with him too.”

Candy looked at Lia with a spectator’s admiration for a pro at work. “And did you hear about the bonus they’re giving him? Pretty much just buying him away from Denton. He’s rolling in it now. Probably the highest paid architect in the city for not being a full partner.”

“Project facilitator, Candy,” Lia corrected. “And don’t be gauche. What’s his interest in her?”

Candy pulled down some paper towels and patted her face dry. “Darling, I have no idea. But you know Peter’s involved with Polly. He’s taken.”

Candy stopped drying her face as the thought hit her. She looked up at Lia.

“Lia, you wouldn’t!”

Lia smiled and shook her head. “Darling, I’m in PR, remember? I’m always looking for new clients. I’m networking. That’s all. Just spreading sunshine and good cheer wherever I go.”

“A regular Tinkerbell, that’s you.”

A sudden squall of wind struck the big windows with a muffled boom, followed by the sizzling sound of frozen sleet blasting against the windows.

“Oh God!” Candy said. “Here it comes! We’re really in for it now!”

~ ~ ~

Deespite her plans, at one o’clock in the morning, Lia Callison was indeed huddled inside the loccy of the Adonondack building, looking out onto Wabash Avenue beneath the El tracks and waiting for her cab. Her plan to follow Peter Bessinger out when he left and innocently ask him for a ride fell through when she missed the elevator, and by the time she got down to the lobby he was gone. Too embarrassed to go back up to the dinner, she called for a cab on her cell and waited.

Sleet and snow blew by outside in nearly horizontal streaks, and the wind moaning through the revolving door was strong enough to set it spinning in slow, ghostly circles. Right outside the revolving door, a mesh trashcan had been overturned by the wind and garbage spilled out onto the side walk. The lighter papers had been scattered by the wind long before, but a plastic bag the size of a football sat forlornly in the wind, it’s corners flapping and contents spilling out in a most disconcerting manner.

For some time now, Lia had been staring across the street at a figure huddled in a doorway, so rigid and still that it had taken her a long time to decide whether it was really a person or not, and it was only when she saw one arm reach out of the shadows to pull a battered shopping cart closer that she realized it was a homeless person: a man, from the size of him, big, as shapeless as a gravestone. She paid him no attention until the thought occurred to her that, although she could barely see him, he could clearly see her standing in the lighted lobby, and from that point on she couldn’t keep her eyes from him, glancing nervously across the snow-swept street and trying to figure out what he was doing there.

She wasn’t exactly afraid. She’d lived in this city for the last nine years and had never once been robbed or broken into or even threatened. It was more that she didn’t want to have to think about him: about where he’d go on a night like this and where he’d sleep.

But there were shelters for people like him, weren’t there? She knew, because her company had handled some of the flyer work for the city-run shelters on a pro bono basis. There were shelters that provided them with a hot meal and a clean place to sleep and all you had to do was show up there. No doubt he’d go to one once the wind let up a little, and if he didn’t, well, that was his concern and none of her business.

But still he didn’t move, and she was quite sure now she could feel his eyes on her. She wasn’t frightened, she wasn’t worried, but there was something she felt he wanted from her, and the feeling nagged at her.

Wabash Avenue is the eastern boundary of the Loop, and the elevated tracks run right overhead and provide some shelter from the snow and the seeking wind off the lake. But on this night the tall buildings served only to channel the winds right down its length, setting up a howling gale on the frozen sidewalk. The snow and frozen sleet went flying horizontally down the artificial canyon, and it was a night that could only be described as cruel.

There was no traffic to speak of. It was a Tuesday night and so there were no cabs. When Lia saw the familiar yellow taxi nose in at the curb and sound his horn she sighed with relief and headed towards the door, her heels clicking loudly on the wet marble floor of the lobby.

The man made his move at the same time, stepping from his shelter and crossing the street towards her, his hands stuffed grimly into his pockets.

“Oh Great!” she thought as she leaned her weight against the revolving door. “A handout!”

She opened her purse and looked for some small bills, pressing the revolving door with her back. As soon as she hit the street the wind took her coat and her scarf in its teeth and yanked at her, and the sleet cut her like knives, knocking the breath from her body and bringing tears to her eyes. She had time to notice that the plastic bag from the trashcan was a bag of frozen French fries. There was a burnt, fist-sized hole in the middle and the fries were spilling out, mashed and mangled. It struck her as odd thing to find in a public trashcan, and then she turned her back to the wind and rummaged in her purse looking for something to give the man as a handout.

He was just stepping onto the curb and there was no doubt that he was heading for her. Now she could just glimpse him through her watery eyes and see the mound of overcoats he wore, the long scraggly beard, the stocking cap full of holes.

“Don’t take that cab,” he said.

Lia paid no attention. She found two dollars in her purse and held them out towards him as if they were a shield. The wind bent them back around her fist.

“Don’t get in that cab,” he said again. “It ain’t safe.”

The cab driver slid over and opened the back passenger door and looked at her expectantly. He was wearing shirt sleeves. She could feel and even smell the taxicab warmth coming out from the back seat.

“Don’t get in that cab, lady! I’m warning you!” He reached out, ignoring the money she offered and grabbing her arm.

“Are you crazy? Let go of me!”

The bum had taken a grip on her coat and began tugging, pulling her down the street. He was surprisingly strong and she was stumbling trying to keep up, but Lia was stubborn too and she dug her heels into the icey sidewalk and pulled free of his grasp.

Down at the end of the block not fifty feet beyond the cab, a big city salt truck turned onto Wabash, going unusually fast for such a bad night. Its yellow warning light was flashing, and salt was spraying from the back hopper as he fishtailed onto the avenue. The bum took her arm again. Her purse was in her other hand and she couldn’t make him let go. He kept pulling her away from the cab.

“Let go of me you crazy son of a bitch! I’ll scream!”

There was a deep rumble and a shower of sparks as an El train squealed by overhead, a metallic thunder that shook the ground. Through her tear-dimmed eyes, Lia looked down past the cab and saw the salt truck skidding out of control, sliding through the intersection and shuddering as the driver pumped the hydraulic brakes and frantically spun the wheel. The big tires locked and the whole huge thing started skidding down the street at a sickening angle, its yellow caution light still slapping her in the face like a countdown timer or the strobing light of a stop-action movie. She clearly saw the cab driver’s face as he looked in his rearview mirror, the salt truck driver dim through the dark windshield bracing his hands on the wheel, the spray of salt bouncing off the car hoods, and then the side of the heavy truck slid into the taxi, lifted the back end up and pushed it into a huge SUV in front of it. Car alarms wailed and lights started to flash, and the front of the cab lifted the SUV in some obscene mimicry of automotive sex. Lia saw every detail as the cab collapsed on itself like an aluminum can, like a slow motion movie of a crash-dummy test, the hood popping up, the windshield shattering, the fenders springing like accordions, the sheet metal collapsing with a pitiful, horrifying sound. The radiator ruptured and sent a jet of steam into the frozen air as if in manic celebration.

“Come on, come on,” the bum yelled above the wind. “You’ve got to get out of here! Come on!”

He yanked her stumbling across the slippery street even as she heard the residual pop and clank of falling metal and the hoarse sound of an avalanche of rock salt spilling from the side of the ruptured truck and burying the cab. Then there was just the violated sound of the SUV’s alarm and the vicious howl of the wind through the El tracks.

“Oh God! Oh God! Oh my God!” she wailed.

“There’s nothing you can do. Nothing! Now come on!”

He pulled her along and Lia stumbled after him, her new heels slipping on the hard ice and packed snow. All she could think about was that the cab driver was dead, maybe the truck driver too, and that had she been in that cab she’d be dead too, with blood all over her beautiful dress and her new shoes.

He dragged her around the corner and down a concrete stairway. She thought it was the subway, but no: it descended down to Lower Wacker drive, the weird subterranean roadway that ran beneath the Loop and was used for deliveries and freight traffic, a haven for the homeless and anyone looking for some sort of shelter.

“Stop! Where are you taking me? What the fuck is this?”

“I saved your fucking life, that’s what this is. You owe me.”

Now that she was out of the howling wind and driving sleet, Lia was able to think better, and she was alarmed.

“Do you want money? Is that it? I can give you what I have.” She opened her purse and rummaged for her cash.

He turned his face to her and Lia had a look at him for the first time. It was the typical homeless face-- the wide cheeks, cold-reddened nose, coarse skin – but the eyes were gray and clear and surprisingly deep.

“Don’t you know happened?” he asked. “Weren’t you just up on the street with me?”

A gust of wind howled down the staircase and Lia stood there as the snow swirled around them. She was suddenly cold and she realized how inadequate her outfit was. The layers of coats he wore must be three inches thick. He didn’t seem cold at all.

“How did you know?” she asked him. “Why did you tell me not to get into that cab?”

He turned and walked down a few steps, then turned to her. “How badly do you want to know?”

He started walking again and Lia followed him.

“Well look, you saved my life,” she said. “Maybe I can help you. I know a lot of people. You need money or a job or something?”

She peered into the darkness of lower Wacker and made a face. “Do you live down here?”

“I live all over,” he said. “And no, you can’t help me. You don’t have anything I want.”

They were at the foot of the stairs now, and Lia looked around. To either side, concrete loading docks stretched away as far as she could see lit by garish yellow sodium vapor lights which seemed to give a greenish cast to everything. She could look down this side of Wacker but the view to the other side was impeded by a forest of massive columns holding up the roadway above their heads. There were lane markers and sawhorses with blinking warning lights all over, a maze of traffic signals with not a car in sight. The place smelled of diesel fumes and wet concrete. It was dirty, cold, and smelly.

She noticed some movement in the shadows of the cold concrete walls. It might have been a trick of her eyes: when she looked directly at them they stopped, but the movement started again at the periphery of her vision.

Lia felt a jolt of nauseating fear.

“Oh my God are those rats!? Are those rats? There’s rats down here! Those are rats, aren’t they?”

She’d jumped next to him and clutched his coat; his ancient, filthy coat. He smelled like cold cement and ashes.

“Some of them maybe are,” he said calmly. “Some of them’s something else.”

“I’m getting out of here! I’m getting out of here right now, goddamnit!”

The bum took his arm back from her and looked at her disdainfully.

“Ain’t none of them gonna hurt you. They’s our eyes and ears down here. They saved your precious ass tonight.”

“They are rats, aren’t they? Oh my God!”

He ignored her. His eyes seemed to be looking right through her in a way that made her shiver.

“You’re too freaked out,” he said. “You’re no use to anyone. Just go up them stairs if it bothers you so much. You come back to me when you’re ready.”

He was already moving away from her, moving into the shadows, so swaddled in coats that she couldn’t even see his feet move. He seemed to be floating back into the general griminess, the dirty gray of his coat merging with the color of the concrete and shadows. She started to follow and then caught herself. What was she doing? She looked down at her shoes, her beautiful shoes, and ran up the stairs, stopping when she was halfway up. She turned back uncertainly.

“Well thank you,” she called after him. “Whoever you are. You saved my life.”

She saw him raise a hand in acknowledgement but he didn’t turn around. His voice came echoing off the concrete walls.

“Lia,” he said, “You don’t know the half of it.”

She ran up the icy stairs, bracing herself for the fist of the wind as she emerged from the shelter of the underground, and it wasn’t till she was back up on the windy street that she realized he’d called her by name.

She huddled in a doorway and called Candy on her cell to come pick her up. Candy was reluctant to leave the party, but there was no way in hell Lia was taking another cab, ever, and the wild fear in her voice frightened her friend. She told Candy nothing about what had happened, only that she’d been unable to get a cab and was stranded on the street and freezing.

At home in her condo she locked the doors and turned on all the lights. She showered, turning the water up as hot as she could stand it, and stood under the spray till her skin felt raw, the she put on her terry robe and wrapped a towel around her head, poured some wine and went into her living room.

He had called her “Lady”: that must be it. In her state of upset she had mis-heard. It happened all the time with her name, which sounded like so many words. As to the thing he had said about her coming back when she was ready, well, the man was clearly insane. AFter all, most homeless people had something wrong with them anyhow: why else would they be homeless?

The wind rattled her windows and the snow was thick, but down below, eight flights down in the relative calm of the lee side of her building, she thought she saw a shape standing in a doorway. It was hard to be sure in the dark and the blowing snow, but slowly the conviction grew, and it didn’t come from her eyes. She could feel it inside, something about the way he stood, a kind of weight she could feel from. She told herself it was silly, that all homeless men looked alike -- walking piles of rags – but there was no fooling herself. It was him. By the time she finished her wine there was no doubt in her mind.

She didn’t know how he’d managed to find her building or how he’d gotten there so quickly, but she was frightened now, and she wished there was someone she could call. She took an Ambien and poured more wine. She watched TV until she found the remote slipping from her fingers, and when next she looked out the window he was gone. She stumbled into the bedroom and fell asleep.

The next morning was gray and blustery still, with plumes of snow blowing off the roofs of buildings and the streets black with ice. The first thing she did was go to the window and look for him but the doorway was empty. Later however, after she’d showered and dressed and was pulling the Lexus onto the street from her garage, he was back, and there was no doubt this time.

He stood there in the doorway by the same ragged shopping cart, neither looking at her or away from her, seemingly a part of the street. She wasn’t frightened any more. Lia didn’t frighten easily, and now that she’d calmed down and it was daytime, she felt something more akin to curiosity. The cabby’s death hung in the back of her mind like a stubborn nightmare, tingeing everything with a feel of foreboding, and she knew that the man in the street was the key to understanding it. Yet she couldn’t see how she could possibly approach him now. The whole episode seemed like a dream.

She was distracted at work and not herself. She took lunch in her office and watched the local news on her office TV. Everything was about the storm: power outages, highway disasters. The death of the cabbie was mentioned and there was footage of the smashed cab lying amidst the torrent of salt, surrounded by the flashing lights of the rescue vehicles. Lia sat with her spoon of yogurt posed by her lips and felt a wave of nausea engulf her as she watched the steaming breath of the reporter standing in front of the wreck: a terrible wave of fear at the ugliness of brutal death made her turn from the TV and stare at the gray blankness outside her window as fear climbed up her spine and raised the hairs on the back of her neck.

She threw herself into her work. She made calls, she talked to her aids. She refused to let herself think about it, but it wouldn’t go away. By the time she left it was dark, and by then her fear had been replaced by a stubborn need to find the homeless man and find out what he knew.

She didn’t have far to look. When she came to the building across the street from her apartment, there he was, standing in the doorway where she’d seen him last night. She pulled up to the curb and opened the power window on the passenger side and leaned over.

But there must be some mistake. The man who stepped out of the shadows was a business man in a black wool coat with a trim mustache and salt-and-pepper hair. She stared at him through the open window and he stared back and smiled, and in that instant she knew in the pit of her stomach that there was no mistake. It was the same man, the same eyes. She could see that he recognized her too.

She fought down a surge of sudden panic. “What is this?” she asked.

“May I get in? I’m not dressed for this weather. Not like last night.”

“Who are you?”

He reached a gloved hand inside the window, unlocked the passenger door and got in. The leather seat sighed under his weight.

“Who the fuck are you?” Lia was confused, but she wasn’t quite afraid.

He strapped the seat belt across his chest and gestured with his head as a car behind her sounded its horn.

“I suggest you drive,” he said. “I’ll tell you everything as we go.”

Lia pulled her eyes from his face as the car behind her honked again. She focused her eyes on the street and pulled away from the curb, her hands rigid on the wheel.

“My name’s Bosun,” he said, closing the window. “And yes, I’m the man who saved your life last night.”

“What? Were you slumming or something? Where’s your shopping cart?”

He smiled, showing even, white teeth. “It’s safe. Waiting for me when I get back. You work at Benrus, right? Benrus and Steele, the PR company that handles things for Ferris?”

Lia glanced at him sharply. “Who told you that?” she demanded. “How did you know my name last night? Just who the fuck are you?”

“Turn here,” he said. “I want to go down to the Loop. I want to show you something.”

“No. I’m not going anywhere. Not until you answer my questions.” She wanted to pull over, but the curbs were lined with cars and traffic was thick. There was no choice but to keep driving.

“Okay. Who am I? I’m what you call a homeless person. A bum. I’m one of those people you never notice. That’s okay though. We like it that way. Unfortunately, you have some information I need, so I had to make myself visible to you.”

“Look at the way you’re dressed. You don’t look homeless to me.”

“I can make myself look like whatever I want. I’m not what you think.”

The smart comment died on her lips as out of the corner of her eye, Lia saw him suddenly change from his neat, businesslike self into that scraggly bum from the streets. His coat went from coal black to dirty ash-gray; his hair grew long and colorless and the very smell of him changed. It was only for an instant, like a trick of the light, and then he was back to what he’d been, but it was real. The scent of the homeless man remained.

Lia gasped and bit her tongue in fright. She instinctively jerked the wheel to the side and slammed on the brakes, almost hitting a parked car. Horns behind her blared

“Jesus Christ! What the fuck was that? What did you just do?”

“Drive, Lia,” he said calmly. “The Loop.”

He was back in his businessman persona, and Lia clenched her jaw tight against her rising panic and stared straight ahead, hands in a death grip on the wheel.

“What are you? Some sort of magic show or something? What was that?”

“Listen to me Lia,” he said deliberately. “You are a sane and intelligent woman and you live in a sane and intelligent world, but things are not what you imagine. I’ll tell you this once, because I’ve learned through experience that once is either enough or it’s entirely too much, so take it as you will.

“This city is alive. Literally. It’s a living organism. It has thoughts and feelings, it has a metabolism, it grows and it changes, and it is aware. That’s the most important thing: that it’s aware. It’s aware of everything, and things go on here in the streets that most people can’t even imagine. The people who live here are like little cells in a body, each with his or her special purpose, and none of them know it. There are only a few of us who know, and I’m one of them.”
 
(Keeper of the Streets, Part 2)




Lia stole a glance at him, afraid to look at him directly. They were passing under streetlights now and squares of light were passing over his face as he spoke. His eyes were calm and he looked entirely reasonable, and his quiet rationality only seemed to make her rising panic all the worse.

“Some of us homeless people – not all of us, but some – are like the white blood cells in the city. We hunt through the streets and alleys looking for sickness and signs of infection. We know the signs and we do what we can. We keep our finger on the city’s pulse and know when it’s healthy and when it’s sick. We know all sorts of things. It’s our life. It’s what we do.”

“What did you do just now. How did you do that?”

He sat back with a sigh, unsure of whether she had heard anything he’d just said.

“I told you. I can be whatever I want. I’m not what you would exactly call human, Lia. I’m one of the guards, the keepers of the streets.”

Lia had to look at him. She couldn’t help it. She was terrified he was going to turn into something else and she didn’t want to be caught be surprise.

“Where do you come from? Where do you live? What do you want with me?”

“I don’t know where I come from. I’ve just always been like this. I think we just grow. Wherever there’s a vacant lot, an old alley, an abandoned factory, we just seem to sprout up. As to where I live, I live all over. It doesn’t matter. I might have a penthouse apartment, or I can live in a box under the expressway. I go where I’m needed.”

Lia laughed. It wasn’t a good laugh. “You’re crazy, you know that? I think you’re fucking out of your mind!”

“Fair enough,” he said, turning in his seat to face forward. “That’s fine with me. In fact, it’s better that way. The only thing I need from you then is some information. I need to know who’s putting up the building on block seventeen. Turn here, Lia.”

Lia made a left onto Adams street. They were back in the Loop now, the streets crowded with people going home, bundled against the cold and walking cautiously on the icy streets.

“Block seventeen? That’s Ferris and Kaminsky. Why? What do you care?”

“What are they building there?”

She shrugged. “A multi-use. Offices and condos. Thirty-three stories, mall, multiplex. It’s going to be their flagship building, the anchor for the New Downtown. We’re doing their PR, and in fact they’re supposed to break ground on friday.”

Bosun looked thoughtful. “It’s not good,” he said. “They’re upsetting things. There’s something wrong.”

They came to a red light and Lia looked at him. “That’s one hell of a piece of real estate,” she said. “People have been after it for years: prime location, right downtown. It was all tied up in zoning for ever and they had to grease a lot of palms and pull a lot of strings to get the permits. Now it’s available, and they’re building on it. What’s the big deal?”

He looked at her and in the dark of the car his eyes were calm and clear and level. If he was crazy, he was the sanest looking lunatic she’d ever seen. There was sadness in his eyes too, and despite her unease, Lia felt for him, for whatever private devils he was struggling with.

“There’s something very evil out there,” he said. “Our people are being killed. The street keepers are disappearing, leaving holes behind. It has to do with that building. If you know how to read the signs, they all point to that building.”

“You were almost killed last night too,” he said. “That’s what puzzles me. They were coming for you too, and I don’t understand why.”

Lia felt a chill. “What do you mean? Who’s coming for me?” She thought of Peter Bessinger and his recent switch to Ferris and Kaminsky. She couldn’t see Peter mixed up with gangsters.

She felt Bosun’s eyes on her and turned to him. He smiled. “Nothing human, if that’s what you’re worried about.”

Bosun folded his hands in his lap and closed his eyes and seemed to be meditating or communing with something. The light changed and Lia pulled away, following traffic. They passed right by Block Seventeen, a great, gaping empty spot on State Street that had lain vacant for over a decade as developers and politicians fought over it, made deals and sold each other out. Great gobs of state money had flowed into that empty space, commisions had been formed, even the Feds got involved, and still not one spadeful of earth had ever been lifted.

In the winter it was flooded and used as a skating rink. In the summer, the city planted some flowers and put out benches and pretended it was a park. Other than that is was a political football that kept an army of lawyers busy. Ferris and Kaminsky had scored an unprecedented coup when they had finally spread around enough political money and and twisted enough arms to get permission to build, and there was no doubt that they planned to make all that effort pay off.

Now, though, the lot was screened off from the streets by the plywood construction fence. The heavy equipment hadn’t arrived yet and there was nothing to see. Bosun didn’t even look at it.

“Turn here,” he said, pointing to a ramp thatled downwards. “Maybe you should see this.”

“Lower Wacker?” she asked spinning the wheel. “Not again?”

He ignored her. “You don’t know this, but consciousness flickers. The world you see isn’t continuous, but more like frames in a movie. There’s something between those frames. There’s another movie hidden in there, and that’s where I live and where me and my friends do business. I want you to see. I can make you see it.”

The car rolled down the ramp, leaving the lights of the city behind and submerging into the stygian gloom of the street below the streets. The old sodium vapor lights down here gave everything a greenish cast, making the concrete pilings and loading docks look eerily watery and submarine.

Lia felt a little jolt, a little shock in her spine, and then she gasped as a whole new world unfolded before her. For as far as she could see, the sides of the roadway were lined with office cubicles with people working at them, a veritable hive of activity, and yet all transparent and ghostly.

“What the hell is this?” she asked. “What is all this? I’ve never seen this before.”

“Pull over. Anywhere. Just nose in over there. You’re seeing between the frames now, Lia. This is my world, or one of them.”

She pulled over to the side of the road and they got out of the car. She automatically reached for the clicker to lock her doors, then realized that would be silly. She was in another world.

Bosun came around and took her arm and walked her over to the nearest cube. A man sat at a desk while another man and a woman leaned over his chair and studied some papers with him.. The people, the furniture, the walls of the cubicles all seemed slightly hazy and indistinct.

“Who are these people? Can they see us?”

“Oh sure, but they’re busy. This is what we call a ghost office. These are people who used to work in the city. They’re dead now or they’ve lost their jobs, but they still want to work. It’s all they know, so they come here. It’s something we provide for them. Kind of a service. They’re comfortable here.”

Bosun slid a piece of paper off a pile on the desk and showed it to Lia. It was old and yellowed and had been glued to another piece of paper to keep it from falling apart. It looked like it might be an ancient papyrus, but all it was a carbon copy of a handwritten bill of lading for engine parts for 1978 Ford Mustangs.

Lia looked up at Bosun in confusion.

“I know,” he said. “It’s meaningless work. They just copy out all these old receipts and ledgers and memos, but it’s what they’re comfortable doing and they like it. There are ghost offices like this all over the city. There’s a special prestige to working downtown, though. This is the big time. But that’s not what I wanted to show you. Come over here.”

He led her through a maze of cubicles and hallways, amidst the clatter of typewriters and telephones ringing, all so strange and out of place with the street above their heads and the asphlat below them. He brought her up short on the edge of what looked like a battlefield or the scene of a meteor strike. The cubicles were crushed and trampled, their neat order reduced to chaos, and garbage and trash were strewn about. A cloud of smoke drifted from the center where flames flickered dully amidst the shattered desks and overturned chairs and bags of refuse.

The scene was desolate, but what was even more horrifying was the way the ghost workers ignored it all, walking around with their meaningless papers in their hands and answering the ringing phones.

There was a feeling of palpable evil arising out of this place, and Lia automatically put her hand over her stomach.

“What is this?” she asked. “What happened here?”

“We don’t know.” Bosun said. “We’re seeing holes like this all over.”

He turned to go and suddenly caught sight of something on the street that made him grab Lia’s arm and pull her back. She followed his gaze and saw a pile of spilled trash, as if a garbage can had been overturned. At the head of the pile was a bag of frozen green peas, a brunt, fist-sized hole punched in the middle, a mess of smashed green peas leaking out.

“What? What’s wrong?” she asked him.

“That’s his sign. The killer. He’s got another one. That’s always his sign.”

“A bag of frozen peas? What are you talking about?”

Bosun walked cautiously towards the bag and stared at it. It was just a bag of frozen peas, but something hot had smashed a perfectly round hole in the center and smeared the crushed and charred contents all over the street. It was faintly nauseating.

Bosun’s eyes went over the rest of the pile of garbage, then he stepped back. He took her arm and began to lead her away.

“There are signs, Lia. Everywhere there are signs if you know how to look for them. That’s what we do. We study signs. We put our hands against the street and feel the life of the city and we study the signs. A pile of garbage, a discarded sofa, a pair of shoes with their laces tied together hanging from a street lamp, a child’s toy purse left in the middle of the street., even the power lines over your head. Do you ever look up and study the power lines? Do you know they change from day to day?”

She looked at him incredulously as he hustled her back to her car.

“Do you remember what was in the street last night when I saved you from that salt truck? A bag of frozen potatoes with a hole punched out of the center. That’s how I knew someone was going to die.”

“But why me? I don’t know anything about all this.”

He gestured for her to get into the car. “I don’t know. Maybe it wasn’t after you. Maybe it was after someone else. But right now we’ve got to move. We’ve got to get to an alley I know. Hurry.”

Lia jumped behind the wheel and started the car, and they took off, driving right through the crowds of ghost workers who dissolved like so much smoke as they passed. Bosun directed her to an up-ramp that left lower Wacker and brought them up to street level again and Lia gasped, her eyes wide with horror. She slammed on the brakes and the car screeched to a halt.

She was still seeing Bosun’s world, and what she saw when they emerged onto the street was a riot of color and activity. The buildings on either side of the street seemed to vibrate and hum and the street itself took on the gleaming, living character of a vein or artery, undulating with life. The night sky above was filled with squares and rectangles of color sliding along invisible lines, and the windows of the building throbbed with changing colors and densities. The people on the street were dull gleams in the frenzied landscape, some brillieantly lit up, some barely glowing, and everywhere were the skittering shapes that Lia remembered from her first trip underground with Bosun, the things she had thought were rats. They scurried along the streets and sidewalks, ran up and down the sides of the buildings like ants, and like ants met and seemed to exchange some communication and quickly rushed away.

Everything was alive. Everywhere was the frenzied activity of overflowing life, as if every thought of every mind had a life and a shape all its own, and all waving and radiating into the night air in a cacophony of color and movement.

Lia sat speechless, her mouth open. She could see the signs too now. She could see what was healthy and what was diseased, she could feel the currents of the people’s thoughts and see the inexorable flow of the traffic like blood through a vein. The city was alive. It was humming with life. She was in the bloodstream of a living organism, and she was part of it too.

“Shit,” he said. “I forgot. It’s too much, isn’t it? Too much for you?”

Lia felt that electric jolt at the base of her spine again, and she was again looking at the city she knew, but the memory of what she’d seen left her speechless and unable to even think.

“Drive,” he commanded. “Step on the gas and go. Take a right here and a left in the middle of the block.”

Automatically she spun the wheel and stepped on the gas, steering through the traffic and bringing them to the alley he wanted. She looked at Bosun and wasn’t surprised to see he had turned back into a bum, the very same one she’d seen last night, the filthy gray coat, the bulbous nose with enlarged pores. She felt like nothing could surprise her any more.

“Do you know where we are?” he asked her. “Block seventeen is right over there. Right through those two buildings near the end of the alley. We’re very close. Stay in the car. I’ve got to find the other keepers. There’s some who live here.”

Lia was beyond words now. She watched him get out of the car and walk down the alley, and as she watched she seemed to see other gray shapes emerge from the very bricks of the surrounding buildings, stepping slowly out of the shadows, the same kind of thick, shapeless men, swaddled in layers of rags and overcoats, stocking caps and hooded sweatshirts.

They stood together, Bosun and the others, black against the gray snow, then moved off into the shadows and Lia lost sight of them. She sat in the car, her hands still poised on the wheel, and forced herself to be calm.

They were gone now. There was no sign of them. Lia turned off the engine and sat there in the light of her car. She felt very vulnerable and exposed, so she flicked off the interior lights and sat in the darkness. The feel of her car, the smell of the leather interior, were reassuring to her. She felt safe and isolated.

The alley was narrow, hemmed in by two tall buildings on either side. The passageway that led to Block Seventeen was down towards the end, just before the alley dead ended against a blank brick wall with a big dumpster against it. There was yellow light spilling through the passageway, and Lia stared at the light, looking for Bosun’s shadow, which would tell her he was headed to Block Seventeen, but she saw nothing. Wind gusted across the roofs of the buildings above and sent a shower of sparkling snowflakes drifting down into the sheltered stillness of the alley. She sat and waited and listened to the tick of her cooling engine.

After a time she opened her door. She remembered what Bosun had said about feeling the streets, and so cautiously, she reached out a gloved hand, leaned out of her car and pressed her palm against the bare, icy cobblestones.

Yes, she felt it. The street was humming with some kind of life, like a current of electricity going through it. She couldn’t believe she’d never noticed it before, but then, how many times had she ever bent down and put her hand against the surface of a street?

She got out of the car and the cold struck her immediately. Now that the sun had gone down the air was frigid and a stiff wind had sprung up, making her eyes tear. She leaned against the car and wrapped her arms around herself.

He wouldn’t be coming back. Something in the way he’d dissolved into the shadows told her that she wouldn’t see him again. He’d gotten what he wanted from her; he’d saved her life and given her a warning, opened her eyes briefly to another world and now he was through.

Lia looked down at her feet and listened. She heard the wind, the grinding squeal of the El train reflected off the bricks of the buildings, the muffled honk and roar of the traffic out in the street behind her. The image she’d seen of the city as a living organism was burned into her eyes, and when she looked into the shadows she still saw things moving, dim squares and rectangles of light sweeping over the bricks, as if she’d been staring into a bright light. The telephone wires sizzled over her head.

She began to walk down the alley, watching her step on the ice and keeping a wary eye out now for garbage or anything out of place, for any telltale signs or bags of frozen food, feeling her way along with her heart as well as her eyes and ears. Several times she saw skittering in the shadows, but she wasn’t afraid of rats anymore, and she wasn’t even sure if that’s what they were now. She stepped into the shaft of yellow light that marked the passageway to Block Seventeen.

Even though her company handled the PR for the project, Lia had never so much as visited the site or even seen what it looked like. Now, as she emerged from the shadows of a neighboring building, she found that work on the site had barely begun. There were banks of huge, bright, construction lights set around the perimeter, powered by rumbling diesel engines, and the whole site, almost half a city block, was covered with polyethylene tarp several layers thick, weighted down with boards and bricks and pieces of junk. There were a few construction workers at the far side milling about the trailer office, but other than that she was alone.

The polyethylene sheets blew and flapped in the wind, the generators hummed. Lia couldn’t be sure, but she thought there was some strange movement at the center of the site, like something moving beneath the tarp. She blinked back her tears from the cold and stared again, but her eyes were caught by a rustle of movement on the periphery, and she turned and looked at the edge of the tarp to her right.

There, beyond the glare of the lights, a mass of cable and wires were being slowly, almost imperceptibly dragged under the tarp: phone lines, electric power cable, armored BX, all slowly slithering under the tarp at barely a snail’s pace. It reminded her of nature films she had seen, of a wasp dragging a paralyzed caterpillar into its den, or one snake being swallowed by another. There was something nauseating about it, but she ignored the feeling and forced herself to watch until she was sure she was seeing what she thought and that it wasn’t just some trick of the light or the wind. The cables and wires really were being drawn under the tarp.

She looked back at the center of the site, then back at the workers, who seemed oblivious to anything beyond the circle of light around their trailer-office. There was no doubt now. There was something moving under the plastic, something small, the size of an infant, rolling around in a most unnatural and almost obscene way, rocking back and forth and shuddering, like something being born.

She had a terrible premonition of blood and hunger, of something that smashes and burns and crushes, and then the wind took the corners of the tarp and set them to flapping like whips.

(The End)
 
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You obviously don’t need advice on how to write, as the story is very descriptive, without being bulky, and therefore reads very smoothly. I am envious of your talent!

I’m not one for grammar/structure/spelling, but just say what jumps out at me. You wouldn’t be here if you didn’t think something was wrong, and I often find with longer stories I get lost. But please sit down and take a deep breath.

We all know that a story needs to grab the reader in the first few paras. The problem I had was that I got no sense of direction of where the story was going half way through it. It is sort of a ‘Dusk till Dawn’ scenario, where I did not know it was a vampire story until 2/3 of the way through the movie rather than a rob, rape and rampage movie [but admittedly this movie is still one of my favourites]. Because I didn’t have an inkling of where you were going with it, there was no ‘can I guess or I need to know what will happens’ kind of feeling. I’m not talking about the ‘had she but known’ line either. Yes, maybe the weather should have been an indication, but…

And there is nothing I can think of right now to overcome this either. But others might not find this a problem at all.

The other thing I want to raise is that the ‘had she got into the taxi she would have died’ thing. This was predictable [possibly intentionally so], but that doesn‘t mean that I have to like it. Then it goes on to the ‘I’m going to tell you all these things, and you’re probably not going to believe me, but saving the world depends on it, and then I’m going to disappear’. I’ll say the word ‘formulaic’ very quietly.

I realise I am being VERY harsh, but I know what you are capable of. The are a couple of other picky things that you can choose to ignore:

- she isn’t a likeable character [again most likely deliberate, as there is a moral in there somewhere about having her eyes opened to something outside of her skinny-bitch-self-involved life]
- I thought it was Peter that was the target of the killer, but this never developed
- mashed frozed foods - I would have preferred twisted recycled metal depicting a animalistic / hopeless / deathlike creature
- she knew that the homeless man wanted something from her - but how? Was he gazing at her fixedly, and she instinctively knew he wasn’t thinking about how much he could porn her jewellery for?
- did her friend leave the party - and somehow bypass the camera / police / ambulance / fire crews ?

Shoot me now. I’m really sorry. I’ll go troll my own stories and save people the trouble.
 
Don't be silly, Wishful. That's exactly the kind of stuff I want to hear. This is one of those stories that I'm standing too close to to judge myself, and I know I've taken a bunch of chances in it. I really want to know if they work or not.

I'll hold off replying until I get some more responses though. I don't want to prejudice anyone.

---dr.M.
 
Well, much of the story passes the “jealousy test;” there are large parts of it that I wish I’d written! So I’ll begin with that before I try to make some, hopefully, helpful comments.

Lia’s character is clear, steady, and dynamic. This is not at all an easy trick to pull off in any story, I think, let alone in one where there are so many other elements jousting for attention. Her transition from self-absorbed bitch to sensitive observer of both external and internal forces is credible. The credibility, for me, comes from the power of her experience and also from the simple fact that you have defined a woman who is bright and by occupation needs to be able to record (as well as to manipulate) what she sees and senses in what she hears and is given. She is also given the right age, imo – there is a point between the ages of 25 & 35 when (some/most) women grow up and move beyond the need to filter the universe through their own makeup mirror. (Uh-oh, I just know I’m gonna be in trouble for that!)

The description is powerful. I’ve read only a few of your stories because I’m new, but one of your strengths, Dr., seems to be description. In this story, the first description of the trash can as Lia leaves the building, then the description of the crash, and especially of the streets (as she and Bosun come back to the surface after leaving Wacker Dr.) are just terrific.

By and large, especially beginning with Lia’s first contact with the ‘homeless man,’ the pace of the story is great. I found myself rushing to keep up and irritated that I had to scroll to part 2.

The combination of descriptive power and pace guarantees that I’m in ‘Magicland,’ too.

Things I’m less excited about – and I mention these because of the posting here, of course, and also because I gather you work your stories as close to perfection as you can. Please, then, don’t take these so much as complaints as “Wouldn’t it be nice if…?”

…If, first of all, the description of the weather and then the ghosts and the magic agents, more clearly defined theme or led to meaning than just being limited to setting mood. The weather, certainly, is ominous, is violent … but, hey, this is Chicago in the winter and what else would I expect? Somehow it should carry more weight, I think, and it seems to me that you want it to … but I can’t pick it up yet (maybe with another, focused reading).

The ‘ghosts,’ too, and Bosun’s buddies, never really get beyond being “something different” from the rats. I realize they have to remain ambiguous, but they really are the point of the story aren’t they, certainly more so than the building site at the end. Personally, I am hoping for more powerful insights into the weather and the magic figures like you provide for the “infant” of evil at the building site in the last paragraphs. That is wonderful stuff, imo!

In case I need to be clearer, I’m looking for more of what Stephen Crane is able to do in “The Open Boat”: first sentence – “None of them knew the color of the sky.” Or the symbolic value attached to nature and architectural detail in Joseph Conrad or Margaret Atwood. Sure, we’d all like to be able to do that!

But I think this limitation in the description not only makes the story less than it could be, it also tends to weaken it by making the threats in the exposition of the story unclear. Given that the story is Lia’s pov we don’t really know if the threat she feels is rooted in her immaturity and self-absorption, or if there is something really going on, and we could focus on her growth as well as on the meaningful (?) origins of Bosun if we knew there was a significance to all of these things before she does. As it is, we learn there is a real issue just when she does, as the crash occurs, or perhaps a moment before it dawns on her.

You do have a lot to work with for this sort of development if you want to do it: the weather; the conversation and personalities of the women; the homeless man. How, for example, does he cover such a large distance while she goes only a few feet? She is perhaps about 50 feet from the cab; to cross a sidewalk and Wabash and get to her he may have to go, say, 200 feet? How do they ever intersect? Of course by the end we know such trivia as time & space are probably not an issue for his kind; but at the start of the story we have the credibility disrupted because we can only assume he is a really fast rapist (cf: her nipples).

And, again, I don’t know enough of your writing to know if the simile is something you use all the time. But I think it a very dangerous device because it has such power. When it is used well, an image explodes off the page, such as when you describe the ‘homeless man’ when he is first seen as “shapeless as a gravestone”! On the other hand, a simile easily calls attention to the fact that someone is writing the story and it can intrude on the description’s credibility, as I think it does in your very first sentence: “The clouds over the lake rose up like bunched knuckles in the dark winter sky, like a fist full of snow.” No, I wouldn’t be excited about that even with only one simile. Note how pale and self-conscious that sentence, the first in the story, is compared to the last, powerful sentence of the story where the simile returns with a real vengeance: “She had a terrible premonition of blood and hunger, of something that smashes and burns and crushes, and then the wind took the corners of the tarp and set them to flapping like whips.” Good stuff.

Peter had “tended” his resignation. Shouldn’t it be “tendered”?

Paraphrase: The night “could be described only as cruel.” That one’s worth something more precise and less absolute, imo.

Lia’s characterization: (now I’m just thinking out loud.) Would it be worth the trouble to give some insight into her potential for understanding and sensing early in the story? After all, many people really are (as Bosun suggests) shallow, terminally shallow. And the implication that she is the only possible source of public, factual information for him is not believable, given his spiritual and magical power. (Anyway, if they have night workmen and lights and fences and tarps, wouldn’t there also be a sign up giving him the info she has?)

There must be more of a reason that he finds her to have potential, which she reveals to herself by the end. I wonder if she could ignore, but still sense something in threats of the weather, and in the women, and in her first sight of the homeless man …. In fact, you almost open this line of suggestion when she first sees him, but she shuts it down so soon we never know if it’s sensitivity or paranoia. I at least assumed it was the latter at that point. Could she somehow sense the street humming with life even before she places her hand on the ground? Of course, if it’s a simple thrill story, this line of thought may even detract! I sure don’t mean to mislead, so you’ll have to decide where to go with it.

Finally, I agree that her interest in Peter needs to be resolved in some way, not because this is Literotica but because it’s a primo chance to show her development, I’d think.

Finally, the pace seems to flag a bit in the section on “signs,” and the story seems to be searching for some direction for a few hundred words before it gets back on its horse again. I don’t know if anyone will agree or not, but if so you might think about getting this section a little tighter and in a little clearer focus. Not to be flip, either, but you might be able to focus on something other than vegetables in this section – since we’re dealing with magic, perhaps the object attacked by the sign isn’t as important as for you to focus on the hole in it with appropriate tone and attitude.

I certainly hope I’ve offered something of use, Dr., as I admire your writing.

Softie, going back to my seat
 
I liked most of this story. It works as a mechanism by which a shallow young woman comes to realize how superficial she is. It also works as an entry to a contest requiring a magic theme.

Initially I was disappointed when the story ended where it did. Too many unanswered questions. I felt teased but not satisfied. Later, I decided Lia had changed and that was the proper conclusion.

One of the questions I don't need answered regards Lia's interest in Peter and his money. I think she's beyond that and I might even feel patronized if told so.

I was at first bit irked by all of the characters in the opening. In hindsight, I rather like it both the means of introducing Lia and setting up the abrupt turn in the plot.

The biggest plot flaw in my opinion: I don't believe that Bosun has to get that information from Lia. A man with his connections must have other sources. But I think it's an easy flaw to adjust. What if Bosun makes the same sort of mistake about her that she did about him, judging one's importance by their appearance? Suppose he sees the killer's sign and knows someone will die. He sees the girl and assumes its her. He saves her, takes her around, shows her things, listens to her, etc; all the while thinking she is someone important. Then, after all this, he suddenly says, "How stupid of me! The killer must have been after the cab driver. My mistake. Oh well. Thanks. Bye." I think it works better if Lia is thus nobody special at all, doesn't have any information, was just in the wrong place at the wrong time, like any of us could be.

The style is great, lots of superb imagery; really lets the reader join the story. There's good and bad to this. While it draws the reader in, it also leaves one expecting something a little more grand for a climax than a young woman maturing. As such, I think the story may be a little like its main character: beautiful, enchanting even, but a little less substantial just below the surface.

The pace is excellent. I was never bored. Pissed at one point, but never bored.

This is the sentence that made me bristle:

Candy had a weight problem and so was no competition for Lia, therefore they were friends, or close enough.

This statement pushed a couple of my buttons the wrong way. I don't mind if Lia thinks Candy is no competition because of her size. That's realistic. I don't mind if Candy thinks her weight is a problem. That's realistic too. I would adore that description; it would add depth to the characters in an efficient fashion. But that's not quite how it reads. The omnipotent narrator tells me that Candy has a weight problem and is therefore not competition. This upset me. One may think it a subtle distinction, but I disagree. I found it most insensitive that the narrator, rather than a character, made such a judgment.

Willful is right. Lia is not a sympathetic character, but I thought this was a strength of the story. In spite of her flaws, I was still willing to go along with her for the ride.

I noticed that when Lia returned from lower Wacker, there was no crowd gathering around the accident site and thought it odd. I thnk it works if we see Lia waiting for Candy while the flashing lights of emergency vehicles play across the lobby.

Speaking of which:

...its yellow caution light still slapping her in the face like a countdown timer...

I loved that line! It's so good that it makes the subsequent comparison seem pale.

I'll send a PM with minor nits/corrections unworthy of a broader discussion.

On the whole, an impressive piece. It does have a magical feel and takes the reader along on an interesting ride. I think it portrays Lia's change in a realistic way, yet subtle too, respecting the reader. I like that. Thank you.

Take Care,
Penny
 
Doc,

Very good read. Interesting storyline with great visuals. I’ve made a lot of comments. While there are a few typo-type mistakes, about 90% of my stuff is just suggestions on different ways to do the same thing.

I’ll admit to not being a fan of long sentences, adverbs, semi-colons, and especially colons. OMIT “AND” BEGIN NEW SENTENCE, became something of a mantra for me. But this is your story and your style.

In the next section I’ll try to restrict myself to just the typo, omission type stuff and to focus on the big picture. I’ll have that to you sometime tomorrow.

Rumple

--

The Keeper of the Streets

The clouds over the lake rose up(OMIT “UP” REDUNDANT WITH “ROSE”) like bunched knuckles in the dark winter sky, like a fist full of snow.(IF ONE SIMILE PER SENTENCE ISN’T A “RULE OF WRITING” IMHO IT SHOULD BE) There would be something cold and wet falling from the sky before the night was over, and(OMIT “AND” BEGIN NEW SENTENCE) Lia reminded herself to keep an eye on Peter and leave when he did. She didn’t want to be out in the sleet on Michigan Avenue at one in the morning looking for a cab, not in this outfit.

The very thought gave her chills, and the thin yet elegant gown she wore didn’t help. She finished her lipstick and adjusted her scarf so that it hung just right off her shoulders. Mark was right: she did have beautiful shoulders and a lovely neck, and(OMIT “AND” BEGIN NEW SENTENCE) the rhinestone necklace and her upswept hair showed them off just right.(USED “JUST RIGHT” IN THE LAST SENTENCE) The gown was perfect too: a smooth expanse of burgundy satin that followed the curves of her body so closely that(OMIT “THAT”) the smooth rolls of her abs were subtly visible. Not a trace of fat on her. And not a stitch on underneath either. The points of her nipples were just visible, and she liked it(THEM?) that way; sharp little points: weapons of battle in Lia’s(HER) unceasing war for supremacy.

Whoever that bitch was who was trying to make time with Peter Bessinger was about to find out that Lia Callison had brains to go with this beauty, and claws too.(JAS: WHOEVER THAT BITCH WAS, THE ONE TRYING TO MAKE TIME WITH PETER BESSINGER, SHE’D SOON FIND….” – ELIMINATES TWO OF THE THREE “WAS”)

“Too much wine! Too much wine!” Candy Moser pushed into the lady’s room, fanning herself with her hand.

Candy had a weight problem and so was no competition for Lia, therefore they were friends, or close enough.

“God, is this a view?” Candy asked, going over to the large windows overlooking the lake. “If this is the view from the lady’s room, can you imagine what the condos must be like?”

“To die for,” Lia said. “Jason’s on the 33rd floor. Jason Grippman? Looking west, of course, over the city itself. (A LITTLE CONFUSING. MIGHT ADD A WORD OR TWO TO CLARIFY.) That’s really the best view. Looking east you only get to see the water.”

“But those clouds!”

“Mmm.” Lia ran her gloss over her lips. “Yes, I suppose they’re nice. If you’re a meteorologist.”

Lia dropped her lipstick into her bag and turned to Candy.

“Who’s that girl talking to Peter B? The redhead? Green dress? Boob job?” (MIGHT MAKE ALL THOSE STATEMENTS, NOT QUESTIONS, SINCE SHE’S GIVING SPECIFICS.)

Candy came over to the sink and ran her hands under the electric faucet. She wet her hands in the sharp spray and patted her face. (COMBINE WITH THE NEXT PARAGRAPH)

“I think that’s Claudia something. Something Irish. O’whosis or something. She’s on the speaker committee. A junior partner at Ferris. She’ll be working with Peter when he goes over there. You know he’s already tended(TENDERED) his resignation at Denton-Langer.”(?)

“Of course I know. Senior partner and all that. Taking his city contracts with him(COMMA) too.”

Candy looked at Lia with a spectator’s admiration for a pro at work. “And did you hear about the bonus they’re giving him? Pretty much just buying him away from Denton. He’s rolling in it now. Probably the highest paid architect in the city for not being a full partner.”

“Project facilitator, Candy,” Lia corrected. “And don’t be gauche. What’s his interest in her?”

Candy pulled down some paper towels and patted her face dry. “Darling, I have no idea. But you know Peter’s involved with Polly.(?) He’s taken.”

Candy stopped drying her face as the thought hit her. She looked up at Lia.(OMIT “AT LIA” COMBINE WITH THE QUOTE)

“Lia, you wouldn’t!”

Lia smiled and shook her head. “Darling, I’m in PR, remember? I’m always looking for new clients. I’m networking. That’s all. Just spreading sunshine and good cheer wherever I go.”

“A regular Tinkerbell, that’s you.”

A sudden squall of wind (TECH: A SQUALL IS A GUST OF WIND, SO “OF WIND” IS REDUNDANT. HOWEVER, I’VE SEEN THAT IN MANY STORIES.) struck the big windows with a muffled boom, followed by the sizzling sound of frozen sleet blasting against the windows.

“Oh God!” Candy said. “Here it comes! We’re really in for it now!”

~ ~ ~

Deespite her plans, at one o’clock in the morning, Lia Callison was indeed huddled inside the loccy(LOBBY?) of the Adonondack building, looking out onto Wabash Avenue beneath the El tracks and waiting for her cab. Her plan to follow Peter Bessinger out when he left and innocently ask him for a ride fell through when she missed the elevator, and by the time she got down to the lobby he was gone. Too embarrassed to go back up to the dinner, she called for a cab on her cell and (NOW) waited.

Sleet and snow blew by outside in nearly horizontal streaks, and(OMIT “AND” BEGIN NEW SENTENCE) the wind moaning through the revolving door was strong enough to set it spinning in slow, ghostly circles.(NICE VISUAL) Right outside the revolving(OMIT “REVOLVING”) door, a mesh trashcan had been overturned by the wind and(OMIT “AND” BEGIN NEW SENTENCE) garbage (WAS) spilled out onto the side(ONE WORD)walk. The lighter papers had been scattered by the wind long before, but a plastic bag the size of a football sat forlornly in the wind, it’s corners flapping and contents spilling out in a most disconcerting manner.

For some time now, Lia had been staring across the street at a figure huddled in a doorway, so rigid and still that(OMIT “THAT”) it had taken her a long time to decide whether it was really a person or not, and(OMIT “AND” BEGIN NEW SENTENCE) it was only when she saw one arm reach out of the shadows to pull a battered shopping cart closer that she realized it was a homeless person: a man, (JUDGING) from the size of him, big, as shapeless as a gravestone.(JAS: OMIT “BIG, AS SHAPELESS AS A GRAVESTONE” YOU’VE ALREADY SAID THE PERSON’S SIZE INDICATES IT’S A MAN, AND A GRAVESTONE HAS A SHAPE.) She paid him no attention until the thought occurred to her that, although she could barely see him, he could clearly see her standing in the lighted lobby, and(OMIT “AND” BEGIN NEW SENTENCE) from that point on she couldn’t keep her eyes from him, glancing nervously across the snow-swept street and trying to figure out what he was doing there.

She wasn’t exactly afraid. She’d lived in this city for the last nine years and had never once(OMIT “ONCE”) been robbed or broken into or even threatened. It was more that she didn’t want to have to think about him: about where he’d go on a night like this and where he’d sleep.


But there were shelters for people like him, weren’t there? She knew, because her company had handled some of the flyer work for the city-run shelters on a pro bono basis. There were shelters that provided them with a hot meal and a clean place to sleep and all you had to do was show up there. No doubt he’d go to one once the wind let up a little, and if he didn’t, well, that was his concern and none of her business.

But still he didn’t move, and she was quite sure now she could feel his eyes on her. She wasn’t frightened, she wasn’t worried, but there was something she felt he wanted from her, and the feeling nagged at her.(JAS: SHE WASN’T FRIGHTENED OR EVEN WORRIED. BUT SHE COULDN’T SHAKE THE NAGGING FEELING HE WANTED SOMETHING FROM HER.)

Wabash Avenue is the eastern boundary of the Loop, and(OMIT “AND” BEGIN NEW SENTENCE) the elevated tracks run right overhead and provide some shelter from the snow and the seeking wind off the lake. But on this night(COMMA) the tall buildings served only to channel the winds right down its length, setting up a howling gale on the frozen sidewalk. The snow and frozen sleet went flying horizontally down the artificial canyon, and(OMIT “AND” BEGIN NEW SENTENCE) it was a night that could only be described as cruel.

There was no traffic to speak of. It was a Tuesday night and so (OMIT EITHER “AND” OR “SO”) there were no cabs. (PREVIOUS SENTENCE SAYS THERE ARE NO CABS—THE NEXT SENTENCE DESCRIBES ONE SHOWING UP.) When Lia saw the familiar yellow taxi nose in at the curb and sound his(ITS) horn(COMMA) she sighed with relief and headed towards the door, her heels clicking loudly on the wet marble floor of the lobby.

The man made his move at the same time, stepping from his shelter and crossing the street towards her, his hands stuffed grimly into his pockets.(WHERE’S HIS SHOPPING CART?)

“Oh Great!” she thought as she leaned her weight against the revolving door. “A handout!”

She opened her purse and looked for some small bills, pressing the revolving door with her back. As soon as she hit the street the wind took her coat and her scarf in its teeth and yanked at her, and(OMIT “AND” BEGIN NEW SENTENCE) the sleet cut her like knives, knocking the breath from her body and bringing tears to her eyes. She had time to notice that(OMIT “THAT”) the plastic bag from the trashcan was a bag of frozen French fries. There was a burnt, fist-sized hole in the middle and the fries were spilling out, mashed and mangled. It struck her as (AN) odd thing to find in a public trashcan, and then she turned her back to the wind and rummaged in her purse looking for something to give the man as a handout.

He was just stepping onto the curb and there was no doubt that he was heading for her. Now she could just glimpse him through her watery eyes and see the mound of overcoats he wore, the long scraggly beard, the stocking cap full of holes.

“Don’t take that cab,” he said.

Lia paid no attention. She found two dollars in her purse and held them out towards him as if they were a shield. The wind bent them back around her fist.

“Don’t get in that cab,” he said again. “It ain’t safe.”

The cab driver slid over and opened the back passenger door and looked at her expectantly. He was wearing shirt sleeves.(REPHRASE) She could feel and(OMIT “AND” ADD A COMMA) even smell(COMMA) the taxicab(‘S) warmth coming out from the back seat.

“Don’t get in that cab, lady! I’m warning you!” He reached out, ignoring the money she offered and grabbing her arm.

“Are you crazy? Let go of me!”

The bum had taken a grip on her coat and began tugging, pulling her down the street. He was surprisingly strong and she was stumbling trying to keep up, but Lia was stubborn too (IN COMPARISON OR CONTRAST TO WHAT?) and she dug her heels into the icey sidewalk and pulled free of his grasp.

Down at the end of the block(COMMA) not fifty feet beyond the cab, a big city salt truck turned onto Wabash, going unusually fast for such a bad night. Its yellow warning light was flashing, and salt was spraying from the back hopper as he fishtailed onto the avenue.(JAS: “ITS YELLOW WARNING LIGHT FLASHED AND SALT SPRAYED FROM…”) The bum took her arm again. Her purse was in her other hand and she couldn’t make him let go. (THE CONNECTION ISN’T CLEAR) He kept pulling her away from the cab.

“Let go of me you crazy son of a bitch! I’ll scream!”

There was a deep rumble and a shower of sparks as an El train squealed by overhead, a metallic thunder that shook the ground. Through her tear-dimmed eyes, Lia looked down(BACK?) past the cab and saw the salt truck skidding out of control, sliding through the intersection and shuddering as the driver pumped the hydraulic brakes and frantically spun the wheel. The big tires locked and the whole huge thing started skidding down (IN THE PREVIOUS SENTENCE IT WAS “SKIDDING OUT OF CONTROL”) the street at a sickening angle, its yellow caution light still slapping her in the face like a countdown timer or the strobing light of a stop-action movie. She clearly saw the cab driver’s face as he looked in his rearview mirror, the salt truck driver(COMMA) dim through the dark windshield(COMMA – HOWEVER, SHE CAN CLEARLY SEE THE DRIVER) bracing his hands on the wheel, the spray of salt bouncing off the(OMIT “THE’) car hoods, and then(OMIT “AND THEN” BEGIN NEW SENTENCE) the side of the heavy truck slid into the taxi, lifted the back end up(OMIT “UP”) and pushed it (FORWARD) into a huge SUV in front of it.(OMIT “IN FRONT OF IT”) Car alarms wailed and lights started to flash, and(OMIT “AND” BEGIN NEW SENTENCE) the front of the cab lifted the SUV in some obscene mimicry of automotive sex.(HUH? WHAT WOULD REAL AUTOMOTIVE SEX LOOK LIKE?) Lia saw every detail as the cab collapsed on itself like an aluminum can, like a slow motion movie (YOU USED A MOVIE REFERENCE EARLIER IN THIS PARAGRAPH) of a crash-dummy test,(BEGIN NEW SENTENCE) the hood popping up, the windshield shattering(ED), the fenders springing(SPRANG) like accordions, the sheet metal collapsing(ED) with a pitiful, horrifying sound.(COMBINE WITH THE NEXT SENTENCE, ADD “AS”) The radiator ruptured and sent a jet of steam into the frozen air as if in manic celebration (MIGHT ADD “OF THE CATASTROPHE”).

“Come on, come on,” the bum yelled above the wind. “You’ve got to get out of here! Come on!”

He yanked her stumbling across the slippery street even as she heard the residual pop and clank of falling metal and the hoarse sound of an avalanche(OMIT “OF AN AVALANCHE”) of rock salt spilling from the side of the ruptured truck and burying the cab. Then there was just the violated sound of the (MIGHT MOVE “VIOLATED” HERE) SUV’s alarm and the vicious howl of the wind through the El tracks.

“Oh(COMMA) God! Oh(COMMA) God! Oh(COMMA) my God!” she wailed.

“There’s nothing you can do. Nothing! Now come on!”

He pulled her along and(OMIT “AND” BEGIN NEW SENTENCE) Lia stumbled after him, her new heels slipping on the hard ice and packed snow. All she could think about was that(OMIT “ALL SHE COULD THINK ABOUT WAS THAT”) the cab driver was dead, maybe the truck driver too, and that(OMIT “THAT”) had she been in that cab(COMMA) she’d (ALSO) be dead too(OMIT “TOO” SO YOU WON’T HAVE TWO “TOO” IN ONE SENTENCE. AT LEAST THAT’S THE WAY I FIGURE THINGS), with blood all over her beautiful dress and her new shoes.

He dragged her around the corner and down a concrete stairway. She thought it was the subway, but no: it(OMIT “NO:”) it descended down to Lower Wacker drive, the weird subterranean roadway that ran beneath the Loop and(OMIT “AND” ADD “IT” BEGIN NEW SENTENCE) was used for deliveries and freight traffic, (AND AS) a haven for the homeless and anyone looking for some sort of shelter.

--

He turned his face to her and Lia had a look at him for the first time. (SHE LOOKED AT HIM WHEN HE WAS STANDING ACROSS THE STREET FROM THE HOTEL) It was the typical homeless face-- the wide cheeks, cold-reddened nose, coarse skin – but the eyes were gray and clear and surprisingly deep.

“Don’t you know (WHAT) happened?” he asked. “Weren’t you just up on the street with me?”

A gust of wind howled down the staircase and(OMIT “AND” BEGIN NEW SENTENCE) Lia stood there as the snow swirled around them. She was suddenly cold and she(OMIT “SHE”) realized how inadequate her outfit was. The layers of coats he wore must be three inches thick. He didn’t seem cold at all.

“How did you know?” she asked him. “Why did you tell me not to get into that cab?”

He turned and walked down a few steps, then turned to her. “How badly do you want to know?”

He started walking again and(DOES SHE HESITATE, HAVE SECOND THOUGHTS? OH, YEAH, OMIT “AND” BEGIN NEW SENTENCE) Lia followed him.

“Well look, you saved my life,” she said. “Maybe I can help you. I know a lot of people. You need money or a job or something?”

She peered into the darkness of lower Wacker and made a face. “Do you live down here?”

“I live all over,” he said. “And no, you can’t help me. You don’t have anything I want.”

They were at the foot of the stairs now, and Lia looked around. To either side, concrete loading docks stretched away as far as she could see(MOVE “STRETCHED AWAY AS FAR AS SHE COULD SEE” TO THE END OF THE SENTENCE) lit by garish yellow sodium vapor lights which seemed to give a greenish cast to everything. She could look down this side of Wacker but the view to the other side was impeded by a forest of massive columns holding up the roadway above their heads. There were lane markers and sawhorses with blinking warning lights all over, a maze of traffic signals with(BUT?) not a car in sight. The place smelled of diesel fumes and wet concrete. It was dirty, cold, and smelly.(YOU’VE JUST DESCRIBED THE SMELL. MAYBE REPLACE WITH SOMETHING LIKE: HOSTILE, SCARY, UNEARTHLY, ETC)

She noticed some movement in the shadows of(ALONG/ON?) the cold concrete walls. It might have been a trick of her eyes:(PERIOD) when she looked directly at them(COMMA) they stopped,(PERIOD) but (THEN) the movement started(OMIT “STARTED” ADD “WOULD START”) again at the periphery of her vision.

Lia felt a jolt of nauseating fear.

“Oh(COMMA) my God(EXCLAMATION MARK. CAPITALIZE “ARE”) are those rats!?(OMIT EXCLAMATION MARK – ONE TO A CUSTOMER, OR SENTENCE) Are those rats?(JAS: “THOSE ARE RATS!”) There’s rats down here! Those are rats, aren’t they?”

She’d(SHE – GETS YOU OUT OF PAST PERFECT) jumped next to him and clutched his coat; his ancient, filthy coat. He smelled like cold cement and ashes.

--

“They are rats, aren’t they? Oh(COMMA) my God!”

He ignored her(RANTING?). His eyes seemed to be looking right through her in a way that made her shiver.

“You’re too freaked out,” he said. “You’re no use to anyone. Just go up them stairs if it bothers you so much. You come back to me when you’re ready.”

He was already moving away from her, moving into the shadows, so swaddled in coats that(OMIT “THAT”) she couldn’t even see his feet move. He seemed to be floating back into the general griminess, the dirty gray of his coat merging with the color of the concrete and shadows. She started to follow and then caught herself. What was she doing? She looked down at her shoes, her beautiful shoes, and ran up the stairs, stopping when she was halfway up. She turned back uncertainly. (IN THE IMMORTAL WORDS OF STEPHEN KING, “ADVERBS ARE NOT A WRITERS FRIEND.” THEY WEAKEN PROSE. DESCRIBE HOW SHE FEELS)

“Well(COMMA) thank you,” she called after him. “Whoever you are. You saved my life.”

She saw him raise a hand in acknowledgement(COMMA) but he didn’t turn around. His voice came echoing off the concrete walls. (COMBINE WITH THE QUOTE)

“Lia,” he said,(OMIT TAG) “You don’t know the half of it.”

She ran up the icy stairs, bracing herself for the fist of the wind as she emerged from the shelter of the underground, and(OMIT “AND” BEGIN NEW SENTENCE) it wasn’t till she was back up on the windy street that she realized he’d called her by name.

She huddled in a doorway and called Candy on her cell to come pick her up. Candy was reluctant to leave the party, but there was no way in hell Lia was taking another cab, ever, and the wild fear in her voice frightened her friend. She told Candy nothing about what had(OMIT “HAD”) happened, only that she’d been unable to get a cab and was stranded on the street and freezing.

At home in her condo she locked the doors and turned on all the lights. She showered, turning the water up as hot as she could stand it, and stood under the spray till her skin felt raw, the(THEN) she put on her terry robe and(OMIT “AND” ADD A COMMA) wrapped a towel around her head, poured some wine and went into her living room.

He had called her “Lady”: that must be it. In her state of upset she had mis-heard. It happened all the time with her name, which sounded like so many words. As to the thing he had(OMIT “HAD”) said about her coming back when she was ready, well, the man was clearly insane. AFter all, most homeless people had something wrong with them anyhow: why else would they be homeless?

The wind rattled her windows and the snow was thick, but down below, eight flights down in the relative calm of the lee side of her building, she thought she saw a shape standing in a doorway. It was hard to be sure in the dark and(WITH?) the blowing snow, but slowly the(A) conviction grew, and it didn’t come(OMIT “IT DIDN’T COME” ADD “NOT” from her eyes. She could feel it inside, something about the way he stood, a kind of weight she could feel from(OMIT “FROM”?). She told herself it was silly, that all homeless men looked alike -- walking piles of rags – but there was no fooling herself. It was him. By the time she finished her wine(COMMA) there was no doubt in her mind.

She didn’t know how he’d(HE) managed to find her building or how he’d gotten(HE GOT) there so quickly, but she was frightened now, and she wished there was someone she could call. She took an Ambien and poured more wine. She watched TV until she found the remote slipping from her fingers, and(OMIT “AND” BEGIN NEW SENTENCE) when next(OMIT “NEXT”) she looked out the window(COMMA) he was gone. She stumbled into the bedroom and fell asleep.

The next morning was gray and blustery still,(JAS: THE WEATHER WAS GRAY AND STILL BLUSTERY THE NEXT MORNING…”) with plumes of snow blowing off the roofs of buildings and the streets black with ice. The first thing she did was go to the window and look for him(COMMA) but the doorway was empty. Later however, after she’d(SHE) showered and dressed and was pulling the Lexus onto the street from her garage, he was back, and there was no doubt this time.

He stood there in the doorway by the same ragged shopping cart, neither looking at her or away from her, seemingly a part of the street. She wasn’t frightened any more. Lia didn’t frighten easily, and(OMIT “AND” BEGIN NEW SENTENCE) now that she’d calmed down and it was daytime, she felt something more akin to curiosity. The cabby’s death hung in the back of her mind like a stubborn nightmare, tingeing everything with a feel of foreboding, and(OMIT “AND” BEGIN NEW SENTENCE) she knew that(OMIT “THAT”) the man in the street was the key to understanding it(MAYBE “WHAT HAPPENED”?). Yet she couldn’t see(OMIT “SHE COULDN’T SEE”) how she could (MOVE “SHE” HERE) possibly approach him now.(?) The whole episode seemed like a dream.

She was distracted at work and not herself. She took lunch in her office and watched the local news on her office TV. Everything was about the storm: power outages, highway disasters. The death of the cabbie was mentioned and there was footage of the smashed cab lying amidst the torrent of salt, surrounded by the flashing lights of the rescue vehicles. Lia sat with her spoon of yogurt posed by her lips and felt(OMIT “AND FELT” BEGIN NEW SENTENCE) a wave of nausea engulf her as she watched the steaming breath of the reporter standing in front of the wreck:(REPLACE COLON WITH A PERIOD) a terrible wave of fear (“WAVE OF NAUSEA” – “WAVE OF FEAR”) at the ugliness of (THE?) brutal death made her turn from the TV and stare at the gray blankness outside her window as(OMIT “AS” BEGIN NEW SENTENCE) fear climbed up her spine and raised the hairs on the back of her neck.

She threw herself into her work.(BELIEVE IT OR NOT, I’M SUGGESTING YOU MIGHT USE A COLON HERE, THEN OMIT THE NEXT TWO “SHE”) She made calls, she talked to her aids. She refused to let herself think about it, but it wouldn’t go away. By the time she left(COMMA) it was dark, and(OMIT “AND” BEGIN NEW SENTENCE) by then her fear had been replaced by a stubborn need to find the homeless man and find out what he knew.

She didn’t have far to look. When she came to the building across the street from her apartment, there he was, standing in the doorway where she’d seen him last night. She pulled up to the curb and opened the power window on the passenger side and leaned over.

But there must be some mistake. The man who stepped out of the shadows was a business man in a black wool coat with a trim mustache and salt-and-pepper hair. She stared at him through the open window and(OMIT “AND” BEGIN NEW SENTENCE) he stared back and smiled, and(DITTO) in that instant she knew in the pit of her stomach that there was no mistake. It was the same man, the same eyes. She could see that he recognized her too.

She fought down a surge of sudden panic. “What is this?” she asked.(OMIT TAG)

“May I get in? I’m not dressed for this weather. Not like last night.”

“Who are you?”

He reached a gloved hand inside the window, unlocked the passenger door and got in. The leather seat sighed under his weight.(NICE TOUCH)

“Who the fuck are you?” Lia was confused, but she wasn’t quite afraid.

He strapped the seat belt across his chest and gestured with his head as a car behind her sounded its horn. (COMBINE WITH THE NEXT QUOTE)

“I suggest you drive,” he said.(OMIT TAG) “I’ll tell you everything as we go.”

Lia pulled her eyes from his face as the car behind her honked again. She focused her eyes on the street and pulled away from the curb, her hands rigid on the wheel.

“My name’s Bosun,” he said, closing the window. “And yes, I’m the man who saved your life last night.”

“What? Were you slumming or something? Where’s your shopping cart?”

He smiled, showing even, white teeth. “It’s safe. Waiting for me when I get back. You work at Benrus, right? Benrus and Steele, the PR company that handles things for Ferris?”

Lia glanced at him sharply. “Who told you that?” she demanded.(OMIT TAG) “How did you know my name last night? Just who the fuck are you?”

“Turn here,” he said. “I want to go down to the Loop. I want to show you something.”

“No. I’m not going anywhere. Not until you answer my questions.” She wanted to pull over, but the curbs were lined with cars and traffic was thick. There was no choice but to keep driving.

“Okay. Who am I? I’m what you call a homeless person. A bum. I’m one of those people you never notice. That’s okay(COMMA) though. We like it that way. Unfortunately, you have some information I need, so I had to make myself visible to you.”

--

“Drive, Lia,” he said(COMMA) calmly. “The Loop.”

He was back in his businessman persona, and(OMIT “AND” BEGIN NEW SENTENCE) Lia clenched her jaw tight against her rising panic and stared straight ahead, hands in a death grip on the wheel.

“What are you? Some sort of magic show or something? What was that?”

“Listen to me(COMMA) Lia,” he said deliberately. “You are a sane and intelligent woman and you live in a sane and intelligent world, but things are not what you imagine. I’ll tell you this once, because I’ve learned through experience that once is either enough or it’s entirely too much, so take it as you will.

“This city is alive. Literally. It’s a living organism. It has thoughts and feelings, it has a metabolism, it grows and it changes, and it is aware. That’s the most important thing: that it’s aware. It’s aware of everything, and things go on here in the streets that most people can’t even imagine. The people who live here are like little cells in a body, each with his or her special purpose, and none of them know it. There are only a few of us who know, and I’m one of them.”

==
 
dr_mabeuse

To deal with your question - yeh, I read it to the end, I was hooked enough within the first few para's, and intrigued enough to want to read it through in a single sitting. I thought it was a tale of two halves, the second half worked better for me than the first half. In the second half the reader is required to suspend belief to accept Bosun's cityscape, that works for me. The first half is a different proposition, however it didn't detract from the overall pull of the tale, I just think small adjustments could make huge (for me) differences.

I have the feeling the second part was written first, despite reading elsewhere that you write your tales from front to back.

Just to deal with overall impressions.
There is no explanation for what she is seeing - that's fine, we see what we want to see, we share a different image of the same view. I have no problem with any of the things Lia sees (in the second half) - except she doesn't ask Bosun for an explanation. I can see where this should be so - most people accept blindly the normal image before them, even so, she's being take to witness a departure from the norm, she steps through the mirror metaphorically, why doesn't she ask?

The ending leaves me somewhat wanting, and I feel it stumbles a few para's from the end because the difficulty you face in drawing out a believable but almost surreal ending. There are many images than spring to mind from this ending, most tend to encapsulate the message of a society hell bent of disappearing down it's own oriffice. I'm not sure if this is the impression you want to leave. I'd like to see more strength / conviction in the final section. Lia is left alone, essentially powerless and the character of Lia, as drawn for me, is one of powerlessness. She's watching on as a process she doesn't have the power of character to stop remorcelessly continues. To what end?

I enjoyed the notion of parallel existence, it's seems, to me, to be a thread running through the story, things happening in the fringe of vision, edge of darkness, ghost cubicles (I don't know why they are there - nor do I care within the context of this story).

Specific Points (I recognise this is a draft version so i've limited my comments to points that jarred with me)

First dozen para's - nine characters only two of whom make bit part re-appearances. Am I missing something?
Lia, Peter, Mark, Candy, Jason, Claudia, Ferris, Denton-Langer, Polly

#

But there were shelters for people like him, weren’t there?

Weren't there shelters for people like him?

#

Next para also begins with 'But'. Lot of 'But' starting sentences or following commas, most might be regarded as redundant. Same to some extent with 'and' following commas.

But still he didn’t move, and she was quite sure now she could feel his eyes on her. She wasn’t frightened, she wasn’t worried, but there was something she felt he wanted from her, and the feeling nagged at her.

But still he didn't move… Not clear why he should have moved, weather's appalling, time interval in passage has barely changed.

Did she want him to move? She has a 'feeling' about this person - why not try something like... 'She was quite sure now she could feel his eyes on her, she wished he'd move. She wasn’t frightened, she wasn’t worried, but there was something she felt he wanted from her, and the feeling nagged at her.'

#

Why is the marble floor of the lobby wet? It's late people are leaving, not arriving, not dragging snowy shoes across the lobby and your previous (and following) para's, whilst talking about the wind and snow, don't give the impression of the weather blowing into the lobby.

#

He turned and walked down a few steps, then turned to her. “How badly do you want to know?”

He started walking again and Lia followed him.

“Well look, you saved my life,” she said. “Maybe I can help you. I know a lot of people. You need money or a job or something?”

She peered into the darkness of lower Wacker and made a face. “Do you live down here?”


Lia ignores his question - fine, she's disorientated, thinking how to get away. Is he asking the question at the right place, at the right time (in the story)?

Lia's answer to his ignored question jars with me - 'Well look…" sounds like a considered opening to a reply.

'You need money or a job or something?' Truncated - speech style dropping the 'Do you need…', but in the next sentence you start her question with 'Do you live…' It's just voice consistency - does she truncate her sentences - or not?

#

They were at the foot of the stairs now, and Lia looked around. To either side, concrete loading docks stretched away as far as she could see lit by garish yellow sodium vapor lights which seemed to give a greenish cast to everything. She could look down this side of Wacker but the view to the other side was impeded by a forest of massive columns holding up the roadway above their heads. There were lane markers and sawhorses with blinking warning lights all over, a maze of traffic signals with not a car in sight. The place smelled of diesel fumes and wet concrete. It was dirty, cold, and smelly.

The two bold words tend to de-personalize the paragraph, I would prefer see = look and her = the

#

“Oh my God are those rats!? Are those rats? There’s rats down here! Those are rats, aren’t they?”

She’d jumped next to him and clutched his coat; his ancient, filthy coat. He smelled like cold cement and ashes."


I think the order of these two paragraphs would better reversed - she should be 'jumping' with shock then speaking.

#

She huddled in a doorway and called Candy on her cell to come pick her up. Candy was reluctant to leave the party, but there was no way in hell Lia was taking another cab, ever, and the wild fear in her voice frightened her friend. She told Candy nothing about what had happened, only that she’d been unable to get a cab and was stranded on the street and freezing.

What about the accident? I understand Lia's not returned to the lobby but the accident, as described, cannot be overlooked - unless Candy exited by another route.

#

At home in her condo she locked the doors and turned on all the lights. She showered, turning the water up as hot as she could stand it, and stood under the spray till her skin felt raw, the she put on her terry robe and wrapped a towel around her head, poured some wine and went into her living room.

There is almost too much background information - to the extent that I start to question her actions. You have, and convey, a very clear image of Lia, I can see her in her Terry robe, white towel turbaned on her head, glass of wine in hand - it's very clear. Except: washing her hair at two in the morning, don't know many women that would do that unless she washing the dirt of Wacker - but then she wasn't really there long enough and you don't really say she needs to cleanse herself from the event; not only that but it was a big party, surely she'd had her hair done for the occasion, would she wash it out before it's a day old? She pours some wine, presumably after she'd entered the living room, or somewhere else on route from the bathroom.

#

He stood there in the doorway by the same ragged shopping cart, neither looking at her or away from her, seemingly a part of the street. She wasn’t frightened any more. Lia didn’t frighten easily, and now that she’d calmed down and it was daytime, she felt something more akin to curiosity. The cabby’s death hung in the back of her mind like a stubborn nightmare, tingeing everything with a feel of foreboding, and she knew that the man in the street was the key to understanding it. Yet she couldn’t see how she could possibly approach him now. The whole episode seemed like a dream.

I'm a little uncomfortable with this para. And the one immediately preceding. I'm confused as to her state of mind. She's witnessed a serious accident resulting in death - yet tells no-one, not even her friend Candy. Her first thought on waking is the Man, and she associates the Man with the accident (as written - the key to understanding it). The accident was an accident; the Man is the key to her not being a victim. That doesn't come across in the para. Yet it should be the link to the unanswered question - “How badly do you want to know?”

#

She threw herself into her work. She made calls, she talked to her aids. She refused to let herself think about it, but it wouldn’t go away. By the time she left it was dark, and by then her fear had been replaced by a stubborn need to find the homeless man and find out what he knew.

Small but serves to clarify - 'By the time she left to drive home, it was dark and by…" I was thinking she'd gone searching for him on foot.


Powerful story working at various levels. Pleased to have read it.
 
I want to thank you all for taking the time to wade through this story and comment. You guys are good, really really good, and you’ve addressed just about all the concerns I had with the story and given me a lot of great suggestions. As I said in the intro, I was having a really hard time seeing this story objectively, I’d reached the point of exhaustion with it, and I really didn’t know whether the thing worked or not. I let two people read it, and one loved it and the other one hated it. Both their reasons were things you guys mentioned, both pro and anti

Story What I was trying to do in here was not tell a story so much as communicate a vision. Peronally, I love stories that kind of take your view of the world and give it a little jerk so that things never quite look the same afterwards. Since this was for “Magic In America”, I wanted to create a kind of plausible magic, the kind that gives fresh meaning to everyday objects and occurences. I really believe that we live surrounded by the miraculous, and that all you have to do is kind of jar your perspective a little in order to be able to see it, and that’s what I was trying to do, giving Lia a big jolt in order to give the reader a smaller one.

Because of that, I think the story itself is the weakest part of the piece, if you know what I mean. The new vision of the city is the real star, and the story is just a vehicle for conveying it.

It occurred to me on the last read-through that, as many of you pointed out, Bosun really has little or no reason to get involved with Lia. The “information” he needs from her would be a matter of public record, and if he and his buddies are so perceptive, they would certainly know what was being built on that lot. I’d hoped to suggest that Lia had been pointed out to him by the ominous bag of frozen vegetables near the scene of the cab accident (yes, that does seem weird to say), implying that she was tied up in this mysterious business in some way he didn’t yet understand, but I don’t think that was clear, and maybe it’s not sufficient explanation either.

The How I’ll tell you how the story was written, because it was really weird. I started with the idea of a well-connected, social-climbing girl getting involved with a magical bum who shows her another side of the city. I wrote the opening scene, the cab accident, and the underground scene, and then was kind of stuck.

Then I had the rather remarkable experience of taking a nap and having a dream about the story. In the dream I was following someone around the city, and they showed me a flea market that was actually an outdoor office with thousands of cubicles where the ghosts of laid-off workers did meaningless work just to keep them happy. There was definite menace, but the menace came from the fact that yuppies were encroaching on this ghost office, buying up the cubicles and insisting that the office show a profit or they’d lay off the ghosts. (That was a deliciously satirical idea, but I couldn’t fit it into the story.)

My guide showed me a bag of smashed frozen vegetables and told me it meant that someone was going to die, and in the dream it filled with me real horror, the way that things do in dreams.

As soon as I woke up I scribbled all of this down. I knew I’d been given a gift (nothing like this has ever happened to me before), and I had to fit that stuff into the story. I know that the ghost office doesn’t quite fit, but it was too good to leave out. The frozen vegetables bothered me too, because I didn’t know if I could communicate the feeling of terror and real foreboding it gave me in the dream. I was aware it might come off as just silly, and so I worried about that.

So Neon was right when he said the story felt like it was written in halves because in a way it was: before the dream and after. Really though, the image of the city as alive, as if in a demented cartoon, comes from a story I wrote a long time ago, as does the sinister image of a baby wrapped in plastic sheeting, which has always been a powerful icon of nameless horror for me.

First Scene I wrote the opening scene thinking I was writing a porn story (it shows in Lia's nipples) (and by the way, that first line is, indeed, execrable: a bit over-reaching. I don’t know why I didn’t catch it.) The name-dropping and confusion of men was intentional, and was just designed to give a feeling of the world Lia lived in, with all the Marks and Jasons and Peters and names of firms and talk of money.

One of my pre-readers thought that the entire bathroom scene should be dropped as too much of a red herring, but I liked it. I thought it set up Lia nicely.

Lia as heroine Lia's not supposed to be likable. She’s supposed to be self-absorbed and shallow, and, as Penny said, if the story’s about anything, it’s about her being picked up by forces she doesn’t understand, having things done to her, and then set down again with no idea of what it all means.

I also wanted to make it clear that Bosun doesn’t quite know what’s going on either. All he can do is read signs and form impressions, and he doesn’t know whether Lia’s really important to things or not. In the end she’s not, and he just disappears from her life, leaving her alone with her new knowledge.

Explanations One of my pre-readers complained that Bosun gives out too much information. Their complaint was on two levels: (1) it would have been more plausible had he tried to get what he wanted from Lia without laying his story on her, and (2) his explanation of what he is was unnecessary, as the story makes it clear that he's rather extraordinary.

I have no defense against number 1, other than to say that having him conceal his identity would have resulted in a much longer story, as Lia had to tease it out of him. As for (2), I kind of think the entire story hinges on that.

I agree that his "signs" speech may be a bit preachy though.

The Ending I’m terribly pleased that no one complained about the ending. Well, Neon did, but nothing like what I expected. (I was so certain that people would demand to see the rest of the story that I added a "The End" to leave no doubt that the story was over.) I wanted this to be ambiguous and open-ended. Stories in which no one really knows what’s going on are very appealing to me. I think life’s like that, and I think ambiguity is much creepier than saying “Oh, that thing under the tarp was caused by greed and selfishness and can be destroyed in a final showdown with the forces of kindness and charity" or anything like that. Lia's been given a glimpse, and I think if the story went on, all she would do is turn her back on that lot and go back to life as usual. I'm not sure she's changed at all.

Weather, Weight, Wacker, &c I’m a little confused by Softouch’s comment on the weather, about wanting more. I really thought there was plenty. I seem to be obsessed with weather in my stories, maybe because it’s so dramatic and usually rotten here in Chicago. It’s something you’re always aware of. I wish I could have better conveyed what it’s like to be on top of a tall building when a squall blows in off the lake, feeling the wind hit the big windows like a fist. It’s really scary. I liked the cold too. I don’t think this story would have worked as well in the summer.

The line about Candy’s weight problem stays, I think. The line is supposed to be Lia’s appraisal, and I think it says a lot about her and how she looks at people. I’m open to suggestions on how to convey that without sounding like it’s the author’s opinion and without a “Lia thought to herself” though.

I don’t think I did a good enough job of describing the initial setting of the Adirondac building and Lower Wacker Drive. I’d assumed that the building had a subterranean parking garage so that driving out, Candy would not have seen the commotion on Wabash. Also, I wanted to give the sense of a deserted city, where accidents could sit for a length of time without being reported. That's why Lia herself doesn't hear any sirens in all the time she's down there with Bosun. The Loop really is pretty deserted at night.

I also screwed up on the first underground scene and should have had Lia coming up a different staircase than she went down. I intended for her to come up around the corner from the accident.

By the way, for fans of the old Saturday Night Live, the Billygoat Tavern, which was the model for the “Cheeseburgey, Cheeseburgey” routine is actually situated on Lower Wacker.

The story could have been longer. Softouch mentions not getting to hear more about the Keepers themselves, and I had envisioned a scene where Lia sees them being "born" by digging through a dumpster and finding a Keeper newly hatched at the bottom, but that would have seriously shifted the focus of the story, and I wasn;t prepared to go there. All I can say is I wanted this to be a glimpse, and in a glimpse you get a quick look and then it's gone, and all you're left with are questions.

Finally, once more I have to say how impressed I am with Rumple’s stylistic suggestions. I don’t agree with all of them, but all of them are very good, and everything seems so obvious once he points it out. He makes it seem so easy and graceful.

Thanks Once again, thank you all for this most valuable criticism. You guys are the greatest, and I’m very happy to see Wishful and Neon and Softouch here as well. Your comments were all much appreciated and I hope you all can continue to help out over here. It's always good to have fresh eyes.

---dr.M.
 
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Apologies for misleading you folks (as usual :rolleyes: ). When I hoped for "more" on the weather and on the Keepers, I wasn't trying to get you into a multi-volume epic, dr. M. The plan was to encourage clarity in tying description to the theme.

Examples: When Marlowe rides up the Congo River, Conrad describes the jungle as "brooding," "malevolent," and "the heart of darkness." Other characters miss it altogether.

In a similar way, "wouldn't it be nice" if Lia looked at the lousy weather and worried about her dress and shoes while the reader looked at the same thing and said, like Yoda ;) , "There is a ripple in the Force. Something evil has occurred." Well, maybe not say that exactly, but at least get a consistent sense that the bad weather is suggesting a terrible problem exists in the heart or life of the city.

And when we see the Keepers or Bosun, Lia sees a homeless tramp, and then proceeds to seeing something like a Shape-Shifter who has an understanding of some sort of threatening evil. My suggestion is that we should get there way ahead of her and that, by the end, we also be ahead of her sensitivity in sensing their potential.

Otherwise, the impact of the story could be weakened because the bad guy (the building with the infant-shape that is writhing and connected to the rest of us through the power cables) will be more vivid than the Keepers or even the bad weather.


Softie (clear as mud)
 
Well, as usual I will have a look at the other comments after I've given my own thoughts.

There were some typo's and stuff, but I'm counting on other folks for pointing them out. If not, I'll go back later.

First of all I like the idea of the city as a living thing, an organism with the traffic flow as the blood stream.
I think it's a good strong image with a lot of potential for magical happenings.

But, I had a lot of trouble getting into the story. I thought at first it was because your references about the city elements are not familiar to me. I have only a vague idea what the EL is, for example. Now that I have read the whole story however, I think it's more the references themselves. I started liking the story, diving in the stream of it when you stopped giving concrete information like street names.
I'm not sure it's the names. It could be that you're trying to be true to reality and that is what's keeping you from creating your own flow.

Something else that practically glared at me was the fear as a strong motif. Since there is something evil in the city, that's to be expected.
You did a nice job of painting Lia as a fearless, rather cold bitch who gets shaken up.
However, when Bosun gets into the car with Lia, you have just stated that she was scared by seeing the news. Her hair was standing up. Then she is not afraid but stubborn. Next she is gripping the steering wheel in her frozen hands, or something like that.
I feel this is too much change in too short a time. Could be only me though.
I would like to advise you to have a close look at what you're doing with fear here. Make sure its coming and going is smooth.

A more or less technical point. When she brings the car back up to street level you have her brake because of the new reality she is seeing. Wouldn't her stopping interfere with the real traffic?
I had this picture in my head of the Periferique in Paris, with the masses rushing by. You'd definitely not want to stop your car there. LOL
Maybe my picture is wrong.

I felt a bit cheated by the end. That means you wrote something that made me curious to know what happens next. ;)

But you make it sound as if the keeper has disappeared, no longer interested in Lia. I need something to make me understand why. That was too fast for me.
Edited: I see others have questioned Bosun and his motives. I think you could fix it by being more clear on why she is no longer of value to him. Could be the mistaken identity someone else mentioned.
And I want something more to make sense of what's going on with Block Seventeen.
Or will that be a next part?
Edited: ok, I will not get it.

I'm sorry my comments are not more precise, but this one worked more on my feelings than on finding specific errors/omissions. I do hope they are of some use. If not, please make a bonfire with them.

:D

Reading this makes my own contribution way too traditional. :rolleyes:
 
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I like that Candy is heavy. I want her to stay that way.

This is a very clever mechanism for showing how shallow Lia is. My concern is with the presentation rather than the content.

Candy had a weight problem and so was no competition for Lia, therefore they were friends, or close enough.

The line in question sits as a paragraph unto itself in between two other paragraphs in which Candy speaks. In that context, I think there are some broader, nastier, ways to interpret the meaning other than as just how Lia feels. Something as simple as the following would make all the difference to me.

Candy had a weight problem. Lia was thus able to view Candy as something other than competition, something akin to a friend.

I consider the author to be an extremely sensitive individual and I never imagined, not even for an instant, that statement in question echoed a personal view on the matter. I only belabored the issue because knowing where a story can lose readers is, to me, an invaluable piece of information.

I loved the frozen veggie bags! I found something appealing, even funny, about the idea that a supernatural executioner would crave attention and sign his 'work' just like some of the mortal sickos. That the signature is so ordinary and harmless by itself, for me, makes it all the more haunting. It lends just another surreal edge to the tale. I was expecting for Lia to see a bag of broccoli scattered beneath the tarp as it fluttered in the wind.

The story could have worked in the summer too. For me, a thunderstorm is just as sinister as a blizzard.

I still the idea that Bosun picks Lia more or less by accident, then just leaves her, and the reader, hanging when he discovers his error.

Although hardly original (what is?) I liked that the street people were a higher form of being.

Chicago is the perfect city for this story.

Great idea abandoning the erotic angle.

Given my name, I thought the title would have made for a clever bondage tale too. ;)

Take Care,
Penny
 
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Penelope Street said:
This is a very clever mechanism for showing how shallow Lia is. My concern is with the presentation rather than the content.

Candy had a weight problem and so was no competition for Lia, therefore they were friends, or close enough.

The line in question sits as a paragraph unto itself in between two other paragraphs in which Candy speaks. In that context, I think there are some broader, nastier, ways to interpret the meaning other than as just how Lia feels. Something as simple as the following would make all the difference to me.

Candy had a weight problem. Lia was thus able to view Candy as something other than competition, something akin to a friend.

I consider the author to be an extremely sensitive individual and I never imagined, not even for an instant, that statement in question echoed a personal view on the matter. I only belabored the issue because knowing where a story can lose readers is, to me, an invaluable piece of information.

Ah-HA! Now I think I understand.

I think what bothers you about the sentence is not that I say Candy has a weight problem. It's the "and so she was no competition..." It makes it sound like I just assume that everyone knows that someone with a weight problem wouldn't offer any competition. Is that it?
 
Doc,

I like everything about this except, IMHO, there are too many gaps in the story. This may just be me. After all, I’m a literal-minded, single-digit IQ type with not an ounce of poetry in what passes for my soul. What can I tell you, nobody’s perfect.

One gap several other folks mentioned is, why Lia? Here are some others: How did she gain the ability to perceive the other city? What makes this proposed project so destructive? Why are living people who have been laid off, working in “ghost offices?”

Except for that God-awful, double-simile first sentence, :) I have no problem with the opening. Lia is a well-crafted character and the reader gets a good idea of her life-style and mindset. As the story unfolds, many of the scenes are beautifully told with vivid, imaginative detail. It was no chore to keep reading.

As is, you’ve got a good story. IMHO, it has the potential to be a great story—if those gaps are closed.

Rumple

--

(Keeper of the Streets, Part 2)


Lia stole a glance at him, afraid to look at him(OMIT “AT HIM”) directly. They were passing under streetlights now and squares of light were passing over his face as he spoke. His eyes were calm and he looked entirely reasonable, and his quiet rationality only seemed to make her rising panic all the worse.

“Some of us homeless people – not all of us, but some – are like the white blood cells in the city. We hunt through the streets and alleys looking for sickness and signs of infection. We know the signs and we do what we can. We keep our finger on the city’s pulse and know when it’s healthy and when it’s sick. We know all sorts of things. It’s our life. It’s what we do.”

“What did you do just now.(?) How did you do that?”

He sat back with a sigh, unsure of whether she had heard anything he’d(HE) just said.

“I told you. I can be whatever I want. I’m not what you would exactly call human, Lia. I’m one of the guards, the keepers of the streets.”

Lia had to look at him. She couldn’t help it. She was terrified he was going to turn into something else and she didn’t want to be caught be(BY) surprise.

--

Lia laughed. It wasn’t a good laugh. “You’re crazy,(NEW SENTENCE) you know that? I think you’re fucking out of your mind!”

“Fair enough,” he said, turning in his seat to face forward. “That’s fine with me. In fact, it’s better that way. The only thing I need from you then is some information. I need to know who’s putting up the building on block seventeen. Turn here, Lia.”

Lia made a left onto Adams street. They were back in the Loop now, the streets crowded with people going home, bundled against the cold and walking cautiously on the icy streets.(SIDEWALKS?)

--

She shrugged. “A multi-use. Offices and condos. Thirty-three stories, mall, multiplex. It’s going to be their flagship building, the anchor for the New Downtown. We’re doing their PR, and in fact(OMIT “AND IN FACT” BEGIN NEW SENTENCE) they’re supposed to break ground on (F)friday.”

Bosun looked thoughtful. “It’s not good,” he said. “They’re upsetting things. There’s something wrong.”

They came to a red light and Lia looked at him. “That’s one hell of a piece of real estate,” she said.(COULD OMIT TAG) “People have been after it for years: prime location, right downtown. It was all tied up in zoning for ever and they had to grease a lot of palms and pull a lot of strings to get the permits. Now it’s available, and they’re building on it. What’s the big deal?”

--

“You were almost killed last night too,” (OMIT THIS “TOO” OR THE NEXT ONE.) he said. “That’s what puzzles me. They were coming for you too, and I don’t understand why.”

--

Bosun folded his hands in his lap and closed his eyes and(OMIT “AND” ADD “HE” BEGIN NEW SENTENCE) seemed to be meditating or communing with something. The light changed and Lia pulled away, following traffic. They passed right by Block Seventeen, a great, gaping empty spot on State Street that had lain vacant for over a decade as developers and politicians fought over it, made deals and sold each other out. Great gobs of state money had flowed into that empty space, commis(s)ions had been formed, even the Feds got involved, and still not one spadeful of earth had ever been lifted.

In the winter(COMMA) it was flooded and used as a skating rink. In the summer, the city planted some flowers and put out benches and pretended it was a park. Other than that(COMMA) is(IT) was a political football that kept an army of lawyers busy. Ferris and Kaminsky had scored an unprecedented coup when they had(OMIT “HAD”) finally spread around enough political money and and(OMIT ONE “AND”) twisted enough arms to get permission to build, and(OMIT “AND” BEGI—NO, I PROMISED NOT TO DO THAT.) there was no doubt that(OMIT “THAT”) they planned to make all that effort pay off.

Now, though, the lot was screened off from the streets by the plywood construction fence. The heavy equipment hadn’t arrived yet and there was nothing to see. (MIGHT SAY SOMETHING ABOUT THERE BEING NO SKATING) Bosun didn’t even look at it.

“Turn here,” he said, pointing to a ramp that( )led downwards. “Maybe you should see this.”

“Lower Wacker?” she asked spinning the wheel. “Not again?”

He ignored her. “You don’t know this, but consciousness flickers. The world you see isn’t continuous, but more like frames in a movie. There’s something between those frames. There’s another movie hidden in there, and that’s where I live and where me and my friends do business. I want you to see. I can make you see it.” (JAS: THERE’S ANOTHER MOVIE HIDDEN THERE. IT’S WHERE I LIVE; WHERE MY FRIENDS AND I DO BUSINESS. I WANT YOU TO SEE IT.”)

The car rolled down the ramp, leaving the lights of the city behind and submerging into the stygian gloom of the street below the streets. The old sodium vapor lights down here(OMIT “DOWN THERE”) gave everything a greenish cast, making the concrete pilings and loading docks look eerily watery and submarine.(AWKWARD)

Lia felt a little jolt, a little shock in her spine, and then she gasped as a whole new world unfolded before her. For as far as she could see, the sides of the roadway were lined with office cubicles with people working at(IN) them, a veritable hive of activity, and yet all transparent and ghostly.

“What the hell is this?” she asked.(COULD OMIT TAG OR MAYBE EXPAND TO DESCRIBE HER EXPRESSION) “What is all this? I’ve never seen this before.”

“Pull over. Anywhere. Just nose in over there. You’re seeing between the frames now, Lia.(OMIT “NOW, LIA”) This is my world, or one of them.”

She pulled over to the side of the road and they got out of the car(COULD OMIT “OF THE CAR”). She automatically reached for the clicker to lock her doors, then realized that would be silly. She was in another world.

Bosun came around and took her arm and walked her over to the nearest cube. A man sat at a desk while another man and a woman leaned over his chair and studied some papers with him.. The people, the furniture, the walls of the cubicles all seemed slightly hazy and indistinct. (MIGHT DESCRIBE THEIR DRESS)

“Who are these people? Can they see us?”

“Oh sure, but they’re busy. This is what we call a ghost office. These are people who used to work in the city. They’re dead now or they’ve lost their jobs, (HOW DO THE ONE’S WHO AREN’T DEAD, WHO LOST THEIR JOBS, WIND UP IN A GHOST OFFICE?) but they still want to work. It’s all they know, so they come here. It’s something we provide for them. Kind of a service. They’re comfortable here.”

Bosun slid a piece of paper off a pile on the desk (DO THE THREE PEOPLE NOTICE?) and showed it to Lia. It was old and yellowed and had been glued to another piece of paper to keep it from falling apart. It looked like it might be an ancient papyrus, but all it(JAS: OMIT “ALL IT” ADD “INSTEAD”) was a carbon copy of a handwritten bill of lading for engine parts for 1978 Ford Mustangs.

Lia looked up at Bosun in confusion.

“I know,” he said. “It’s meaningless work. They just copy out all these old receipts and ledgers and memos, but it’s what they’re comfortable doing and they like it. There are(MIGHT OMIT “THERE ARE” SINCE THE NEXT SENTENCE BEGINS WITH “THERE’S) ghost offices like this (IF YOU OMIT “THERE ARE” ADD “ARE” HERE) all over the city. There’s a special prestige to working downtown, though. This is the big time. But that’s not what I wanted to show you. Come over here.”

He led her through a maze of cubicles and hallways, amidst the clatter of typewriters and telephones ringing, all so strange and out of place with the street above their heads and the asphlat(ASPHALT) below them. He brought her up short on the edge of what looked like a battlefield or the scene of a meteor strike. The cubicles were crushed and trampled, their neat order reduced to chaos, and garbage and trash were strewn about. A cloud of smoke drifted from the center where flames flickered dully amidst the shattered desks and overturned chairs and bags of refuse.

The scene was desolate, but what was even more horrifying was the way the ghost workers ignored it all, walking around with their meaningless papers in their hands and answering the ringing phones.

There was a feeling of palpable evil arising out of this place, and Lia automatically put her hand over her stomach. (COMBINE WITH THE NEXT QUOTE)

“What is this?” she asked. “What happened here?”

--

“Do you remember what was in the street last night (REALLY PICKY DETAIL, BUT TO QUOTE THE GREAT DR. MABEUSE: “…a mesh trashcan had been overturned by the wind and garbage spilled out onto the side walk.”) when I saved you from that salt truck? A bag of frozen potatoes with a hole punched out of the center. That’s how I knew someone was going to die.”

“But why me? I don’t know anything about all this.”

He gestured for her to get into the car. “I don’t know. Maybe it wasn’t after you. Maybe it was after someone else. But right now(COMMA) we’ve got to move. We’ve got to get to an alley I know. Hurry.”

Lia jumped behind the wheel and(OMIT “AND” ADD A COMMA) started the car, and they took off, driving right through the crowds of ghost workers who dissolved like so much smoke as they passed. Bosun directed her to an up-ramp that left lower Wacker and brought them up to street level again and (JAS: OMIT EVERTHING AFTER “UP RAMP” IMHO, ALL THAT IS SELF-EVIDENT. ADD “WHEN THEY REACHED STREET LEVEL,”) Lia gasped, her eyes wide with horror. She slammed on the brakes and the car screeched to a halt.

She was still seeing Bosun’s world, and what she saw when they emerged onto the street(OMIT “WHEN THEY EMERGED ONTO THE STREET”) was a riot of color and activity. The buildings on either side of the street seemed to vibrate and hum and the street itself took on the gleaming, living character of a vein or artery, undulating with life. The night sky above was filled with squares and rectangles of color sliding along invisible lines, and the windows of the building throbbed with changing colors and densities. (SOUNDS A LITTLE LIKE DOWNTOWN LAS VEGAS. :) ) The people on the street were dull gleams in the frenzied landscape, some brillieantly(SP) lit up,(IF THEY WERE “DULL GLEAMS” HOW COULD SOME BE “BRILLIANTLY LIT UP”?) some barely glowing, and everywhere were the skittering shapes that Lia remembered from her first trip underground with Bosun, the things she had thought were rats. They scurried along the streets and sidewalks, ran up and down the sides of the buildings like ants, and like ants (THEY) met and seemed to exchange some communication and(MIGHT OMIT “AND” ADD “THEN”) quickly rushed away.

Everything was alive. Everywhere was the frenzied activity of overflowing life, as if every thought of every mind had a life and a shape all its own, and all (WHAT?) waving and radiating into the night air in a cacophony of color and movement.

Lia sat speechless, her mouth open. She could see the signs too now.(AWKWARD) She could see what was healthy and what was diseased, she could feel the currents of the people’s thoughts and see the inexorable flow of the traffic like blood through a vein. The city was alive. It was humming with life. She was in the bloodstream of a living organism, and she was part of it too.

--

Automatically(COMMA) she spun the wheel and stepped on the gas, steering through the traffic and bringing them to the alley he wanted. She looked at Bosun and wasn’t surprised to see he had turned back into a bum, the very same one she’d seen(SHE SAW?) last night, the filthy gray coat, the bulbous nose with enlarged pores. She felt like nothing could surprise her any more.(JAS: SHE LOOKED AT BOSUN. HE WAS NOW THE SAME BUM SHE SAW LAST NIGHT, THE FILTHY GRAY COAT, THE BULBOUS NOSE WITH ENLARGED PORES. SHE WASN’T SURPRISED. AFTER TONIGHT, NOTHING COULD EVER SURPRISE HER AGAIN.”)

“Do you know where we are?” he asked her. “Block seventeen is right over there. Right through those two buildings near the end of the alley. We’re very close. Stay in the car. I’ve got to find the other keepers.(ADD “WHO LIVE HERE” OMIT THE LAST SETENCE) There’s some who live here.”

Lia was beyond words now. She watched him get out of the car and walk down the alley, and as she watched(OMIT “AND AS SHE WATCHED” BEGIN NEW SENTENCE) she seemed to see other gray shapes emerge from the very bricks of the surrounding buildings, stepping slowly out of the shadows, the same kind of thick, shapeless men, swaddled in layers of rags and overcoats, stocking caps and hooded sweatshirts.

They stood together, Bosun and the others, black against the gray snow, then moved (JAS: OMIT “THEN MOVED” ADD “BEFORE MOVING”) off into the shadows and Lia lost sight of them. She sat in the car, her hands still poised on the wheel, and forced herself to be calm.

They were gone now. There was no sign of them. Lia turned off the engine and sat there in the light of her car.(JAS: ‘…LIGHT FROM HER INTERIOR LIGHTS.”) She felt very vulnerable and exposed, so she flicked (THEM) off the interior lights(OMIT “THE INTERIOR LIGHTS) and sat in the darkness. The feel of her car, the smell of the(ITS) leather interior, were reassuring to her. She felt safe and isolated.

The alley was narrow, hemmed in by two tall buildings on either side(OMIT “ON EITHER SIDE” SELF-EXPLANATORY). The passageway that led to Block Seventeen was down towards the end, just before the alley dead ended against a blank brick wall with a big dumpster against it. There was yellow light spilling through the passageway, and(OMIT “AND” BEGIN NEW SENTENCE – SORRY, COULDN’T HELP MYSELF.) Lia stared at the light, looking for Bosun’s shadow, which would tell her he was headed to Block Seventeen, but she saw nothing. Wind gusted across the roofs of the buildings above and sent a shower of sparkling snowflakes drifting down into the sheltered stillness of the alley. She sat and waited and listened to the tick of her cooling engine.

After a time(COMMA) she opened her door. She remembered what Bosun had said about feeling the streets, and so cautiously, she reached out a gloved hand, leaned out of her car and pressed her palm against the bare, icy cobblestones.(AWKWARD)

Yes, she felt it. The street was humming with some kind of life, like a current of electricity going through it. She couldn’t believe she’d never noticed it before, but then, how many times had she ever bent down and put her hand against the surface of a street?

She got out of the car and the cold struck her immediately. Now that the sun had gone down(COMMA) the air was frigid and a stiff wind had sprung up, making her eyes tear. She leaned against the car and wrapped her arms around herself.

He wouldn’t be coming back. Something in the way he’d(HE) dissolved into the shadows told her that she wouldn’t see him again. He’d gotten what he wanted from her; he’d saved her life and given her a warning, opened her eyes briefly to another world(COMMA) and now he was through.(WITH HER?)

Lia looked down at her feet and listened. She heard the wind, the grinding squeal of the El train reflected off the bricks of the buildings, the muffled honk and roar of the traffic out in the street behind her. The image she’d seen of the city as a living organism was burned into her eyes, and when she looked into the shadows(COMMA) she still saw things moving, dim squares and rectangles of light sweeping over the bricks, as if she’d been staring into a bright light. The telephone wires sizzled over her head.

She began to walk down the alley, watching her step on the ice and keeping a wary eye out now(OMIT “NOW”) for garbage or anything out of place, for any telltale signs or bags of frozen food, feeling her way along with her heart as well as her eyes and ears. Several times she saw skittering in the shadows, but she wasn’t afraid of rats anymore, and she wasn’t even sure if that’s what they were now. She stepped into the shaft of yellow light that marked the passageway to Block Seventeen.

Even though her company handled the PR for the project, Lia had never so much as(OMIT “SO MUCH AS”) visited the site or even seen what it looked like. Now, as she emerged from the shadows of a neighboring building, she found that work on the site had barely begun.(MAKES SENSE. GROUNDBREAKING ISN’T UNTIL FRIDAY) There were banks of huge, bright, construction lights set around the perimeter, powered by rumbling diesel engines, and the whole site, almost half a city block, was covered with polyethylene tarp several layers thick, weighted down with boards and bricks and pieces of junk. There were a few construction workers at the far side milling about the trailer office, but other than that she was alone.
 
Penelope Street said:
"...and so she was no competition..."

Yes. This is the portion that bothers me.

Thinking along: "... and so to her she was no competition ..."

:confused:
 
3 quick things:

At the beginning of the story, perhaps he doesn’t save her, but as she is walking toward the street, someone runs past and steals her bag. And when she turns back to the street she sees something magical and unexplainable - the street rippling and folding up on itself to avoid the collision and prevent/protect it taking out a building/s or something.

Then the homeless guy steps out of the shadows [she had seen his shadow vaguely, and had been aware of his presence up until then], forced out of the role of observer and reader of the signs because now ‘she knew/seen too much’.

She should be a smoker. Edited to add why: I could see her standing before the crash scene trying to open her pack of cigarettes trying to light one, but shaking too much and drops it on the ground - stepping up the vulnerability/cold bitch conflict in her personality.

I'm still not sure that the smashed frozen foods is powerful enough a symbol for me as a reader, albeit weird and unique. Something like a fist smashed through a garbage can, making a donut of it? Ok, I'll stop harping on about it, and try to remember it is your story :D
 
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First, I liked the description although I thought there might have been too much of it, so much that it got in the way of the action of the story. I also noticed some typos, especially "the loccy of the Adonondack building" but not enough to be a problem.

The story did seem to start out to be porn, or at least erotic, with the mention that Lia wasn't wearing a stitch under her dress, and the mention of her nipples but after that it moved on to be something else. Like some others, I took some umbrage at the idea that Candy was no competition for Lia because of a weight problem. I am assuming here that you meant not romantic competition. If it had been said more like: "Candy thought she had a weight problem, so Lia considered her to be no competition and permitted a semblance of friendship." that would have said more about Lia.

I don't understand why Bosun saved Lia's life. If he was just doing a good deed, why wouldn't he also have saved the cab driver? He knew a great deal about her; her name, the fact that she would be at the party, where she worked, that she had called for a cab. The last piece of knowledge seems strangest because she had done so only shortly before coming out to the street.

It certainly wasn't because of her sweet nature because she was something of a bitch. It wasn't because of her importance to Society because she was a high ranking member of a PR firm, more of a parasite on Society than a productive member. I can't believe it was because he needed to know who was building on Block Seventeen. That would have been a matter of public information, since building permits would have had that information. Furthermore, the financial section of the local newspaper would have published the news of a major construction project, including the name of the company paying for it. To be sure, if some sinister entity was actually behind the project, they would have given out false information but Lia would have been given the same disinformation.

I was disappointed at the ending, which I didn't consider to be an ending. Bosun left Lia sitting in her car in what he had told her was a dangerous place and that she should stay there, and then he vanished. She got out anyhow and saw building materials disappearing under a tarp. That could be the end of a chapter but not the end of the story.

If Bosun's whole purpose was to change Lia from a self-centered bitch to a more caring person, that seems to be a great expenditure of time and energy for a rather picayune reason.

If the story does continue, I would be interested in reading it, if for no other reason than to answer the questions it raised.
 
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Boxlicker101 said:
If Bosun's whole purpose was to change Lia from a self-centered bitch to a more caring person, that seems to be a great expenditure of time and energy for a rather picayune reason.

Though a number of us admired the story quite a bit more than you do, I think the points you make in your critique were generally agreed upon. But I'm curious about the comment regarding a "picayune reason" for the story.

Probably I'm misunderstanding you.

But if the statement stands as said, it seems to me to re-categorize most of the short fiction of the 20th C. as "picayune." One of the hallmarks of modern fiction was to show the impact of some force through dynamic characterization by authors like Melville, Salinger, Oates, O'Brien. In fact the short stories of Sherwood Anderson, which motivated the soap opera industry, focus on little else than character change.

I'm not trying to go on forever here, but I want to explain why it is that I don't understand your point.

TIA, Softie -- more :confused: than usual
 
Quote:
Originally Posted by Boxlicker101

If Bosun's whole purpose was to change Lia from a self-centered bitch to a more caring person, that seems to be a great expenditure of time and energy for a rather picayune reason.

Softouch911 said:
Though a number of us admired the story quite a bit more than you do, I think the points you make in your critique were generally agreed upon. But I'm curious about the comment regarding a "picayune reason" for the story.

Probably I'm misunderstanding you.

But if the statement stands as said, it seems to me to re-categorize most of the short fiction of the 20th C. as "picayune." One of the hallmarks of modern fiction was to show the impact of some force through dynamic characterization by authors like Melville, Salinger, Oates, O'Brien. In fact the short stories of Sherwood Anderson, which motivated the soap opera industry, focus on little else than character change.

I'm not trying to go on forever here, but I want to explain why it is that I don't understand your point.

TIA, Softie -- more :confused: than usual

I didn't say the reason for the story was picayune. Authors write for various reasons, to sell stories, to entertain, for a personal catharsis or many other things but they are all valid.

What I said, or at least meant, was that it didn't seem reasonable that Bosun would go to so much time and trouble to make a small, probably temporary change in the personality of an unimportant person that he doesn't know. I would think he had more important things to do. I am referring to a character in a story, not the story itself.
 
I know what Boxy is saying: there's a lot of huffing and puffing and for what? In the end, Bosun leaves Lia sitting in her car and disappears. Both Lia and the reader have got be thinking, "Well what was all that about?"

That's intentional. This is not an adventure story with cause and effect and things making sense, like in a mystery where everything's revealed at the end and the pieces fall into place. This is a "what the fuck?" story, where a person brushes up against things she doesn't understand and really has no idea of what to make of them.

In horror movies, it's always the monsters you don't see or only glimpse in shadows that are the most frightening. Once the camera focuses on the monster and you see him, the real fright is over and all that's left is the rather mundane fear of personal harm. I intentionally wanted to maintain a feeling of ambiguity and confusion in this story. The one thing I wanted to avoid was allowing the reader to say, "Oh, that it explains it all." What I really wanted to accomplish was affect the reade in such a way as to make them see these weird little city things the next time they went out and wonder whether maybe they did have some other meaning.

That's why the signs of disaster have to be so commonplace - bag of frozen vegetables - the kind of things you wouldn't look at twice. I can't have the killer leave twisted bits of metal or bloody knives around, because we all know those are horror symbols. I want to make the reader think twice when they go to their freezer or find a child's doll lying in the street. I want to make the commonplace creepy: what's under the tarp on that building site, or who is that homeless bum? And if you could somehow jerk your perceptions and see between the frames, what might things look like to you?

I also didn't want Bosun to know exactly what was going on either. The cliche in this kind of 'Guide' story is where the guide knows things the hero doesn't, and introduces the hero into a new world where the hero does battle and triumphs. The guide is the key to giving meaning to the new world (think Harry Potter's world of magic or Gandalf in the LOTR). But Bosun isn't that kind of guide. He has access to this other world, but he doesn't know what's going on either. I couldn't really tell you why he saves Lia and not the cabby. I don't think he knows himself.

I think I have to make that clearer though. I tried to show that when they were in the car, Lia doesn't know what to make of him, and he doesn't know what to make of her either. He doesn't know why she's been pointed out to him. In the end, he really can't figure it out and so he just leaves her. Sorry, ma'am, my mistake.

Anyhow, it's great fun to try and have to explain myself. It really clarifies things in my mind about what I'm trying to do.

Now to get to revising.

---dr.M.
 
Just a bump, won't bother reading other responses - my take will be semiotic. However, I will keep 'the' particular sentance in mind. :) By Tuesday, or Wednesday at the latest. :kiss:
 
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Doc,

I "grok" your goals for the story and not wanting a tidy ending.

BUT

As I understand these things, for a story not to be a vignetta, there either needs to be a conventional ending or some change, usually by the protag. In this story, I failed to get much sense of change on Lia's part. It's more than possible I've just missed obvious things most other readers will easily pick up on that indicate she's undergone a lot of change from the character at the opening party. If so, they won't be the first things I've missed in this world.

Rumple
 
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