by Kari Nguyen
The three sisters stood atop the crag, awaiting the end of the world. It had been told. Their bodies, ripe uncovered flesh, had begun to erode, the edges of their limbs and cores bitten, taken by the wind in small pieces, flaking and tearing, some parts sliding, falling away. The beach below eroded with them, and more urgently. The sand carried off through the air and the grains that remained sank into themselves, knowing what was to come, slinking and hiding. The receding sand unearthed more of the crags, seeming to raise the sisters closer to the sun. With nothing left to expose, however, the sun had withdrawn. The sky remained, for a time, casting shadows.
The women looked for the waves. They sat on the crag. They pulled close, protecting themselves from the breeze, turned colder. Their skin prickled with blown sand. They were struck by the way the world melted and shifted around them. They had no say. They never did.
A lull came in the breeze, in the shifting, through the silence. It brought with it a soft, delicate sound, something familiar, a thing once lost. Not knowing if it had been playing all along or if it had just struck up, the sisters pulled themselves to standing, steadying one another, their bare feet gripping the stone beneath them. They began to climb down, their limbs unsteady, legs and arms scraping the rock as they descended. As they dropped to the beach floor, they followed the sound, noting the lack of sand, of seaweed, of life. It seemed they were the only ones to hear.
The music, far-off sounding, dim and tinny, sharpened as the sisters approached. The sound grew, deepening, arresting the air to stillness. The sisters drew near, seeing the instruments, only skins of themselves now but still recognizable.
It was the last song.
It was time standing.
Discarded from another era, the instruments played. The harmony drifted upwards as the giant waves came crashing onto the beach. One last song for the world. A siren song, drawing the final storm. The sisters held hands, their fingers breaking and crumbling in one another's grasp, their bodies full of music.
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Published in Issue Eleven of Willows Wept Review. Inspired by Salvador Dali’s painting Three Young Surrealist Women Holding in Their Arms the Skins of an Orchestra, 1936.
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My god, this is gorgeous, Kari. I don't think I've seen the painting that inspired it, but I almost feel like I can see it already. Beautiful, lilting prose here too. I really love Willows Wept Review. Kudos to them for publishing this.
Kathy, thanks so very much! I went back and forth about posting the painting. I may still.
Also, the entire issue is stunning. I highly recommend.
I found it online. It's thrilling! No wonder you were inspired. And yes, I'll go read the rest of the issue, thanks.
Wonderful writing, Kari.
"A lull came in the breeze, in the shifting, through the silence. It brought with it a soft, delicate sound, something familiar, a thing once lost."
The piece fits the painting.
Especially like how the piece moves toward the ending - in terms of phrasing and form - ending with "their bodies full of music." Nice work.
...al fine
A fine melody.
fave
"Discarded from another era, the instruments played." Great. Thanks for the story and for introducing me to the painting.
This is so well-evoked so perfectly visual that I think it could stand alone without reference to the painting, a visionary piece, literally.
Sam, James, John, David - thank you!
Kari, this is so full of ripe words and phrases. I love it! many faves
I love the movement in this piece. You even managed to bring movement to the lull. Beautiful.
MaryAnne and Chris, thanks very much! I appreciate the kind words.
Ekphrastic prose poem extraordinaire.*
JP, a huge thank you!
Very beautiful. Part Ragnaroek, part Titanic, and one hundred percent pure Kari Nguyen. *
So glad you think this, Beate. Thank you so much.
"It was time standing."
*
Thanks, Bill!
Just gorgeous, lush, and full of wondrous imagery. Amazing, Kari!
Fave.
I appreciate it, Robert. Thank you!