Looking for Alaska
Experience: Confusion
Narrative Technology: I Voice
“I awoke to two sweaty, meaty hands shaking the holy hell out of me. I woke up completely and instantly, sitting up straight in bed, terrified, and I couldn’t understand the voices for some reason, couldn’t understand why there were any voices at all, and what the hell time was it anyway? And finally my head cleared enough to hear, “C’mon, kid. Don’t make us kick your ass. Just get up,” and then from the top bunk, I heard, “Christ, Pudge. Just get up.” So I got up, and saw for the first time three shadowy figures. Two of them grabbed me, one with a hand on each of my upper arms, and walked me out of the room. On the way out, the Colonel mumbled, “Have a good time. Go easy on him, Kevin.” They led me, almost at a jog, behind my dorm building, and then across the soccer field. The ground was grassy but gravelly, too, and I wondered why no one had shown the common courtesy to tell me to put on shoes, and why was I out there in my underwear, chicken legs exposed to the world? A thousand humiliations crossed my mind: There’s the new junior, Miles Halter, handcuffed to the soccer goal wearing only his boxers. I imagined them taking me into the woods, where we now seemed headed, and beating the shit out of me so that I looked great for my first day of school. And the whole time, I just stared at my feet, because I didn’t want to look at them and I didn’t want to fall, so I watched my steps, trying to avoid the bigger rocks. I felt the fight-or-flight reflex swell up in me over and over again, but I knew that neither fight nor flight had ever worked for me before. They took me a roundabout way to the fake beach, and then I knew what would happen—a good, old-fashioned dunking in the lake—and I calmed down. I could handle that. When we reached the beach, they told me to put my arms at my sides, and the beefiest guy grabbed two rolls of duct tape from the sand. With my arms flat against my sides like a soldier at attention, they mummified me from my shoulder to my wrists. Then they threw me down on the ground; the sand from the fake beach cushioned the landing, but I still hit my head. Two of them pulled my legs together while the other one—Kevin, I’d figured out—put his angular, strong-jawed face up so close to mine that the gel-soaked spikes of hair pointing out from his forehead poked at my face, and told me, “This is for the Colonel. You shouldn’t hang out with that asshole.” They taped my legs together, from ankles to thighs. I looked like a silver mummy. I said, “Please guys, don’t,” just before they taped my mouth shut. Then they picked me up and hurled me into the water.”
Contributed by: Kaitlyn O.
June 5, 2025
Looking for Alaska
Experience: Curiosity
Narrative Technology: Suspense
Alaska finished her cigarette and flicked it into the river. “Why do you smoke so damn fast?” I asked. She looked at me and smiled widely, and such a wide smile on her narrow face might have looked goofy were it not for the unimpeachably elegant green in her eyes. She smiled with all the delight of a kid on Christmas morning and said, “Y’all smoke to enjoy it. I smoke to die.”
Contributed by: Kaitlyn O.
June 5, 2025
Starcrossed
Experience: Confusion
When she awakes one morning, Ariadne inquires about her sleep and Helen pulls back her sheets to reveal "untouched jingle bells still wrapped around her ankles...but under the bells, [her] feet were dirty, swollen, and red from what looked like weeks of walking" (Starcrossed 373)
Contributed by: Kaitlyn O.
June 5, 2025
Starcrossed
Experience: Wonder
Narrative Technology: Plot Twist
Cassie swings the sword at Helen's neck and all Helen feels is "a strange, vibrating tickle, like someone had pressed a gigantic kazoo against her throat and blown on it" (Starcrossed 255). The sword Cassie had swung at her laid at her feet, mangled and crunched up in a manner much like tin foil. Noticing the mangled sword and a very alive and unharmed Helen, Cassie exclaimed in glee that she had been right and was thankful that Helen hadn't died, jumping up and down whilst hugging her.
Contributed by: Kaitlyn O.
June 5, 2025
Starcrossed
Experience: Identification
Narrative Technology: Stretch
The emotions of a fictional, fantastical character allowing a human to relate, such as Helen’s cramps when using her scion abilities in front of mortals being a metaphor for social anxiety.
Contributed by: Kaitlyn O.
June 5, 2025
“But anyway thats sience and I got to try to be smart like other pepul. Then when I am smart they will talk to me and I can sit with them and listen like Joe Carp and Frank and Gimpy do when they talk and have a discushen about importent things. While their werking they start talking about things like about god or about the truble with all the mony the presedint is spending or about the ripublicans and demicrats. And they get all excited like their gonna have a fite so Mr Donner got to come in and tell them to get back to baking or theyll all get canned union or no union. I want to talk about things like that. If your smart you can have lots of frends to talk to and you never get lonley by yourself all the time.”
Contributed by: Kaitlyn O.
June 5, 2025
Flowers for Algernon
Narrative Technology: Hurt Delay
“Charlie is asleep in the other room, but he wakens to the sound of his mother shrieking. He has learned to sleep through quarrels—they are an everyday occurrence in his house. But tonight there is something terribly wrong in that hysteria. He shrinks back into the pillow and listens. “I can’t help it! He’s got to go! We’ve got her to think about. I won’t have her come home from school crying every day like this because the children tease her. We can’t destroy her chance for a normal life because of him.” “What do you want to do? Turn him out into the street?” “Put him away. Send him to the Warren State Home.” “Let’s talk it over in the morning.” “No. All you do is talk, talk, and you don’t do anything. I don’t want him here another day. Now—tonight.” “Don’t be foolish, Rose. It’s too late to do anything . . . tonight. You’re shouting so loud everyone will hear you.” “I don’t care. He goes out tonight. I can’t stand looking at him any more.” “You’re being impossible, Rose. What are you doing?” “I warn you. Get him out of here.” “Put that knife down.” “I’m not going to have her life destroyed.” “You’re crazy. Put that knife away.” “He’s better off dead. He’ll never be able to live a normal life. He’ll be better off—” “You’re out of your mind. For God’s sake, control yourself!” “Then take him away from here. Now—tonight.” “All right. I’ll take him over to Herman tonight and maybe tomorrow we’ll find out about getting him into the Warren State Home.” There is silence. From the darkness I feel the shudder pass over the house, and then Matt’s voice, less panicky than hers. “I know what you’ve gone through with him, and I can’t blame you for being afraid. But you’ve got to control yourself. I’ll take him over to Herman. Will that satisfy you?” “That’s all I ask. Your daughter is entitled to a life, too.” Matt comes into Charlie’s room and dresses his son, and though the boy doesn’t understand what is happening, he is afraid. As they go out the door, she looks away. Perhaps she is trying to convince herself that he has already gone out of her life—that he no longer exists. On the way out, Charlie sees on the kitchen table the long carving knife she cuts roasts with, and he senses vaguely that she wanted to hurt him. She wanted to take something away from him, and give it to Norma. When he looks back at her, she has picked up a rag to wash the kitchen sink. . . .”
Contributed by: Kaitlyn O.
June 5, 2025
Flowers for Algernon
Experience: Righteousness
Narrative Technology: I Voice
“'The problem, dear professor, is that you wanted someone who could be made intelligent but still be kept in a cage and displayed when necessary to reap the honors you seek. The hitch is that I’m a person.' He was angry, and I could see he was torn between ending the fight and trying once more to beat me down. 'You’re being unfair, as usual. You know we’ve always treated you well—done everything we could for you.' 'Everything but treat me as a human being. You’ve boasted time and again that I was nothing before the experiment, and I know why. Because if I was nothing, then you were responsible for creating me, and that makes you my lord and master.”
Contributed by: Kaitlyn O.
June 5, 2025