Gaze of the Abyss

I don't know that this belongs anywhere in specific, but it seems like it would kick up the least fuss in this forum. It's a short story I wrote earlier this year - I hope you guys enjoy it. Any feedback you guys feel like offering is more than welcome. I think it's a pretty good story, but I mean - of course I do, or I wouldn't be posting it, right?

Gaze of the Abyss​


"He who fights with monsters should look to it that he himself does not become a monster."

The night is cold, and the weather bitter. Harsh and unpredictable drafts of wind course through the uncharted avenues of my mind, and I clutch desperately at fleeting, comfortable thoughts, attempting to pull them in, and wrap them around my being for warmth; security against the unrelenting storm of my discontent. However, try as I might to divert my musings from the subject of my contempt, these notions are embroidered so intricately into the tapestry of my sanity that my only hope for their removal lies in unraveling the canvas. I therefore commit myself to my grim interpretations, and their inevitably tragic ramifications.

Humanity – my problem is not with humanity. Truly, it is the sheer inhumanity of those charlatans who masquerade as humans that unsettles me. What makes us human? What separates us, as a species, from any other creature that walks the earth? The answer is simple: it is our conscience – our morality; our inner understanding of what is right and wrong. We, and we alone, have the capacity for virtue, and this is our defining feature. Yet, I have observed so clearly the immorality of our society, and this incites the most bitter ire in my soul. To take the aspect of our racial identity which entitles us to our distinction as ‘higher’ life, and then forsake it in favour of comfort, or pleasure – the pursuit of which is so often precipitated by descent into vice. This is the ultimate irony of our species: our most apparent trait is the utter disregard for the innate aspect of our being which unites us.

It is in this sense that I remember my childhood; my father and mother. My father, I realize in retrospect, was an intelligent man, with an affluence of outward charisma. He was in his third year of Psychology at University of Toronto when I was conceived, and he could have accomplished a great many things, were it not for some unfortunate limitations – both personal and situational – holding him back. He suffered from severe alcoholism (and I am at pains to describe it thus, but understand that I intend in no way to mitigate responsibility for his actions, but when one considers how dramatically and adversely he was affected, it becomes clear that the affliction can be described as nothing less than a self-imposed and self-destructive disease). This did not dovetail well with his naturally mercurial disposition. He was prone to violent outbursts at the slightest provocation, and felt little to no remorse for the people he would hurt. He did not want children, and when he discovered I was to be born (out of wedlock), he tried to persuade my mother to go through with an abortion; clearly, he lost that debate. He was forced to drop out of school, and take a dead-end blue collar job in order to support me. I have never been able to solidify my theory, but I have long suspected that it was my birth which drove him to the alcoholism that destroyed his life.

My mother, by comparison will seem a great deal more likable, but one must understand that her shortcomings were equally, if not more tragic than those of my father. She was a very loving person, and truly cared about all those who were close to her. However, she was possessed of a child-like naïveté, an attribute clearly evident in her devout worship of Islam and her selfless and inexplicable devotion to my father. She was driven exclusively by her emotions, and consistently failed to consider the consequences of her actions. In refusing the option of abortion out of irrational zeal, she ruined both her own life and the life of my father – in doing so condemning me to an existence plagued by bitter resentment and suffering. My mother would not concede to logic – she outright refused the option of adoption, believing I would be better off in a family of three provided for by one low-end income. Of course, the reason she cited for her illogical and inconsiderate actions was always love. I wish she could see me know. I wish she could understand, as I know all too well, what grotesque a nightmare her love hath wrought.

The first significant memory of my life is not a happy one. I was barely four years old at the time, but so many times has this reminiscence been replayed in my mind’s eye that every minute detail has been etched permanently into my psyche. It was a warm, still night in late spring. My father had called to let us know he would be arriving late from work, so my mother and I took a bus into the city to find a restaurant. I remember waiting in the parking lot for my father to pick us up. I remember the group of insects which congregated around the lamppost, worshiping its incandescent glare. I remember the moon, bright and near-full, casting its pale, reflected light on all it surveyed. I remember my hand in my mother’s, as we stood outside the diner. I remember the scent of alcohol on my father’s breath. I remember my father shouting at my mother for questioning his ability to drive. I remember crying. I remember my father turning round, reaching back to hit me. I remember a bright light in my eyes. I remember waking up in the hospital. I remember the stitches. I remember learning that my mother had been killed instantly in the collision, and from that point forth in my life, all I can remember is pain.

I have known pain, but I don’t think I can ever understand the pain my father must have known. He opted to continue taking care of me, and I don’t know why. I remember his words at the eulogy. She is all I ever loved. After the accident, he chose to take care of me not out of love, but guilt. I was his cross to bear – I was his penitence for his misdeeds. I need not imagine how much my existence must have tormented him. How he must have longed to forget about his past, but the past can sometimes be an awful thing – a creature of horror, wrapping its gnarled claws around your soul, it feeds on your guilt, your pain, your sanity. To toil all day at a job he despised, then come home to see my marred visage – the scar on my cheek serving as a burning reminder of that fateful night. Surely, no man deserves such a fate. His alcoholism worsened. Every night, he would come home, and lose himself in an ocean of gin and sorrow. I remember being torn from my slumber by his tearful screams, and I would know he had been dreaming again. I would know that the past had not loosened its fiendish grip on his heart. In some ways, I’m glad – for this grotesque denizen of the soul seems in some ways the only thing my father and I had in common.

I stayed with my father for thirteen years. Thirteen years, I suffered his abuse, both of me and of himself. Thirteen years, I lived in a household with a man who not only did not love me, but came to despise everything I represented. My only relief from pain was in the public library, down the street from our house. I was intrigued especially by the stories of Edgar Allan Poe. In countless years of reading, I have not encountered an author so well-endowed with understanding of the human condition. The Black Cat was always a favourite of mine. No piece has ever voiced truer sentiments regarding the inherent evils of sentimentality, nor the delicate nature of man’s sanity in the face of internal tragedy. The protagonist of the story is noted for the docility and humanity of his disposition, and yet the story’s plot is perpetuated by his violent outbursts. Sentimentality is a character flaw, and though it may seem beautiful in some cases, when emotions refuse to yield to reason, the descent into vice is inevitable. The protagonist, by mawkishly embracing alcohol, and clinging to his grief, sacrifices his moral humanity.

In the time I spent in that horrid house, I saw my father degrade from the brilliant, if somewhat over-indulgent man I had known into something frankly less than human. He no longer beat me – he no longer did anything. He no longer had the mental energy to do anything but drink himself to sleep. Finally, one night, he simply did not return home. I didn’t worry. Though I could sense exactly what had happened, I didn’t worry. His body was found in his car the next day, having careened off of a bridge into a ravine some thirty feet below. I believe he was entirely sober when he made that decision, and perhaps thinking clearly for the first time in seventeen years. In my father’s case, it was sentimentality and intoxication which forced him to continue living. In his moment of clear-headed, rational sobriety, he made the only logical decision he was left with. I was not happy, but I was not sad. I had long grown out of such childish emotions. I was relieved; I no longer needed to feel guilty about the desolate man I had created.

I refused to be taken in by child services. I had come to know people. I had come to despise them, and did not want to be cared for by them any longer. I was homeless for several months before finally obtaining a telemarketing job, and earning enough money to move into a small apartment. I have lived in that apartment for just over a year now, and the bitter stench of the place has begun to weigh heavily upon my soul.

I can no longer stand to be alone with my thoughts. They are merciless in their torment of my soul, picking away at the fraying threads of my sanity. It seems sometimes to be at peace, I must surround myself with noise, to dampen the cacophony of introspection. I walk down my road, and watch the sub-humans pass me by. I no longer can even see them as of the same species. I see their Machiavellian nature, their lack of regard for anything but their own emotions and personal well-being. Just to see them, smell their synthetic perfumes, and hear their vapid conversation – to know that they think I am one of them – no, that they are one of me, it is all I can do to conceal my hatred. I can feel a searing pain in my chest, and my blood rises to a boiling point. I take deep breaths to steady my heart, and turn into an unpopulated avenue to divert my attention from the denizens of society.

I cast my glance sideways, into a residential alleyway. I see a teenager, not much younger than myself, with a can of spray paint, defacing the side of the apartment building. He smokes a cigarette, and is too focused on the task at hand to notice me; he is too distracted by vice to spend time worrying about humanity. How poetic. My boiling blood begins to steam, and all my hatred, all my sorrow, all my pain and all my guilt becomes focused on this one man. My reason can no longer impede the passion, and I charge forward, and tackle him to the ground. I deliver countless blows to his face and body, and with each connecting strike, my anger mounts. I unload upon him the turmoil which I’ve dealt with alone for so long. I have no idea how long this went on. I am torn back into reality when my arms become too tired to continue the assault. The skin on my knuckles is worn down into nothingness, and through the blood – his or mine, I don’t know, I can see the pale white of bone. I breathe in the night air, and looked up at what the mess of pulp that lay before me now had scripted on the wall.

Reason ruling alone confines
Passion unattended burns to its own destruction

I am struck by the horror of what I have done. I have become no better than the charlatans by whom I am surrounded. I have given into my sentiments; I have sacrificed morality in the name of anger. I have become inhuman. I start to lament my own descent into inhumanity, when I realize the much larger truth of what I have observed. I have not become inhuman – the truth is so apparent to me now, and my mental wind cools down to a breeze, the avenues of my mind now connecting and interlocking in ways I could not have understood before. The final tumblers of the lock have been displaced, and I begin to turn the doorknob. I have become human. It was foolish of me to attribute the concept of moral perfection to our tragically flawed species. I have completed the process of achieving humanity. I am imperfect – a being of reason, impaired by my sentiment. We are not designed for moral perfection – that is the domain of beings greater than ourselves. We represent the duality of reason and emotion – yin and yang, the good being offset by evil. What could ever be more human?

I walk for several miles. Though disoriented and awe-struck, I’ve been there so many times that its location has become hard-coded into my brain. I trudge through the thick brush, and wherever I walk, the scent of tainted perfection – the scent of death follows me. My arms hang limply at my sides, blood hardening and sticking to my flesh. I’m taken back to my last peaceful memory - holding my mother’s hand, looking into her eyes, and feeling encompassed by her love. Fourteen years of pain have finally subsided, and I can once again be happy. At last, I’ve arrived at my destination. I’ve come here so many times. So many times, I’ve tried to understand, to know exactly what you were thinking – what you realized when you made that decision. I think that now I understand. What options remain for those who have seen what we have seen? I breathe in deeply, and lean forward, releasing my grip – releasing my inhibitions. I don’t know what fate awaits me, but surely it is nothing worse than being human.

“He who fights with monsters should look to it that he himself does not become a monster. And when you gaze long into an abyss, the abyss gazes also into you.”
- Friedrich Wilhelm Nietzsche​
 
I really enjoyed reading this.

I had only a few small gripes, but I'm just that kind of person. I'm kind of a realist with certain things, such as:

"How can he get a job at 14? Wouldn't he be forced by law to go with Social Services."

I'm a writer as well, and I like things explained. Don't take it to heart at all, that's just what I see.

Also, a bit wordy in some areas which distracted from the story itself. I understand what you were getting at, I just though some of the stuff was a bit....superfluous.

Overall though, very well written and interesting. I enjoyed it.
 
The first significant memory of my life is not a happy one. I was barely four years old at the time
I stayed with my father for thirteen years.
Seventeen, seventeen - not quite so ridiculous, although maybe that point could stand to be clarified.

I've received some comments that some of my writing is superfluous, but I guess in that sense, I am writing for myself first, and others second. Typically, there is reason behind all my diction, and I try not to waste words, but in some cases, I use more obscure or archaic words - especially adjectives - because I find that their connotations serve to reinforce a darker, more sinister tone - in my own mind, even if not in the minds of others.

I don't mean to say you're wrong - I recognize that it's potentially an issue, but I guess I'm just trying to stress the point that my diction isn't intended as a show of pedantry - I think it significant, but if you could point out particular passages that you found superfluous, I'd be happy to reassess their significance.

Thanks for the feedback :)
 
Hey Basics, I've written kind of a lot of criticism for you. It will probably come off as harsh, but it's intended to be constructive. Remember as you read it that I would never spend so long writing this stuff if I just wanted to be a dick. I think you've got some potential, buried beneath some very common beginners' mistakes.

As you continue with your writing, you'll come to view detailed criticism as the greatest gift anybody can give you. It is the fastest and surest way to improve, so please consider what I have to say, don't ignore it because it's negative.

Gaze of the Abyss​


"He who fights with monsters should look to it that he himself does not become a monster."

You reveal your whole theme with this unnecessary quote. I know what your story is going to be about now, so why should I bother reading it? Well, there could be several reasons - I could like the characters, or enjoy the writing itself. But if I don't, you've removed the last remaining impetus for me to continue, and you didn't need to do that.

The night is cold, and the weather bitter. Harsh and unpredictable drafts of wind course through the uncharted avenues of my mind, and I clutch desperately at fleeting, comfortable thoughts, attempting to pull them in, and wrap them around my being for warmth; security against the unrelenting storm of my discontent.

This opening paragraph displays the major flaws of your prose as well as any. This story is verbose, to the point of being ridiculous. Every word is laboured and forced, nothing here sounds like something a person would actually say or think. The metaphor is overdone, and it builds to nothing. Here's the rest of the paragraph:

However, try as I might to divert my musings from the subject of my contempt, these notions are embroidered so intricately into the tapestry of my sanity that my only hope for their removal lies in unraveling the canvas. I therefore commit myself to my grim interpretations, and their inevitably tragic ramifications.

Okay, so we've gone from a storm to a tapestry. These two images don't complement one another, and they don't build a strong sensation in the reader's mind. A storm is wild, natural, enormous in scale. A storm makes you frightened and reminds you of man's helplessness. A tapestry, on the other hand, is delicate, manmade and very non-threatening. It makes you think about painstaking precision, hours of tedium. These two images don't fit together at all, they cancel each other out.

You describe your mind as a series of avenues in the first extract, and here it's a tapestry. Be consistent in your metaphors.


Humanity – my problem is not with humanity. Truly, it is the sheer inhumanity of those charlatans who masquerade as humans that unsettles me.

What? You haven't made it clear what your narrator is thinking. When he says "sheer inhumanity of those charlatans that masquerade as humans", I don't know what he's talking about. It almost sounds like he's talking about vampires or something, instead of it being a metaphor. An example would help us a) understand what he is trying to say, and b) sympathize or empathize with him.

You're using a lot of intensifiers. "Truly" and "sheer inhumanity" are written to make what the narrator is saying sound more convincing, but he's making such a strained effort to sound convincing that we start to question his integrity. Cut the words "truly" and "sheer" and you have a better sentence.

What makes us human? What separates us, as a species, from any other creature that walks the earth? The answer is simple: it is our conscience – our morality; our inner understanding of what is right and wrong. We, and we alone, have the capacity for virtue, and this is our defining feature.

Unconvincing. The narrator presents a case without actually giving evidence or argument for it. And he puts his idea forward in such a smug, pretentious-sounding way that I am aching for him to be proved wrong, instead of interested in where he's going with all this.

Yet, I have observed so clearly the immorality of our society, and this incites the most bitter ire in my soul.

This sentence is awful. Way, way too verbose. "Incites the most bitter ire in my soul" sounds like something a fat thirteen-year-old goth would post on her MySpace bulletin. The intensifier "most" is annoying and unnecessary. "The most bitter ire" can be replaced with "a bitter ire". "Observed so clearly" can be replaced with "observed clearly", or even "observed", which can in turn be replaced by the far less ostentatious "seen".

The narrator is talking about the immorality he has witnessed in society, but you're not giving us any opportunity to sympathize or empathize with his disgust. Make him tell some kind of story, so we can see where he's coming from and feel the same things as he is feeling.

To take the aspect of our racial ("racial" doesn't really fit here) identity which entitles us to our distinction as ‘higher’ life, and then forsake it in favour of comfort, or pleasure – the pursuit of which is so often precipitated by descent into vice. This is the ultimate irony of our species: our most apparent trait is the utter disregard for the innate aspect of our being which unites us.

You don't define what the narrator considers "vice", and that's such a subjective term that it really needs some explanation. The last sentence appears to contradict itself; it needs rewriting so the irony isn't obscured by confusion.

It is in this sense that I remember my childhood; my father and mother. My father, I realize in retrospect, was an intelligent man, with an affluence of outward charisma.

All charisma is outward. You don't need to specify. Affluence sounds awkward here, too - again, "affluence of outward charisma" is not a natural-sounding sentence.

He was in his third year of Psychology at University of Toronto when I was conceived, and he could have accomplished a great many things, were it not for some unfortunate limitations – both personal and situational – holding him back. He suffered from severe (more instensifiers, more fat to be cut) alcoholism (and I am at pains to describe it thus ("describe it thus" is way too pretentious and wordy. How old is your protagonist? Seventeen or thereabouts? How many teenagers naturally talk like this?), but understand that I intend in no way to mitigate responsibility for his actions, but (but, and then but. Needs to be split into two sentences at least) when one considers how dramatically and adversely he was affected, it becomes clear that the affliction can be described as nothing less than a self-imposed and self-destructive disease). This did not dovetail well with his naturally mercurial disposition.

Dovetail? Mercurial? Are you using a thesaurus to try to spice up your story? It's always best to use language that comes naturally to you, otherwise you will sound uncomfortable with yourself and your writing.

He was prone to violent outbursts at the slightest provocation, and felt little to no remorse for the people he would hurt. He did not want children, and when he discovered I was to be born (out of wedlock) (too wordy, sounds ridiculous. Change it to "when he found out my mother was pregnant" or something else that sounds like it could actually be said by a person), he tried to persuade my mother to go through with ("go through with" should just be "have". You're using three words where you could use one) an abortion; clearly, he lost that debate (debate doesn't sound right. This was obviously an emotional affair for both the mother and the father, the stiff staidness that "debate" conjures up doesn't convey the emotional reality of the situation). He was forced to drop out of school, and take a dead-end blue collar job (tell us what the job was) in order to support me. I have never been able to solidify my theory, but I have long suspected that it was my birth which drove him to the alcoholism that destroyed his life.

My mother, by comparison will seem a great deal more likable, but one must understand that her shortcomings were equally, if not more tragic than those of my father. She was a very loving person, and truly cared about all those who were close to her (again, you're using intensifiers instead of actually making an effort to convince the reader). However, she was possessed of (why not just "she possessed"?) a child-like naïveté, an attribute clearly evident in her devout worship of Islam and her selfless and inexplicable devotion to my father.

What? Why hasn't this been mentioned before and why does it not come up again? If the character's mother was a devout Muslim, surely that had some deep, serious effect on him, but there's no evidence of that in your story. It's treated as a minor detail when it was probably a significant factor in his development.

She was driven exclusively by her emotions, and consistently failed to consider the consequences of her actions. In refusing the option of abortion out of irrational zeal, she ruined both her own life and the life of my father – in doing so condemning me to an existence plagued by bitter resentment and suffering. My mother would not concede to logic – she outright refused the option of adoption, believing I would be better off in a family of three provided for by one low-end income.

This last sentence is straight journalese. It sounds like something you'd read in a transactional piece of writing, like a newspaper article. Surely your narrator doesn't think of his family as "a family of three provided for by one low-end income"? It's very vague; some emotional development would have been welcome here.

Of course, the reason she cited for her illogical and inconsiderate actions was always love. I wish she could see me know. I wish she could understand, as I know all too well, what grotesque a nightmare her love hath wrought.

You want to sound writerly and complex, but you're making mistakes. "What grotesque a nightmare" does not make sense syntactically. It should almost definitely be "what a grotesque nightmare". Maybe "how grotesque a nightmare", but that sounds at least as awkward as what you have. And "hath wrought"? Really? If you're going for a sinister, archaic tone, using this kind of language isn't working. It sounds hokey.

The first significant memory of my life is not a happy one.

Don't define things by what they are not. His first memory is a sad, scary one.

I was barely four years old at the time, but so many times has this reminiscence been replayed in my mind’s eye that every minute detail has been etched permanently into my psyche.

Overwritten, overwrought sentence. More thesaurus abuse, more mixed metaphor.

It was a warm, still night in late spring. My father had called to let us know he would be arriving late from work, so my mother and I took a bus into the city to find a restaurant. I remember waiting in the parking lot for my father to pick us up. I remember the group of insects which congregated around the lamppost, worshiping its incandescent glare. I remember the moon, bright and near-full, casting its pale, reflected (is it supposed to be significant that the moon's light is reflected from the sun? There's a lot of potential for an awesome metaphor here, but it's not being put to use) light on all it surveyed.

Okay, here we go, you've got the start of a subtle, extended metaphor. Both lights in this paragraph "look" - the streetlight glares, the moon surveys. So we have some sustained characterization of environment going on, good work. But why is it important that lights observe? What are you trying to tell the reader by saying this about the lights?


I remember my hand in my mother’s, as we stood outside the diner. I remember the scent of alcohol on my father’s breath. I remember my father shouting at my mother for questioning his ability to drive. I remember crying. I remember my father turning round, reaching back to hit me. I remember a bright light in my eyes. I remember waking up in the hospital. I remember the stitches. I remember learning that my mother had been killed instantly in the collision, and from that point forth in my life, all I can remember is pain.

This is the best paragraph so far. You have an actual story going on, instead of whiny introspection. There are some concrete images, like the stitches. Maybe specify where they are on his body? Think back to your childhood memories - they're often single images. Have your narrator describe the image he sees when he remembers his stitches. Your sentences are finally sounding natural, I can imagine somebody telling me this story face to face - right up until "from that point forth in my life".

I have known pain, but I don’t think I can ever understand the pain my father must have known. He opted to continue (just "continued" is better) taking care of me, and I don’t know why. I remember his words at the eulogy. She is all I ever loved. After the accident, he chose to take care of me not out of love, but guilt. I was his cross to bear – I was his penitence for his misdeeds. I need not imagine how much my existence must have tormented him. How he must have longed to forget about his past, but the past can sometimes be an awful thing – a creature of horror, wrapping its gnarled claws around your soul, it feeds on your guilt, your pain, your sanity. To toil all day at a job (we still don't know what job. How are we supposed to sympathize with him? Don't make the reader do all the work here) he despised, then come home to see my marred visage (thesaurus abuse) – the scar on my cheek serving as a burning reminder of that fateful night. Surely, no man deserves such a fate. His alcoholism worsened. Every night, he would come home, and lose himself in an ocean of gin and sorrow ("Drown himself" makes for a tighter metaphor, though you may want to drop this one entirely - it's very cliched). I remember being torn from my slumber by his tearful screams, and I would know he had been dreaming again. I would know that the past had not loosened its fiendish grip on his heart. In some ways, I’m glad – for this grotesque denizen of the soul seems in some ways the only thing my father and I had in common.

I stayed with my father for thirteen years. Thirteen years, I suffered his abuse, both of me and of himself. Thirteen years, I lived in a household with a man who not only did not love me, but came to despise everything I represented. My only relief from pain was in the public library, down the street from our house. I was intrigued especially by the stories of Edgar Allan Poe. In countless years of reading, I have not encountered an author so well-endowed with understanding of the human condition. The Black Cat was always a favourite of mine. No piece has ever voiced truer sentiments regarding the inherent evils of sentimentality, nor the delicate nature of man’s sanity in the face of internal tragedy. The protagonist of the story is noted for the docility and humanity of his disposition, and yet the story’s plot is perpetuated by his violent outbursts. Sentimentality is a character flaw, and though it may seem beautiful in some cases, when emotions refuse to yield to reason, the descent into vice is inevitable. The protagonist, by mawkishly embracing alcohol, and clinging to his grief, sacrifices his moral humanity.

This is the worst paragraph in your story. This is not your narrator speaking, this is you, the author, telling us about a story you read. Is the narrator really going to go from talking about his father's alcoholism and abuse to going "hey, but what about this sweet short story? Pretty cool huh guys"? It takes us completely out of the action of the piece for some pointless adoration of Poe. It also spoils The Black Cat for people who haven't read it.

In the time I spent in that horrid house, I saw my father degrade (degrade is usually used in the sense of one party degrading another - maybe degenerate would be better) from the brilliant, if somewhat over-indulgent man I had known into something frankly less than human. He no longer beat me – he no longer did anything. He no longer had the mental energy to do anything but drink himself to sleep. Finally, one night, he simply did not return home. I didn’t (sometimes you use contractions, sometimes you don't. It makes your narrator less believable, as he doesn't maintain on style of writing or thought) worry. Though I could sense exactly what had happened, I didn’t worry. His body was found in his car the next day, having careened off of a bridge into a ravine some thirty feet below. I believe he was entirely sober when he made that decision, and perhaps thinking clearly for the first time in seventeen years. In my father’s case, it was sentimentality and intoxication which forced him to continue living. In his moment of clear-headed, rational sobriety, he made the only logical decision he was left with. I was not happy, but I was not sad. I had long grown out of such childish emotions. I was relieved; I no longer needed to feel guilty about the desolate man I had created.

I refused to be taken in by child services. (Um, how? They don't give you much of a choice. Tell us how he ran away) I had come to know people. I had come to despise them, and did not want to be cared for by them any longer. I was homeless for several months before finally obtaining a telemarketing job, and earning enough money to move into a small apartment (Leases are pretty tough to get without proof of age and identity. How does a teenager get one? Explain). I have lived in that apartment for just over a year now, and the bitter stench of the place has begun to weigh heavily upon my soul.

I can no longer stand to be alone with my thoughts. (Really? In the first paragraph they were the only safeguard against the "storm of discontent" your narrator was suffering) They are merciless in their torment of my soul, picking away at the fraying threads of my sanity. It seems sometimes to be at peace, I must surround myself with noise, to dampen the cacophony of introspection.

This whole story is nothing but a cacophony of introspection. I'm sure the reader empathizes with your narrator's wish to dampen it, so bring in some plot elements already.

I walk down my road, and watch the sub-humans pass me by. I no longer can even see them as of the same species. I see their Machiavellian nature, their lack of regard for anything but their own emotions and personal well-being. Just to see them, smell their synthetic perfumes, and hear their vapid conversation – to know that they think I am one of them – no, that they are one of me, it is all I can do to conceal my hatred. I can feel a searing pain in my chest, and my blood rises to a boiling point. I take deep breaths to steady my heart, and turn into an unpopulated avenue to divert my attention from the denizens of society.

This is the same verbose pointlessness, the same telling-not-showing that we've had all the way through the story - except for the narrator turning into an unpopulated avenue to escape, which is really, really, nice. A call-back to the first paragraph, where the narrator's mind is described as empty avenues? That's impressive. Seriously good job.

I cast my glance sideways, into a residential alleyway. I see a teenager, not much younger than myself, with a can of spray paint, defacing the side of the apartment building. He smokes a cigarette, and is too focused on the task at hand to notice me; he is too distracted by vice to spend time worrying about humanity. How poetic. My boiling blood begins to steam (this is practically 'pataphor, cut it), and all my hatred, all my sorrow, all my pain and all my guilt becomes focused on this one man. My reason can no longer impede the passion (you're telling, not showing), and I charge forward, and tackle him to the ground. I deliver countless blows to his face and body, and with each connecting strike, my anger mounts. I unload upon him the turmoil which I’ve dealt with alone for so long. I have no idea how long this went on (you switched tenses for some reason). I am torn (and switched back) back into reality when my arms become too tired to continue the assault. The skin on my knuckles is worn down into nothingness, and through the blood – his or mine, I don’t know, I can see the pale white of bone. I breathe in the night air, and looked up at what the mess of pulp that lay before me now had scripted on the wall.

Reason ruling alone confines
Passion unattended burns to its own destruction

I am struck by the horror of what I have done. I have become no better than the charlatans by whom I am surrounded. I have given into my sentiments; I have sacrificed morality in the name of anger. I have become inhuman. I start to lament my own descent into inhumanity, when I realize the much larger truth of what I have observed. I have not become inhuman – the truth is so apparent to me now, and my mental wind cools down to a breeze, the avenues of my mind now connecting and interlocking in ways I could not have understood before. The final tumblers of the lock have been displaced, and I begin to turn the doorknob. I have become human. It was foolish of me to attribute the concept of moral perfection to our tragically flawed species. I have completed the process of achieving humanity. I am imperfect – a being of reason, impaired by my sentiment. We are not designed for moral perfection – that is the domain of beings greater than ourselves. We represent the duality of reason and emotion – yin and yang, the good being offset by evil. What could ever be more human?

The reader is not an idiot. You don't need to write an entire paragraph explaining what the themes of your story are. We can tell. This sounds like you're writing an essay on your own story, but it's in the story itself.

I walk for several miles. Though disoriented and awe-struck, I’ve been there so many times that its location has become hard-coded into my brain. I trudge through the thick brush, and wherever I walk, the scent of tainted perfection – the scent of death follows me. My arms hang limply at my sides, blood hardening and sticking to my flesh. I’m taken back to my last peaceful memory - holding my mother’s hand, looking into her eyes, and feeling encompassed by her love. Fourteen years of pain have finally subsided, and I can once again be happy. At last, I’ve arrived at my destination. I’ve come here so many times. So many times, I’ve tried to understand, to know exactly what you were thinking – what you realized when you made that decision. I think that now I understand. What options remain for those who have seen what we have seen? I breathe in deeply, and lean forward, releasing my grip – releasing my inhibitions. I don’t know what fate awaits me, but surely it is nothing worse than being human.

“He who fights with monsters should look to it that he himself does not become a monster. And when you gaze long into an abyss, the abyss gazes also into you.”
- Friedrich Wilhelm Nietzsche

Seriously, enough with the quotes. You're hammering your theme in very hard.

The two biggest problems I'm seeing:

Verbosity:
This one is simple. Just write in a language that is natural to you, otherwise you will not sound genuine and believable. Your bloated diction gives the impression of somebody who wants to sound like a writer, not someone who actually wants to write. Use the words and sentence structures that sound right to you. Once you have mastered your own style, you can parody and imitate and put on masks, but until you've figured out the basics, anything fancy you try will come off as shabby.

Show, Don't Tell:
Don't have the narrator tell the reader "I am sad". Make us feel that he is sad. Tell us the story of why he is sad. Make him talk to us in a way that makes him sound sad. All through this story, you expect the reader to empathize with your character automatically. That won't happen. You have to make us feel what he is feeling, not just tell us he is feeling something. Don't tell us that the dad is a cruel-but-tragic alcoholic, show us. Write some scenes where he behaves like one. Better yet, write some dialogue. There was no dialogue in this whole piece, and dialogue is your best method of characterization. The way people talk to other people is a wonderful indicator of personality and relationships.

But there are some really good bits in this story, and if you focus on improving your craft, you could develop some serious writing skill. Good luck with it in the future.
 
Hmm. Very well broken down. I am new to writing and am trying to improve myself.

I understand that the term "thesaurus abuse" isn't intended to be taken literally, but to some extent, I must take issue with it - I try to pick my words very carefully, and avoid excess. The more time I wait since writing the story, however, the easier it is to objectively analyze and remove these unneeded words. A couple of the examples you cited are allusions to other bodies of work, though i realize now that they are rather half-assed and in most cases Christian in nature - I should probably eliminate references to Islam, since they contradict quite clearly the Christian imagery in the story (regardless of how little of it there is - "cross to bear", "marred visage", etc.)

Allowing myself to depersonalize the work, I can see the validity in a lot of what you were saying. One point is that I don't really intend for the character to be empathized with. He cannot be empathized with - he has tried his whole life to eliminate his emotions and his feelings, viewing them as a weakness. How can one empathize with a character who does not feel? That was actually the primary motive behind making this story - the creation of an antihero with whom one can not empathize.

The verbosity issue is one that I'm trying actively to work at. In eliminating the "thesaurus abuse" as you refer to it, I always feel like I'm sacrificing something in the interests of simplifying, as opposed to clarifying. I guess the point is to be able to tell the difference, but in some cases, I just can't.

The issue of showing and not telling is something I can understand more clearly. It's an issue I'll certainly address in revisions, but I'm pretty sure that I won't be adding any dialogue.
 
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