She sat Indian style against the strawberry tree. In her hand she held a little mirror and a note that her father left her that morning.
What a night, eh? See you in the morning.
That's what it said.
The shade from the tree aided in solidifying her reflection. She twisted her mouth one way, then back. She couldn't return to the kitchen. Not this morning. Not today. Not tonight. Not ever. She declined breakfast for the first time in months. All she could see was her dad at the kitchen sink, filling the coffeemaker with cheap espresso grounds and cinnamon. Her mother fiddled with the iron in the laundry room that lent the kitchen it's closed in feel.
“Straighten your skirt,” her mother said. She complied. Her father periodically looked up from his business of coffee, peering over to her subtly and sniffing his finger.
She lifted the curtain to the window in the kitchen. The sun was out. Its white shine was muted by a mashed potato cloud and she was tempted to run. The portrait on the wall to the right of the pantry betrayed the better senses of everyone in the kitchen. Mom and dad behind the son and daughter, standing. Congeniality oozing from the smiles they wore like pus. The sun, it seemed to her, had seen better days. So had they.
She went to her tree and sat looking for flaws in the design of her face, her skin. Were her lips too pouty? Did those few whiteheads on her chin detract from the shape of her mouth? She twisted her mouth and bit her pouty lip over and over. She surrendered. It was 9:30. She was hungry.
The refrigerator held bad milk. Her father poured her a cup of coffee.
“Don't tell your mother about this,” he said.
“About what?”
“The coffee.”
“Oh,” she said.
“She would never let me hear the end of it, you know, how young you are and everything, and how I didn't need to give you coffee. Rev you up.”
“Yep.”
“She would be disappointed.”
“I get it,” she said.
“Do you?” he asked. He laid his hand on the table, wiggling that same finger as before. She nodded.
She tried the coffee. It tasted like dirt and rock salt and cinnamon. She laid the cup on the saucer and went into the basement. There, she saw her old dollhouse packed away, each doll sitting at the kitchen table, smiles burned into their faces. She was young then. Now, she's in her junior year of high school. So much has changed. The way things were never was really how they appeared. She knew this early on.
And so, she opened the dollhouse, collected the dolls, each with their plastic smiles, and plastic breasts and plastic hands and fingers and took them to her tree and buried them in the soft dirt right underneath it. She clasped her hands to her chest and sobbed there, until she could hear, “Dinner” ringing out in the cool summer night air.
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The ending needs to be stronger. I am having difficulty wrapping this thing up. Any help would be great. Want to submit this to a contest (delusions of grandeur, I have that, check my chart. ;-) ) or to a lit mag.
Tiffany, you've got a good one here--strong and good imagery to build the characters. Since you did invite critique, here are my reactions.
A little confusing in the sequence, since she is outside, says she'll never return to the kitchen, then it has her in the kitchen--did she go back or was this prior?
Misplaced simile, I think, s/b: "Congeniality oozing like pus from their smiles"
On the other hand, I love the realistic self absorption of youth as she eyes herself in the mirror. I love "smiles burned into their faces".
Really nice symbolism in the ending scene. Take out "She knew this early on," perhaps? And maybe the last sentence, leaving it at "buried them in the soft dirt right underneath it." I think that would leave it more cutting, stronger, but it's just my opinion--go with your gut feeling.
Tiffany, I agree with all of Susan's suggestions, particularly her suggestion for your ending. That is absolutely the stronger way to go. What a great image/action for this girl, it speaks volumes about her mental and emotional state.
I'd also look at a couple of other things:
1. I don't think there is such a thing as strawberry trees?
2. I'd trim the dialogue to make it sharper.
3. Maybe consider leaving out the note the dad leaves? To me it doesn't ring true, as it would be "evidence" of his deeds.
4. I really read this to be a young girl until I read that she was a junior in high school. I'm not sure why, but somehow she didn't come across as a teenager, but more as a child, which actually may be appropriate, but think about it anyway.
5. consider cutting this:" She was young then. Now, she's in her junior year of high school. So much has changed. The way things were never was really how they appeared. She knew this early on." (I think this comes through, that things have changed, etc.)
You're off to a great start with this and I really like the title. Hope this was of some help.
Kathy's suggestions and catches here are excellent--I too wondered about the age, being surprised at an estimate of 15 and thinking her much younger. Good catch on the note too--it either has to mean something or be dropped even if, as Kathy said, he left it without realizing it'd be evidence.
But yes, Kathy, there are such things as strawberry trees--I saw it immediately in memory! It's an arbutus species.
Nice piece to hone Tiffany.
I too felt this was a much younger girl, like ten or eleven, not sixteen, and I think it is just as effective, if not more so, if she is younger.
I agree wholeheartedly with the terrific suggestions made by Susan and Kathy, two wonderful writers!
Thanks all. I really needed to make this stronger. I will work on this, most definitely! I am excited that it got as many different comments as it did. Back to the easel, I guess.