4000th post -- Mother Scape: 1400 words

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HareBrain

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I managed to avoid putting up anything for critique for my exact 4000th post, but with every post since, magickal torments have wracked my soul such that I can now barely watch Bargain Hunt without screaming in agony.

In this bit from ch6 of my WIP2, Hana is undertaking a shamanic journey to meet the Mother, a primal force of creation, and enlist her aid in restoring someone who has been possessed and physically transformed by demons. In order to talk to the Mother, Hana has to give her a human face, and has chosen Nadora, the master's wife and mother-substitute of Hana's college. Hope that's enough for most people to make sense of this. I've no specific questions, but my main concern is whether the atmosphere and detail feel "right", if that means anything at all, so all comments happily received.

***********************************************

She’d followed Hare only a little way from the pentacle when the grass began to get marshy. The animath led her between unfamiliar trees that grew from the increasingly wet ground. Vines climbed the trunks; high in the canopy, their blood-red flowers bloomed. Barely a chink of sky showed. The light was as green as the stretches of water. Insects thronged and danced, skimming the surface as though tantalised by something they could see beneath.

Hana waded. Normally in a scape, her body felt light and nimble, more so than in reality. Here she felt heavy and fleshy, and the water she pushed with her legs felt heavy and fleshy, and ooze swallowed her feet, sucking them hard down with each step, releasing them with reluctance. Eyes staring wide, Hare swam ahead at first, but after a while fell back beside her, and stayed there so long that Hana wondered who was leading who.

‘Where is she? The Mother?’

‘All around us,’ Hare said in a hushed voice. He struggled onto a tussock, and squealed as a thousand beetles swarmed his fur, making him leap into the water again.

‘We’re here to find her in human form.’

‘Then you must follow your own direction, child,’ said Hare, swimming frantically round her. ‘I know nothing of her in human form.’

Hana pressed on. If she had to find her own way, so be it. Her thoughts would lead her. She remembered the kindness Mama Nadora had shown when Geist had brought her from her uncle’s farm. She recalled the stern sympathy Nadora had given her after she’d passed out from drinking too much wine on Puristo’s god-day when she was sixteen.

She thought of the lunchtime soup.

The shallow lake had thickened almost to that consistency. Vegetation matted the surface; weeds grew beneath. Creatures slipped past Hana’s submerged thighs: she tried not to imagine what. Disturbed bubbles of rot-smell broke on the slow-rippling water as her feet caught and dragged on things buried in inches of decay; she thought some were bones.

Ahead, on a small island dark beneath trees, she glimpsed a flame.

She hauled her legs from the marsh, black with stinking mud. Exhausted, Hare let himself be picked up. Hana held him panting against her, dark water from his fur dribbling down her belly. The heavy air grew warmer as she walked cautiously between an outer ring of trees, to a shadowed glade.

Several thin saplings had grown together to form a shelter. Within, a woman with the face of Mama Nadora sat stirring a large round pot above a fire. It disturbed Hana to see the master’s wife naked, but she forgot that almost at once: within the triangle of the Mother’s arms that held the great spoon, a piglet and a goat-kid sat in her lap, their heads raised, suckling from her.

The Mother studied her. Hana sensed Mama Nadora’s face wanting to change to something else, to break apart and resume some other form. She set her mind against it.

‘Is he for me?’ the Mother said, wearing Nadora’s voice like an ill-fitting mask of sound. ‘Skin him and bone him, then, and into the pot with him.’

Hana held shivering Hare tighter. ‘He’s not dead.’

The Mother shook her head. ‘All take and no give, that’s the trouble with children. Suck me dry and fly the nest. You think you can outgrow me, thanks to that little traitor you cuddle. Until the end. What is it you want?’

‘To talk — to the true Mother, not the one who came yesterday.’

The Mother laughed, and stared into the eyes of the suckling kid. ‘And why should she want there to be a difference, little chick? There’s a man she wants for herself, isn’t there? A man who’s not hers.’

‘There was a mistake.’ Hana had rehearsed this. ‘The ancients thought the mother earth needed to be fed with blood, because women lost blood through the menstrual cycle. It led to the sacrifice of the Sun-King, the man who was both son and husband to the goddess. That whole abomination came through a misunderstanding. We know better now.’

‘These are done, I think.’ The Mother flung the piglet and kid squealing away, their teeth drawing blood as they were ripped free. Resting the spoon against the side of the pot, she reached in with both hands and pulled out two snakes. She attached one to each breast, and resumed her stirring.

‘A misunderstanding,’ she said. ‘Yet you and he, who know better now, invoked that ancient contract. You used his blood to call me.’

‘Some of his blood, yes,’ said Hana. This wasn’t going right. The thick air made it hard to think. ‘But not his life. You bring death, but you don’t demand it.’

‘What would my soup be without it?’

‘But to demand the death of a healthy young man, before his time …’

‘His time is when I call him. The gods of death are also my sons and lovers.’

Hana tried not to look behind the Mother, to the three shadowy figures at the back of the shelter.

‘I want you to be cleansed of the blood-error,’ she said. ‘It should never have been part of you. The Mother reaches back to before that mistake.’

‘That “mistake” is as old as language,’ said the Mother. ‘What was I before language? Would you wish to see me as I was then? You would lose your mind.’

The serpents at her breasts had grown already. Hare whimpered in Hana’s arms.

‘You want to pick and choose,’ the Mother said. ‘That’s why you tried to force me into this shape. If you want only sweetness and nurturing, call upon the Holy Mother of the Empyreans, little good though it’ll do you. I can help save the child again, but the promise must be kept.’

‘Orc isn’t mine to give you,’ Hana said.

‘He offered himself!’ said the Mother. ‘And he has done it before. And you conspire with him to cheat me. You say he isn’t yours, yet you claimed him for yourself. Do you not see? I don’t deny you my help; it’s your denial of me that stops me giving it.’

A chill washed through Hana as she saw the truth of that.

‘He has sealed his own doom,’ said the Mother, ‘but the child’s fate is yours to change. My vines would still be protecting him now, if you hadn’t rejected me. And then he wouldn’t have woken. Your father’s brother would still live.’

‘But Orc would be dead.’

‘You must choose between child and husband. You will not be the first.’

‘Tashi isn’t my child. And Orc isn’t my husband.’

The Mother laughed, as though at Hana’s naivety. Her snakes had grown huge; they had spilled from her lap and coiled upon the dirt floor. ‘You know the answer you must give.’

She did, that was the horrible thing. She thought of the burned boy in chains on the mountainside. She had little more than a day to save Tashi, and no idea of anything else that could help. Orc was not her responsibility.

‘I need more than protection for Tashi. I need you to help drive the demons out, and restore him. You are the prime force of creation.’

‘Yes, I am.’ What had been Nadora’s face blurred and cracked. Hana’s will could not maintain it in the teeth of the power that wanted to show through; the Mother’s true form was breaking down the mask from behind. ‘You knew the only power that could save your child.’ The sound of the Mother’s voice shimmered as though currents passed through it. ‘Release your hold on Orc, and it shall be open to you.’

‘I do release him,’ said Hana. ‘He isn’t mine. I have no claim on him.’

‘You must tell him,’ said the Mother. ‘He must know that he is outside your protection. The spell will be broken. Then I shall help you.’

‘How, exactly?’ Hana kept her eyes from the Mother’s face, knowing she would now find no trace of Nadora there. ‘What will you do?’

‘You ask for exactness, for definition? You forget to whom you speak.’ The Mother plucked the serpents from her breasts. ‘Do you wish to see these dance?’

‘No!’ said Hana. ‘I’m — honoured, but —’

‘Next time, I might not give you the choice,’ said the Mother. ‘Now, go: when the time is right for me to help, your instincts will serve you.’
 
HareBrain, congrats on 4000! This is quite fascinating. I'm intrigued by what's going on, though I don't understand it. You certainly use vivid imagery.

I could use a little more atmosphere to break up all the dialogue. You need those emotional responses, but I couldn't really picture what's around them? I think it'd help to remind us of odors, sounds, and a clearer sense of mood. Is she scared, repulsed, confused by her surroundings? That wasn't clear to me, but I only read it once. Are they inside or outside while talking? You mentioned three figures "in back of the shelter", but at first I pictured them outside.

I agree with Stephen, the dialogue is well written.
 
I'll give it a shot.

She’d followed Hare only a little way from the pentacle when the grass began to get marshy. The animath led her between unfamiliar trees that grew from the increasingly wet ground. Vines climbed the trunks; high in the canopy, their blood-red flowers bloomed. Barely a chink of sky showed. The light was as green as the stretches of water. Insects thronged and danced, skimming the surface as though tantalised by something they could see beneath.

Hana waded. Normally in a scape, her body felt light and nimble, more so than in reality. Here she felt heavy and fleshy, and the water she pushed with her legs felt heavy and fleshy, the repeat is deliberate, obviously, but it doesn't work for me. The sentence is a little too cumbersome, or maybe it's too many ANDs and ooze swallowed her feet, sucking them hard down with each step, releasing them with reluctance. Eyes staring wide, Hare swam ahead at first, but after a while fell back beside her, and stayed there so long that Hana wondered who was leading who.

‘Where is she? The Mother?’

‘All around us,’ Hare said in a hushed voice. He struggled onto a tussock, and squealed as a thousand beetles swarmed his fur, making him leap into the water again.

‘We’re here to find her in human form.’

‘Then you must follow your own direction, child,’ said Hare, swimming frantically round her. ‘I know nothing of her in human form.’

Hana pressed on. If she had to find her own way, so be it. Her thoughts would lead her. She remembered the kindness Mama Nadora had shown when Geist had brought her from her uncle’s farm. She recalled the stern sympathy Nadora had given her after she’d passed out from drinking too much wine on Puristo’s god-day when she was sixteen.

She thought of the lunchtime soup.

The shallow lake had thickened almost to that consistency. Vegetation matted the surface; weeds grew beneath. Creatures slipped past Hana’s submerged thighs: she tried not to imagine what. Disturbed bubbles of rot-smell broke on the slow-rippling water as her feet caught and dragged on things buried in inches of decay; she thought some were bones.good stuff

Ahead, on a small island dark beneath trees, she glimpsed a flame.

She hauled her legs from the marsh, black with stinking mud. Exhausted, Hare let himself be picked up. Hana held him panting against her, dark water from his fur dribbling down her belly. The heavy air grew warmer as she walked cautiously between an outer ring of trees, to a shadowed glade.

Several thin saplings had grown together to form a shelter. Within, a woman with the face of Mama Nadora sat stirring a large round pot above a fire. It disturbed Hana to see the master’s wife naked, but she forgot that almost at once: within the triangle of the Mother’s arms that held the great spoon, a piglet and a goat-kid sat in her lap, their heads raised, suckling from her. suitably ugh!

The Mother studied her. Hana sensed Mama Nadora’s face wanting to change to something else, to break apart and resume some other form. She set her mind against it.

‘Is he for me?’ the Mother said, wearing Nadora’s voice like an ill-fitting mask of sound. ‘Skin him and bone him, then, and into the pot with him.’

Hana held shivering Hare tighter. ‘He’s not dead.’

The Mother shook her head. ‘All take and no give, that’s the trouble with children. Suck me dry and fly the nest. You think you can outgrow me, thanks to that little traitor you cuddle. Until the end. What is it you want?’

‘To talk — to the true Mother, not the one who came yesterday.’

The Mother laughed, and stared into the eyes of the suckling kid. ‘And why should she want there to be a difference, little chick? There’s a man she wants for herself, isn’t there? A man who’s not hers. I presumed she was referring to Hana at first, but if so, why does she first address her in second person, then in third, then in second again?

‘There was a mistake.’ Hana had rehearsed this. ‘The ancients thought the mother earth needed to be fed with blood, because women lost blood through the menstrual cycle somehow, I'd expect a more Fantasy, a more archaic, a less scientific terminology. It led to the sacrifice of the Sun-King, the man who was both son and husband to the goddess. That whole abomination came through a misunderstanding. We know better now.’

‘These are done, I think.’ The Mother flung the piglet and kid squealing away, their teeth drawing blood as they were ripped free. Resting the spoon against the side of the pot, she reached in with both hands and pulled out two snakes. She attached one to each breast, and resumed her stirring.

‘A misunderstanding,’ she said. ‘Yet you and he, who know better now, invoked that ancient contract. You used his blood to call me.’

‘Some of his blood, yes,’ said Hana. This wasn’t going right. The thick air made it hard to think. ‘But not his life. You bring death, but you don’t demand it.’

‘What would my soup be without it?’

‘But to demand the death of a healthy young man, before his time …’

‘His time is when I call him. The gods of death are also my sons and lovers.’

Hana tried not to look behind the Mother, to the three shadowy figures at the back of the shelter.

‘I want you to be cleansed of the blood-error,’ she said. ‘It should never have been part of you. The Mother reaches back to before that mistake.’

‘That “mistake” is as old as language,’ said the Mother. ‘What was I before language? Would you wish to see me as I was then? You would lose your mind.’

The serpents at her breasts had grown already. Hare whimpered in Hana’s arms.

‘You want to pick and choose,’ the Mother said. ‘That’s why you tried to force me into this shape. If you want only sweetness and nurturing, call upon the Holy Mother of the Empyreans, little good though it’ll do you. I can help save the child again, but the promise must be kept.’

‘Orc isn’t mine to give you,’ Hana said.

‘He offered himself!’ said the Mother. ‘And he has done it before. And you conspire with him to cheat me. You say he isn’t yours, yet you claimed him for yourself. Do you not see? I don’t deny you my help; it’s your denial of me that stops me giving it.’

A chill washed through Hana as she saw the truth of that.

‘He has sealed his own doom,’ said the Mother, ‘but the child’s fate is yours to change. My vines would still be protecting him now, if you hadn’t rejected me. And then he wouldn’t have woken. Your father’s brother would still live.’

‘But Orc would be dead.’

‘You must choose between child and husband. You will not be the first.’

‘Tashi isn’t my child. And Orc isn’t my husband.’

The Mother laughed, as though at Hana’s naivety. Her snakes had grown huge; they had spilled from her lap and coiled upon the dirt floor. ‘You know the answer you must give.’

She did, that was the horrible thing. She thought of the burned boy in chains on the mountainside. She had little more than a day to save Tashi, and no idea of anything else that could help. Orc was not her responsibility this is probably me forgetting things (feel free to ignore), but why is Tashi more her responsibility than Orc?.

‘I need more than protection for Tashi. I need you to help drive the demons out, and restore him. You are the prime force of creation.’

‘Yes, I am.’ What had been Nadora’s face blurred and cracked. Hana’s will could not maintain it in the teeth of the power that wanted to show through; the Mother’s true form was breaking down the mask from behind. ‘You knew the only power that could save your child.’ The sound of the Mother’s voice shimmered as though currents passed through it. ‘Release your hold on Orc, and it shall be open to you.’

‘I do release him,’ said Hana. ‘He isn’t mine. I have no claim on him.’

‘You must tell him,’ said the Mother. ‘He must know that he is outside your protection. The spell will be broken. Then I shall help you.’

‘How, exactly?’ Hana kept her eyes from the Mother’s face, knowing she would now find no trace of Nadora there. ‘What will you do?’

‘You ask for exactness, for definition? You forget to whom you speak.’ The Mother plucked the serpents from her breasts. ‘Do you wish to see these dance?’

‘No!’ said Hana. ‘I’m — honoured, but —’

‘Next time, I might not give you the choice,’ said the Mother. ‘Now, go: when the time is right for me to help, your instincts will serve you.’

Excellent as always and it felt suitably swampy. And congrats on no. 4000.
 
I managed to avoid putting up anything for critique for my exact 4000th post, but with every post since, magickal torments have wracked my soul such that I can now barely watch Bargain Hunt without screaming in agony.
Woo. I'm getting good at this magik-tormenting lark! :p Congratulations on a belated 4,000th!

Anyhow, a very dense and not particularly pleasant read -- but in a good way... There's a definite primeval feel here (and prime evil, too, perhaps) and all lush and overgrown, very rank, but I'm not at all sure what it might be saying about how you view women and mothers!

I can't see why Hana would find the nakedness troubling in view of her own proclivities, and I rather want you to give a better description of the Mother at that point -- I imagine her as something like the Willendorf Venus with just Nadora's face not her body, but that needs bringing out, perhaps -- and if it is Nadora's whole body, then why isn't it breaking when her face breaks at the end? I found the "triangle" bit momentarily confusing before realising (I think) that she's using two hands to stir the pot, so that perhaps ought to be made explicit, too. I'd delete the "but she forgot that" bit -- it's not only otiose, it comes over as a bit simple when the Mother has animals hanging from her mammaries, which is hardly one's average night-time viewing. I hope. And what happens to the animals -- I think their absence/continued presence ought to be noted somewhere. (They don't go in the pot, do they?)

Hana's initial little priggish speech comes over as out of place to me, however rehearsed, and not a little info-dumping [by which I mean somewhat info-dumping], but just to be contrary I felt some of the Mother's dialogue to be a bit too elliptical, though I could follow it. Is there a mid-way point between them, perhaps?

I'd be tempted to lose Puristo's god-day, and just leave her as getting drunk, to avoid adding complications in a not-easy-to-read scene.

Nitpicking -- some commas and most of the semi-colons need looking at again, I think.

A very good scene, though perhaps not quite as tense as I'd like -- after all she's effectively giving Orc up to a death sentence if the Mother gets her tentacles on him again, so I'd like to see a bit more strain and worry here. But powerful and evocative, and as well written as always, of course. Well done.
 
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Bleurgh.

I'm feeling kind of sick.

Okay. A couple of things: first, I agree with alc about the repeat of 'heavy and fleshy'. It made me twitch.

Second: I agree with TJ about Hana's speech "The ancients thought the mother earth needed to be fed with blood..." because short as it is, it screams info-dump not so much by what it says but by breaking the pattern of what's going on. I don't know how to explain it better but it reads like something from a different story (and I'm sure that's deliberate but it doesn't work for me). It bothers me... I think maybe because so much of the Sun King stuff is so strong and evocative -- here it feels like a footnote.

I also agree that the betrayal of Orc is somehow muted. It could feel much stronger, I think.

Finally, the Mother is so grotesque here, and Hana kind of freaked out by it. It doesn't totally fit for me with the way she feels about Her and the way she's talked about Her before.

Finally finally, in the bit of dialogue beginning "He offered himself..." I didn't like "Do you not see?"

Horribly wonderful, though. Of course.
 
Brilliant work, as always, HB. Almost all of the comments I have are at the beginning, but even so, they are mostly just nitpicking. I loved this scene and wished I could read everything that came before it. I'll just say though: Ouch about the snakes suckling and being pulled from her breasts, but I guess it being the Mother that she wouldn't feel any pain.

Well done and congrats on 4k posts - you talk to much! :p


She’d followed Hare only a little way from the pentacle when the grass began to get marshy. -Marshy? It's getting wet?- The animath led her between unfamiliar trees that grew from the increasingly wet ground. -It's getting even wetter? In a way, this is a repeat description of the first sentence with different wording- Vines climbed the trunks; high in the canopy, -Joining with the semi-colon here made me at first think that the vines started high up, rather than the flowers being that high. I’d prefer joining in an ‘and’ instead of a semi-colon- their blood-red flowers bloomed. Barely a chink of sky showed. The light was as green as the stretches of water. Insects thronged and danced, skimming the surface as though tantalised by something they could see beneath.
-Very nice and vivid description here-

Hana waded in. Normally in a scape, -Don't know what a scape is, guess it's something spell or world-building related that I'd already be familiar with in context- her body felt light and nimble, more so than in reality. Here she felt heavy and fleshy, and the water she pushed –I’m not so convinced on ‘pushed’ being the right word here. Parted?- with her legs felt heavy and fleshy, -Heavy and fleshy together sound a bit comedic to me. It is also a repeat of previous sentence description- and ooze swallowed her feet, sucking them hard down with each step, releasing them with reluctance. Eyes staring wide, Hare swam ahead at first, but after a while fell back beside her, and stayed there so long that Hana wondered who was leading who.

‘Where is she? The Mother?’ –Don’t know who is speaking first. I had to read the next dialogue then come back to know for sure. In context this would probably be fixed automatically though, as the reader will know Hare wouldn’t need to ask that question I’m assuming-

‘All around us,’ Hare said in a hushed voice. He struggled onto a tussock, and squealed as a thousand beetles swarmed his fur, making him leap into the water again. –A thousand? Wow, that’s a lot of beetles! I like the imagery and what happened, but don’t like that it was so insignificant to the rest of the scene, as if forgotten about completely the next time Hana speaks-

‘We’re here to find her in human form.’

--------------------------------------------

‘Some of his blood, yes,’ said Hana. This wasn’t going right. The thick air made it hard to think. ‘But not his life. You bring death, but you don’t demand it.’

‘What would my soup be without it?’

‘But to demand the death of a healthy young man, -I’m having a hard time picturing her say ‘healthy young man’ as a way to describe Orc. Maybe a rewording slightly would fix it. I don’t know what I missed inbetween, but to me it sounds far too impersonal for Hana. Unless they are no longer friends? Infact, a lot of the dialogue throughout this piece is a bit impersonal. Last I knew they were on the verge of being lovers, guess a lot changed?- before his time …’

‘His time is when I call him. The gods of death are also my sons and lovers.’


Hope that helps.
 
S'Real good, worth nitpicking at I reckon.

She’d followed Hare only a little way from the pentacle when the ground began to get marshy. (Marshy grass works, but it made me think and slow down)
The animath led her between unfamiliar trees that grew from the increasingly wet soil. Vines climbed their trunks and high in the canopy their blood-red flowers bloomed. Barely a chink (sliver?) of sky showed. The light was green as were the stretches of water. Insects thronged and danced, (dancing bugs gave me pause) skimming the surface as though tantalised by something they could see beneath.

Hana waded. Normally in a scape, her body felt light and nimble, more so than in reality. Here she felt heavy and fleshy, and the water she pushed through with her legs felt (like molasses? congealed oatmeal. Kidding.) Ooze swallowed her feet, sucking them down hard with each step, releasing them with reluctance.

She recalled the stern sympathy Nadora had given her when she was sixteen, after she’d passed out from drinking too much wine on Puristo’s god-day. She thought of the lunchtime soup.

The shallow lake had thickened to almost that very soup-like consistency. Several thin saplings had grown together, forming a shelter.

Well whatever, semi-colons always slow me down, dunno why.
 
Thanks for the comments, all -- a lot to think about, and they'll improve the redraft no end. Thanks especially to those who commented without having read anything of what comes before. I feared it would be completely impenetrable.

I'm not at all sure what it might be saying about how you view women and mothers!

It is, of course, the way society has influenced Hana to view mothers that's being portrayed here. (runs away)
 
I'm afraid I have nothing really to add, other than to echo Judge's comments about the primaeval feel of the piece, and the cryptic dialogue, which was nicely done. :)
 
I managed to avoid putting up anything for critique for my exact 4000th post, but with every post since, magickal torments have wracked my soul such that I can now barely watch Bargain Hunt without screaming in agony.

The Mother shook her head. ‘All take and no give, that’s the trouble with children. Suck me dry and fly the nest. You think you can outgrow me, thanks to that little traitor you cuddle. Until the end. What is it you want?’

With an fearful imagination likes yours I have no doubts Bargain Hunt holds nothing but terror for you. :p

Some of the speech from the Mother was criptic, but I could live with it, apart from the "until the end" above, as a seperate statement had me wondering, what end? - this may be the effect you wanted or not, I'm not sure.

I find myself trying to decide if I want to read on, as you've really got a creepy thing going on, very successfully for me. The snakes - yuk - and loads more like it. I would honestly be very worried if I got drawn into your plot. So my usual measure of success being, would I read on, does not seem to apply here. You've succeeded in giving me the creeps and while there is a big market for that kind of stuff out there, I won't be in it. Anyway, well done and I'm sure you'll have some luck with it.
 
Glad I didn't read this earlier. :p :) Not much to add, except:

Vines climbed the trunks; high in the canopy, their blood-red flowers bloomed - this semi made me twitch, I didn't like it.

Hana tried not to look behind the Mother, to the three shadowy figures at the back of the shelter.

Similarly this comma. I, too, felt the betrayal needed more. And apart from that, I'm empty. Good, good stuff.
 
Thanks Brian, Bowler and Springs.

Bowler, it's not all like this! As for "the end", that's death.

It's clear I need to do something about the strength of the betrayal, but perhaps just explain Hana's thoughts better. As far as she's concerned, she isn't putting Orc in any danger, as long as he stays out of scapes in which he's likely to encounter the Mother. (Naturally, he won't be able to.) But I agree it should come across as more of a decision.
 
congratulations :)
I enjoyed the mood-setting walk in, really set the tone for the encounter. I liked how displaced Hana seems during the whole thing, made it all the more ethereal - this isnt happening although it's happening - kind of over tone.
Her denial of what the mother was asking her to choose between based on the labels was good, I thought. I identified with it anyway.
The tension seemed fluttery, and I liked that too, as it would echo my own feelings if placed in a situation where I had to make a life altering choice that would alter more lives than just my own with very few details to go on.

That Orc would die seemed certain to everyone but Hana and I liked the way she hedged around facing that was what her decision would lead to. Classic denial.


I would not be sorry to read the proceeding chapters, or those following to be honest. I enjoyed the pace and felt your characters were not only engaging and relateable but well rounded with flaws and strengths to be relied upon and worked through.
 
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Thanks Hope -- couldn't ask for much more than that. (And I wouldn't mind seeing the following chapters too. It'd make the planning easier.)
 
Thanks Hope -- couldn't ask for much more than that. (And I wouldn't mind seeing the following chapters too. It'd make the planning easier.)

Yes, if only there was some way to make them magically appear on the screen without having to type them up. We'd all know what we were doing then.
 
It's very good, and strongly evokes messy and dark, primitive magic.
I have a few small comments.

Several thin saplings had grown together to form a shelter. Within, a woman with the face of Mama Nadora sat stirring a large round pot above a fire. It disturbed Hana to see the master’s wife naked, but she forgot that almost at once: within the triangle of the Mother’s arms that held the great spoon, a piglet and a goat-kid sat in her lap, their heads raised, suckling from her.
It's not clear what this triangle is, or looks like.

Hana tried not to look behind the Mother, to the three shadowy figures at the back of the shelter.
I thought this shelter was just a few skinny saplings.

‘He offered himself!’ said the Mother. ‘And he has done it before. And you conspire with him to cheat me. You say he isn’t yours, yet you claimed him for yourself. Do you not see? I don’t deny you my help; it’s your denial of me that stops me giving it.’
Sounds like the Mother is trying to blind Hana with tricky and manipulative verbiage. In plainer English 'Do what I say or else' ?
 
I have to echo everyone else, it would be presumptuous of me to even try to find fault with this. Professional polish, striking imagery and Uber creepy, that must not be easy.

It's not as a criticism then that I bring up the fact that just once I wish I could find a case where the god(dess) was in a pleasant oak paneled office behind a big desk and seated in a leather chair wearing a nice Versace/Armani into which you were buzzed by a bored secretary

Wouldn't fit here at all, please excuse my fantasy from another story.:)
 
I have to echo everyone else, it would be presumptuous of me to even try to find fault with this. Professional polish, striking imagery and Uber creepy, that must not be easy.

It's not as a criticism then that I bring up the fact that just once I wish I could find a case where the god(dess) was in a pleasant oak paneled office behind a big desk and seated in a leather chair wearing a nice Versace/Armani into which you were buzzed by a bored secretary

Wouldn't fit here at all, please excuse my fantasy from another story.:)
I think the only way you could find here there is if she were the CEO of an environmental protection agency, calling you in to ask you to save some of her beloved darlings from the evils of corporation.
Some kind of cross between Captain Planet and James Bond.
 
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