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Flash fiction by A Allan Chibi

The archivist

Cork, Present Day.

The rain turned the city to shadowed glass. Clíodhna Feldman sat in the archives, watching mist creep across the River Lee. The air felt wrong, too still, too thick, like paper soaked in old breath. Each keystroke echoed louder than it should, as if tapping the lid of a coffin.

The obituary blinked onto the screen. Harold Simms, 47, sudden exsanguination in Toronto. No evidence of foul play.

Simms. A name she had flagged years ago in a Hampshire record from the 1500s. She had dismissed it as coincidence. But then came the others: Vermont, Dakar, Tasmania. All descended from a militia that razed an Irish village in 1494. All deaths by blood loss. All called natural.

She opened her private logbook and wrote beneath the red heading: Lineage 12C – Mallow Incident.

Later, at dinner, an elderly woman leaned close, her eyes flickering like moths against flame.

 “You’ve seen the pattern,” she said.

Clíodhna nodded.

“Archivists call it the Red Thread. It moves through bloodlines like a needle through flesh, sealing wounds not to heal but to hush. Those who see it are marked. Those who feel it are already sewn in.”

Clíodhna swallowed. “Who is he?”

“He was fae once. Then something older bound him. Now he walks among us with purpose. He is the blade of a promise kept to gods no longer worshipped.”

Clíodhna thought of her dream: a man in a black suit, cane tapping, fog swallowing him whole.

“He doesn’t kill innocents,” the woman added. “Only the blood‑guilty. Only those who carry the line of the massacre.”

“And me?”

“Because you remember. Because your people kept the Book when others forgot.”

When Clíodhna finally saw him, the rain bent around his body. His hat cast no shadow. A busker’s saxophone spat a discordant note as he passed, and a dog blocks away began to howl.

Black linen suit. Ivory shirt. Panama hat. The cane shimmered briefly, eagle‑headed, then plain again. Its rhythm matched her heartbeat. He turned, nodded once, and kept walking.

The nod echoed down her spine. Recognition, not of her name, but of her role.

That night she logged another death. Bridget McHale, 38, Durban. Hampshire blood. No family. The body collapsed inward, veins shriveled to black threads, mouth open in silence, eyes peeled wide as if they had seen something vast before the blood turned to vapor.

Clíodhna whispered a prayer, then closed the file.

Her dreams were not quiet but silent, as if the world itself had stopped listening. No wind, no voices, no cane tapping. Only the sensation of something stitching beneath her skin.

When she woke, red pinpricks marked her wrists, constellations she did not recognize.

Andrew A. Chibi is a Canadian historian of Early Modern British and European history, author, and educator whose work explores the complex religious and political dynamics of Tudor England and the European Reformation. As an historian, his work includes Henry VIII’s Conservative ScholarThe Wheat and the Tares, and Fear God, Honor the King. Under the pen name A. Allan Chibi, his fiction works include novels such as The Unprofitable Servant and the first two volumes of The Saga of the Stolen One series. Short fiction has appeared in Altered Reality Magazine and in House of Long Shadows among othersHe is known for combining rigorous historical research with compelling storytelling, appealing to scholars and general readers alike. He currently lives in Windsor, Ontario.

Endnote

We named this issue Here because we are. Here. All of us. Everyone whose work is featured, everyone who reads it or will read it. Everyone who scrawled graffiti on a wall or made art for the world to see. We are here, right now. That’s enough.

PS

This is the signature of street artist (and regular artist) @ps.loveishere, but we think it’s also a pretty good statement of fact. There are torrents of despair all around. But even so, love is here. We hope you enjoy this issue.

Poem by Gloria Ogo

The Gospel of Joy

First, wake before the noise.
 Let the morning rest on your skin
 like a secret nobody can take.

Boil water. Add cardamom, maybe mint.
 Name the steam as it rises.
 Today it could be Grace. Or Glitter.
 Something alive.

Play a song that makes your bones remember
 what laughter felt like
 before the world tried to tax it.

Dress in the colors that make strangers stare.
 Wear yellow like you invented the sun.
 Paint your lips in defiance
 not for beauty,
 but for proof you exist.

When you pass another queer soul on the street,
 nod like a shared gospel.
 That tiny acknowledgment:
 a hymn of survival.

Eat slowly.
 Touch gently.
 Love like you are building a nation
 out of every yes your body has ever whispered.

They will call this joy a distraction.
 They will call it excess.
 But you know
 joy is a borderless country
 we return to when language fails.

Tonight, when the moon lowers herself
 into your window frame,
 let her see you dancing,
 still shining,
 still here.

Gather in the kitchen,
 bodies swaying between gospel and bass,
 air thick with pepper, laughter
 of something holy refusing to die.

Jade is frying plantains again,
 says the oil talks back like an auntie
 loud, protective, full of truth.
 I slice mangoes the way my mother taught me:
 slow, reverent, like blessing a wound.

We eat with our hands,
 lick sweetness from our fingers,
 and call it prayer.

Outside, the news tries to remind us
 we shouldn’t exist this loudly.
 But we do.
 We braid each other’s hair,
 paint our nails gold,
 rename every hurt into something worth keeping.

Someone plays Nina,
 and the room softens
 we sing along

to be seen.

This is our resistance
 to laugh in a country that calls our joy arrogance,
 to hold each other without apology,
 to dance until the floor remembers
 we were here.

And when the night folds into itself,
 we step outside, glowing
 brown skin shimmering with sweat and belonging.
 Together watching the stars lean close,
 whispering, look at them
 still here,
 still holy,
 still bright.


 Every Sunday we gather
 arms full of groceries, hearts half-full
 and trying.

Mara brings flowers from the bodega,
 their stems already leaning toward us.
 Dee hums something off-key,
 and the sound wraps around the room
 like safety.

We know what it means to be uninvited
 so we make our own table,
 wide enough for the ghosts and the living,
 for whoever needs to rest awhile.

Here, no one asks who we love
 or how we survived.
 We already know.
 Instead, we pass the salt,
 refill each other’s joy,
 and build a small country out of care.

Outside, the world is still
 a little too sharp,
 a little too loud.
 But inside, we name the soft things
 and mean them.

When the lights flicker,
 We pull candles from drawers,
 and the glow makes every face golden.

This is family
 made, chosen,
 stitched from memory and mercy.
 This is how we stay.
 This is how we shine.

Gloria Ogo is an American-based Nigerian writer with several published novels and poetry collections. Her work has appeared in Eye to the Telescope, Brittle Paper, Spillwords Press, Metastellar, Gypsophila Magazine, Harpy Hybrid Review, and more. With an MFA in Creative Writing, Gloria was a reader for Barely South Review. She is the winner of the Brigitte Poirson 2024 Literature Prize, finalist for the Jerri Dickseski Fiction Prize 2024, ODU 2025 Poetry Prize,  and the 2025 Rhonda Gail Williford Poetry Prize, with honorable mentions. She is also a finalist for Lucky Jefferson’s 2025 Poetry Contest. Her work was longlisted for the 2025 American Short(er) Fiction Prize. https://glriaogo.wixsite.com/gloria-ogo.

Micro fiction by by Cecilia Kennedy

Final Girl Party

Sprinkles and icing whirled in sparkly glimmers at Kristie’s eleventh birthday party. We jumped and twirled while a popular song played on the radio—a song we’d heard a million times, relegated to backdrop music, just sounds, really. It had a thrumming, pulsing beat, but all I could think about was sugar and prizes and cake. Iridescent Pegasus wings poked out from one of Kristie’s gifts, and I wanted to run my fingers across the shine, feel the plush, hold it close between sips of cherry punch and more twirls until the edges of the rec room blurred. Toys, the color pink, and faraway adventures that lived on fluffy clouds were still well within reach, as far as I knew. But when I stopped spinning to take a breath, amid the shrieks and giggles, Tanya said, “Watch this.”

Tanya danced, swaying her hips from side to side, thrusting her pelvis back and forth. She placed her hands on either side of her body and dragged her fingers down the length of her hips. Then, she rubbed her hands across her chest and backside. Her lips puckered as she continued moving to the beat. With one hand, she undid her ponytail, letting her hair fall loose, her hips keeping time with the music, her pelvis undulating, her wild hair spilling over her shoulders. 

Every eye was on her, but we didn’t say anything. We didn’t join her, either because we didn’t know how, and we weren’t ready to learn. There was candy to eat and ice cream, too, and I sense we just couldn’t understand how Tanya could keep dancing like that, when every slice of cake at Kristie’s party was perfect. How could there be anything else? 

Cecilia Kennedy (she/her) taught Spanish and English composition and literature in Ohio for 20 years before moving to Washington state in 2016. She has two short-story collections: Twenty-Four-Hour Shift: Dark Tales from on and off the Clock (DarkWinter Press) and The Places We Haunt (Baxter House Editions).

Micro fiction by Geraldine McCarthy

Easter Visit

Éamon brings his parents Cadbury’s eggs, although their sense of time is snarled now, a jumble of feasts and birthdays and long-gone anniversaries. The couple are sitting up in the double bed in the converted front room, a bit like the grandparents in Charlie and the Chocolate Factory, except there’s only one set. They chat away to one another, mainly about old times, two conversations running parallel, yet the couple seem to find solace in one another’s voices, in their own familiar tones and cadences. 

Whenever Éamon comes to visit, the carer makes tea – strong as tar – and Kimberley biscuits are procured from the back of the press.

‘Are ya alright for money, son?’ the old man asks for the third time.

‘I’m grand, Da, don’t be worrying now.’ 

When the moment is ripe for it, when Éamon perceives a rising agitation – the clutching of bedsheets, the complaint of aching hips – he quietly asks the carer to bring in a basin of warm water. 

‘Now, Ma, ladies first.’

He helps her to perch on the edge of the bed, and places the dish on the ground. She smiles as her feet make contact with the sudsy water. 

‘That’s nice, son. Fair play to you.’

Her hands unclench as she wriggles her toes. You’d think she was at the seaside on a sunny day.

Éamon repeats the whole process with Da. A calmness settles upon the room, a sacred silence.

On his way back to the Parish House, Éamon runs through the homily for the Holy Thursday Mass in his head. It will be a tough one, and an easy one.  He’s going to talk about the washing of feet.

Geraldine McCarthy lives in West Cork. She writes flash fiction, short stories and poems in English and Irish, and her work has been published in various journals.  Geansaithe Móra, her flash fiction collection, was An Post Irish Language Fiction Book of the Year 2024. @gearoidinc.bsky.social

Creative nonfiction by Linda M. Bayley

ONE MISSISSIPPI

I loved my father most during thunderstorms. We’d stand in the doorway of his bachelor pad on Drinkwater Street, wrapped in a blanket, his arm around me, and we’d count the number of Mississippis between the lightning and thunder, so we’d know just how close the storm was. One Mississippi, two Mississippi. Bang! Sometimes we’d count alligators instead, but I loved the rhythm of Mississippi, the way it rolled off my tongue and bounced against my lips. Mis-sis-sip-pi. Sometimes I only counted as far as one Miss– and then the thunder would roll through the air around us, and I’d jump. But I knew I was safe, because Dad was there to protect me.

Daytime rains were even better, because they meant popsicles, chocolate or grape or orange. We’d drive to the Pinto Store to buy them if Dad didn’t have any in the house, then dress up in black garbage bags with holes cut out for our heads and arms. We’d take off our shoes and run out to the sidewalk to race our popsicle sticks down the overflowing gutters, catching them just before they went down the sewer grates, then running back to the top of the block to race them all over again. 

By the winter I was seventeen I’d forgotten how much I loved storms, or even that I loved my dad; depression tore through me like a tornado, leaving in its wake closed curtains, sudden tears, clandestine scars, and downcast eyes. I never knew when or where it would touch down next.

But one snowy night I woke up to the crack of thunder, and a few moments later my window lit up with lightning.

I’d never heard of thunder and lightning in a snowstorm.

Dad was snoring in the next room so I got out of bed and shouted for him through his door.

“What?” he called, before falling back into another snore.

“There’s a storm going on!”

“So?” His mattress groaned and squeaked like he was turning over, trying to get comfortable again.

“So let’s go watch it!”

“It’s the middle of the night.”

“It’s thunder and lightning!”

I kept pounding on his bedroom door, a little kid again, the electricity in the air shifting my neurons into something like happiness.

We threw on our coats and walked out into an apocalypse of blinding snow and biting wind. Lightning arced across the sky.

“We need popsicle sticks,” I shouted over the wind.

“Stay here,” he hollered, and disappeared inside. When he came back out he was carrying two giant garbage bags. He held one out to me. “We can race these.”

Imagine holding open a garbage bag to fill with wind in a storm. Now imagine letting it go, watching it tumble down the snowy street under the glow of the streetlamps. I whooped, not caring that it was the middle of the night and I might be waking up the neighbours.

At the bottom of the hill, as I balled up my garbage bag before trudging back to the house, a pickup truck slid around the corner and skidded to a stop beside me. The driver rolled down his window and said, “Are you okay?”

How did I look to this man as I stood in the middle of the street in a snowstorm, a teenager wearing her pyjamas and a coat, holding an empty black garbage bag?

I laughed, marvelling at the unfamiliar way my smile stretched my skin, then pointed up the hill. “It’s okay,” I told him. “I’m with my dad.”

Linda M. Bayley is a writer living on the Canadian Shield. Her work has 
recently appeared or is forthcoming in BULL, FlashFlood Journal, Does It 
Have Pockets, Frazzled Lit, Trash Cat Lit, Urban Pigs Press, and Fictive 
Dream. She is a two-time Genrepunk Awards nominee, and was shortlisted 
for the 2026 Bath Novella-in-Flash Award. Find her on Twitter and 
Bluesky @lmbayley.

Poetry by A.A. Loria

I do not Fear Aging, for I Know it is a Gift


I will grow old.

This is not spoken as an inevitable,

But offered as a promise;

That I will grow old,

And that I will love it.

I will grow old,

And I will have wrinkles,

And crow’s feet,

And frown lines and white hair,

And what a wonderful thing,

I’ll say;

What a wonderful thing it is,

To be old.

I will spend my summers under the hot sun,

And I will let it bake wrinkles into my skin,

Like crackling sourdough in my oven.

I will spend my falls walking among the leaves,

And I will listen for the crunch under my boots,

Long after I am hearing through hearing aids.

I will spend my winters with my favourite mug never far,

And I will bake the gingerbread recipe that I never measure,

Because I cherished the memory of the taste over precision.

I will spend my springs dancing in the rain,

And I will turn my face to the sky so that I never forget the clouds,

Even when my eyes have gone and glasses aren’t enough. 

I will grow old,

Because if I die young this poem will be a tragedy,

And I demand a happy ending.

I have lived my youth in agony,

I am older than I ever dreamt of reaching,

And I am only getting older.

What a wonderful thing that is,

I say;

I am only getting older.

Andrew Loria is an author who dabbles in many genres, but finds his preference in horror, sci-fi, romance, and the absurd and surreal. Born and raised in the colds of southern Manitoba, he keeps warm by fulfilling his days working in education, and hiding his nights away in a cozy blanket and spinning his stories. When he is not writing, he enjoys various types of art, particularly crochet and painting. 

Micro fiction by Colleen Addison 

If We Were Reborn As Peregrine Falcons

Imagine soft down on our chests, plumage on our backs. Imagine our heads beaked, keratin claws crowning our feet. Imagine tail-feathers, our hips and bones fused gently so we can fly. Imagine the currents of air, ourselves newly aware of these, newly cognizant of the wind. Imagine us, lifted up, each layer of airstream bearing us towards the highest part of the convex sky. Imagine our wings flapping once, and then a soar. Imagine swoops and dives and the twirl-swirls of our bodies through the air. Imagine a quick low skirting through city park trees, around benches. Imagine dips and darts, a playfulness as we slip around skyscrapers. Imagine our falcony giggles, our birdlike fun. Imagine our aerie homes on the roofs of skyscrapers, atop the tallest arches of bridges. Imagine the two of us, our hearts expanding expanding expanding the way they are now but bigger. Imagine our wings spread wide, every feathery part reaching out as far as it can. Imagine the heavens around us, all that space, that wide spaciousness. Imagine how far our hearts have opened and still the tips of our sharp pointed wings are touching. Imagine our amazed astonished delight remade in bird form. Imagine wonder. Imagine joy. Imagine me and you in love, our arms wrapping around each other, both of us saying the words, both of us repeating them, I love you over and over, all of this as we take flight.

Colleen Addison completed an MA in English and Creative Writing, followed by a PhD in health information; she then promptly got sick herself. Her work, written for joy between surgeries, has been published in Painted Pebble Lit Mag, 50 Word Stories, and River Teeth. She is a winner of the George Dila Memorial Flash Fiction contest with Third Wednesday. 

Flash fiction by A.A. Loria

A Snapping Turtle in the Road

The road is no place for a snapping turtle. This hard stretch of grey that thunders with the sound of shining creatures beyond her understanding is unnatural to her. But the road is an obstacle between her and where she needs to go to lay her eggs, so journey across it she must.

But she’s come to a stop.

She was almost halfway across, when suddenly, one of its flashing creatures roared past her. She could feel the heat of it sting against her nose, missing her by a step. She tucked her head back into the safety of her shell, trembling, as it roared away.

It’s here that she remains frozen, fearing the appearance of another. She can hear its oncoming roar, fast approaching. She braces for impact, even as she hopes it will see her as uninteresting and leave her unharmed.

The ground beneath her feet trembles. Closer and closer the roaring comes, until just as suddenly as it started, it stops. 

Then, a slam

Two legs step into her field of vision, and she recognizes the shape of these legs; long and bare-skinned, ending in two bulky feet. When the animal crouches down, showing her its odd, flat face, it confirms what she’s looking at.

A human. 

Her head surges forward suddenly. Sharp, powerful jaws open wide and snap shut hard enough to make a loud crack. She doesn’t succeed in biting the human, but it still tumbles backwards with a cry of alarm, falling on its hindquarters. Though she can’t reach it, she snaps at it again. A warning; keep away, or she’ll bite.

Undeterred, the human gets up again. A loud screeching suddenly assaults the snapping turtle’s senses, and she shrinks back into her shell once more, fearing another monster. A different sound joins the screeching, more loud calling, and this she recognizes as the cries of the human. It moves out of her field of vision, leaving her alone once again. 

Suddenly, something grabs the back of her shell. Her head darts back out, and she whips her neck back to snap viciously at whatever has caught her, but she can’t reach. 

She sees it only briefly; the human is holding onto the back of her shell. She tries to gouge with her hind claws, but the human’s hands press on her limbs, keeping them immobile. She’s lifted off the road and into the air. She continues to thrash her neck about, hissing furiously. 

The human moves loudly, each footstep jostling her as it carries her across the road. She refuses to be pliant in these strange hands, she won’t let the human do what it will with her without a fight.

It could do anything. It could drop her from this great height. It could crush her beneath a heavy foot. It could kill her in so many ways, and make her into a meal, like she would with a slippery frog. She is powerless against the human, a feeling she is not used to. She keeps trying to bite, keeps trying to claw.

But the human doesn’t do any of those things. Instead, it carries her some distance away from the road. It stops its thunderous walking and lowers her, gently, to the ground.

The ground that meets her feet is soft. It’s soil, loose and sandy, that gives beneath her weight until she sinks into it. The cushioned hands release her. 

She hears the footsteps again, shaking the dirt around her, until they fade away. The human is gone as quickly as it arrived, retreating back to wherever it came from. 

She doesn’t move immediately. Perhaps out of caution, or perhaps out of contemplation. Here she sits in the dry dirt, perfect for egg-laying, and she understands that this happened because the human helped her.

The snapping turtle can’t understand the human’s actions. All she can understand is that a human did not harm her, nor did it try to eat her. It seemingly risked its own life against those road monsters, just so it could bring her to this place of safety, where she could lay her eggs.

She doesn’t understand why. She can’t understand why. 

The snapping turtle has no concept of kindness. She can’t comprehend the tenderness of the human’s act towards her. But as her claws dig into the soft earth, preparing it to receive her eggs, she continues to think about her encounter with the human. 

She’ll think about it for a long time. Her memory is long, it will carry on for many egg-laying seasons. And with every clutch she lays, she will remember the human that made them all possible. The human that braved monsters, and carried her away from them. 

What an incomprehensible animal a human is. To be so large, so powerful, so fierce as to shout at monsters, while at the same time having such gentle hands, to rescue a snapping turtle even though it had nothing to gain from doing so.

How delightfully strange.

Andrew Loria is an author who dabbles in many genres, but finds his preference in horror, sci-fi, romance, and the absurd and surreal. Born and raised in the colds of southern Manitoba, he keeps warm by fulfilling his days working in education, and hiding his nights away in a cozy blanket and spinning his stories. When he is not writing, he enjoys various types of art, particularly crochet and painting. 

Micro fiction by Kendra Cardin

Disco Cinderella

For Mom

Laces tied tight, Ann laps the roller rink, arms outstretched like wings, the dragonfly tattoo on her right shoulder gliding along for the ride. It’s ’70s Night, and she could skate till dawn, boogying in her hand-knitted halter top, bell-bottoms and vibrant blue eyeshadow — a disco Cinderella. Except this time, the footwear stays on, sets the overtoiled woman soaring, wheels spinning, hips swaying.

Ann knows she can’t stay long. Tonight, a mirrorball moon glittering her skin, the tender voice of Thelma Houston imploring her not to leave this way. Tomorrow, a harsher slice of light beaming down, the clang and whir of an MRI machine.

Ann lifts her face up toward the rainbow hues of the rink’s spotlights, shimmies the tension from her shoulders, finds the beat again. One more time around, arms stretched wide as wings. Dazzling like a disco ball, like Cinderella at the ball. Like a dragonfly.

Kendra Cardin creates safe harbors with her poetry and storytelling. Her writings have found homes in a variety of publications including those of Neither Fish Nor Foul, Rough Diamond Poetry, Necessary Fiction, Five Minutes, and Cowboy Jamboree.

Poetry by Zoë Davis 

A traveller’s litany

I believe we only age in silence, that grains of sand run smooth in darkened rooms. I believe covered heads lie on candy pillows grasped between a cage of teeth. I believe as another year passes, sweet bones slip between the ghost of a stair gate. I believe some eyes curse the moon and its daughters. I believe only strangers know me. I can only fall asleep to the ticking of a clock. I believe the beating of a heart.

Zoë Davis is a writer from Sheffield, England. She’s a stubborn FND sufferer and fights what her body says she can’t do by playing wheelchair rugby league. She writes poetry and prose, and especially enjoys exploring the interaction between the fantastical and the mundane, with a deeply personal edge to her work. You can find her words in publications such as: 
Ink Sweat & Tears, Strix, Roi Fainéant and Red Ogre Review. You can also follow her on X @MeanerHarker where she’s always happy to have a virtual coffee and a chat.
 

Flash fiction by Huina Zheng

The pine tree

There is a park near my home, with a long, winding path running through it. When I was in elementary school, every afternoon at four o’clock, my grandfather arrived outside the iron gate of my school, riding his worn-out Forever bicycle to pick me up. He then took me to the park even when my mother objected, insisting that I should go straight home to do my homework, that textbooks were the only proper way to learn. My grandfather smiled and said, “Let Lan look at the trees first. The trees are teaching her too.”

In the park, my grandfather held my hand and guided me to look at different plants.

In spring, he pointed to the golden trumpet trees. At first, only a few scattered yellow blossoms appeared at the tips of the branches, but within a week, the entire tree was covered in brilliant gold.

In summer, we often sat on the grass beside the crape myrtle bushes. The flowers bloomed in small clusters. Pale pink. Light purple. Milky white. Like clouds of color diffused across the sky. My grandfather said, “A few bloom today, a few more tomorrow. That’s how the whole summer passes.” We waited there, watching to see which new blossoms had opened that day.

In autumn, the fragrance reached us the moment we entered the park. The scent of osmanthus came in waves, drifting in and out with the wind, lingering faintly around us. At those times, my grandfather spoke very little. We walked slowly and breathed deeply.

When winter arrived, the plum blossoms bloomed. The trees, once full of green leaves, shed them without notice, and then, on some cold morning, burst into pink and pale white blossoms all over their bare branches. When the breeze passed through, petals spun as they fell, scattering across the withered grass like a spill of soft-colored paint. I always wanted to pick them up, but my grandfather said, “Let them lie there. They’re a gift from the tree to the earth.”

I thought my grandfather loved flowers most, but that wasn’t true. Each time before we left, he led me past the flowers and brought me to a quiet corner of the park. There stood a single pine tree. Tall and upright. Dark green needles layered upon one another.

My grandfather patted the rough bark and said to me, “Look. Spring comes and autumn goes, flowers bloom and fall. All the liveliness belongs to them. But this pine tree stays the same. Green in summer, green in winter; the same in the rain, the same in the sunshine.”

“But Grandpa,” ten-year-old me asked, puzzled, “if it looks the same all the time, isn’t it boring?”
He touched my head, the wrinkles at the corners of his eyes deepening as he smiled. “You’ll understand one day,” he said. “The world rises and falls, but there are always things like this pine tree that remain steadfast.”

I couldn’t understand why not changing mattered. I loved novelty, change, and exploration.

Years later, I left the small town with the park behind and went to university in the unfamiliar city of Guangzhou, then lived and worked in Shanghai, Beijing, and Hangzhou. I broke up with a boyfriend I had loved for six years. My mother passed away suddenly from a bout of influenza. Three pregnancies ended in three miscarriages. Many of the things I once believed I could rely on disappeared, one by one. On countless sleepless nights, I thought of my grandfather, and of the pine tree in the corner of the park.

This Qingming Festival, after returning to the town to visit the graves of my grandfather and my mother, I walked into the park. I went straight to the deepest corner. The pine tree was still there. It seemed a little thicker, a little stronger. I placed my hand on its rough bark, my grandfather’s words echoing in my ears. And I realized that perhaps what he showed me back then was not “unchangingness,” but how, amid the inevitable turning of seasons, wind, frost, rain, and snow, one learns to root life deeply and retain the strength to keep standing.

Huina Zheng either writes as an admission coach at work or writes for fun after work. She lives in Guangzhou, China, with her family.

Are you ready for resurgence

Poetry by Darren C. Demaree 

5/28/25

In this case

alienation means there

is only one American

& he is a boy

in a failing man’s body

& that means

we are all vulnerable

when he focuses

his attention on us.

Darren C. Demaree’s poems have appeared, or are scheduled to appear in numerous magazines/journals, including Hotel Amerika, Diode, North American Review, New Letters, Diagram, and the Colorado Review. He is the author of twenty-three poetry collections, most recently ‘So Much More’ (November 2024, Harbor Editions). He is the Editor in Chief of the Best of the Net Anthology and Managing Editor of Ovenbird Poetry. He is currently living and writing in Columbus, Ohio with his wife and children.

Flash fiction by Joyce Bingham

Eight Times Table

Milly is eight, x1=8, she grips my hand as she skips along, delighted I am taking her to school, a rare occasion for us both. One for her to celebrate and for me to pretend everything is normal. As they touch the ground, I hope my shoes produce roots snaking down into the cracks between the eight, x2=16 paving stones. I’m certain I will crack through into the earth below, to slow down the inevitable, but we walk unhindered, each step of my reluctant elephant-weight legs taking me nearer to school.

Mrs Wilson has requested to see me. It’ll be a rush to get to work, for me to start the day disgruntled after an audience with the Headmistress.

The bubble in my stomach grows; I swallow it down, push it from my thoughts. I made sure my bladder was empty before we set out and forsook my usual large cup of coffee, eight, x 3=24 fluid ounces for a slurp of water.

I was eight, and Mrs Wilson, eight, x4 =32 then, when she made the bubble burst and the hot spurt ran down my goose-pimpled leg, the yellow stripe of shame on my knee-length white sock.

My mortification flickers, replaying unbidden in stress. It pounds its way into my elephant steps, when I should be enjoying taking Milly to school as she dances on gazelle legs and embracing her chatter about unicorns and Barbies.

Every day, the itch of disgrace squirms in my head. Dishonour waits for me at work and segues into reports; it hides under folders and pops up in coffee breaks.

Eight then, x5= forty now.

I leave Milly with her friends in the playground to await the bell and climb the eight, x6=48, steps up the visitor’s entrance to the head’s office. The weight of my elephant feet thunders down on the sandstone steps, hollowed by time and weeping. My heavy legs don’t stop me, no matter how much I will them to. I want there to be more steps, everlasting steps like the Stairmaster.

Mrs Wilson appears at the door. She welcomes me by name and I listen to her eight, x7=56 words, but they don’t sink in. The walls of my bladder ripple and nerves sing as I clench my pelvic floor.

She looks as old as she did then. She must be eight x8= sixty-four now. How can she be shorter than me when she was once a Siberian tiger towering over my humiliation?

Don’t ask me to recite it, don’t ask me, don’t ask me.

Yes, she says, a joy to teach, absorbing every number.

My voice shakes as I repeat her words, learning them by rote, eight, x9=72.

She looks at me with her feral cat-eyes, her carnivore breath releasing in puffs through her fangs.

Mrs Wilson knows I struggled; she knows it; she knows it.

Eight, x10=80. I consume her words, keeping them inside—pushing them up against my wall of hurt.

We have a special advanced class we want her to join. Milly, she will not have my fate.

Breathe in slowly for eight, x11=88 times table. She shakes my hand and I absorb the chalk dust deep inside her, powder-dry, stained with the smell of school dinners. The cabbage rotting below the surface, with an aftertaste of sweet custard.

Bells ring, the shriek of children crescendos, then the white noise of times tables chants in my ears. Plimsole rubber corridors surrounded by boxes of sound, humming and promising futures.

I am dismissed; I am dismissed; I am dismissed.

Outside her office, a line of unruly chairs waits, a faint touch of urine and vomit in the air. I pause to still my quivering hands and to keep my bladder under control.

Hold on, hold on, hold on.

Eight, x12=96, minutes to get to work. I use my gazelle legs to get away.

Joyce Bingham is a Scottish writer, living in the North-West of England, whose work has appeared in publications such as Flash Frog, WestWord, Molotov Cocktail, Bending Genres, and Ghost Parachute. When she’s not writing, she puts her green fingers to use as a plant whisperer and Venus fly trap wrangler.

Two micro fictions by Matthew Jakubowski

This kind of freedom

On what epidemiologists would later mark as the single deadliest day of the early 21st Century in America, Sophie was drinking gin and tonics and dozing off by the pool at the place in the Poconos she was housesitting  for three nights for three hundred bucks. It had six bedrooms and three bathrooms. The couple who owned it had left Sophie a fully stocked bar and fridge. No pets to care for. A security system. All the entertainment subscriptions. A hundred-dollar Visa gift card to order takeout, plus a chest freezer in the garage with pizza, ice cream, mac ’n cheese, and dumplings. 

Two years later, alone in her small West Philly apartment with long Covid, which her health insurer wouldn’t acknowledge as a real thing, eating eighty-four cent ramen that used to cost thirty-two, hoping her shitty older brother who lived across the city in their dead parents’ house was, at the very least, worried about her sometimes, Sophie remembered what the tan handsome husband  had said years ago outside that huge empty house the day he and his wife got back from one of their many pandemic getaways: “We have a such a beautiful country! It’s important for us all to get out and see it, you know? I really hope you get to someday, when you’ve earned this kind of freedom for yourself.”


Alight, Astray

The six of us skipped school and found ourselves tip-toeing east on the sidewalk trash like each bit was a stepping stone. Downtown we observed Mr. Tuesday trying to witch someone’s finances with angry moths and diseased cats, saw him batting at smoke-and-mirror joy with tentacles and tongs, gnashing despair between his teeth. It was hard not to stare as he let the day flog him and his colleagues chained to the feet of another Tuesday, those who live to keep the wealth-floated buoyant, who walk backwards slowly each morning to the elevator the chair and desk to present face present teeth present the daily stagecraft of the unspoken echoing within. We stole a fancy lunch and saw the sky not wondering at all if a thing like Tuesday was happening, or if paths lead into parking garage shadows, the salvation of sleep, or the families in apartments all day together chewing one another’s loneliness. My skin sucked no emotion from what we saw, but as we escaped it, like tourists, I felt absolutely elated to know none of us would ever work downtown. The wind left more trash behind us. We collapsed on our front steps. Someone smashed the last bottle. Everyone cheered. I dropped a cigarette to burn the path we’d taken.

Matthew Jakubowski is a multi-genre writer based in West Philadelphia. His work is forthcoming from Doric Literary and his flash fiction appears in Gone Lawn, Scaffold Lit, JAKE, Variant Lit, and the Best Microfiction anthology. He’s online at www.mattjakubowski.com/about

Creative nonfiction by Karen Baumgart

And Now, for the Final Act, Watch Him Choose the Circus

Sometimes, Trista likes to say last year, when I was seven, my father ran away with the circus. She enjoys the bald harshness of this statement, the discomfort it causes, the clumsy grasping for a suitable response. Of course, she knows it sounds like he’s a performer, not just the person who travels ahead of the circus, putting up posters in shop windows; his days of daring bicycle stunts under the big top are long past. The sting of his leaving has almost scabbed over now, crusted layers of hurt sloughing from shiny pink skin underneath.

* * * * *

Two weeks after her fifth birthday, Trista brings home her kindergarten class photo, rows of gappy smiles beaming at an unseen photographer. She remembers how they’d been told to yell out stinky feet, giggling and pulling faces until their teacher said that’s enough now, this isn’t a zoo! In the picture, her own feet are clad in cheap brown sneakers, nestled amongst the other girls’ candy-pink ones, unmistakeably wrong, as though someone has placed a puzzle piece upside down between the right-side-up ones. Even at five, Trista forgives her father, understanding he simply chose shoes that wouldn’t show the dirt.

* * * * *

Hospital tags swinging around bird-bone wrists, Trista curls inward as her father boasts about her exam results. She wishes he wouldn’t; Year 9 doesn’t even matter, does it? Nothing does, not when she’s wearing this new body she doesn’t recognise: torso puffy, limbs dangling like toothpicks, an ugly doll whose stuffing has been forced back into all the wrong places. Trista will return to the hospital tomorrow; this is just weekend leave to visit her father. A test, the psychiatrist had said, to see if you can eat in a stressful environment. As she watches her father spin the tags on her wrists so only the band is visible, shame wraps iron fingers around her ribs. 

* * * * *

It’s Christmas season, and that means pfeffernüsse and chocolate-covered marzipan and plump cherries from roadside fruit-sellers. Trista’s tiny, dimpled fists swing at her sides as she toddles after her father and his treats; she imagines herself following breadcrumb trails in a gingerbread forest, like in the stories he reads to her. (In fairy tales, Christmas is always in the wintertime, so different to their Australian Christmases). A plate of festive snacks between them, Trista’s father speaks about his boyhood in a faraway land with topsy-turvy seasons, how he’d begun to learn circus tricks, balancing chairs and tables, and—eventually—riding a bicycle around the inner surface of a giant wooden sphere.    

* * * * *

Trista is twenty-five when her father falls ill, his body finally failing him at a time when she is reluctantly beginning to take care of her own. Every few weeks, she brings her little girl on the four-hour bus ride to his home, where she speaks gently with his new wife, feeds him small bites of soft-boiled egg. The storm-grey of his eyes has leached away, irises filling with liquid from the sea’s edges, barely a colour at all. Later, they bathe his limbs, terry‑towelling strokes as careful as a whispered conversation. Oddly, his fading is a damp stone in her lungs; surely, she should feel relieved to know he is leaving her for the last time? He dozes fitfully while his granddaughter skips around a living-room she won’t remember.

* * * * *

Next to Trista’s bed, there is always a lopsided tower of books. She wanders through many stories at once, narratives weaving and twirling, yet magically distinct in her six-year-old mind. Sometimes, upon waking, she finds her father unexpectedly home, after months of travelling with the circus. Trista shows him her bedside stack, and he laughs, so proud because he, too, is a voracious reader. Despite their firm corners, her beloved books wrap her in the tender embrace of well-worn pages (even later, when he chooses the circus after all).

Karen Baumgart lives in Australia and adores beautiful quotes, pink things, cats, and chai lattes. She loves working in human services policy, especially when it enables marginalised people to have a voice. Karen used to be an English teacher and is quite certain that writing is, indeed, the best therapy.

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Resurgence (2)

Micro fiction by Betty Stanton

Sixth Street

The houses on Sixth Street are identical, white teeth in a jaw that never closes. Their lawns are shaved to the same length, sprinklers hissing like snakes. Windows stay shut, blinds tilted just enough to catch light, never enough to reveal who is watching.

The cars feed first. Four-wheeled monsters, they roar down the pavement, chewing asphalt, spilling their drivers into the waiting mouths of houses. Doors slam, lights extinguish, and the street swallows them whole. By morning, only silence remains.

The world shifts outside, but Sixth Street does not. It runs in circles, refusing to escape. Neighbors pass one another with blurred faces, as if erased by the same hand that drew the cul-de-sac. Sometimes a door shrieks. Sometimes a window cracks. But most days the silence grows fat and heavy, pressing against every ribcage.

Inside, the storm builds. It pounds to get out, but rebellion here is devoured as quickly as it appears. A glass shattered on the driveway is gone by morning, ground into gravel by the street’s slow tongue. A porchlight left burning too late is swallowed by dawn. Slammed doors are absorbed into the endless hum of siding and shingles.

Only human connections resist for a moment. A hand brushing a cheek in the dark. A smile across a crowded room. A knee pressed against another knee beneath the table. These small gestures glow like embers. 

Every touch is rebellion. 

Betty Stanton (she/her) is a Pushcart nominated writer who lives and works in Tulsa, Oklahoma. Her work has appeared or is forthcoming in various journals and collections and has been included in various anthologies. She is currently on the editorial board of Ivo Review. @fadingbetty.bsky.social