It was only later, much later, that we would discover that the war we were fighting was a war between ourselves. Melissa and I left the machine, with Carlton lost forever inside. We abandoned the warehouse. Our backs were scalded from the heat, and the hole in the back of her uniform showed her pink flesh.
Did I tell you about the uniforms? They were grey, like something out of the Civil War, as if designed by robots. There were extravagant threads of metal woven throughout the sleeves that, in the sunlight, gave the illusion of perpetual movement like an aquarium or a computer screen saver from the old days.
“Where to?” Melissa said.
“Anywhere but here,” I told her.
But where was here? That was a question we didn't want to ask. We retraced our steps through the bombed-out village square, with its statues of fallen heroes whose names meant nothing to us. Melissa was beautiful in her burned-out exhaustion, with the old rifle slung across her shoulder, and I had to look away.
We walked. And walked. Shared a canteen of warm water. The remnants of the village faded behind us, and soon we were in grassy fields full of grasshoppers and small yellow birds, flitting between small trees like spies.
“We're lost,” she finally said. We were beneath the shade of an enormous tree, something from the Dark Ages. In the distance, the terrible sound of a helicopter, coming closer, chopping the air into fragments.
Instinctively, we froze, pushed ourselves as close to the tree as possible. It wasn't one, but two helicopters, moving across the sky like Satanic insects. They passed directly overhead, and on toward the village. Then the rumbles of explosions, probably the warehouse that Carlton was already dead in.
Too dangerous to leave the protection of the tree, now. So we slept. Melissa talked in her sleep, in some other language.
She's not one of us, I suddenly realized, but one of them.
And yet, here she was, beside me, her fingers off all triggers, her closed eyelids fluttering, her small wrists bare and exposed, her rifle loaded but not fired.
Not yet.
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A continuation of "Ditching the Universe," and "Love in War Time."
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Beautiful language for images that grip you and don't let go. "Chopping the air into fragments."
Can't wait for the next piece. (You are WAY too good at cliffhangers.)
A little vague, but it has a sure sense of atmosphere and place, and a kind of Orwellian frustration to it. Interesting stuff.
Hi Mary and Hannibal. Thanks for the comments. Glad you like the cliffhanger element--art imitates life! Hannibal, I really appreciate your comment about the the vagueness: this is something I really struggle with as a writer: what sort of gaps to leave for the readers to fill in? I sometimes agonize for a long, long time, about a word or two that might help clarify things. Inevitably, I choose against filling in the gap...thanks for reading.
Descriptive...and I especially liked the small yellow birds flitting between small trees like spies. I think you might be missing word in the last line of the 1st paragraph...scalded from the heat, and hole in the back of her uniform
Many thanks, Michael--looking forward to checking out your music and stories. Corrected that typo. Thanks for reading.
Just read it. I sort of know what Hannibal means about the vague thing, and what you mean about it. At least I think I do. But I don't think it's vague exactly. More like it relies a lot on being succinct, and leaving something for the reader to imagine. It's very word-miserly in that good sense. You don't throw words around without discrimination. So what's there counts. Maybe the insect being Satanic is a tad satanic. But the comma here: ' .. of the tree, now .. is a killer comma.
Eamon, Thank you for the nice words about "word-miserly in that good sense." Your reading of the story makes me want to write better. And for that, I am grateful.