Short 10- Epilogue

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Status: Finished  |  Genre: Commercial Fiction  |  House: Booksie Classic
Of False Conversations

Submitted: February 17, 2007

A A A | A A A

Submitted: February 17, 2007



"Stop smiling" "so i can't even smile when i want to now huh?" "ok, you can smile just don't smile at me. the glares putting me off" "you can be so romantic sometimes" "your magnetic personality pulls the sun out of orbit and in line with my rear view mirror, your dazzling wit is blinding me, Hows that?" "better, still not good, but better" "It's just not appropriate for you to bring up the moral ambiguity of an argument that you had over an extremely complicated subtext of a twelve year old issue of tank girl while i'm doing a three point turn, i've only just passed" "humph" "... and you're very pretty" "awww you luv me. But I still haven't forgiven you for turning me into a one dimensional character in your last so-called story" " I keep telling you, they're not stories, just pondering with people attached and they only come from one persons viewpoint, if I include two sided conversations then they come into conflict overshadowing the philosophical issue being considered or we'll both talk with the same voice because, despite being one of the most self conscious people in a country of hypochondriacs I have absolutely no idea what my true voice is or even if I necessarily have a true voice away from the passive third party tense of a narrator. When I have dreams they're never from my personal perspective, I'm always a passive, bodiless onlooker to the situation. It's like I'm watching a movie where I can emphasize with all of the characters. I think I go into that same state when I write, it's as if I'm watching some abstract thing as I write and what I use to put it down, the room I'm in, my level of comfort, the music playing, all of these things have a larger impact on where the story goes than my own imagination." " you just called it a story Mr Hypocrite. If it's all from one person's perspective why don't you just write monologues" "To be honest I don't know, It just feels more real to allow interceptions of thought with outside views or inquiries that I feel the reader might have but don't feel able to preempt subtly without sounding overly pretentious" "Ha, not pretentious, you once wrote a story that reviewed itself need I remind you" "see now you're acting as the self deprecating part of my psyche which holds me back, for example the overriding sense that I now have is to make reference to Psyche that cupid loved but it doesn't seem like something that I deserve to be able to mention since I only read a few pages of the myth. I actually liked that piece though, It was after I discovered self referentialism as a celebratable phenomena, a concept that I knew about almost innately was given weight by how it was referenced by others. The same thing happened with empathy which I didn't think of as particually special until I saw an audrey hepburn film where empathicalists are mentioned. The fact that it was a philisophical idea had never occured to me before, does that make sense" "how should I know I'm only your rather 2D representation of me but lets say I didn't and find all this rather interesting, though for the record, real me would have got bored and changed the subject a long while ago" "Now you've veered into the realm of abstract, self referential, icon with an ironic lack of empathy considering the topic at hand" "whatever" "oh, one word page breakers written in an obviously converse slang to differentiate from my rather officious tone, this could work. I based most of my recent writing around the concept of Oulipo though I knew very little of the school of potential Literature at the time. I saw it more as writing one thing in the form of another, for example as previously mentioned I wrote a story in the form of a review of that same story. It was fairly successful in it's aims though to anyone else may have been incomprehensable, it's hard to be sure about these things." "Ok, you're boring me now" She withdraws a gun form the paper on the dashbord (for, despite what the male persona, who we are to assume is the writer, may have claimed, this is a story and as such words, if properly arranged can produce anything you immagine) "ahh, now we're getting somewhere, second party as initiator of action in a previously dialogue based piece. I think I may have underestimated you" "You shouldn't leave a piece unfinished, as you said your writing is influienced by your mood and when you left it you were in a constructive, literate mood. Now you've returned in a mood and want to destroy things. Well, your wish is my action" She pulls the trigger and, in a poorly thought out and unintentionally comedic brand refferencing action, shoots tip-ex into the male percona's face. You may think that the choice of substance has some metaphorical effect at deleting the male persona in a reference to the creation of the gun through words but in fact the substance meerly blinds the persona who, lest we forget, is currently driving. This destraction causing him to crash into another car who's pasangers all escape unscathed, or possibly die, it is unimportant as their roll in this story is meerly to provide a conclusion that lacks imagination and leads only to an uninspiring use of the words The End

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