• Welcome to Smashboards, the world's largest Super Smash Brothers community! Over 250,000 Smash Bros. fans from around the world have come to discuss these great games in over 19 million posts!

    You are currently viewing our boards as a visitor. Click here to sign up right now and start on your path in the Smash community!

Sandstone

Evil Eye

Selling the Lie
BRoomer
Joined
Jul 21, 2001
Messages
14,433
Location
Madison Avenue
His heart shimmered deep in his chest as he opened his mailbox and found a manilla envelope. With the reverence of a rabbi watching over the Torah, he slowly pulled it from its aluminum cell. All four of its pointed ends were dog-eared, and the face of the envelope was so littered by creases and wrinkles he could have mistaken it for a mirror. It was beautiful.

Atop the stained paper sat a plain white label that read simply "SIXTEENTH".

Conklin's eyes sparkled as he clutched the package like unearthed platinum. "Bless your heart, Annie. You're a saint."

It had been a month since he had last seen his penthouse in Tel Aviv, the White City of Israel. Ignoring a panhandler, Conklin made his way across the street to his building and rode the elevator to his floor. A forgotten jug of milk sat on the counter, opened, abandoned in the midst of its task. Neutrally, Conklin knocked it over and let it be the sink's problem, as he dropped to his knees in front of the television like a young child and slipped in the cassette tape.

The tape had clearly been as mistreated as its packaging during its international venture, for white lines darted across the screen from all directions across shivering, liquid humanoids. To Conklin, it was perfect. He watched in rapt astuteness, absorbing every detail as a young woman--he had just recently adjusted to thinking of her as such--ate a comical cake shaped like a man's buttocks. He laughed with her, gently stroking the screen, unaware both of the glass boundary that barred him from the moment, as well as the practical one of time. He wept with her as she opened her eyes in the garage, at last seeing the car he'd had delivered. She collapsed on the hood, and Conklin sighed, a thin smile on his lips.

"How did you know?" came Marina's voice, clear to Conklin through its wavering instability.

"It's what I do."

There was a long period where the only sound came from the light buzzing deep within the cassette player and the ocean striking the beach a hundred feet below. Then she blew a kiss to the camera, walking toward it.

"Please come home."

And the picture disappeared.

Conklin frowned, and an audacious tear caressed his forearm.


* * *


C-NET stock was up. Conklin was surprised. The Conklin Network Conglomerate rarely spurted twice within the same quarter. Yawning, he fixed himself a drink from his liquor cabinet and sat down at his laptop, slipping on his glasses. After bypassing a few firewalls with cursory safewords, he arrived at his harddrive, a plethora of literally tens of thousands of documents stretching for miles within their contained universe of ones and zeros. Expertly navigating the maze, Conklin went from one folder to another, never leaving so much as a breadcrumb to find his way back. At last, he arrived in the stock section of the infodump station, and a file that hadn't been there before greeted him. Its name was "Stock Update".

He took a sip from his scotch, tilted his head back to make sure he was reading the title correctly, and then opened the file. The familiar company logo was almost ominous, after all these years. It was a symbol of power, and that power was of a dual nature--glee for those who run it, and despair for those who run from it. Slowly, the emblem dissolved away, revealing the file beneath. Conklin scanned over the report, seeing the recommendations from his men and analysts at home in the United States. He frowned. In his opinion, it was too soon for the big move. Then again, this was an age of information. Business like this couldn't be handled by men in their mid-forties anymore. It was still a boys' club, but the demographic had shifted south.

At the bottom was an implanted pixelated image of a megaphone. Beneath it, in letters so faint Conklin had to squint to perceive them, sat the words LIVE CABLE. Knowlingly, he fetched his wireless headset, plugged in the receiver, and clicked on the image. There was a brief screech, a moment of static that sounded like a tumultuous sea, and finally, a sharp voice came over.

"Richard!"

Conklin smiled. "You'd better hope so, Jimmy."

"Christ, I've been sitting at the phone for hours. I thought maybe, you know, with the terrorism and all..."

"Don't forget the peace talks. They've been increasing lately." Conklin took a harder swallow of his drink. "That's why you decided I should come here, remember? Or have you forgotten? It has been ten years."

Impatience with fleeting tones of sympathy replied. "Don't get bitter on me, Dick. Not when we're so close to the big one."

"I still think it's too soon to make the move."

"Your boys over here don't." Conklin silently counted to three, knowing his old friend's smile was slowly dividing his face horizontally. "And isn't that what you hired them for?"

Conklin laughed.

"Meet Dean in an hour. You know where."


* * *


Conklin met his friend Dean Lanza on a rooftop café. It was perfect for a rendezvous of that nature--too expensive for any but the financial elite to dine, but during the rare hours of the day when the same elite was actually working. The café was deserted by all but the staff, who knew Richard Conklin and stayed out of his way. Conklin carried a power that was not vindictive, but benevolant. He could condemn a man to death and be his friend right up to the final minutes.

In the distance, between the large hotels, office buildings, and apartment suites that obscured the coastline, Conklin could still see traces of the sea peeking between the concrete monoliths as he approached his friend. The handshake turned into a brief hug, and then they sat before the gourmet cuisine that awaited them, complimented by the neighborhood's finest coffee.

Lanza's tongue lingered on his upper lip, savoring the taste of the brown drink. "You can almost taste actual coffee bean." He gestured at the pasta that sat before him. "What have you ordered for me, here?"

"I can't pronounce the name, but it's a kind of rotini with spiced eggplant and parmesan cheese. Seafood, too."

Lanza wrinkled his nose. "I'm allergic to pollack."

Conklin laughed, taking a piece of white meat pinstriped by red flesh, and tossed it into his mouth. "Only the finest--genuine crab."

After hesitating a moment, Lanza shrugged, taking a forkful of the pasta. "There are worse ways to die." Conklin had no time to react to the almost philosophical statement before Lanza's eyes rolled back in his head. "How have I not had this before? It's better than sex!"

"That phrase is said far too often these days," Conklin grinned, "but it certainly is accurate here."

Lanza relished another taste of the coffee, and then leaned forward on the table, his eyes darkening. "So, then. To business."

Conklin's tongue clicked on a piece of eggplant. In the middle of chewing the same vegetable, his craggy face had sank from delight at seeing a good friend to a heavy grimace. Wordlessly, he nodded.

"How are things in Bet She'an?"

Conklin made a sly half-smile. "I brought a factory and two thousand jobs to a poor city in America's favorite ally next to the Canucks. I could get away with murder over there."

"Ironic. And convenient. How are your assets?"

Conklin glanced to his left. The stairway that went down into the kitchen and main lobby of the restaurant was empty.

"The factory's going strong. As for my human assets." He paused, stroking his chin. "You're sure they're ready?"

"I've been ghosting in and out since we met two months ago," Lanza replied. "Those kids love you, Dick. You're their godfather. Hell, if he was alive, they'd kill Jesus again just to proclaim their praises for you."

Conklin nodded. "All right. I think I've got an angle. And there's a big factory party I'm throwing in honor of its tenth anniversary. Since the kids I need will be there..."

"Drunken propositions are less dangerous than sober ones," Lanza agreed. He finished off his food, and took one last grateful sip of the coffee. "It's too bad we can't meet in the same place twice," he said, rising. "I'd sure like to eat here again."

"Wait, Dean."

Lanza turned. "Yeah?"

"What's going on? You know. Back home."

Lanza sighed. "The President is a policy sandbagging flip-flopper. Gays can marry now--with property rights. Canada's beefed up military supports our War on Terror, and the Angels lost the Series. Sorry."

Conklin sat, his hand melded to his jaw, his senses groping thousands of miles away as he absorbed it all, trying to relive it. Time separated him yet again, as did the other three dimensions.

"Remember," Lanza prodded. "Peace talks resume in a month..."

"They won't happen," Conklin affirmed, only half-aware of the café around him.

"At least," he resumed. "Not how they want them to."


* * *


Annie's letter still sat on his fridge when Conklin returned to his more modest home in Bet She'an. Her lovely cursive had faded a touch, but the morose proclamation that the divorce had been approved was etched too deep in Conklin's mind for forgetfulness to take a foothold. He did not blame her. She had stayed with him through stints of up to six years in the past, but when he took the Israel assignment despite then having a six year old daughter, Annie could not wait past two years. It was a catch twenty-two--if Conklin did not take a career-defining mission, he would be stuck as a lackey and unable to support his family. After all, manipulation was his only skill.

After unpacking his laundry, he gave it to his caretaker and dialed his foreman's number on his cell phone.

"Yes, Mr. Conklin?" Eamon sounded groggy; it was early in the morning, but the voice was deceptive, as it always sounded this way.

"Eamon, how did the week go while I was out?"

"Oh, very good. Big shipment."

Conklin nodded to himself. "Everything set for the party?"

"I cleared out a basement room, sir. No pointy objects or anything. No lawsuits for you!"

He laughed.

"All right, I'll see you on Monday." Conklin shivered lightly. He felt sleazy, planning a party where he would supply alcohol to underage youths. Whatever his intentions, it simply felt disgusting.

The Wall Street Journal had been collected by his caretaker the entire time. Conklin picked up the day's Journal, flipping to check his stock. It had remained steady. Apparently there was no need for further communication. The conversion would go as planned.

He rubbed his eyes, collapsing into a chair by the window. The sun was nearing twilight. He had been in no hurry to return to Bet She'an. Despite its natural beauty, the somewhat disheveled city reminded him far too much of his own decay. It was easy enough to ignore it in Tel Aviv--in the face of reflection, not as much. The sun slipped a bit farther toward the rises that took the outer limits of the town above sea level. The solar disc bathed the world below in milky light, matching the sky's color to the beige sand and buildings upon it. A world of color masked by a facade of monotone.

Conklin poured himself another stiff drink and watched the news, which had nothing but good things to say about the peace talks planned in Palestine. He snorted. That was the news encapsulated. Years behind the real news itself, and miles away too. Separated by barricades of time and space. Trapped within a naive Garrison state of goodwill. He finished his drink and nodded off where he sat.


* * *


Later in the following week, as he was preparing to explain why the party had not yet yielded an opportunity to work on the youths he had targeted, Conklin noticed something quaint in the present Wall Street Journal. Certain that he had misread a smudge, he pushed his glasses onto his nose and held the journal close to his face. There it was. Somehow, the C-NET stock had gone down, if only slightly.

Conklin was puzzled. This did not constitute anything agreed upon when Jimmy Hetland and he had set the coding. A severe drop representated that Conklin should flee Israel immediately, but the stock had not even dropped a full percent. Warily, he entered the stock folder on the computer. Indeed, a "Stock Update" greeted him.

When he opened it, Conklin was aghast at not seeing the celestial eagle. Instead, it moved straight to the file. He was immediately suspicious. His caution proved fair when he realized, scanning through the business material inside, that it was gibberish. Little more than salesman jargon, it was nothing like the legitimate data he would receive from headquarters. As an footnote to the deception, no live feed awaited him at the bottom--merely a small message at the very bottom.

You got lucky, Mr. Conklin.

The telephone babbled behind him. Conklin did not jump, as many would have--this faux-naivety had saved his life more than once in the past. Turning, he strode over to the phone and ripped it from its receiver.

"What!?" he barked.

"I'll keep this brief, since I know you love your privacy--so to speak. It'd be in your interest to watch some television."

The line went dead before Conklin could begin to comprehend the meaning behind the message and its elusive sender. With no other lead, he retrieved the remote control from an end table and did as suggested.

The headline, in true media style, had the words BREAKING NEWS made as vibrant and irritably difficult to ignore as possible splayed across the bottom. Cycling quickly through a few channels, Conklin quickly saw that it had overtaken all of the local and national channels available. The anchorman was babbling Arabic as fast as his lips could process it, while Hebrew characters jumped and jittered across the bottom, not missing a beat.

Conklin had analyzed all of this within the span of a second, but it was the images of blaze and burning rubble--fire and brimstone--that held him captivated as the anchorman repeated the same thing over and over again in as many languages as he could at least estimate upon reading.

"Again, Israel has been attacked. Just twenty minutes ago, in Nazareth of the North District, the Basilica of Jesus the Adolescent, run by the Salesian order, exploded in a fireball that brave firemen are still battling. It seems... yes, we have a woman ready to be interviewed, this woman says she saw the explosion..."

In shock, Conklin no longer comprehended any information given by the man, audible or visual. In the subtitles, he could see only one thing.

You got lucky, Mr. Conklin.


* * *


"Of course I've heard about the Basilica." From his office halfway across the world, Hetland groaned. Conklin could hear him rubbing his cheek--the scraggly sound of stubble being jostled back and forth grated his ears.

"Well," Conklin muttered, pacing wildly about his penthouse. If the headset were not wireless, he would have hogtied himself. "You mind telling me what the hell is going on!?"

"I can't say, not just yet. The President's taking flak over 'allowing' this to happen, so naturally he's sitting on his own indecisive ass." Hetland sighed. "We work so hard to spread democracy, and times like these, I start to wonder why."

Conklin had been near saying You can't, or you won't? but instead said nothing, allowing his friend to empty his lungs of their barbed cynicism. Collapsing into a chair, he heard the faint sound of Hetland's shoes crushing the carpeting around his desk.

"Look," Hetland said. "I'm gonna try to fix this. What do you know about the Nazareth attack?"

Conklin shook his head. "Nobody's claimed blame, which is odd, as far as terrorism goes. Israel isn't being as quick on the draw as its ancient neighbors, and peace talks are still a go for next month. I don't even know if that's good or bad anymore."

"You're out of there soon, Dick. Don't run off the course when you can see the goal line's tape." Hetland paused. "Has this given you any leverage?"

Conklin's face sank right down into jowels. "Yeah."

"Work on it. Then take an Israel Railways mainline to Haifa Bay and meet Dean on the pier."

Conklin's eyes narrowed. "Why not Tel Aviv?"

"Too risky. Our contacts in Mossad know we have an officer or two in your district, and Tel Aviv isn't a far drive from Nazareth." Hetland hesitated. "Be careful, Dick. This thing is getting shaky."

He hung up, leaving Conklin sitting, incredulous. Without so much as the freedom to scream his anger at the walls, lest they reveal a sinister undercoating, he lumbered over to his bureau. Opening the top drawer, he solemnly removed his Beretta, shoved in a clip, and left his penthouse, tucking the handgun into his bag.


* * *


Conklin took the longest route possible to Bet She'an, swooping through the metropolitan Center and West Bank districts before settling on a more direct path. He was in no hurry to do what he knew needed to be done. He was in no hurry to go to the town where he was hailed as a hero, a philanthropist, a Godsend. He could not bear to look each one of those affectionate, grateful souls in their coffee-brown eyes and feed them lies.

Richard Conklin did not want to arrive in Bet She'an, yet he drove there all the same.

One of the town's hospitals, which he had helped improve, lay near the edge of the city, where the dunes sloped down into the bowl, sitting as though keeping a gentle eye out for children harming themselves while playing in the sandy hills. Conklin pulled into the parking lot and stepped down to the dusty, gravelly roads. Though the town's boosted economy had better-paved roads, most side streets and parking lots remained nothing more than flattened bald spots in the rock and dust.

None stopped him as he walked in. Who would dare question the town's savior? Freely, Conklin scooped up a patient's manifest from the clerk's desk and looked down the list of names written in true, runic Arabic. From right to left, he scanned the page until he found the name he was searching for--Zalid b Eamon, his factory foreman's eldest son. Making a note of the room Zalid was listed as inhabiting, Conklin left the manifest on the counter and strode down the corridor.

Eamon Lanuwiya had originally come from Arabia, as he had once told Conklin over a drink, but his eldest son Zalid had possessed enough sapience to suffer personal crisis not to adjust well in the move from one culture to another. Expected to adapt, his son had instead become an outsider, eventually moving to Nazareth and working within the walls of the Basilica to find himself. Eamon had been dejected at first, but would soon boast to all--including his soon-to-be employer--about his treasured son's independence and strength of will. Conklin had seen it, as well, hidden beyond amber eyes that had seen far more in their young age than he had at the same. Though he had met the boy only once, it was unsettling to see him burned beyond recognition, eating and feeding through a series of plastic spirals.

Eamon sat hunched over the edge of his son's bed, dozing. His younger son, Talib, a boy of seventeen, sat cross-legged, never taking his eyes off of his brother's hand as it lightly twitched. The boy no doubt waited for the movement to erupt into consciousness. Conklin decided to wait a moment, letting the young man enjoy the softening delusion.

After a time, he placed his hand on Eamon's shoulder. "I'm so sorry, my friend."

"Mr. Conklin..." Eamon stirred, pushing his hand from his beard to his eyebrows and back, quickly becoming alert. "I left the factory in good hands, sir, I'm sorry about this."

Conklin felt a stab in his abdomen. The idea that a man could think he would be angry about work in these circumstances revealed an image of himself he'd have rather remained ignorant of. "Forget the factory, Eamon. You have more pressing issues."

"Thank you... Richard." Eamon's dark eyes shimmered gratefully. He watched his wounded son's chest rise and fall ever so hypnotically. After a moment, he turned back to Conklin. "I haven't eaten in days. Could you..."

"I'd be honored," Conklin stated genuinely. He patted Eamon between his wide shoulders, placing an unrequested twenty sheqelim bill in his palm, and waited patiently as the large man exited the room. Slowly, Conklin dropped into Eamon's chair. He looked over to Talib, the boy. Just nearing his manhood--and what a horrible experience with which to cross the threshold. Talib had always been a leader. A boy of charisma. Guilt gnawed at Conklin's chest, but he turned to the young man all the same.

Conklin wet his lips with his tongue. "What if I told you that you could stop things like this from ever happening again?"

Talib never looked away from his brother, despite his utmost respect for the man that sat above him. Without hesitation, he nodded.

"I'm listening."


* * *


The smell of diesel fuel and fresh fish was as inescapable as the rhythmic sounds of the sea, as Conklin stepped from his taxi and began to walk the docks of Haifa Bay. Crowds scuffled about, a large wicker basket of tropical fish being the dress code for many among them. They zoomed about, disjointed yet with a kind of urgent organization, each one with a destination and a goal. As they mobbed the market areas, the crowds thinned to a small handful of tourists and locals out for a walk. Eventually, the throng diluted to a few people scattered across the beach and fishermen tending to their boats on the wharf.

Looking out across the Gulf, Conklin could see the coast of Lebanon, Turkey farther up, and, directly ahead but obscured by a mid-summer mist, the island of Cyprus. Beyond that, the open sea, and Crete just beyond this visible horizon. He twisted his lips grimly. Hundreds of years of battle all rolled into one small pockmark on the Earthly landscape. A world borne of conflict.

"Gets me too, Dick."

Conklin turned, seeing Lanza step onto the pier from a small boat. "Didn't hear you come up there."

"You were deep in your head. You get like that sometimes."

Conklin dropped his carry-on to the planks and sat on a large bollard. "What's going on out here, Dean?"

Lanza shook his head as he knelt, tying off the mooring lines of his boat. "You tell me. You know better than I do that there's hundreds of sects out here ready to go to war."

"You stop noticing after the sixth year."

Lanza lulled a moment, then finished his knot. "I never wanted this Op, Dick."

"Don't I know it. Too bad I didn't back then." Conklin rubbed his temples. "I haven't even seen my little girl grow up, Dean. Do you know what that's like? Last time I saw her she still wanted a pony. Now she's a woman." He cleared his vision with his thumb. "I only know her through cassette tapes."

"What do you want me to say?" Lanza snapped. "You think I like running around Lebanon and Palestine, watching your ass because Jimmy doesn't have the balls he used to?" He threw his suitcase to the dock. "I never wanted to be here! And I never wanted to do this work!"

Lanza kicked the suitcase. The buckle gave way and clothes fluttered about like enormous butterflies.

"And yet I came here. You know why? You're my friend, Dick. I came here to keep you sane. For Christ's sakes, who have you seen that you know, apart from me? This whole time I did it for you, and I'll be damned if I'm going to stand here and let you toss all your baggage at me while I load mine into a two-foot bag and live out of it." He walked toward Conklin, jabbing his finger at the air. "So next time you decide to ream me for your fucking problems, maybe you can shoot your shit at someone who deserves it!"

Dust pitched up from a board behind him, and when Conklin looked back to Dean, the apple-stain on his shirt had spread to the size of a basketball. Lanza shuddered, his knees rolling, and dropped to the ground without uttering a syllable. His jaw striking his chest, Conklin staggered toward his friend like a baby taking its first awkward steps. He scanned over the younger man's features, vainly searching for signs of life that did not want to be found. A hardness balled in his gut; he faced the tough decision of properly lamenting a dead friend, or catching the man that made him as much.

Conklin's eyes shot down the dock. A grey robe swirled as someone far down turned and ran, dropping what was unmistakably a rifle in his place. His mind too numb to process anything other than instinctual reaction, Conklin ripped his Beretta from his bag and raced down the pier.

His height paying off, Conklin kept one eye on the fluttering burka and the other searching for accomplices as he shoved and shouldered his way through a startled crowd. The people around him moved out of his way, but none cowered. Homicide was, to them, about as interesting as an auto accident--a passing interest, one to meander around, but not an alien one. The assassin burst through a door into an apartment building, just before Conklin could break through the crowd and get a shot.

The clambering sounds of someone charging up a staircase greeted him as he moved through the door. Conklin ran about the room, frantically searching for stairs. When he found them, he took them two at a time, already out of breath. Ten years earlier, he'd have taken them three at a time and stepped twice as fast without breaking stride.

As he dashed around the corner before the last flight, he heard a door swinging open. He aimed the gun and fired twice, just nicking the door behind the killer. Cursing himself for not being faster, he took the last of the stairs in four leaps and kicked the door out of his way.

Conklin saw the assailant running down the corrugated metal roof, moving up and down the rises like an expert swimmer navigating a current. He let his gun send its crackle around him, and the assassin froze in his tracks.

"Stay where you are!" he bellowed.

The alloy roofs moaned in protest as he crossed them, vaulting over the occasional one or two foot gap between them. The shooter never moved so much as an inch as he approached him. His hands clasped to his sides, robe billowing in the wind, the killer refused to face him. This angered Conklin. This man was everything he hated about the area. What had Lanza done? If anyone deserved to be shot, Conklin felt it was himself. Random violence for the sake of itself. Superficial religious justification. It all swirled in Conklin's mind and made him boil with anger.

He fired. White flame licked wildly from the nose of the pistol, retreating just as quickly as though regretting its emergence. The man jolted forward, stumbling, and fell onto the roof, sliding down into the next dip. He came to a rest where rain and grime had collected, the smell pungent from the baking sun above. The aim of his gun never wavering even while blue smoke still spat from its end, Conklin jumped down to the man and turned him over with his foot.

It was not a man at all--it was a boy, no older than twelve. His pupils were dinner plates, a bronze rim of iris already beginning to glaze over. Someone had used this boy, perhaps with the promise of heroics. The worst kind of brainwashing. Conklin turned away, disgusted. How could anyone use a child like this? Backing away, he fled from the scene of his crime, an unstable growl deep in his bowels.

All the way on the train to Tel Aviv, Conklin could not pull his thoughts from his dead friend, nor the fate of the child that perpetrated his murder. All the way, he worked to convince himself his action was just.


* * *


When he got through the door of his penthouse in Tel Aviv, Conklin found a manilla envelope from a James Leandth--an anagram for Hetland. Inside the envelope was a package of the Wall Street Journal, which had "express delivery" stamped on the front. Conklin flipped open the Journal to check C-NET stock--and the bottom had essentially fallen out.

Stumbling, he dashed to his computer and moved through the digital maze at dizzying speeds, come across a new Stock Update. He watched the white eagle in its blue circular prison disappear, skipped the article, and slammed the cursor down on the live feed.

Hetland answered him almost instantly. "You've left me a hell of a mess to clean up."

Conklin was taken aback. "Jimmy, Dean is dead!"

"I'm well aware." Hetland swallowed hard. His speech slurred just a bit when he came back. "I also know you left me a goddamn body on the pier. Do you have any idea how hard that was to cloak over?" Hetland's voice had turned gutteral. "You couldn't give him a burial at sea?"

"Jesus Christ, Jimmy." Conklin shook his head in disbelief. "He was murdered. I was a little busy trying to catch the bastard that shot him! Who, did I neglect to mention, was a child."

Four swallowing sounds responded, and then Conklin heard the glass thump against Hetland's desk. "The Op's over."

Conklin's jaw froze. Hetland's callousness was something he'd never seen before. Slowly, his shock swirled into rage. He stood and stormed over to his balcony window. "Dean was our friend, Jimmy, don't you get that? You recruited him. Just as soon as he was out of college, you yanked him out of his life, and he came here for me. You killed him, Jimmy." He bit hard on his lip. "We killed him."

"You think that isn't killing me!?" A loud thud told Conklin that Hetland had kicked his desk. "I haven't seen you for ten years, D! Dean, either--and now I never will again. You think you don't like the orders I give you? Imagine having to send away your best friends. Imagine trying to keep them primed and ready, in the bullshit hope I can see them again, some day." Hetland's voice quivered, the first time Conklin had ever witnessed it do so. "So don't you sit there and demonize me. I've already done it. And you can fry in hell if you think I want to let Dean die in vain."

Conklin gazed out the window, at the ocean, watching land and reason disappear. Trying to see past that barrier of space, trying to imagine his oldest friend sitting at a desk and juggling duty and loyalty.

He cleared his throat, trying to moisten it before he suffocated. "Why was Dean in Haifa?"

"You know why."

"No," Conklin hissed. "I don't. I know what you told me. I'm asking for the truth."

Hetland didn't answer for the longest time, but Conklin was too deep in death to let him weasel around confession. Finally, Hetland sighed. "I couldn't get him to Tel Aviv in time. Dean was..." He halted, trying to find the right words. Conklin had to trust Hetland's conscience to keep the words from invention. "Dean was on a separate operation, all right? He was liaising with Palestinian sects and a few Israeli radicals to tip them off. Get them at each other's throats."

Conklin's eyelids smashed into his forehead. "Jesus Christ, Jimmy, why!?"

"Did you want to blow ten years of your life on a few teenage duds?" Hetland snapped. "I didn't think so! We had to make sure opposition was ready to go. I guess... I guess if you have that many twitching trigger fingers, one of them is going to go off."

"Yeah, I guess so," Conklin snarled. That was his work in a nutshell. Go to a group of people, embrace them, and tell them what to get mad about. "I guess one of those sects found him out, then. I guess it's your fault I shot a boy! You sound pretty damn unapologetic." Conklin's anger elated slightly. He knew he was no better than Hetland--not at the core of things. "You've got to get me out of here, Jimmy."

"Absolutely not."

Conklin could say nothing. Like a confused pupil, he sputtered: "What?"

"It's out of the question. There's too much red tape just slathering over Dean. You're going to have to get out of there yourself, Dick."

"Jesus, Jimmy..." Despite all he had heard, Conklin still couldn't believe Hetland could throw him to the dogs. "I'll never get out of Israel, Jimmy! They'll kill me! They will pull me from any vehicle I can get my hands on, and they will drive my skull into the curb. You can't leave me here!"

Hetland made a quick sound that almost sounded like a sob, then regained control of himself. "I'm sorry."

The line went dead.


* * *


Golden sunbeams washed in through the curtains, scurrying across the floor and clawing up the opposite wall. Four ceiling fans churned, desperately trying to compensate for another record-breaking heat wave in a scathing Bet She'an winter. Walking through the invisible steam, Conklin paced about, explaining. Clarifying. Ordering. Despite the heat, he wanted nothing more than to curl fetal beneath all the quilts in his home.

The boys said nothing. They had been handpicked by Talib b Eamon, who had designated them as the most idealistic and the strongest of will. Conklin had never met them, not formally. To him, each face was likened to the one next to it. Each one was the focal point of a block of clay that he was to mold, preying on the insecurities he knew each held deep in their own hearts.

On the wall he had tacked several blown-up photos taken of a neutral area of the Gaza strip, several alleys and apartment buildings circled and noted. Lanza had taken the pictures. Morbidly, his work hung on the wall not unlike the paintings of men time had forgotten. Now, he was being remembered, scrutinized. The work of an artist specializing in the style of deception.

Beyond the dark eyes of each boy was a fire, and as he talked, Conklin laid the fuse. He told them of the atrocities committed by Palestinian coalitions of the years, carefully omitting anything that would paint the assaults as retaliation--as mirrors to previous atrocities. Selective storytelling. He was now the world's most influencial journalist, picking and choosing his facts and then presenting them for his biggest article.

Facts were his gunpowder, and he was now finished loading his cannons.

A brief lull followed after Conklin finished explaining the plan of attack. Not a single eyelid dropped as each young man watched him, entranced by rapt respect. Conklin was too nulled to understand why he had decided to go ahead with the plan. It certainly wasn't about the mission. He felt no attachment of any kind to the life he once knew, with both of his friends dead in one way or another. In the end, Conklin went about his operation because he was weak. Because he did not hold the strength of will to walk away from what he had given up a family for. The op was all he had. All he was.

His own legacy to pass down through the generations--another dot on the Mid-East conflict chart.

Conklin walked over to the tables he had joined together and began opening several black briefcases. Inside some were cheap submachine guns, or terrorism's favorite weapon, the AK-47. Inside others were Russian-made Ruchnoy Protivotankovy Granatomyots, commonly known as the Rocket Propelled Grenade. He said nothing. The boys he had been speaking to for the last hour knew exactly what they were and, thanks to him, exactly what to do with them.

The worst kind of brainwashing.

There was a certain stillness about them, a reverence, as they walked toward the firearms sitting before them. As they loaded their weapons, concealing them in jackets and bags, Conklin mused momentarily on the fact that only two nuclear weapons had ever been used in combat. Yet here he was, soldiers ten years in the making executing his will. Here was the real threat of the world--idealists ripe for molding. Through history, these boys had claimed far more lives than any bomb could.

And from somewhere far away, for every worldly crime, there were men like Conklin guiding their marionettes.

The boys hesitated as they finished loading up the last of the weapons, hovering around a stool with a vest sitting atop it. It was a thick black vest that had, at one point, contained reinforced kevlar padding. Now, the ends of sienna cylinders just peeked out. This was the plan's main objective. The primary attack. One of them had to wear the vest, but they all feared it. Slowly, boldly, Talib b Eamon stepped from the back of the crowd and wrapped the vest around his torso, pulling a baggy coat around his body to hide it.

He turned to Conklin and groped at his hand, kissing his knuckle. "Father will be proud of me. Please don't let him forget why I did it." Talib pressed his forehead into Conklin's palm. "Thank you for this."

Conklin's eyebrows arched slightly, his forehead creasing and rolling like the rhythmic tide. He said nothing; he simply watched them go. He stared long and hard at the door after they had closed it, mesmerized by its knots and bumps. It reminded him of satellite maps. How inconsequential each person is in the greater sense of things. That had been the first lesson when he was trained by the Agency so many years ago. To forget about individuality. To condense it all down into balancing statistics.

What're a few boys and a few emissaries in the grand scheme of things?

His shoes clunked across the old floor as Conklin stepped out onto the balcony of his warehouse just outside the Israel-Palestine border. Slipping over the bannister, he stepped lightly onto the corrugated roof beside him, sitting down on the hot shingles, and watched the boys pack up their vans and drive them toward the Gaza. Dust and sand blew in the breeze, spattering it gently across his face, but Conklin did not close his eyes until the vans had faded into single grains and then disappeared from sight.

"Come for an announcer's view?"

Conklin glanced over his shoulder and saw a younger man standing there. His face was dark and lined, and a thick moustache connected either corner of his mouth. "Why?"

The man shrugged. "I thought the coach watches from the sidelines."

Realization flooded through Conklin's head from his gut. "That was you. Hacking my damned code. Tossing off idle threats."

The moustache stretched as the man grinned and stepped over the balcony onto the roof, leaning to compensate for the angle of the slope. "It wasn't idle--and they weren't threats."

"Mhmm." Conklin pulled a flask from inside his jacket pocket, twisting off the cap, and took a hard gulp. "And what do I call you?"

"Hasan." He sat down beside Conklin. "Shall I call you Mr. Conklin... or perhaps Dick?"

Anger spasmed through Conklin's eyes as he thought of Hetland. "No." He frowned. "Richard is fine."

"All right then, Richard. You haven't shot me yet, which tells me you have questions to ask me."

"You're goddamn right I do." Conklin took another swig of his scotch. "Who are you, who do you work for, and why have you been talking to me?"

"You know my name," Hasan smiled, looking idly at Conklin. When he saw that Conklin would not look away from the distant horizon, he conceded to look in the same direction. "And I am not an enemy. I am an agent of Mossad--the division that knows of your plan."

Conklin's gaze hardened, and his hand moved almost undetectably toward his jacket.

"Oh, we support your plan." Hasan hesitated, then bitterly added, "Or rather, my superiors do."

At last Conklin looked Hasan in the face. "And you've been trying to stop it? Is that it?" His mind flashed to Dean Lanza, dragging across the foor of the Mediterranean Sea, a shark's appetizer awaiting a customer. He clenched his fists. "Did you have my friend killed?"

"James Hetland may have abandoned you," Hasan said, almost gleefully, "but he did not lie to you. Your courier's assassination was a retaliation."

Conklin nodded, and looked back out toward the far reaches of Palestine. Sickeningly, it was easier to accept that Hetland was at fault for Lanza's death than an agent of Mossad.

Hasan gave him a moment to reflect, then prodded on. "I suppose you can't stop this?"

Conklin shook his head. "Not even if I wanted to."

"I don't suppose I have to tell you that this is wrong," Hasan grasped. "But can you at least tell me why?"

His jaws clenched together. Conklin's voice became the guttural sound of an enraged dog. "Why what!?"

"Why can't there be peace? That is what this is about, isn't it? Peace between Israel and Palestine?"

Conklin stood and towered over Hasan, smirking. "You little dipshit. You really don't get it, do you?"

Hasan shuffled away from him and stood, clutching a windowsill for support.

"You think this is about you?" Conklin leaned back against the balcony, gesturing around them. "All this, it's a playground. It's crawling with guys like me and we're just emissaries sent to whip it out with you poor schmucks and see whose is bigger. You came to me--why? With a half-assed plan to guilt me into stopping this?" He snorted, taking a last sip of his flask and then tossing it hard to the pavement.

"A half-assed plan to make you do the right thing!"

"There is no right thing!" Conklin had started shouting, and he at last ceased to care who was listening, who was watching, who was reading his mind. It all poured forth with the force of a hurricane, and he let it. "Don't you think I'm a little past guilt at this point!? I gave up my life for this! This is my goddamn life! I missed growing old with my wife--I don't even know what my little girl's favorite ice cream flavor is, and you know why? Because I've never seen her eat it."

He stopped a moment, then laughed exasperatedly. "You ask me 'Why'? How stupid can you be!?" He shoved Hasan back gruffly. "You think there's a big meaning to all this? A massive conspiracy, a battle of ideals?" Conklin laughed again. "Everybody's the hero as long as they're looking at everything from the right spot!" He cackled until his throat grumbled in protest and didn't stop.

"You want the why? Here's the why, you stupid little bastard. Trade! Dollars and fiscal ratings." He shrugged. "Good Palestinian relations might dampen our relationship with mini-Canada. Did you come to me because you expected some larger point?"

Hasan trembled with rage. "I came to you expecting any point! What is it all for!?"

"There is no point to anything out here! How many times do I have to answer the same damn question?" Conklin's ears perked up as he heard a distant pop. He immediately jerked his head over to where Talib and the boys had headed. A small puff of orange and crimson could be seen, and more followed, little bubbles of barely perceptable carnage. The common good had never looked so warped.

Conklin looked back to Hasan and thrust his thumb over his shoulder. When he spoke, he was calmer. More serene. "There's your why. So long as you poor bastards are blowing each other up, we'll always scoop up Israeli approval. If we have nothing to support, we have no relations--the only thing my country and this place agree on is war." He sank down against the wall, curling his knees into his chest and retrieving a photograph of his daughter as she was when he had last seen her.

"Why?" he muttered. "Oil. Televisions. Computers." He glared deep into the photograph, trying to picture her getting taller, fuller, older. Trying to live the memories stolen from him, blocked from him.

Separated by barriers of time and space.

"I've paid my dues," Conklin choked. "I just want to leave this place."

Hasan, who had held his hand behind him for the last ten minutes, sighed and dropped something behind him. With the edge of his foot, he nudged the gun off the roof to the streets below. Leaning forward, his hands gripping the bannister supports, Hasan stared hard into Conklin's dead gray eyes. "The only question is what you're going to do now." Hasan stepped over Conklin and hoisted himself back onto the balcony.

He started to leave, then turned back briefly. "My father was CIA too, you know. Do you know what his big contribution was?" Conklin heard the door swing open. "They sent him to the Ukraine to stimulate trade. To keep the evil Soviets from annexing the freed states that couldn't support themselves. The problem was," and his voice lowered, gargling viciously, "the only thing they had to offer the international market was small arms."

For a moment the only sound was the breeze, and the rustle of the palm trees lining the streets. "Do you know what my first big mission was?" Conklin felt Hasan loom over him, the black void of Hasan's shadow engulfing him, Hasan's voice cutting straight into his ear. "Somalia. I saw all the women and children killed with the same guns my father helped sell."

He stepped away. "You don't need to tell me that it's the same bullshit everywhere."

The door closed.


* * *


It was late. Conklin had avoided watching the local channels in his Bet She'an home. Instead, beside his recliner sat a large box of black cassette tapes. Each one contained a story he was absent for, only able to hear the telling of it. The last one was just beginning, Marina's sixteenth birthday.

All the while, he couldn't think of anything but Hasan's words hours earlier.

The only question is what you're going to do now.

His cheeks damp as the cliff face behind Angel Falls, Conklin sobbed and the tiny ring of the Beretta kissed his forehead.

Marina reacted to her car all over again. He hesitated.

"Please come home," she pleaded.

The gun trembled in his hand despite his firm grip. At last, he cast it to the floor. Conklin knew all too well that he didn't deserve the simplest escape. He was loathe to face her after what he had become, but his daughter deserved a real explanation. And so did someone else.

What're you going to do now?

He snatched the phone from its receiver beside him and dialed.

"Hello?"

"Eamon." Conklin chewed on the inside of his cheek. "I need to tell you something."

______________________________





This story has been long in the making. I first tried to write this about three years ago after I realized that no one wants to write a book or movie about realistic spies, who lie and convince for a living. Ones that don't get into fistfights on the top of speeding trains.

Too many failed attempts, descending too far into cliché and stereotype, were the result, and I scrapped the project for a long time until about early November of this years. I hope you enjoyed it.


-I
 

sheepyman

BRoomer
BRoomer
Joined
Oct 31, 2005
Messages
1,292
Location
.
The characterization and the plot of this story were refreshing and blew most of the stuff I read on this site out of the water. The characters were so real and tangible, I feel like after I read the story I could call them up and know what they were going to say.

Seriously though, this is some fine work you've done, Evil Eye. Keep the superb stories coming.
 

FastFox

Faster than most vehicles
BRoomer
Joined
Aug 6, 2005
Messages
4,857
Location
The tall grass
I loved it. I felt that you utilized many of the things that people actually think about in depth, which made the story even more realistic. Like Sheepy said, the characterization was refreshing and.. Crisp. I knew what was going on, and the writing was beautiful and smooth.

Please don't stop!
 

BRoomer
BRoomer
Joined
Jul 30, 2004
Messages
7,878
Location
Woodstock, GA
NNID
LessThanPi
-Grammar check free!-

A good friend of mine recently got me into reading the last sentence of a work before I actually get started on it. To me, he explained, that last sentence tells you a lot about the author, unfortunately that wasn’t the case with me and sand stone here since I was lucky enough to be able to peak my nose in every once and a while. But hell lets take a look anyway!

"Eamon." Conklin chewed on the inside of his cheek. "I need to tell you something."
Intriguing ain’t it; boom right off the bat we can see Conklin mannerism, EE obviously puts effort into what his characters are feeling even if just through subtle mannerisms like this one. And of course that right there gets you interested in the characters who is Conklin? And who is Eamon to him… But of course the most important question is probably, what is it Conklin has to say?

At this point I’d be all like “Da mn this is going to be a good short story.”



Okay, this is the part where I say how great a writer EE is. I’ve said it a hundred times, but his excellent characterization is shadowed only by his clever uses of metaphors. It’s these two amazing characteristics that make up his works. It’s those lines that just make you stop and think for a second, or ones that make you wonder just what a character’s true motives may be. Even lines like this:
Crowds scuffled about, a large wicker basket of tropical fish being the dress code for many among them.
Set a mood and setting in a way that would take a lot of other writers a full paragraph to set up. Things like this give an opportunity to seemingly focus more on the characterization, I say seemingly because with the setting is set in our minds it didn’t take any time at all away from the characters, it’s an very neat way to progress the story and one of the reasons why the characters come across so strong, because we are always with them.

So of course you can’t talk about characterization in Sandstone without talking about the Conk, Mr. Richard Conklin. Now Conklin’s become one of my favorite characters ever (and while it may in part be due to my prolonged exposure to him); I think a lot of it is due to how three dimensional this character is. We see him laugh, we see him cry, we see him angry… we see the internal war between what’s wrong and what’s wrong raging in this character from the moment we meet him. And yet all of these emotions are very much real, all inspired by the environment, that in the end, he decided to place himself in. It’s these very human like qualities that really got me into the character, how he reacts to deaths, or how he copes with send children off to war.
You feel for him right in the beginning as he watches Marina thank him through a TV screen; you get a little pissed off yourself as Lanza dies beside him. When the Conk is shot you hope he doesn’t die. When that happens; when you care about a character and what that character cares about the story is instantly, for lack of a better word, good.
You can tell effort and even research (big deal for SWF writers. Only like Poke, Scav, Matt and a few other writers will actually look up stuff if they don’t understand what a character should do or what a situation should be like) was put into it, and that produces that very real feel that Sheepy, FastFall and myself all commented on.

So boom, if I had to sum up how I feel about this one in a paragraph it’d go something (well… exactly) like this. An appealing character based drama. The world, the plot, doesn’t defined the characters, but instead it is the characters that seem to distil the world.

Okay, enough EE, praise. Sandstone was amazing!… but not perfect. I actually have a few suggestions as well as a comment here and there; let’s hope I remember them all…
Critique: (ing the stuff I haven’t looked at yet… it’s 7am…)


The title. You asked me what I though… at the time I honestly had no clue or idea how exactly it fit… after reading it through a second time… I still didn’t really have a strong opinion so I looked up sandstone in hopes of discovering something I didn’t know…
dictionary.com said:
sand•stone [sand-stohn]
n. A common sedimentary rock consisting of sand, usually quartz, cemented together by various substances, as silica, calcium carbonate, iron oxide, or clay.
So from this definition I decided I just go out on a limb and make a crazy assumption.
A. Sandstone is common in this area, a good tie in; and…
B. This is a story about sandstone, Conklin is one of these “various substances”; (and do note there are others) the glue; that holds people, and more importantly these kids; “common sedimentary rock/sand”; together. He makes them stronger, and he, in a way, gives them meaning. Through him they become something new.
Bold assumption… but through it I’ve decided that I like the title quite a bit and it fits very well.

Lanza had taken the pictures. Morbidly, his work hung on the wall not unlike the paintings of men time had forgotten.
Nice way to reincorporate a dead character back into the story.

Facts were his gunpowder, and he was now finished loading his cannons.
Another line I had to quote, it just got me. Like I said, your use of metaphors gives explosions of information in such short amounts of time. (Pun… kind of intended…)

And from somewhere far away, for every worldly crime, there were men like Conklin guiding their marionettes.
Not necessarily “far away”, while it sounds good and flows well it just isn’t true… unless you mean far away from the crime… in which case… that works quite well. <.<
But on that same note it’s not just crime but every facet of life, politics, sports, even Conklin himself is a grain of sand being manipulated and given purpose to by the CIA…
Just a thought I think should consider since the placement of this sentence is very important to what’s around it.

He turned to Conklin and groped at his hand, kissing his knuckle. "Father will be proud of me. Please don't let him forget why I did it." Talib pressed his forehead into Conklin's vericose palm. "Thank you for this."
Mixed on this one, for me the word “grope” immediately comes with sexual connotation which distracts from the story... In reality however that’s just one of the definitions; the others fit it the emotions that you are trying to convey very well. In fact even after looking up words I can’t really think of one that would fit better. But if you could find one… I think it’d be worth the swap.

Varicose (with an ‘a’), you guys and your crazy big words… It’d be just as or maybe even more effective without that word IMO, no big on that one though.

His mind flashed to Dean Lanza, dragging across the foor of the Mediterranean Sea, a shark's appetizer awaiting a customer.
That read strange to me. Maybe because I liken this more to a meal that’s already been ordered, but generally I picture the customer waiting to eat rather than and food just… waiting. Maybe “a shark’s appetizer waiting to be eaten”? nah… For some reason this just breaks the flow of the story for me…
Also foor should be floor.

The rest of the dialogue read well. You played off Conklin’s “exploded” self well and also did a great job with Hasan’s reactions to it. The whole thing read very smoothly.

And the ending was perfect! It tied in very well with the opening section. And offers just enough closure that you are satisfied with the ending. I like how the only time Conklin crys like this is in front of his family, it’s the only time he lets all of his emotions truly be free. I nice way to open and a perfect way to close.

Now I’m going to sleep.
 

Matt

Banned via Administration
Joined
Jul 12, 2001
Messages
7,822
Location
Soviet Russia
Awww, what a letdown! I was expecting this to be about the infamous sex ranch, Sandstone Retreat. =(

But seriously, this is quite the accomplishment, gripping and chilling all the same. Great job with the research! It all rings of truth. Sad, sad truth. Well done. Well done.
 

Luigitoilet

shattering perfection
BRoomer
Joined
Jul 30, 2001
Messages
13,718
Location
secret room of wonder and despair
Pretty freaking intense at points. Also, I think your language is evolving if you know what i mean.

"The common good had never looked so warped." <nice one. anyways, very good story.
 

sheepyman

BRoomer
BRoomer
Joined
Oct 31, 2005
Messages
1,292
Location
.
Pkm01 pretty much summed things up.

Yours is the best stuff I've seen on SWF.
 

Shy Guy

BRoomer
BRoomer
Joined
Jun 19, 2001
Messages
2,585
Location
Sulis
Loved it, I remember reading the preview a while ago and it really seemed to have gotten better as you went along. I'm no writer, but I can say that this is quality, enjoyable work.
My favorite part would have to be when Lanza got shot, by a boy no less. It was really surprising to me.

Can't really critique anything (So I'm kind of useless in this topic)...
 

Kitten

Smash Journeyman
Joined
Dec 18, 2006
Messages
419
Yeah, I haven't been here long, nor do I read most of the stories in here, but luckily, I read this one. I can't say what I can say about it in comparison to the rest of Smashboards, but I will say that this is professional quality stuff, in my opinion. Thematics were spot on. This story actually made me think for a while after reading it. Your characters, mainly the protagonist, had a lot of depth. I like how you take us along with Conklin, and when he makes the transition to
bat**** Conklin
, you're still on his side.

Are you planning to pursue writing in later life, or is it just your hobby?
 

El Nino

BRoomer
BRoomer
Joined
Jul 4, 2003
Messages
1,289
Location
Ground zero, 1945
No, I am not an English major, and I have no clue what I'm talking about, but...

This is a hard one to critique. I'll start with the obvious. Was it any good? Yes. Prose: very clean, consistent. Characterization: solid, believable. Plot: realistic. Style: fits the content and genre. I'd guess that your writing is reaching maturity. I like the political themes. Also respect your ability to take it beyond black and white morality, beyond good vs. evil. A lot of good lines here too:
the face of the envelope was so littered by creases and wrinkles he could have mistaken it for a mirror.
I have a tendency to follow political turmoil and social upheavels around the world the way some people follow sports. But my knowledge of this particular conflict is probably outdated. Or contaminated by media bias. And I was never CIA. So I take into consideration that you probably know more about this one than I do.

Nitpicking list to follow.


  • The communication through newspaper stock info. Was it a fake Wallstreet Journal that he received? I know of messages sent via personal ads, but this method is interesting. Paranoid schizophrenics also may think they receive secret government messages through published media. So I'm not sure how to look at this one.

  • The conversation between Conklin and Hetland, in which Hetland says:
    I thought maybe, you know, with the terrorism and all..."
    Would he really say, "with the terrorism and all..."? Maybe he was being sarcastic. I couldn't really tell.

  • When Lanza is shot, I am confused as to how or why Conklin was spared.

  • A minor point on Lanza's death: It takes time for a person to die from a gunshot wound, whether in the head or in the chest, though they may not be conscious. You don't need to ncessarily do anything with this fact, as you handled that scene well. Just thought I'd mention it.

  • Conklin training Talib and others: It read like it all went down after one training session, but I get the impression it would require a little more training to pull off a terrorist attack. You would at least need to practice shooting a rifle, and practice how to detonate the charges. Props, though, on the scene of Talib donning the vest. (If it were me I probably would have opened the entire story with that scene and worked my way backwards, but that's just me.)

Overall, though I enjoyed the internal war within Conklin, and his shouting matches with his colleagues, that could have been toned down slightly. You do it well, but maybe too much. There is an opportunity to set the stage for the morality question if you were to merely show us his actions and save the contemplation for the end, or allude to it with a slighter hand, rather than hitting the reader so hard with the theme. Judging by the previous comments though, maybe some people just respond better to constant bombardment. Guess it depends on the audience.

On the title, I interpreted it as metaphorical for being between a rock and a hard place, a situation under pressure, or being converged upon by aggressive outside forces. Sandstone is made when sand is crushed between layers of rocks and minerals.

As a sidenote, I would have liked to know what his daughter looked like.

As for my personal reaction, I think the entire story works up to the final line. This is very dramatic, and I like the effect. Consequently, I think you do a good job of showing Conklin's humanity, and I can respect his humanity, although I can't muster too much sympathy for him. I would like to know how he got into his field of occupation if he is capable of such moral reasoning. Unlike previous posters, however, I am not on his side. And when he laments about missing out on growing old with his wife, on missing his daughter's childhood, I can pity him only slightly. He is in a tough position though. He has, admirably, more humanity than I would have if I were in his place. If my pity is only slight, it is only because he chose to be there, whereas the people whose lives he is messing with did not. His daughter is safe at home. The other children are dead at ground zero.

So, you have a solid piece of writing here. It also demonstrates a more realistic look at the world than I've seen in a lot of amateur short stories. For advice, I can only suggest that you play with different angles (even within the same pov), different ways of presenting a story than straightforward story telling. You seem to have the mechanics down, so the next step is to work on the art of it. But if you want to make a career in writing, you're off to a good start. I am not qualified to make that assessment, but I felt like I had to say it.
 
Top Bottom