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Two poems, Amy Marques


Misundershared

My grandmother always kept a notebook

overflown with wonderings on whether anyone cares

about things left unsaid, unheard, misundershared

always writing, often feeling less than understood


Overflown with wonderings on whether anyone cares,

I temper thoughts,               pace the volume of speech

always writing, often feeling less than understood

crafting whole landscapes to explain the inexpressible 


I temper thoughts,             pace the volume of speech

for there are those who care to listen and join in

crafting whole landscapes to explain the inexpressible

because shared language translates the misheard  


For there are those who care to listen and join in

bravely, tenderly, exploring the spaces between

knowing how shared language translates the misheard

willing to plow and plant in common ground 


Bravely, tenderly, exploring the spaces between

attentive to sunrises, gathering clouds, seasons

willing to plow and plant in common ground

nurturing seeds of truths


Attentive to sunrises, gathering clouds, seasons

of birth, of growth, of dormancy, of decay

nurturing seeds of blossoming truths

making time to harvest words, share stories


Of birth, of growth, of dormancy, of decay

things left unsaid, unheard, misundershared,

making time to harvest words, share stories:

my grandmother always kept a notebook.

Overture

Tell your daughter about the day of her birth


Tell her how you said let’s go, but not 

calm, not as together as you are now

maybe even panicking a little, driving

her mother to the clinic with the speed

of a glaucomic grandmother behind 

the wheel of a jeep you bought 

with a first grownup paycheck 

and how you stopped the car to yell

I’m having a baby to the closed clinic door

and how the nurse opened

what?

And you explained that it was your wife

having a baby and you could feel your heart

contract and blood push when they said

it was time, but not time, so there was time

to settle, to hold her mother’s 

hand until your daughter came 

perfect

and cried perfectly and breathed

until she didn’t and you didn’t and you didn’t


Tell her they grabbed her and ran

and her mother said go

and you raced to follow, to ask, to protect 

but they didn’t explain and she didn’t cry

then they said she needed help to breathe

to be

that maybe she wouldn’t learn, wouldn’t walk, 

wouldn’t


so they took her in an incubator, and you rushed,

chased them like a racer, like a father 

bargaining with God, with life, for


days, you sped from child to mother,

helpless hopeful prayers

threating God with boycotts of faith

pleading promises

waiting


You still remember, although it’s been

twenty-three years and your daughter’s fine—

has always been fine—she knows you know that

But maybe she doesn’t know that on the day she arrived

you almost lost her and you said you’d give 

life to protect her

and all you’ve done since

is try.

Amy Marques grew up between languages and places and learned, from an early age, the multiplicity of narratives. She’s been nominated for multiple awards, longlisted twice in Wigleaf 50, and has visual art, poetry, and prose published in journals such as Streetcake Magazine, South Florida Poetry Journal, Fictive Dream, Unlost, Ghost Parachute, BOOTH, Chicago Quarterly Review, and Gone Lawn. She is a contributor to the collective The Pride Roars, editor & visual artist for the Duets anthologies, author & artist of the chapbook Are You Willing? and the found poetry book PARTS. More at https://amybookwhisperer.wordpress.com.

Stories at: amybookwhisperer.wordpress.com Twittert: @amybookwhisper1 IG: @amyiscold

Flash fiction, Mehreen Ahmed

The fur

After many months of drought, Monsoon sets in—season of mixed abundance, more crops, more floods. Rarely more crops cause,’ there were more floods than not. I scrape last night’s vegetable peels off from the kitchen floor and chuck it away in a compost bin. I hear my neighbour, Rosina scream from upstairs. 

            “Too much rain. This Monsoon is particularly bad for chillies. How’re you going with yours?”

            I don’t say much but continue to scrape away the last of the tidbits, scraps. I have a roof-top pot garden where I grow my daily requirements of vegetables—chillies, cauliflowers and green spinach. This home-made compost helps. Monsoon destroys crops, specially chillies, they say. I hear it, but doesn’t bother me much. Rosina is right. The fate of chilly farmers is at odds as always.

            I press down the bin’s lid to push down some of the scrap; the bin fills up too fast. I carry it to my garden on the roof to distribute it evenly around into all of the pots. My chillies don’t shrivel in the Monsoon rain. I pluck a few plump ones. The overcast sky looks grey as expected. I walk to the edge of the roof and look over to peek into Rosina’s flat. I see an empty chair. I wonder where she may have disappeared. Perhaps, she is washing up in the bathroom or taking a bath, even. I decide to give her a couple of chillies. I call her. “Sina, Sina, Are you at home?”

             I hear nothing. I decide to go downstairs and knock on her door. I knock a few times. Rosina unbolts the door and stares in silence. She is wrapped in a towel. I try to move my face away when I hear her laughter. 

            ”Don’t be shy, I’m in the bathroom washing up,” she says.

            “I won’t stay, I just want to give you these.” 

            “Of course, thank you, chillies are way too expensive, these days.”

             “Yeah, I agree. Any way, I’ll leave you to it and maybe see you another time?”

             “Sure,” she said and shut the door to my face.

            That is rude, the way she shut that door. I come down the stairs feeling miffed, I open the door to my flat and get in. I put the chillies in a bowl on the table and walk to the verandah. I hear a scream coming from Rosina’s place. I wonder what’s up! Although, it still peeves me the way she shut her door to my face, I scream nevertheless at the top of my voice, ‘Sina, Sina, are you okay?’ I hear more screams, then a moment of quiet. I think, she must be okay. But I am not completely sure and fear something is wrong. I have half a mind to call the other neighbours. They hear it too. By now, I see a couple of them necking out through the window. Our eyes meet. 

            “I think we need to call the police,” I say. 

            They agree.

            The police come. I am upstairs again with the police. The door is ajar. We enter and we see Rosina on the floor. Her body is covered in some kind of a furry substance on her shoulders and chest but she breathes. Her eyes are closed. I call an ambulance. They take Rosina to the hospital. However, when I look around the room, I see that my chillies are broken, crushed, and messed up all over her table. I’m confused and look at the police.

            “She had a hairy visitor, who doesn’t like chillies,” an officer said.

            “What? Why? What do you mean?” I ask.

            “The visitor didn’t think she deserves any chilli of yours.”

            “What’s going on?” I ask.

            “Rosina did not atone for her sins. She didn’t say, ‘sorry.’ There’s a new hairy beast in town who will strip to the bare bones if someone’s soul didn’t grow, they take the target’s happiness away because of their inability to say, ‘sorry.’ Here’s its signature note.”

            “Really? I never knew. What’s her sin, though?”

            “The worst kind, one who doesn’t acknowledge in her heart that they’ve sinned.”

            “Hubris?”

            “Poison hearts. The beast knows better he’s a soul-reader, a snatcher and a compost-maker of new souls.”

            I grab the chilly scraps and rush out of the flat before the hairy beast destroys me, too.

Mehreen Ahmed is an Australian novelist born in Bangladesh. Her novel, The Pacifist, was a Drunken Druid Editor’s Choice in 2018. She has published eleven books and stories online. Her most recent works are in BlazeVox, Cabinet of the Heed, CentaurLit, Bending Genre, and Boudin, and more. She has won contests and prestigious nominations.

Flash fiction, Rachel M. Hollis

Static

I open my mouth, and ocean sounds come out. Waves crash, gulls cry. Salt stings my lungs. I try to say, “Don’t jump,” but the sea rushes in first. A moment later my son hits the floor, crying. I hug him tight, moisture clings to his hair. 

Later, I try again. Rainforest this time: wind through the treetops, insects buzzing. The air is thick in my throat. I mean to call the dog back from the street, but I’m drowned out. He returns hours later, burrs matted through his coat. I sit with him on the porch, pulling each one free. He licks my fingers. 

That evening, my husband comes home, drops his bag and asks about my day. I smile, nod. He tells me about a meeting. Then another.

By bedtime, I realize I haven’t spoken today. Not really. I open my mouth. 

Static. Salt and ash on my tongue. 

He exhales slowly beside me, lulled by the noise. 

I stay awake, afraid of what might come out next. 

Rachel M. Hollis lives in the San Francisco Bay Area with her husband, child, and a deeply unmotivated dog. Her work appears or is forthcoming in Star 82 Review, Scapegoat Review, Blink-Ink (print) and elsewhere.

Fiction, Christina Tudor

What you leave behind

Walk around in the square of the living room. Step on the hardwood and the carpet just to feel the difference against your heel. Stop by the kitchen and twist the timer still sitting on the countertop. Listen to the timer tick tick tick. It sounds like a sprinkler spitting water. Tick tick tick. Twist it again, bring it back to zero. Briiinnnggg. Do this just to know it works. The minute marks are rusting. This timer is as old as your second-oldest daughter who’s fifty-nine. Twist it again. Let it be the metronome to your footsteps. You have fifteen minutes before you must go back, fifteen minutes to remember everything you forgot while you were alive. 

Your feet move across the hardwood. You know when the floor will be uneven, where it will slant, what spots will creak beneath your weight. But there will be no sounds. You will not leave any marks. You could claw your fingernails through the paint in the living room and none of it will come off on your hands because you cannot leave permanent traces on this earth anymore. Someone nearby might be able to sense your presence, if they believed in that sort of thing, and even then, they’d have to convince themselves it was real. That you were real. 

The house is on the market after it bore your name since 1959, after you raised your children here, lived and aged with your husband, forgot things you never thought you’d forget like your daughters’ names and your wedding anniversary. You lived in this house until you died. Now your husband is dead too and at least one of you had to come back to see what you left behind.

On the stove, a note taped above the burners next to the bake button says HOT!HOT!HOT! like the extra exclamation points might help you remember but still you let the burners sit unattended until they glowed and smoked. You turned on the stove and let things burn, turned on the stove and burned yourself. Your husband learned not to leave you unattended in the kitchen, not to leave you unattended in a car, not to leave you unattended on stairs, not to leave you unattended. 

You’re not the only one who haunts this house. Traces of your husband linger. The pieces of paper with your phone number, his number, instructions for how to dial 911, the list of important dates you once forgot how to remember like 4/15-wedding anniversary and 1/12-Jennifer’s birthday line the side of the refrigerator next to his detailed calendars. January, February, March, April, May. He never made it to May, never paid the cable bill on the 15th or turned 93 on the 6th. As he neared his death, the writing on the calendar shifted from neat cursive to illegible scribbles as his hand shook, his body breaking down. The remembrance card from your funeral and your daughter’s funeral, dated three years apart sit next to the calendars. Yours has a picture of Jesus on the front. Hers depicts a patch of flowers and says our reunion will be a happy one. 

Inspect the dining room briefly. Remember the eight of you crowded around a table, pulling chairs in from other parts of the house to fit together. The beer and wine glasses and teacups in the China cabinet stack on top of each other collecting dust. You and your husband drank until you stopped and then gave in again. Then stopped, and then gave in again. If you looked hard enough, you could find the beer glass with your husband’s name on it and the tiny wine glass you drank from, pouring a fourth of a glass at a time. Repeating just a little bit, just a little bit, just a little bit to yourself each time. 

During your last Christmas in this room, your oldest daughter pulled a set of keys from your hand. You don’t drive anymore, remember? She asked. And you blinked into the white space in your brain, found a buzzing instead of clarity. I gave up my own life to raise you, you said, unsure of where the rage came from, wondered if was always inside you. 

Move on from this. Head upstairs. Open all the doors to all the empty rooms where your daughters slept at various points in their lives, rotating through the rooms as they got older and new siblings were born and others moved out. Go into the bathroom and stand in front of the mirror to inspect how your body looks, trace your curves with a curiosity for your body you were only allowed to feel when you were a child. In life, your body was a vessel for others. Whisper to yourself: mine, mine, mine.

Your husband left your room as you did. Walk around on all the bumps between the hardwood. Remember how you always picked up his clothes off the floor and brought them to the washer in the basement. Remember when you came home early one day and found clothes all disheveled like they were taken off hastily next to the nightstand. You picked up clothes that didn’t belong to you but were left behind by someone whose name you’ve never asked for and never wanted to know. Your husband moved out of your bed at your request, then the house. And you’d never come back together again completely. Eventually you told your husband he could come home. Not out of necessity but because the roof started leaking and the bank account wasn’t in your name and suddenly the front door was an open mouth that had swallowed you. 

Find all the photos before you go. Make eye-contact with everyone. Feel longing. You can remember their faces. You’ll never forget now. The timer is still ticking downstairs. You hear it brrriiinnggg again. For real this time. It’s time for you to go back. Walk out the door. You don’t need to lock it.

Christina Tudor is a writer living in Washington, D.C. Her fiction has been featured in matchbook, HAD, Flash Frog, Funicular Magazine, Best Small Fictions 2024, and more. She has received nominations for the Pushcart Prize and the Robert J. Dau Short Story Prize for Emerging Writers, and was a 2022 PEN America Emerging Voices Fellow in fiction. She can be reached on social media @christinaltudor

Fiction, Lanie Brice

Great Minds

He walks through the front door and turns to put his keys down on a front table that doesn’t exist. There’s a coat hook. But nowhere for the keys. He pauses, confused for a half second before he remembers. He doesn’t know his own apartment. His body might be here, but his mind never moved in. He keeps walking. Puts his keys on the kitchen counter. Turns on the bare overhead light. 

I close the door and put my coat on the hook. His is still on. I sit at the small café table we found at Ikea—called good enough. My chair rocks on the uneven tile floor. He opens a drawer, closes it. Opens another. Removes a lighter. Puts the kettle on. Sits down across from me. 

“It’s bad tonight,” I observe. My words are light, skimming the surface in an open tone. I’m not mad. I’m not here to make it worse. 

He looks out the window and shakes his head. The kettle starts to boil, and the sound engulfs the entire apartment. I watch wrinkles pull around his eyes, in the crease by his nose. There’s a shadow I know only he can see. I want to put my arms over his shoulders, put my face in the crook of his neck. Tell him it won’t hurt like this forever, even if the months are stacking up and the weight is multiplying. 

I get up and grab two mugs, finding the tea bags in the first cabinet I try and pouring the scalding water over top. When I pass him one, he looks surprised I’m there. Then he smiles, small and a little sheepish. Thanks me for the tea. I settle back in my chair across from him, the taste of dinner’s red wine lingering on my tongue. 

His engagement ended, nearly two years ago on a random Tuesday. They sold the house. Went no contact. He moved in here. He said all this on our first date as he wrangled long noodles with chopsticks, sounding impassive.

Then, he didn’t own any of this furniture. I take a survey of this little home I’ve built. The cold space of defeat turned cozy with pillows and charity shop books. A painting we made with splattered sample cans. 

“You’re the best man I’ve ever dated,” I say, bringing my mug to my lips. 

He takes the compliment impassively, staring into my eyes, probing around for the other shoe. We know each other well enough for him to find it before the words congeal on my lips. 

“But you’re clearly not ready to date again. Or, not like this. I know you weren’t looking for anything serious. I think a silly part of me thought I could fix you.” I sputter on the words that sour in the air, not at all what I mean. “Not fix you, but maybe offer…” This isn’t going well. “Some kind of solace. After what happened.” I take another long sip of my drink. I laugh at myself. “I’m terrible.” He laughs too.

He puts out a hand across the table, palm face up open to mine. I give him my hand, and he squeezes. “I kissed you, our first kiss on those stairs. I didn’t know I could do that.” I suck in a sharp breath remembering the impulse. “There’s no bad feelings. But we both know we’re living with a ghost. You’re too scared of hurting me to say it.”

He makes a noise in his throat and turns towards the window again. His eyes track back, staring down the abyss of his now nearly black tea. “You think I’ll never get over her.”

“No.” I draw in a deep breath to hold back the disappointed tears I know are lingering nearby. “You thought you’d marry her. That’s massive. No wonder you’re not there yet. I’m sure you will be. Please call me when you are.”

“You’ll wait for me?” he asks with a joking lightness that floods my body with relief. 

“No, no one should wait around. Either of us. Who knows, though. I might be free.”

“I’m sorry,” he says, hand still in mine. “I wanted this.”

“It doesn’t have to be forever to be good.”

“You can’t actually believe that?”

“I do. I really, really do.”

His hand withdraws, but his arms sit open by his sides, his chair pushed back from the table, enough room for me. 

I go to him, curl into his lap, chin on his shoulder. 

Lanie Brice grew up in Wyoming. In addition to her fiction writing, which has been published in A Thin Slice of Anxiety and Culturate among others, she runs a book blog called Reading, Writing, and Me, works at a whitewater rafting company, and has written for The Observer and The Infatuation. In the fall, she’ll be a graduate student at Trinity College Dublin studying Creative Writing. Instagram: @laniebrice Website: https://laniebrice.com/

Fiction, Calla Smith

Prayer for Silence

Every night, I wish the day would never come. In the dark air, it was easier to feel the pulse of the concrete under my feet. I longed to feel the beat of too many souls lost over the years to count. It was the only thing loud enough to manage to drown out the one-sided conversations in my head, eating away at me for as long as I could remember. 

In the darkness, I didn’t have to worry about how close I would come to crossing the lines that were engraved on my body and burned into my skin. Boundaries were blurry in the confusion of the shadows that haunted all the places I passed through like a ghost. The bold letters of the signs I passed told me I was beautiful, or that I should let the animal out. Every time, while I was lost in the beauty of the stars and the throbbing music and the sparkling bars, I thought I could even believe them.

Out on the cold, hard dance floor, I knew that there was at least a small chance that I could feel alive, that someone would look into my eyes and see all the parts of me that I tried so hard to hide away. In the candlelight, I could still pass for something mythical, someone worthy of being worshiped if only for an hour or so. I could even fall in love with my own reflection when I could barely make out my features in the mirror. 

In the early hours of the morning, the harsh light in McDonald’s didn’t bother me, even though I knew my eyes were covered in mascara bruises, and the red lipstick, like blood, had smeared out beyond the wrinkles at the sharp corners of my mouth like some kind of grotesque mask. Even as I ate a quick and greasy breakfast, I felt dangerous and impossible, flying above all the people stumbling out of the clubs to sit on the curb and wait for a taxi to take them home.

I never wanted to go home, because every time I slipped into the shower and my sweat swirled down the drain, my armor was lost. I was once again nothing more than a body sliding between cold sheets, my arm brushing against the frozen concrete wall as my eyes closed and the sun rose. I would be jolted awake in the full light of day where I couldn’t hide anymore from the voices, my voice, really, screaming all the things that I would never say aloud.  

Even when I closed my eyes, it wouldn’t stop. I spent my days writing long letters that would never be sent in an effort to push away all the things I ever wanted to tell the people who had passed even briefly through my life. There were so many of them, and some needed letters upon letters before the memory of their presence was washed out of me, and that voice would rest and give way to another stranger I had once known.

I hid from the sun, but it always managed to find me anyway in some forgotten corner of my kitchen. I could only escape once the dusk fell and I could cover the bags under my eyes with makeup and run over the empty city blocks, eager to be anywhere else.

Life went on like this for so long that I thought it would never change. I wasn’t even sure that I ever wanted it to. I didn’t care if it felt like I was living like a criminal. But as the days and nights went by, the voices were stronger and more persistent with all the things that I would never be able to say. The letters on my dining room table, addressed to my family, friends, lovers, or strangers I had passed on the sidewalk, took up more and more space, and even putting the words that echoed in my brain on paper wouldn’t stop the agony. I could feel the folded notes screaming at me in a hundred hungry voices, and I knew I needed them out of my house. One night I slipped a few in my purse without really knowing that I would do with them.

There was an empty space in a forgotten corner of the first bar I slid into, so I taped the scrambled message to no one there, and a moment of calming silence like the light flickering through the breaks in the music came over me. After that, I posted another note on a lamppost and left another on the bench of a bus stop. The city was full of places that needed to be filled with something. By the end of the night, all the letters I had with me were gone out into the world on their own, and I was left alone at the bus stop as the first rays of the sun hit my face for the first time in as long as I could remember I didn’t wince.

Calla Smith lives and writes in Buenos Aires, Argentina. She enjoys continuing to discover all the forgotten corners of the city she has come to call home.  She has published a collection of flash fiction “What Doesn’t Kill You” and her work can also be found in several literary journals.

Fiction, L. Acadia

All’s fair

There are many stories to tell of this war: imagined beginnings tending towards missiles piercing the city’s ubiquitous cloud cover, soldiers landing on sandy beaches, grim pronouncements from dour announcers. Yet some starts are ambiguous, and almost none are fully glimpsed through the small opening of an individual’s perspective when they live certain moments in history. Neither the president’s cabinet nor those practiced political commentators who gather at the neighbourhood temple to drink tea, burn ancestor offerings, and speculate are quite sure whether the blockade is provocation or declaration. No one can be sure whether this is the opening through which a war will emerge.

The third night of the siege, old men whose wives were the ones scrounging the remaining produce at market still sit in the park, filling the gazebo with cigarette smoke and competing contentions that it’s all just posturing, not war. A strange figure joins the men, but doesn’t listen to their memories and forecasts. She waits, apparently still and straight, yet internally agitated, as though all the symbiotic organisms in her body have grown limbs and are running in divergent directions. Turning towards a motorcycle engine’s scream, she seems about to internally combust when the motorcyclist kills the engine and removes her helmet to reveal a head of close-cropped curly hair and intense expression to match hers. The wordless length of their greeting then long-strided walk down the alley in step, still not touching, reveal how long it has been—since they’ve seen and known each other. 

They enter a familiar house, silent apart from the heave and clank of bolting the heavy teak door and a slight buzz of old wiring powering new incandescent lamps that make the old terrazzo floor’s copper veins spark. A distant crush pulls their eyes instinctively towards the door, still secure. The one who lives there comments that looting began on the siege’s first night, so they might as well drink the wine she’s been saving. Already, in the months leading up to the siege, nerves sizzled. She recounts an incident with a squat man who rammed through the round kitchen window with a stubby painted log, then threw the log and threats at her before slamming away. It wouldn’t have made sense to call the police, and now, no one knew what warnings to worry over. Her tight-wound energy recedes down a narrow side hallway, but the other can picture her in the basement pantry where they used to hide together, can imagine her squatting to grasp the right bottle—it will be a pinotage, she knows—then reaching a long-muscled arm up to the shelf with industrial and stemless glasses repurposed from wine bottles. Her return confirms this guess. 

 One sighs, then the other, and they each wonder what the other’s sigh meant as they ascend broad stairs encircling the living room that a glass ceiling over a forest of intertwining pothos and monstera vines turned into an atrium. The final staircase to the bedroom is enclosed, but photographs lining the walls are like portholes or portals. They both stop at the last, framed in faux gold and fingerprints. There they are together, as toddlers, with large tags around their necks, fleeing another war. They arrived together, but had never remembered whether they’d departed together, whether they were biologically the sisters they’d been raised to become. 

They touch then, one pressing two fingers into the other’s palm to lead her. They sit on the quilt they’d slept under before, and look as though for genetic markers, at one another’s brows and nose and lips, fingering hairline and jaw and clavicle. Do you think we are sisters? Does it matter now? They lock dark brown eyes as their lips press and yield. Neither can remember whether it is the first time in their lives, whether practice kisses are memories or reveries. Of course they know. Eyes open between blinks to the familiar patterns of wrinkles and movement. Tongues emerging from mouths to taste not just the smoky ripe exhalation of pinotage. The house has become too loud to make out the old wiring buzzing. Both know, smell, hear, see, feel the war burn through the heavy teak door, fire hissing through the humid forest of vines, up the stairwell, singeing their portrait at the threshold, licking into the room. Hands on shoulder blades and sacrum, they pull closer, into the open moment. 

L. Acadia is a lit professor at National Taiwan University with work published or forthcoming in Kenyon Review, New Flash Fiction Review, New Orleans Review, Strange Horizons, trampset, and elsewhere. She lives with her wife and hound in the ‘literature mountain’ district. Connect at www.acadiaink.com or on Instagram and Bluesky: @acadialogue

Fiction, Rob Moore

The Storm

The sun is sinking in a molten blaze of glory, suddenly visible below the leaden mass of cloud that has brooded all day over the two men. Now they are lit up as if on a golden altar as they sit on the wagon’s running board clear above the hedges that otherwise keep the lane in a deep shade.

“A storm is coming,” says the older man.

“D’ya say so?” says the younger, wiping a sleeve across his grimy forehead.

The older man glances sideways at the younger, then clicks at the two horses that are pulling them and their cargo peaceably along. 

Well?” asks the younger.

“Maybe you think it isn’t true”

I see no sign of your storm.”

The wagon rumbles on, piled high with sheaves that the men have laboured to cut, gather and bind. It fills the lane with its bulk, heaving its way between the aged, crowding hedgerows that scratch away at the flaking paint on its lofty sideboards.

“Father Matthew says that the truth is… ”

“… and who decides this… truth?” interrupts the older man.

“The Lord decides.”

“The Lord God Almighty or the Lord of all this?” the older man takes a calloused hand from the reins and gestures at the land all around them; at the high hedges and the balks and ridged fields that stretch away down to the dark line of the river.

“He says in truth that sin is everywhere; and that Bell… Bee…”

“Beelzebub?”

“Yes. …corrupts all those who are not pure of heart.”

“Your Father Matthew is quick to cast stones.”

“What does that mean?”

“It means I know a truth or two about the Father Matthews of this world.”

They sit in silence while the horses plod on, a cloud of gnats spiral aimlessly above them in the late summer heat. Horse harnesses jingle, a high treble above the ever-present bass rumble of the wagon’s wheels. 

“You’re not curious on the subject of liberty?” the older man begins again.

“I know that each of us has his place in God’s order.”

“And your place is not to be curious?” he grins wryly at his companion.

“My place is to bring in the harvest.”

“And to do nothing else? Not to use the gifts God has given you for His Glory?”

“What gifts?”

“Your voice to speak the truth. Your mind to perceive righteousness. Your hands to take action.”

“Those gifts are equal in us all.”

“Are they now? Did you not take arms in the Great Rebellion?”

“I did. I fought for my Lord at Newbury.”

“You fought for your liberty?”

“I fought against tyranny.”

A pause, the wagon lurches over a deep rut. 

“I expect you saw a lot of other dead Carters and Commoners ”

At least we now have peace, and the tyrant king is imprisoned.” 

“So do you have your liberty? You and your dead Commoner companions?”

As they round a bend in the road a great house comes into view set on a low hill below them; it sits in a verdant expanse of grass, its sides studded with tall dark windows, columns support its wide portico.

“Why are you afraid to answer?” 

“This again? Will you question me throughout the livelong day? I’m not afraid.”

“Are you a man who would read the Pamphlets then?”

The younger man says nothing. He looks fixedly at the silent house below them.

Then he says “At the Assizes months back before the feast of St Thomas there was a man who talked like you do.”

“Oh yes?” 

“Father Mathew read us his pamphlet.” 

“..and what did you think of that man’s pamphlet?” 

The metal strakes on the wagon’s wheels are studded with hobnails to cope with the Surrey mud; now on the dry compacted surface of the laneway they make a sound like millstones grinding against each other.

“They took off that man’s ear.”

The younger man looks sideways at the older man and raises an eyebrow.

“I lost this ear to a musket ball lad.” The older man fingers the ragged skin hidden behind his long greying hair.

“Foot or Horse?”

“Horse. Dragoons.”

“And now it is over.”

“It is far from over,” says the older man. “There is still work to be done.”

“And so you have come here.” 

“I go where the work takes me.”

“Harvesting?”

“Harvesting… Gathering.” The older man makes a seesaw motion with the flat of his hand. “It is hard work, but it is eased by help from those like yourself.”

“I still see no storm.” 

“It will come upon us both nonetheless.”

The wagon rumbles on into the gathering dusk, it’s cargo of sheaves rustling and whispering.

Until now Rob Moore has never had anything published anywhere ever and is aware there are good reasons for that. He writes for the love of the craft and not for the fame and fortune that will surely come any day soon. He lives in County Down, Northern Ireland and is pretty cheerful, all things considered. @robm67.bsky.social

Flash fiction, Chris Cottom

Salix Babylonica

We match on Treehugger.com. Sal is as slender as a wand, lives on a slip road, and has a drink problem. ‘I’m parched,’ she gasps, eyeing the watering can I’ve brought instead of flowers.

She fills out as I nourish her with organic mulch. Eventually, blossomed and glorious, she cascades over me, her pointy tresses tickling my skin. Soon, I’m spending every weekend with her, oblivious to the roar of the Corby Orbital.

I’ll lie cocooned in the dappled shade of her canopy while she teases me about my past. I tell her how it all started with a stately cypress at Sissinghurst, how I’ve dated sweet cherries and twiggy hazels, and even had a fling with a late-blooming jacaranda.

In time, graceful but scratchy, Sal sighs in the wind, groaning about brittle boughs and claiming I’ll leave her if she loses a limb. When I reply ‘never,’ I realise she’s weeping.  

I arrive one Saturday and she’s trying to hide something. Through her yellow-green curtains I glimpse a cross painted on her trunk. ‘Road-widening scheme,’ she sobs. I gabble about reviews and appeals but she stops me. ‘It’s too late. Go and find yourself a nice young sapling.’ 

Through the night, she talks of whips she surrendered for baskets she never saw, how kids never collected her catkins, how her broad-rounded crown never sheltered a courting couple. She admits she’s sad not to have lived in a meadow ‘or just near a stream.’ 

At dawn, Sal doesn’t flinch as bulldozers rumble and chainsaws growl. I tell her I’ll stay. ‘No,’ she insists. ‘Time to go.’ Instead, I press my lips to her silver furrows, squirt my palms with superglue, and wrap my arms around her.

Chris Cottom lives near Macclesfield, UK. His work’s appeared in 100 Word Story, Fictive Dream, Flash Frontier, NFFD NZ, NFFD UK, Oyster River Pages, The Lascaux Review, and elsewhere. In the early 1970s he lived next door to JRR Tolkien.

@chriscottom.bsky.social  | chriscottom.wixsite.com/chriscottom

Flash fiction, Hilary Ayshford

Our Lady of Sorrows 

It’s cold inside the church, as cold as charity. Maria shuffles up the nave under the anguished gaze of Jesus, her down-at-heel brogues slap-whispering on the flagstones dinted by thousands of feet before hers. The feeble winter sun stripes the grey pillars with pastel colour.

She eases her bag down carefully onto the altar steps and rubs her aching shoulder.

‘I brought you these,’ she says. ‘I couldn’t think what else to do with them.’ 

Her words bounce off smoke-stained pillars, echoing round the vast, vaulted roof. 

‘It’s not a peace offering,’ she adds, in case God gets the wrong idea. ‘I’ve not forgiven you for taking him.’

Her voice sounds strange, unfamiliar to her. These days, now Patrick isn’t there to to talk to, she listens more than she speaks. She still visits the hospice every day, even though he’s been in the ground for months. Now she sits with those who have nobody, holding their crepe paper hands and stroking wispy tendrils of hair from their faces as the end approaches.

Sometimes, they tell her things – shameful things they don’t want to be buried with: clandestine affairs; a secret love child; crimes that went unpunished; slights and spites, things said and unsaid. 

Maria doesn’t know what to do with these confessions, so she puts them in her tote bag and takes them with her. But they’re weighing her down, immobilising her; she can’t go back, but moving forward is like wading through treacle. Today, unable to bear the increasing heft of them any longer, she brings them here. 

‘They’re yours now,’ she tells God. ‘I never asked for them. I’ve got enough burdens of my own without carrying other people’s.’

She upends the bag, and a stream of guilt, regrets, recriminations, weaknesses and missed opportunities flows out across the chancel; they collect in crevices, form shallow pools, disappear down cracks. The surge of relief leaves her breathless. 

On her way out, she pauses to light a candle for Patrick. A wisp of smoke drifts upwards, lifting the weight from her soul; the flickering flame pierces the grey fog of her grief. Slinging the empty bag over her shoulder, she leaves the church with a renewed lightness in her steps and in her heart.

Hilary Ayshford is a former science journalist and editor based in rural Kent in the UK. She writes flash fiction and short stories and has been nominated for Best Of The Net and Best Small Fictions. She likes her music in a minor key and has a penchant for the darker side of human nature. https://hilaryayshford-writer.weebly.com Bluesky: @hilary55.bsky.social Threads: hilaryayshford X: @hilary553

Ekphrastic, Jay Parr

Photo credit: Nicole Dressen

Constance

[Regarding the Sculpture of Constance Lloyd Wilde Holland at the Oscar Wilde Memorial Statue in Central Dublin]

Naked and pregnant, kneeling small, exposed in your shame before all of Dublin, your face the frown of trust betrayed as you look back at your larger-than-life Oscar, who ignores your wounded gaze to leer at the lithe torso of the ancient Greeks’ licentious Dionysus (later rendered Sir Rubens’ voluptuous Bacchus) a man to whom you have turned your back, but the world has cast you and him of the same weathered bronze, while your sometime Oscar, rendered resplendent in colorful stones collected from four continents, his hands bedecked with your wedding ring flanked by scarabs of good and ill fortune, the tie of his beloved Trinity glazed at his throat, lounges on a boulder stolen and lugged from the Wicklow Mountains—Oscar, in death as in life, ever the fulcrum of the V, the focus of endless scandal, of scorn tempered with admiration, infamy with fame, as you are pushed to one side, to change your name yet again, from Wilde to Holland as once from Lloyd to Wilde, in the vain hope of pulling your sons from the shadow of your still-husband their father’s endless scandals, exiled by outrageous fortune to the continent, to die forgotten in the periphery, of a botched surgery for a condition yet to be understood, and to be immortalized here, naked and cold on a pedestal of his words—his words, not yours, in the park of his childhood, not yours, even your nude form borrowed from a friend of the artist—your humiliation and your shame laid bare for all to see.

Jay Parr (he/they) has never been to Dublin (unless you count Dublin, Virginia). He lives with his partner and child in North Carolina, where he did an MFA at UNCG in the early ’00s and is now a lecturer in their online liberal and interdisciplinary studies program. He’s honored to have work in Elegant Variations (at Stanchion), Roi Fainéant, Bending Genres, Five Minutes, MIDLVLMAG, Reckon Review, Bullshit Lit, Identity Theory, SugarSugarSalt, Discretionary Love, Streetcake Magazine, Variant Literature Journal, and elsewhere.

Website: https://jayparr.wordpress.com/.

Bluesky: @crankypacifist.bsky.social‬

Flash Fiction, Joanna Theiss

When You Get Old, You Become a Silly Goose

On the Singer your grandmother left you, you sew the bodice, tack a thousand white feathers to the paunch, and carve breathing holes into the black leather beak. Zip until you feel metal on the base of your neck, then flex your arms in their wire-and-mesh wings. On a lark, you honk until your granddaughter joins you in front of your full-length mirror. She anoints you Silly Goose with her plastic princess wand.

Wearing the costume out of the house – ducking through the doggie door, waddling across the cul-de-sac – brings you attention you forgot you missed. Men step into gutters when your painted orange flippers slap the pavement. Packs of teenagers intent on their phones clear the way after you honk with the bicycle horn sewn into your dewlap. Nice to be noticed, to be seen, to be invited to the Halloween parade, in step beside your granddaughter, who is wearing your old lace coronation gown, your tiara pinned in her hair.

You’re on top of the world until you’re not, until you totter past your granddaughter’s room and hear her asking a Magic 8 Ball if Grandma will ever come back. Outlook not so good. Until her little friends visit and your goosey excretions stain the trains of their taffeta dresses. Until you remember that geese aren’t made for company. 

When frost encrusts the lawn, the clover loses its flavor, and you decide you’ve had it with this disguise. You reach behind your back, but your wingtips can’t manage the zipper’s pull. You have no thumbs to unshod the flippers, no voice beyond your beak. You honk for rescue, for transformation, for your granddaughter to put on a sweater and help you out. You honk until the neighbor bangs on the fence and threatens you with cookery.

In this suburban backyard, it’s getting colder, and your granddaughter has pulled her curtains closed. You understand. You did the same to your grandmother. Your world was bright pink, and hers had turned downy white, her face an embarrassing reminder of the shortness of one’s reign. 

Settling your wings back into place, you hunker down in the crook of the fence, seeking the earth’s last bit of warmth before your end. A flock flies overhead, a rollicking V of Canada geese. Their honks are frivolous, reviews of golf courses and grubby inland lakes, but they stir something, nonetheless. In pining for what you’ve lost – satin slippers, petal-soft cheeks, golden thrones – you’ve forgotten what you’ve gained.

The backyard is just long enough for a runway. Once you begin, nature takes over. Air balloons under your feathers, feet flatten against your paunch. The higher you rise, the richer the winter smells. This is the world, this sky: bigger and stronger and wider and more permanent than princessy fixations. You may be a silly goose, but you, you have learned to fly.  

Joanna Theiss (she/her) is a former lawyer living in Washington, DC. Her fiction and poetry have appeared in The Penn Review, Chautauqua, Peatsmoke Journal, Milk Candy Review, and Best Microfiction, among others. You can find links to her published works and her mosaic collages at www.joannatheiss.com. Bluesky: bsky.app/joannatheiss.com

Micro fiction, Brigitta Scheib

The offering

The boy painted the sky pink, purple and gold, holding tight to the boar bristle brush as thick paint globs ran down the handle.

“One splash, two splashes,” he recited as he threw the inky colors into the air. Then he swirled and swirled until they married into one long, feathery horizon.

“Hello, Grandma,” he said, kneeling down to touch the smooth stone, cold and wet from the morning dew. He smiled and held the messy paintbrush out in front of him like a bouquet, clutching it with both hands, stained by the soft warm colors. “I brought you the sunrise.”

Brigitta Scheib lives in Harrisburg, PA with her husband, daughter and 3 orange cats. She just recently got back to writing, a hobby she last pursued in high school and college. @bscheib.bsky.social

Two poems, Ben Macnair 


A poem about Christopher Walking

This is a poem about Christopher, walking,

because he doesn’t feel like driving.

He just needs some bread and some milk,

easy to carry in his on-ya bag.


I know that you are expecting this poem to

be about the Hollywood star Christopher Walken,

with his idiosyncratic way of speaking,

of dancing, and being in some classic films.


But no, this is just a poem about some bloke

called Christopher, going for a walk

because it is a nice day.

Cairo

We didn’t speak until Cairo,

I felt it rude to interrupt,

and he did seem to be having,

such a good time,

telling himself stories that 

no one else would believe.


Every sentence lasted ten minutes,

every paragraph was an hour,

every silence, a wasted opportunity

to shoehorn in another topic,

that wasn’t all about him.

Ben Macnair is an award winning poet and playwright from Staffordshire in the United Kingdom. Follow him on Twitter @benmacnair

Micro fiction, Slawka G. Scarso 

And then she told Jack off

When Jack ripped my favourite doll’s arm, I would no longer play with her.

‘She’s ugly,’ I moaned.

Grandma yelled at me. She said love isn’t about prettiness. Then she put a ‘doll hospital’ sign in the front garden: 

‘Any girl can bring her doll. Go tell your friends.’ 

In line, Lorena, Angela and I we waited our turn: torn dresses, broken arms, half-shaved heads, loose button-eyes. 

She took our crippled dolls, with their lopsided haircuts, their lives already damaged, and turned them into models – like those in Paris, she said. So, when we hugged them back, we said Merci

Slawka G. Scarso works as a copywriter and translator. Her words have appeared in Gone Lawn, Ghost Parachute, Fractured Lit and Scrawl Place among others. She was shortlisted for the 2023 Bridport Flash Award and for the 2023 and 2024 Oxford Flash Fiction Prize. Her debut novella in flash All Their Favourite Stories is available from Ad Hoc Fiction. She lives in Italy. More words on www.nanopausa.com

Poetry, Kathryn Reese

Stim

The alphabet is an instrument and she’s in the kitchen strumming  “Coco banana!”

as she goes about breakfast. All the buzz—a whirlpool of milk, cocoa, banana

vanilla, cinnamon, honey smeared on the bench. She’s gone into improv—

doesn’t need the conductor. Just stage crew to clean or pass her cocoa, banana

cinnamon cinnamon honey no mango banana pushed through a sieve 

the lumps pushed from her mouth, the fruit pushed through her fist, banana

all we did right—and even     that pushed into the underside of the red tray table

and abandoned.         She made a bridge: coco-coco-coco-banana

peels to the sky. A whirlpool of milk. The buzz. The breakfast. The honey 

the honey the honey, the love. The incorrect proportions: cinnamon, cocoa, banana

The sludge.                                           The quiet part. 

What can’t be said, the alphabet, the instruments, the broken strings. The reason (banana)

we can’t enter that room (banana) the cocoa marshmallow the soothing 

the strumming. The long note. Banana. 

 

Kathryn Reese writes poetry & flash. She lives on Peramangk land in Adelaide, South Australia. She works in medical microbiology and enjoys solo road trips, hiking and chasing frogs to record their calls for science. Her poems can be found in The Engine Idling, Epistemic Literary, Kelp Journal and Australian Poetry Journal. She was a winner of the Red Room Poetry’s #30in30 competition & the Heroines Women’s Writing Prize 2024. https://instagram.com/katwhetter? BlueSky: @kathrynreese.bsky.social


Micro fiction, Rachel Abbey McCafferty

The summer the sky burned, our town got a new pool and only opened it three times 


We held our breath above and below, heat battling smoke, our lungs stretched, the sun permanently imprinted on our eyelids. We were all new proportions and unmet potential. We were the promise of a future. We held our dreams close. We did our best to live in the moment. We did not know enough to worry about what if.

We saved our spare change for fast food and bruised fruit and cheap wine.

We saved our spare breath for each other’s lips.

Rachel Abbey McCafferty has been writing since she first learned that was a thing people could do. Her work has appeared in journals like HAD, Maudlin House and formercactus.

Poetry, Kristin Houlihan

Hibiscus


Lone blossom

First of the season 

Fuschia joy

Kristin Houlihan is a disabled poet, wife, and mother striving to live and love to the fullest while bedridden with Long Covid. She is cofounder and Poetry Editor at Epistemic Literary and Nimblewitlit Magazine, and her chapbook of micropoetry, Lift the Mask, is available widely. www.kristinhoulihan.com, Bluesky: kristinwrites.bluesky.social

Flash fiction, Denise Bayes


Becoming Mrs Dalloway

It is an ordinary Wednesday afternoon when she is suddenly overtaken by the spirit of Clarissa. She has been going about her usual chores after a dreary day in the office, dashing to the supermarket to get some frozen pizzas for dinner and checking that the dry cleaner will still be open by the time she gets out of the store. Carrying out the endless chores of a single mum. 

And then it happens.

She stops in the middle of the street. A sudden impulse fills her.

 She must buy flowers. 

Peonies, she thinks, imagining blousy pink blooms in childhood gardens.  She turns back towards the independent  florist shop in the high street.

She has never been inside before, has always thought of flowers as an unnecessary luxury.  As the bell announces her entry with a tinkling tune, an unfamiliar calm descends upon her. The owner  is behind the counter, her fingers twisting stems into a bouquet of roses and gypsophila.

Walking between rows of zinc pots filled with a variety of blooms, her fingers drift across the petals, releasing a whoosh of perfume. She leans towards a rose, inhales it. She  is an elegant lady in a Waterhouse painting.

“I need peonies. For my party.” She says to the florist, already visualising an imaginary soiree in her dining room.

Reaching home, she drops her parcel of blooms onto the rarely used dining table. As the children have grown into teenagers, they have migrated to sprawling on sofas at meal times. Screens have replaced conversation.
 But tonight will be different. 
 She trims the stems and arranges them into a glass vase, rescued from beneath the sink.  Soon she has covered the table with a glitter of forks and knives.

She can see the children’s shock when they return from school. They  halt, stunned by the  heady scent of flowers filling the hallway.

“Just time to change for dinner…” she announces in a calm voice. And smiles. The muscles in her face twitch at the unfamiliar upward movement.

The children nod, walking upstairs in bemused silence.

Tonight, she thinks,  they will eat together and share stories of their day across the table. They will laugh, smile. And for one glorious night, she will be Mrs Dalloway.

Denise Bayes’ writing has appeared in various places including NZ Micro Madness, Oxford Flash, Free Flash Fiction, NFFD Anthology, 100 Word Story, Thin Skin, Temple in a City and Underbelly Press. Denise lives in Barcelona, Spain with her husband and a cavalier called Rory, who is usually under the desk. @deniseb.bsky.social

Two poems, Jessica Coles


Meet the enchantress, wherever she is

on the way to the pond where

I contemplate the innocence of frogs


I remove my shoes, leave behind 

scarf and belt that disrupt ecosystems of narrative


hem of my skirt teaches forgotten lessons 

how to rot with purpose


who could reject an offer of metamorphosis?

I grow extra joints to leap from logic


weave moss, reed, algae into wisdom

this marshy garment redefines sweetness:


witch-selves I drowned re-emerge 

to croak twilight joy 

Ignius Benevolus

Joy is an elusive light, a path that leads 

to insubstantial ground


in dark forests, untrustworthy flutters

and sparks at the edges of sight:


what guides my doubtful steps?


Perhaps not all flickers of 

luminescence intend deception.


What if delight can be captured, what if hope’s phantasm 

has solid edges—in the right shadow?


Perhaps you teach my feet 

lightness, how to dance through swamps 


so that when toes meet water’s edge

reeds coalesce into cobblestone


shifting shape like the joy of being

beckoned down a safe path that restores


my faith in ethereal candles 

that lures me 


home.

Jessica Coles (she/her) is a poet from Edmonton, Alberta, Canada, where she lives with her family, a tuxedo cat named Miss Bennet, a tarantula named Miss Dashwood, and a green keel-bellied lizard named Bao Long. Her work has appeared in print and online at Prairie Fire, Moist Poetry Journal, Full Mood Mag, atmospheric quarterly, Stone Circle Review, CV2, The Fiddlehead, Capital City Press Anthology (Vol. 4), Ghost City Review, slips slips, and elsewhere. She has self-published two chapbooks, Unless You’re Willing to Evaporate and The Lyrics Prompt Poems: Ultimate Collector’s Edition (prairievixenpress.ca). Find her on Bluesky @prairievixen.bsky.social