by Kathy Fish
Prue was a scarecrow of a woman, thin and hard with a straight mouth. But she knew the secret for growing tulips. Her tulips were bright yellow and blood-red, eighteen inches tall in full bloom. Their heads swung round in the Kansas breeze. She worked for the county and lived alone.
A photographer came from the Wichita Eagle.
"Well, there they are," she said, pointing.
He laughed. "No, I want you, too." He made her lie flat on her stomach in the grass, her face level with the blooms. "They're exquisite," he said. "How do you do it?"
"Do you know," she said, "that strangers come round to see my flowers? Little girls in Easter bonnets trample my garden. They pick my flowers and don't ask permission."
His elbows planted in the dirt, he aimed the camera and adjusted the lens, took pictures until the sun sank low.
They entered her house through the kitchen door. The photographer unbuttoned her long cotton shirt, pulled down her loose pants. He touched her grim mouth with the tips of his fingers, ran his hands down her slim, hard body. In bed, she was silent when the photographer cried out.
Night fell and the photographer slept, one hand between Prue's legs. She lay awake and watched the light from passing cars travel the walls of her bedroom, then disappear.
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Originally published in Ghoti which is pronounced "Fish."
Great story, Kathy. I like how the piece is transformed detail by detail - And those details allow / make the reader become - or show the reader to already be - a voyeur.
The image at the end - "She lay awake and watched the light from passing cars travel the walls of her bedroom, then disappear." ... the silent shadows moving over the wall - is a perfect fit for this work. I like it.
Thanks, Sam!
A fascinating "scarecrow of a woman," Kathy. Agree with Sam, the details are finely observed. Like it a lot. *
Kim, thank you!
What a touch you have. Strong and sure and delicate. Durer.
Durer's woodcuts. Carved, sturdy about tulips and her lips, delicate about sun and Easter.
This simple yet complex story starts out sexual right away (the breeding of flowers, the lying down pose on the ground) and gets very sexual very fast in a quiet understated way, then this casual denoument after the sex act. Very much real, very good story. I can sense the woman and what her skin feels like by what you've given here
*
Thanks, James and Susan, for the very kind words.
This story is all elbows and sharp corners. Read it in Ghoti. Liked it then; like it now. It's a story that knocks the wind out of you.
I love what the very short story can do in portraiture, and this is a fine example of that. I feel I know this woman in the first paragraph, but it gets more daring than that. I feel actually taken aback by what transpires so quickly before the story has ended. The mix of dispectful little girls in Easter bonnets and a photographer who is either exploitative or reverent creates mystery and mastery. *
Thanks, thanks, thanks, Ann, I appreciate the close read of this and the kind words.
To me, the grim mouth of the scarecrow woman says it all.
Well done, Kathy.
This piece works on such a visceral level - so many fine word choices and just the right actions taken by bot characters, tiny but potent. simply great flash.
You've built your characters using cameras and tulips and they've come through with such poignancy and emotion. Beautifully done, Kathy.
Thanks so much Bill, Michael and Susan!
Kathy, this is a fine little cosmos you've built. One of those zen moments that makes perfect sense for all the paucity of details and dialogue.
Wow!
Great imagery here. The details are so well observed. Even her name fits just right.
Thanks, James and Foster. I sure appreciate the reads and kind words.
I get a great sense of Prue's integrity. She is who she is and her feelings are her's, no-one else's. Usually a character would have to be changed by a sexual encounter, but Prue is Prue and she keeps her own counsel. I think that's rather unusual and very special.
Hi Kate. Thanks so much for the read and the comments!
Oh, I like the way this loner of a woman (not lonely, necessarily) is portrayed here. Makes you wonder why she is this way, but I like it that we do not know. The contrast between the other things happening here and her thin, hard person is so well rendered here: all those colors swaying in the breeze, the lively girls coming to pluck her flowers, even the photographer whose directness ("No, I want you, too") is almost tender... All these things which are happening around her, while she does very little, create an interesting dynamic indeed.
You're presented us with some great images here--and ideas--a "hard" woman who produces beautiful, soft flowers. A woman whose cultivation of delicacy is not readily seen. Nice.
That first sentence I just found to be magnificent, a launching pad for the rest of this great story. Simple yet complex is how Susan described it and I have to agree. Fave.
Thanks Michelle, Isabel, and Christian!
Oh so delightful. Thank you Kathy Fish!
Didn't think I was going to get any more reads on this one, so thank you kindly Jason Lee Norman!
You sew so much about this scarecrow of a woman in such tight space. Wonderful detail. The first and last paras, always the toughest, pitch-perfect. Peace *
Oh, thanks so much Linda!
ah, i was moved - such delicate, imaginative details. the story flows and surprises.
Nicolette, thank you so much! I'm glad you like this.