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.
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
Roof Manifesto as read atop 4402 Zurich St E on July 14 2026
Tomorrow, everyone will be talking about our art. Will be looking up.
Terribly simple the art. The word.
Roof.
Three letters on four walls.
Art expects trouble:
“authorities” broadcasting, “Come down immediately,”
know-it-all pigeons (warning: they’ve actually read the roof literature we said we did) cooing rooftop psychology about why we don’t and therefore write
Roof Viktoria and Roof Allison, that’s why we’re up here.
Never ever take the shining corrupting elevator, Roof Akiel.
Fire escape escape.
Roof revolution, Roof Michelle and Sherri and
others barely in favour of ourselves.
So repeat after me:
Roof, roof, roof.
Roo roo, roo,
Oo, oo, oo
then just f. F this, F that far, far below.
F everything heavy and rotting, sticky or not worth the $29.99.
Go mad. Up here, lose consciousness but carefully.
Roof is where world soul goes to get away.
In the question of aesthetics, height is key.
I shall now dispense with gravity.
Float hand in hand Roof Joe and Roof Kamal.
Blow away, risky Roof Rosa.
In the question of connections, key is how the roof sits on the building and hangs from the sky.
Dispense with convention to free the o to fool and roam, to meow and moan as if in the throes:
yoof
moof
yoof di moof
Roof is where it ends and begins.
poof
boof
goof
boof boof
spoof
proof.
Karen Walker draws and paints and writes in Ontario, Canada. Her recent work is in Full House Literary, Weird Lit Magazine,Trash Cat Lit, Blink Ink, Switch, Turn and Work, and Temple in a City. @kawalker.bsky.social
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
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
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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. Instagram: @miss.cake.girl Bluesky: @cake-girl.bsky.social Twitter / X: @cake_girl__
Just two days before this, I turned fifty. It’s possible, if unlikely, that the sun launched the coronal mass ejection that caused this display on my birthday; maybe even at the exact moment of my birth + a half-century.
I sat out under this sky for a couple hours, watching the lights dance for everyone but also for me. They were better by far than candles on a cake. I thought of Kurt Vonnegut’s uncle’s saying—If this isn’t nice, I don’t know what is—and I smiled.
Patrick Johanneson writes prairie-flavoured science fiction & fantasy. His work has been published in On Spec, Tesseracts 14, Daily Science Fiction, and Parallel Prairies, among others. He won the Manitoba Short Fiction contest in ’04. He’s also a WordPress Multisite maven, an amateur photographer who appreciates a good aurora, a judo instructor and referee, an aficionado of Canadian and indie cinema, and a lover of Norse mythology. Patrick lives in Manitoba with his wife Kathleen. Check out his website at https://patrickjohanneson.com/
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Welcome to JOY, a special popup edition of Temple in the City. This edition isn’t meant to change the world or make light of the darkness so many feel and see around them. But we hope it will act like a sudden sunburst. A reminder that good things, beautiful things, glorious things happen all the time, all around us. Life grows in the most inhospitable places. We grow with it, whether we like it or not.
Some of the work here is just a few words. Or just the right words. Sometimes nonsense words or nonsense use of words. Words to make you smile or laugh or feel, for a moment, the warmth of a friendly sun, the touch of a loving breeze, the touch of another being, human or animal, equally in the dark, equally looking for strength to keep going. That moment can fuel the next moment, and the next. It doesn’t need anything else. It just is.
This idea started as a single, one-off micro edition but joy can’t be captured or limited. So we’re going to keep it alive and moving by making it an ongoing, open-ended issue. When a spark of joy comes our way, we’ll add it here.
Please let this issue wash over you. Let it give you some relief amid the burdens of being alive, with all that trying. Don’t ask it to be anything more or less than it is, then give yourself that same kindness.
We hope you find joy, here and everywhere you can.
Contributors
Karen Baumgart, Denise Bayes, Jessica Coles, Kristin Houlihan, Patrick Johanneson, Rachel Abbey McCafferty, Ben MacNair, Lance Mazmanian, C. Oulens, Tracie Renee, Kathryn Reese, Slawka G. Scarso, Brigitta Scheib, Sumitra Singam, Karen Walker, Huina Zheng.
The day before the Dairy Princess finals at the State Fair, Lou sits in a refrigerated room for six hours while a sculptor carves her shoulders, her neck, her chin, her cheeks, her ears, her hair out of a 90 pound block of Grade A Minnesota butter.
Her mom promised this would be it, that if she just did this one last pageant, she’d never ask her to wear a dress again, and yes, fine, she could even cut off her hair. But Lou won her county last weekend, a surprise to everyone except her mother and Judge Mackey, her mom’s high school boyfriend, and now here she was, one of ten Dairy Princess finalists having their busts carved out of butter.
After, Lou waits in the cold room for her mother to pick her up. She stares at her butter self, at the smooth skin, at the gentle curve of the nose, at the high, feminine cheeks. She wonders if this is what others see when they look at her, if her own image of herself could be this far off. She runs her finger down the cheek. The sculptor had left off the scar on her forehead. The inch-long half moon above her right eyebrow is her favorite thing about her face. With her thumbnail, she cuts the scar into the butter.
*
The next afternoon, Lou stands in the kitchen holding her Runner Up sash while she watches her father make room in the refrigerator for the sculpture of her head. She’d gone straight to her room to change into shorts and a t-shirt when they got home, and then she’d practiced what she would say when she handed the sash to her mom. But now that she’s here, sash in hand, she can’t do it.
Lou’s dad stacks tupperware on the counter in order to make space. He works quickly because it’s 90 degrees in the kitchen and already the butter is starting to soften. They’d driven it home in the back of the air conditioned van, but moving it from the refrigerated room at the state fair to the van and then from the van to the kitchen in this summer heat has caused the left cheek to droop.
“You’re lucky,” her mom says, staring at the sculpture. “When I won Dairy Princess only the winner got to take home her bust. All the others were donated to Craymore’s for the pigs,” she laughs. “Those were some happy pigs!”
Lou’s dad lifts the head into the refrigerator. She notices he doesn’t look at it while he’s moving it. He hadn’t been at the judging this afternoon, said he had to help out at the calf barn because they were short handed. She wonders if he knew she was going to lose, if he didn’t want to be there with all the other fathers when her name wasn’t called.
“Done,” he says, and walks out of the kitchen. The screen door slams shut behind him as Lou’s mom turns the pale yellow sculpture a little bit to the right, and then back. She squints at the face, lit by the fridge light, the up-do that had been so carefully carved into hundreds of distinct strands now melted together into a helmet and the left eye slightly lower than the right. “So pretty, Louisa,” she says, and sighs.
“That’s not my name,” Lou says, which is as close to honesty as she can get.
Her mom shuts the refrigerator door. “Remember this moment,” she says, but all Lou can think about is the face in the fridge, stuck between the iced tea and a tupperware full of chicken broth.
*
Lou can’t sleep thinking about the head so she sneaks into the kitchen and opens the refrigerator. It’s late and the house is silent. It’s heavier than she imagined, and she knocks over the mayonnaise as she tries to lift it off the shelf.
“Need some help?” her dad says from behind her. He must have been sleeping in the living room again. He says it’s cooler. He doesn’t wait for her to answer, just reaches his hands in next to hers, and after a moment, they have the head on the table.
“It looks nothing like you,” he says.
“It melted some,” Lou replies.
“Even before,” he says, and then gestures at the head. “What next?”
“I hadn’t thought it that far through,” Lou says.
*
Lou’s dad cradles the head in his arms like a newborn calf. They stand by the creek, her favorite place on the farm. She used to fantasize about building a tiny house right on the bank with a porch that hung out over the water, but now all she can imagine is getting as far away from this town as she can, from people who will never see her.
“Sure you want to do this?” Her dad asks, and she nods. They take a step towards the water.
“I don’t know what to tell mom,” she says.
“I’ll take care of your mom,” he says. “She’ll get there, Lou.”
He passes her the head. The butter feels cool against her skin and she looks down at her face, at the girl looking up at her.
“I hate it so much,” she says. She waits for her father to say something, but he clears his throat and turns away.
Lou steps forward and drops the head into the water. She wants it to float away, to be carried swiftly by the current, but it just bobs for a moment and then floats into the bank, where it wedges against the exposed root of a tree. Her father takes off his boots and steps into the water. He leans over and gently pulls the head away from the bank. He guides it into the middle of the creek and lets go.
Emily Rinkema lives and writes in northern Vermont, USA. Her writing has recently appeared in Variant Lit, Flash Frog, Fictive Dream, Ghost Parachute, and Wigleaf, and she won the 2024 Cambridge Prize and the 2024 Lascaux Prize for flash fiction. You can read her work at https://emilyrinkema.wixsite.com/my-site or follow her on X, BS, or IG (@emilyrinkema)
There’s a pin beneath my skin. It’s lodged under my right breast, between the ribs, like a stubborn thorn. X-rays show nothing—I’ve been to five hospitals. The doctors all say it’s anxiety.
But at night, the sharp sting wakes me. My fingertips can trace its shape—sometimes upright, sometimes flat, sometimes slanted deep in the flesh.
Is the pin real?
Or just a figment of my mind?
Yet the pain is undeniable.
When my daughter runs through the park, the ache returns. Just as I open my mouth to call her, she falls on the gravel path, blood beading on her knee. Her cry sharpens the sting, drives it into bone. My husband’s key turns in the lock—it digs deeper. When he vents about clients, reeking of alcohol, I feel it drifting through my veins. My father’s fist. My mother’s trembling arms. The dull thud of flesh against flesh. Maybe that’s when it pierced me—quiet, unnoticed.
How do I ask a surgeon to find the pin buried between my bones?
The Cloud on the Balcony
When the humid spring days in Guangzhou came to an end, a tuft of white cloud appeared on the first-floor balcony behind iron railings in my building. The balcony faced the narrow path I took home from school, right beside the main entrance. Every day after class, I’d tiptoe to peer inside until one day, the cloud moved. It was a puppy. She let out two soft barks, her nose pressed against the gaps in the railing.
Before long, she learned to squeeze through the bars, darting toward me like a bolt of white lightning before rolling onto her back, pink belly exposed. “She wants you to pet her,” my mother said. “Dogs love that.” And she did. As I stroked her soft stomach and the fluffy fur on her forehead, her eyes would drift shut. But if my father was the one picking me up, he’d march straight upstairs, muttering “Disgusting,” the same word he used when fighting with my mother.
Seasons passed, and the puppy grew familiar with everyone in the building. On rainy days, her fur hung in damp clumps; on sunny ones, it fluffed up like dandelion seeds. One evening, I watched her bound joyfully toward a neighbor carrying grocery bags. But the woman kicked her away with a sharp “Scram!” The puppy whimpered. That same night, no matter how many times my mother explained the math problem about ratios and age differences, I couldn’t understand. She slapped me and I cried, but the numbers still refused to make sense.
Most days, the puppy had little freedom. Often, she was locked in a tiny cage, watching me pass with wide, dark eyes. Other times, they tied her up, and no matter how hard she strained against the rope, she couldn’t reach me. She never barked because her owners would beat her with clothes hangers if she did. My father would pull me upstairs, and we’d stare at each other through the bars until I was dragged out of sight.
Now, she’s gone. I don’t know when it happened. Just that one day, the balcony was empty, as if she’d never existed. Like my father, whose slippers vanished from the doorway one afternoon, whose clothes disappeared from the closet. “Don’t ask about him,” my mother said. “He is a terrible and irresponsible man.” So I filled my notebook with white clouds, one of them with chocolate-brown eyes, wagging its tail on the balcony.
Huina Zheng holds an M.A. with Distinction in English Studies and works as a college essay coach. Her stories have been published in Baltimore Review, Variant Literature, Midway Journal, and other reputed publications. Her work has been nominated thrice for both the Pushcart Prize and the Best of the Net. She resides in Guangzhou, China with her family.
She stood in front of the old house and breathed it in. The summer breeze lifted the dust from the warm pavement, ruffled the bushes at the front door with its fingers. The windows seemed different now, darker, empty of life. But the front garden looked broadly the same, just more tired. Overgrown shrubs framed the lawn, untidy limbs spilling out in all directions.
She hadn’t been here since the the clearing out of her mother’s furniture and belongings. The boxes of photographs, assorted cheap jewellery and tea sets still lay untouched in her garage two hundred miles to the south. She had selected one photograph from the box, her favourite, and put it into a silver frame. It was of her mother as a young woman wearing her new summer dress and a homemade daisy chain, hair windblown and eyes squinting into the sunlight.
Someone else lived here now. She didn’t want to trespass, but no one seemed to be around. The driveway sat empty of cars. Someone was sawing in a distant garage, and she could hear the murmur of a lawnmower further up the street.
The first paving slab on the path was still split in two and she traced the line with her toe. A parched little geranium at the front door tipped its head to the side and stared at her sadly. She raised her eyes to the windows again. The curtains were different, alien. Unfamiliar ceramic cats sat on the windowsill.
On summer days she had sat on this doorstep, mixing rose petals with water and sugar in jam jars, making perfume. On winter days she had kicked snow off her boots against the top step, fingers numb. Her mother would be there with a hot cocoa to grasp between freezing hands. Her mother was always there, for scraped knees, cut fingers, and later, wiping away tears when boys broke her teenage heart.
She had no memory of her father. He had left before she was two, and he was never spoken of afterwards. For her whole childhood it was just her and her mother.
For a moment she thought she saw movement at the window, and she caught her breath, but it was just the reflection of clouds scudding across the blue sky. No sound came from the house, no shuffle of slippers up the hallway, no call of a voice.
On either side, the neighbouring gardens were altered, fences pulled down, walls put up, driveways pushed into front gardens. She wondered if any of the ghosts of the long gone neighbours were still there, looking out of their windows, watching her.
She hadn’t been here much in her mother’s later years. Mainly because she lived so far away. She should have phoned more often, she knew, but after she moved, her mother was more sullen over the phone. She would give short, clipped answers to her questions, always giving the impression that there was something else she would rather be doing. And at the end… well she hadn’t made it up from Manchester in time. She swallowed hard at the memory. She should have left earlier, but there were things to be organised at work.
Her mother had died as she drove over the border. The hospital phoned. She sat in the lay-by for a long time, not sure how she felt, not sure what to do next.
In the end she had driven to the hospital to see her mother who was serene, but absent. She felt she should say something, but what? Goodbye? She couldn’t break the silence in the death room with words. None were sufficient or appropriate.
The next week was spent in activity, funeral preparation, lawyer’s meetings. She arranged for the house to be cleared except for the few boxes she took home with her.
She walked up the side of the house. The old lilac bush had seen better days. It still pushed out a few isolated blooms here and there between the bare twigs. She held back from pressing a blossom to her face. She was worried the remembered fragrance would be missing, or not the same. But the flowers reached out as she passed, and brushed her arm.
Like a thief, she padded round to the back. She remembered the ping and echo her footsteps used to make in the small narrow space between the two high walls. She breathed in the air, as if the same air would still be there after all these years. She did feel in a strange way that something of the small child she had been was left here. And she searched, in vain, for a sense of her mother.
The washing line between the two concrete posts was gone, replaced by a modern whirlygig hung with striped towels, spinning in the drying wind. There was a new garden hut, a scattering of colourful plastic toys across the lawn, and a swing with a shiny aluminium frame and a red seat.
She knew that her mother hadn’t come to terms with her move to England, but it was where the work was. She ran her fingers along the ridged plastic seat of the swing. She seated herself on it and scanned the back windows for signs of life. Nothing moved.
Slowly, slowly she moved her legs to and fro. Higher and higher she swung with flushed cheeks and hair blown backwards and forwards, above the fences and hedges. She laughed aloud. Just at that moment she pictured a dark haired woman hanging out the washing, sheets flapping on a summer day. The woman bent down to pick up a peg and a small child encircled her neck with a daisy chain. They exchanged a smile and the mother kissed her forehead.
Her sob caught in her throat. She whispered something but the sounds were fragile and got lost in the air. Then, louder over the fences and treetops she called out ‘Sorry’.
June Gemmell writes short stories and flash fiction. She is a reader for Fractured Lit. Her words have been published by Frazzled Lit, Trash Cat Lit, Moonlit Getaway, Gutter Magazine, Northern Gravy, Hooghly Review, Gone Lawn, and The Phare. She is working on her first collection of short stories.
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And tech blockades & tariffs. Rather, as Confucius
Has taught us, we always avoid talking of strange
Phenomena, feats of strength, disorder or sprits
Whereaswe do worship our
Ancestors, especially those never accepting defeat
Such as the ever stubborn Houyi who persisted
In shooting down all the nine extra suns as they
Made the world too hot; the determined
Xingtian who soldiered on long after his head
Was chopped off; the old Mr. Fool who must
Remove the mountain blocking his way rather
Than relocating his cottage; the simple-minded
Jingwei who kept filling the East Sea with twigs
Where she was drowned; the devoted Dayu trying
To contain the Flood instead of escaping from
It in an ark as did your Noah, (so cute & creative)
Yuan Changming co-edits Poetry Pacific with Allen Yuan. Writing credits include 12 Pushcart nominations for poetry and 3 for fiction besides appearances in Best of the Best Canadian Poetry (2008-17) and 2149 other publications worldwide. A poetry juror for Canada’s 44th National Magazine Awards, Yuan began to write prose in 2022, his hybrid novel DETACHING, ‘silver romance’ THE TUNER and short story collection FLASHBACKS available at Amazon.
There will be snow, abundant and thick, the branches of huge firs bowed down with its weight. Beneath such a canopy one can find a small room roofed by icy white and crisp green needles. She crawls in there and leans against the trunk for a minute to catch her breath. It is not quite as cold as you might think but still she rests for a little while and then gently, with no force at all, she exhales from her open mouth a prolonged sigh, the vapor crystallizing instantly, and as her breath turns to ice clouds, shapes begin to coalesce, large and furred with the slightly greyed white they need for camouflage, and one by one as she breathes out, they step away from the small room until seven or eight have gathered. Then as a pack they bound forth from that place into invisibility, the forest swallowing them whole.
They will have everything they need. She has seen to it. No other magic is required. Not by the wolves, and not by us.
Later, if you were to look there you’d see she is gone–leaving only her own large paw prints on the snow.
Kyla Houbolt is a poet and gardener living in North Carolina, USA. Her full length collection, Becoming Altar, is forthcoming from Subpress Collective in the fall of 2025. https://www.kylahoubolt.us/index.html
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He looked away sadly, picking at the seam of his hospital gown. “I thought it was something I might be good at.”
I knew what he meant. I had a memory of holding his hand as a boy while our daddy told us we’d always be failures.
That was the time after I’d been benched for the season, but between us later there would be hunting trips with no blooding, carpentry that resulted in wonky structures, creative writing classes that yielded no poetry, auto-tech training foiled by an aversion to dirty hands, marriages foiled by an inability to share.
I’d remember those things my brother tried later, after he jumped.
Elizabeth Rosen (she/her) is a native New Orleanian and a transplant to small-town Pennsylvania. She misses gulf oysters and Southern ghost stories, but has become appreciative of snow and colorful scarves. Colorwise, she’s an autumn. She still wants her MTV. Her stories have appeared in places such as North American Review, Baltimore Review, Pithead Chapel, Flash Frog, and New Flash Fiction Review. Learn more at www.thewritelifeliz.com.
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But I believe in foxes, standing on the hood of my neighbour’s 2024 Toyota,
in blood moons in the dead heat of summer,
in gravestones with handwritten notes taped to the marble, spelled incorrectly in a foreign language,
in crumpled birthday cards and sun-stained photos in a shoebox underneath my mattress.
“Ci vediamo,” see you soon, I remember telling myself,
at the foot of your bed,
the mausoleum,
the pier,
at an apartment in Montreal’s east-end.
I believe in the text messages you sent me,
in the accidental photo you took of yourself in the hospital,
they sit undeleted, like cremated ashes on my phone.
“Don’t remember me like this,” you said in broken English, because you wanted me to understand,
I promised that I wouldn’t but of course that was a lie.
I believe in the clock reaching half past noon, one April afternoon, sitting in my high-school’s music room, dread creeping like a morning glory up my throat.
I believe in early spring sadness, budding with the daffodils in the ditch off the cemetery’s main road.
I believe we’ll always be tethered together, your electric pulse in mine,
Though I spent years fighting it,
I close my eyes,
Watch our images,
blur,
overlap,
collapse.
Maybe if I can’t believe in God, I can at least believe in You.
Toni della Fata is a lesbian writer based in Toronto, Canada. She is a professional daydreamer, whose work focuses on the fringes between fiction and reality. When she isn’t writing, Toni can be found in a nearby stream counting fish or somewhere on the coast collecting sea shells.
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Katharine when older and more red. Nose straighter
Not me
Karen Walker draws and writes in Ontario, Canada. Her recent work is in or forthcoming in Club Plum, Feral, Switch, Weird Lit, Underbelly Press, and Wallstrait.
https://templeinacity.com/wp-content/uploads/2025/02/Temple-In-A-City-Logo5.png00Eirenehttps://templeinacity.com/wp-content/uploads/2025/02/Temple-In-A-City-Logo5.pngEirene2025-09-17 04:33:002025-09-18 10:29:18Two coloured pencil drawings on paper, Karen Walker
In the future, Marie will reinvent herself. But first she will disappear to have the baby. Then she will reappear to sit her exams, the baby safely delivered by her mother to a nice family that Marie will never meet, in a city she will never visit. She will get a place at Uni to study law, then she will use her natural talent for winning an argument to train as a barrister. She will drink too much. She will smoke too much. She will quit smoking. She will join a gym. One day she will write to Robert, the baby’s father, and she will tell him how well she is doing and how she hopes they did the right thing for all of them, and he will treasure the letter, but he will not write back. Marie will think about the child, and how and who they are, but she will only allow herself to do this for an allotted half-hour, every Friday, after work and before dinner.
In the future, Robert will sell insurance. But first he will party his way through an extended adolescence that lasts long into his third decade. He will drink and do drugs with a commitment bordering on a qualification. He will stop drinking and doing drugs when one of his friends has a stroke. He will barrel through a string of co-dependent relationships – with women who will cook and clean and care for him, until his tearful, late-night self-examinations become too difficult a form of mothering. When he finds himself alone, he will read and re-read the letter from Marie. He will keep the letter in a hanging file marked Miscellaneous and he will think about the child – now an adult – and how and who they are, and he will think about having a drink, but he won’t.
In the future, Theresa will watch as Marie’s star rises. She will congratulate herself on making the right decision. She will tell her friends how happy her daughter is, how she drinks cocktails with high-flying clients, how she stays in the best hotels. She will sometimes think about the baby’s tiny foot in Marie’s hand, just a child herself; the argument Marie couldn’t win. One day, Theresa will write to the adoption agency and she will ask them to pass on another letter, from her, to the child – who will always be a child in her mind – but Theresa will be told, kindly and efficiently, that it is not allowed under the terms of the non-contact agreement they made all those years ago.
In the future, when Theresa dies, Marie will clear her house. She will break this task down into manageable timescales: Monday to Thursday, for half an hour, after work and before dinner. One day, Marie will find a sealed envelope, addressed, in her mother’s handwriting, to a person she doesn’t know. She will think about opening it, but she won’t. She will take the letter home, she will file it under Health – general, she will pour herself a large glass of wine and she will look forward to Friday.
Monica Dickson writes flash fiction and (longer) short stories. Her work has been published in Anti-Heroin Chic, jmww, Splonk, X-R-A-Y and elsewhere online, as well as in various print journals and anthologies. Her story ‘Receipts’ was selected for the inaugural Best British and Irish Flash Fiction award (BIFFY50). She won the 2019 Northern Short Story Festival Flash Fiction Slam and is a graduate of the Northern Short Story Festival Academy. More at writingandthelike.wordpress.com and @mondickson.bsky.social
Joshua Walker is a poet and storyteller, also known as The Last Bard. His work explores memory, identity, and the fragile beauty of survival amid hardship. Drawing on personal experience with mental illness and a deep love for myth and lyricism, Joshua crafts poems that are raw, intimate, and unflinchingly honest. He shares his voice widely on social media and continues to build a community of readers and fellow seekers.
A son this third time. Here. Take a laddoo. It is from your favourite shop. Jalaram’s. Motichoor. Not the Besan laddoo that you upturned a plateful during our third year Diwali celebration, leaving floury bits all around, like a bomb explosion. That day my heart sank at your disrespect.
There she is – your second wife. Here. Feed her a laddoo. She needs to be lauded. For producing a heir. For helping you shed your skin as my husband, the cover for all the love shared for thirteen years. You said I must learn from her, by drinking her urine, borrowing and sleeping on her pillow to absorb lessons on how to be a ‘good’ wife.
Where is your mother – the evil goddess who held your dubious honour aloft? Has she ever played any role other than being a yes-woman, refusing to see my side? You’d say I planted the bone of contention in the first place. In your eyes, she is infallible and tolerated all my mistakes too. You owe her for today. Celebrate with a laddoo.
Why am I at your son’s naming ceremony with a box of laddoo? Why laddoo? Because by its shape it represents the universe. The fried flour pearls are the human lives; the sugar syrup is the love that is supposed to give the binding. Fried cashews and raisins are the good and bad tidings and the cloves- those spicy bits are the real deal. They are the tests for love.
Fine, don’t buy all this. Don’t fret about guilt and conscience, duty or the failure of it or the energy exchange that has happened all these years in the give and take between you and me, just come forward. Take a laddoo.
Come on, take one; Make a move.
Vijayalakshmi Sridhar is a writer of features and fiction in Chennai, a coastal city in South India.
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