• Flying in Reverse by Cesar Toscano

    When I was young, I learned how to fly. I placed an array of pixels together until they were a 4D 8-bit flying contraption.
    Maybe it worked because my father was part duck and mother was a quarter swan.
    What are your parents?
    Part air animal or part land animal?
    If so, you know and there’s no more reason to ask again.

    In 1910, when I flew for the first time, the sky was pink, laced in strawberry clouds.
    I have never felt so alive, not even when I actually grew a feather or two the next summer.
    Imagination has unlimited possibilities, and many don’t like to agree, and I would like to say they are wrong, absolutely wrong.
    On that day, I flew and flew with only my mind and a jar of sweets. Sugar is important for imagination, makes your brain run a little wild and a lot bit faster.

    My town looked like a miniature city up above, I wanted to collect them and play with them, make my little village of my own.
    You would have wanted to, anyone would have. Little figurines doused in possibilities and dreams of a new world, my own little world.

    It’s now 1942, I wanted to fly again like those birds over the battlefield, free with not worrying about death. I would love to fly again but I am in between two battlefields. They would think of me as a foreign fighter and shoot me down. They possibly would not see me as a duck or even a swan like my father and mother.


    Cesar Toscano is a Chicago based writer; he is currently a junior majoring in creative writing at Columbia College Chicago where he worked as an assistant poetry editor for Allium magazine. He also runs the new magazine Mystic Owl, which will be released on October 3. His work delves into mental health and identity through a speculative and horror lens. When he is not writing, he enjoys watching movies and playing video games.

  • Fundamentals of Apocalypse Dentistry by Lauren Kardos

    Root (in the) Canal
    Try the old bait and tackle shops first, I tell all my patients and I’m telling you. Find waterproof overalls then muck about the banks, hunting for glimmers of pearl. Alligator fangs make for perfect canines. Beaver teeth for incisors.

    Next batch of canned-peach hooch won’t be ready for a week or more. You sure you want to do this now? Lean back over that boulder. It takes but a moment to sanitize pliers over the cookstove between appointments.

    Don’t you wonder how the flash ruined brick, stone, and steel, but copper’s not worse for wear? I’m clean out of pens for your John Hancock, but I require payment in equipment, mainly the wires that’ll hold your Frankenstein yapper in place. Across the river those heaps haven’t been touched yet, I expect. 

    Curl your lips away from the super glue and try to imagine swallowing your tongue. If not, you’ll either sear those tastebuds off or talk forevermore like a horse with peanut butter gums, but super glue is all I’ve got. 

    Lean over a puddle. Grab some charcoal from your preferred former establishment — avoid those Pompeii-prone shapes — and scrub in a circular motion. Rinse with the cleanest liquid you can find. When you squint, a smile will look close enough to the original. Enjoy.


    Lauren Kardos (she/her) writes from Washington, DC, but she’s still breaking up with her hometown in Western Pennsylvania. You can find her on Twitter @lkardos.

  • Two by Evan Williams

    The Screaming Thing Is Also a Friend if You Try Hard Enough

    The bodybuilder is very small. You could hold him in your hand if you really wanted to, but probably don’t. He’s always screaming, and it’s this really high-pitched, god-awful scream. I made a little set of dumbbells and a barbell for him to hold over his head so the screaming seems more natural. I use his screaming as white noise at night. I count his reps to fall asleep.

    Look! A Pile of Coyotes!

    I haven’t cut my hair for six months. I wear a hat to cover its awkward growth. This is ok in the summertime, but I think a lot about what I’ll do in the wintertime. There are other sorts of hats, but wearing them indoors makes it seem like you can’t settle. Summertime hats indoors are just a little bit rude, but mostly alright. I tie my hair back into the puniest of knots while I drive, or else I turn my hat backwards. This way, I can’t rest my head against the seat. It’s for safety. 

    I sing a song and then another. I wish for there to be a song about the park ranger and his wife who propositioned me for a threesome. A song about how I said Look! A pile of coyotes! and pointed nowhere and left. I’d write the song, but I don’t play any instruments. 

    I’ll grow my hair for another six months. Another six years. Six more after that. I’ll grow my hair out until I look like a pile of coyotes. Then I’ll howl and howl and that will be the song.  


    Evan Williams is a poet and essayist based in the Midwest writing on masculinity, surrealism, and the anthropocene. His work can be found in DIAGRAM, Pleiades, Joyland, and elsewhere. He is the author of the chapbook CLAUSTROPHOBIA, SURPRISE! (HAD Chaps, 2022) and helps to run the prose poetry journal Obliterat. He’s on Twitter @evansquilliams.

  • Two by Reka Nyitrai

    The scissors-man

    I would like to ask you to let your hair grow — said my lover. You would look more feminine and this would excite me more. What he does not know is that my grandmother and mother promised me to the scissors-man. The scissors-man owns my hair and I. He dutifully visits me every night and cuts my locks. From my hair and his other slave girl’s honeyed strands his wife knits a special sweat cloth. With it he wipes her face clean. 

    Abstract with breasts and crocodile 

    In order to put a leash on their gaze, whenever she notices them staring at her breasts, Dora exposes the crocodile that nests in the hollow of her cleavage. With their gaze firmly tied they follow her like hypnotized zombies. She keeps them in kennels built on the outskirts of the city. Those who were lucky enough to escape from her spell report that the crocodile and Dora are one and the same person. They say that they saw her carrying baby crocodiles in her mouth.


    Réka Nyitrai is a spell, a sparrow, a lioness’s tongue — a bird nest in a pool of dusk. She is the recipient of a Touchstone Distinguished Books Award for 2020 for her debut haiku volume “While Dreaming Your Dreams” (Valencia Spain: Mono Ya Mono Books, 2020). Her prose poems have appeared in Otoliths, Unbroken Journal, Pithead Chapel, Heliosparrow Poetry Journal,  NOON: journal of the short poem, Obliterat Journal, and others. 

  • The Return by Roberta Beary

    My bicycle falls against the bay’s stone wall. My son, secure in his tiny seat, points to the careening gulls. Grandma, Grandma, he shouts. How could he know? I never told him my mother’s last words, heard more as threat than comfort. I unbuckle him. Cover my unease by handing him his spade and pail. On the shore he bends to his task, squealing as his treasure trove of clams grows. The gulls circle the air above us, then fly off. Except for one. Stouter than her comrades, she eyes the clams with a greedy gaze. Grandma, my son cries as the plump gull swoops closer. Dropping his pail, he runs towards me. He wears his frightened look. Perhaps he recalls the time I came home to find she had tied him to his highchair while she calmly fed his french fries to a seagull. I had thought him too young to remember. She blamed her cruel act on the doctor. A change in her medication. As my son and I watch the pot-bellied seabird devour clam after clam, more memories return. My mother stealing my dinner off my plate when my father’s back was turned. How she’d force me to clean every pot and pan. My raw hands deep in soapy water, my feet on the step-stool my father carved the night before he disappeared. My son smiles as I comb the sand from his soft curls. He calls, Grandma, stop stealing, as the bird scours the pail for the last of the clams. I approach the seabird, unclasping my lanyard. To be forever free of her is worth the price I paid for its braided leather. I lower the loop without a sound. But with a screech, the creature flies off towards the bicycle, and settles in my son’s tiny seat. She sits there still. 


    Roberta Beary has words in Best Microfiction 2019/2021, and Best Small Fictions 2020/2022. Recently, Beary collaborated on One Breath: The Reluctant Engagement Project, which pairs their writing with artwork by people with disabilities and their families. Originally from New York, they divide their time between the eastern US and the west of Ireland. They tweet their micros @shortpoemz.

  • Two by Dom Witten

    Acid Pillow Talk

    Deception isn’t the only way to manufacture
    eulogies, mushrooms and oranges. 
    Magnetic fields can procure the same thrill.
    Omission —intentional or otherwise
    neighbors the red handprints
    stroking my hair.

    Eulogies, mushrooms and oranges
    fulfill the prophecy of disappointment.
    Omission —intentional or otherwise 
    isn’t the culprit
    stroking my hair.

    Fulfill the prophecy of disappointment
    or don’t become someone I love.
    Isn’t the culprit
    something else dead?

    Don’t become something I love.
    Soap box a stock photo
    or stain someone else dead.

    Stock photo a soap box
    deception; the only way to neighbor

    manufactured handprints.

    No Vents and The Windows Don’t Open

    Me and Eve in apartment two split
    custody of a purgatory demon.
    Her therapist suggested she name it
    but we agree it’s best not to name that beast
    whose mourning routine consists of filing its nails
    between wood boards and insulation.

    The Wildlife Extinction Man conquered
    most of the colony who used to rustle
    the safety of Hoarders,
    Wannabe Opera Singers and Artists.
    Last January he set traps under the house
    with their favorite irresistibles: pepper jack cheese,
    warm body syndrome, cinderblock apologies.

    There was a younger sibling­—
    we don’t talk about the hot water pipe incident.

    Eve say bang a tv remote
    on something heavy so it don’t feel
    welcome. Consequences need
    grit behind them.

    Ain’t no space in my bedroom for
    more blank histories since
    I started playing patty cake with
    the tiny red fingers reaching
    for one more look.


    Dom Witten is a Black poet raised on the end of a one-way street in Detroit, MI. She received her MFA from the University of North Carolina Greensboro with special attention to process-based learning. She is a co-founder and program director of the Poetics Lab which facilitates inclusive spaces for communities to engage with identity through poetry and performance of the self. Dom’s poems are obsessed with establishing a future with more joy, sass, naps and emotional accuracy. IG: @domthepoet22 & @tPoeticsLab

  • Aketar by David Marino

    “Come to Aketar and be transformed.”         

    That is what the myths say, the line spoken in a dozen languages across the continent. It is in their scriptures, their songs round the cookfires, their tablets in bronze. They all come to seek their promised land.  

    This is where I come in. They call me the Dead Desert, the Barrier to Heaven, the Sands Relentless. I oblige them, decorating myself with their bones.

    Beyond me, they say, Aketar sits. Their voices carry on my winds. “Green fields and endless harvests.” “No, waterfalls that climb upward.” “No, clouds soft as down, firm enough to walk on.” “No, castles in the sky, hung in the air from a roof of stars.”

    They are all incorrect.

    Exhaustion kills most of them. From my borders, one can walk for three days and three nights and see naught but my skin, orange dunes rising and falling.

    Heat stroke does its number, too, sunlight beating down only to give way to frostbite at night, when I turn near blue in the moon’s gloam.

    For three hundred years, this was enough. But no amount of bones strung up on cacti dissuade them from marching into me. Then their adventurers quested with wagon trains pulled by camels and oxen. So I rent my own flesh for sinkholes, gobbling convoys whole. Mirages of palm trees and oases addle the survivors, turning them back the way they came.

    For those smart enough to dowse for water, to find my blood pumping underground, they choke on my subterranean poison.

    For two hundred years, that was enough. Then they came with water on their sand sleds, using my harsh winds against me. Their sailships darted across me, passing right over the bones I had laid out so perfectly.

    This couldn’t be allowed. I erupted my fumaroles, blasts of lava and sulfuric gas flipping their tiny wooden ships, burning bonfires mixing with my green smoke. Fresh testaments to how far my desert goes, how vast I am.

    But they did not take the plumes as failure, but as progress. One hundred years more, and they came with iron bottomed sailers, gasmasks and water filtration to pull moisture from the air. They were so close to my edge, I tore myself asunder, a great tremor, a rip in the earth making an impassable canyon.

    Fifty years, and they come to the canyon’s edge, bringing great beams to construct a bridge, sending surveyors into my depths to create supports. I drop rocks, shift the wind to push them from on high, slake my bloodlust on their rotting bodies at the bottom of my canyon throat. The more I kill, the more come, and come, and build, replacing my skin with theirs, sand giving way to their lead roads.

    Soon they’ll reach my edge and come to the ocean beyond. It is nothing special, not alive like I am. When they do, perhaps I can rest. Perhaps then, they’ll realize my name is Aketar, and I fulfilled their promise.

    Or perhaps they’ll reach the sea and sail onward. Always seeking, always finding.


    David Marino is a New York City CPA by day and a fantasy novelist by night. He is currently attending Sarah Lawrence’s Creative Writing MFA program.

  • Glass Hours by Carolyn Oliver

    Lose Touch

    If a city’s outskirts are ragged, were they once ruffled or ruched? Three popes ago, my brother and I. Two down, him possible across uncollapsed tree, sand sky. Assignment: Pleat starfish fists and chicken bone fringe until numb. Given: the sky is old, filmy. Given: the tree blooms guns from its sour gums. Given: how danger, close coming, feels like windows. Therefore: Offer one body. Therefore: Pain like glass chrysanthemums.

    Tide Over

    Glass room, doorless, half embedded in a beach. Perpetual sunrise or twilight, and that’s the worst part, not knowing which way time slips. No, the worst part is how the water won’t come into focus, neither wave nor foam, but the tentacle wrapping the join of the glass clearly counts grains of sand. The way in certain eighteenth-century paintings dogs in their specificity are better memorialized than wives. Toward the station, scent of frying octopus. No train.

    Bounce Back

    Night is a counterpublic. Everyone has been freed from the icebergs, except the glass matron gathered over the bed. She knows the pillars in the water make a pillory not a pier. From offshore, mountains are smoke whales, uncut trees velvet barstools. Pray. Not to hear the owl (its passing the barest impression of frayed wire), but the curtailed scream and rubberous echo. The middle ground’s contagious with budget skulls. Each portal siren blue.


    Carolyn Oliver is the author of Inside the Storm I Want to Touch the Tremble (University of Utah Press, 2022), which won the Agha Shahid Ali Prize in Poetry, and two chapbooks, Mirror Factory and Dearling. She is the editor of The Worcester Review. Website: Twitter: @CarolynROliver

  • Night Staff at the Library: a triptych by Benjamin Niespodziany

    [1] Two janitors arrive nightly in matching designs. One is from Warsaw. One claims Durango. They take photos before and after every shift. They hold hands when they can. I think they run a blog. In the mop closet, they offer me cigarettes, the pack scratched Cyrillic. They offer me licorice and spinach. I echo along to their songs, the three of us laughing like disturbed, distracted gods.

    [2] In the mop closet, the janitor from Warsaw is old. Poland, she says. Poland. On her lunch break, she lets me cut her hair. Poland, I say. My family, I say. Poland. I don’t change my shirt. Poland, she says. The lightbulb above us flickers and dies and brightens again. Almost all of her hair is gone. I’ll clean, she says. She laughs. We laugh. The puddle on the floor pours my last name.

    [3] In the mop closet, the janitor from Durango is loud. He has me wrap him in gauze. Gauze he found in the library ceiling tile above our heads. Above, he points. Above. I wrap him in the gauze until the gauze is gone and he is gone and in my hand is no more gauze and in my hand is a diamond the size of a new bar of soap. The janitor from Durango doesn’t see the diamond. He’s looking at the wrap of his legs. The shape of the gauze. I rest the diamond atop his bald head. He’s smiling. We’re smiling. He’s saying the door won’t open.


    Benjamin Niespodziany’s work has appeared in Fence, Fairy Tale Review, Hobart, and others. Along with being featured in the Wigleaf Top 50, his writing has been nominated for the Pushcart Prize, Best of the Net, and Best Microfiction. With three chapbooks out, his debut full-length will be released in November 2022 through Okay Donkey Books.

  • Two from Black Swan Theory by Kyle Marbut

    If I still believed in dawn, I’d rise to meet it. That I rise at all is nothing to do with light and everything to do with the modern discourse: gravediggers on a smokebreak under my window lament skunks run amok in the cemetery across the lawn, exhuming generations in search of their nightly grub. They’ve so uprooted the great oak who shades the mausoleums it’s begun to bow into the rooftops. Roused, I roam the aisles bedheaded in my lingerie, knocking on stained glass and caskets, waking the saints. That parade of corpses behind me, crowding, cheering. As if at any moment I might usher them into the sky crowned in sunshower, rather than offering trust-falls into a landfill. The second morning of my life I’ve been mistaken for rapture.


    One way to think you’ll live forever or at least that you’re alive is eating celery soup and finger sandwiches while sprawled across a crimson sectional and revising the new atlas of the passing daytime sky. I’ve never had much patience for what’s right. I carve secret passages from the larder to the library to the well, flood the basement with a hose and toss glowsticks down the stairs, paint doors on the walls and set mirrors in all but one of the actual doorframes. More than a home, I’ve wanted a destination. To know the self not by its reflection but by its absence from the only way out.


    Kyle Marbut is lying low in a blanket fort. They live in Virginia, where they write, teach, and take long walks with a lantern in the dark. Their poetry has appeared in or is forthcoming from Ethel, Fairy Tale Review, Poiesis, and Longleaf Review.

  • Dead Sprint by Evan Nicholls

    The skeleton crossed the finish line and was halved at the waist. Exploded by a ribbon. Then the announcer cued a procession of rats to haul the bones away. “They hope to add body to the broth,” the announcer remarked. We handed each rat a water cup. The last, wearing the skull, we bathed in Gatorade.


    Evan Nicholls is a poet and collage artist from Virginia. His chapbook of poems and collages, Holy Smokes, is available from Ghost City Press. Find more of his work at

  • Chew, Swallow, Chew by Ai Jiang

    They attached a zipper to my stomach, not to my womb. They said this would help the process run smoother, faster, if the babies could consume nourishment passed broken only by mouth and saliva. I watched as they inserted the baby, a worm, which would later metaphorize into one of them. Within me, I felt tiny legs and arms sprout from its malleable body, stole what I chewed. When it left me, I was a skeleton, and it a plump, pulsing, purple entity with a thousand arms. It unravelled its millions of folds before unzipping me, next child in hand. They told me I should be honoured, that my role was a glorious, glorious thing. Be thankful it was you, they’d said. And the choice, what choice? but the single one presented to me?


    Ai Jiang is a Chinese-Canadian writer and an immigrant from Fujian. She is a member of HWA, SFWA, and Codex. Her work has appeared or is forthcoming in F&SF, The Dark, Uncanny, The Puritan, Prairie Fire, The Masters Review, and her debut novella Linghun (April 2023) is forthcoming with Dark Matter INK. Find her on Twitter (@AiJiang_) and online (

  • Attn: Butchers & Locksmiths by Joel Hans

    Which bone of mine opens the door back home?

    A. My malleus, timpani that first percussed with my mother’s voice,

    B. my hyoid, anchor that dredged up all my boldest words, like I love you and I’ll always be here for you and pee makes the trees die,

    C. my femur, hammering me around the track’s last corner, the crowd cheering, my mouth a tinderbox of pennies and phlegm,

    D. or my phalanx, showing my girls how to pluck notes from a sunflower’s sunbaked head?

    E. My vomer, bearing the smell of eager apples penduluming in a high desert orchard,

    F. or my stapes, dithering even now to the confidence of toddlers with too-few teeth chomping down on golden carrots still dressed in dirt?

    G. Nothing, because I’m too old, the magic of childhood lost as my bones fused together,

    H. or nothing, because a door opens only upon receipt of what I’m not willing to sacrifice?

    I. My calcaneus, the pain of stepping on toy blocks in the carpet at night,

    J. my mandible, the pain of tasting bitterness in the citrus I took out a mortgage just to try,

    K. or my radius, the pain of forgetting to remember the last time I held my last child,

    L. or my ethmoid, the pain of having not come home sooner from this trip far, far, to the end of the world,

    M. or my carpals, the pain of letting them hurt me just so I could hear their apologies, touch their whole cheek, back when they were young, their bones so soft and malleable and full of magic?


    Joel Hans has published short stories in West Branch, No Tokens, Puerto del Sol, The Masters Review, Redivider, and others. He holds an MFA from the University of Arizona and previously served as the managing editor of Fairy Tale Review. He lives in Tucson, Arizona with his family.

  • The Masked Rider by Vincent Rendoni

    Do not touch the Zorro books in the garage. You could release the Masked Rider. You think you don’t know him, but you do. He only appears at the end. After the colonizers are slain. After the governor’s daughter is bedded. Foolish Zorro, riding high into the sunset. He does not see the true villain. Mistakes him for his shadow.

    The Masked Rider is surrounded by flies. He slurs his speech. He talks about baseball and tv. Mad shit about Ronald Reagan. He is on our hero’s tail, in his slipstream, charging forth on his donkey, spirited and slender, but still an ass. The Masked Rider should be weighed down by his beer gut, his diabetes. But no, he moves with the grace of a dancer. Swift and exact, he puts his cutlass through Zorro’s back. He goes fast. This is mercy. He’s going to a better place, without blood or corruption or fighting.

    The Masked Rider then goes to the village. He frees the landowners, the peasants, the whole of California from strife and pain. And when everyone has ascended, he looks at you. Danger. Close the book. Close it now. You think you don’t know the Masked Rider, but you do. He will leap off the page and give you chase. You may yet escape. For a time. Finish school. Settle down. Have children. Live long enough to think life is too long. May he find you then. No need to invite sooner what’s coming later.

    Don’t say I didn’t warn you.


    Vincent Antonio Rendoni is the author of the forthcoming full-length poetry collection A Grito Contest in the Afterlife—the winner of the 2022 Catamaran Poetry Prize as judged by Dorianne Laux. He is a 2022 Jack Straw Poetry Fellow and the winner of Blue Earth Review’s 2021 Flash Fiction Contest. His work has appeared / will be appearing in The Sycamore Review, The Vestal Review, Quarterly West, The Texas Review, The Westchester Review, Necessary Fiction, and many other venues. He can be found online at and @warshingtonian.

  • Tourists by J.D. Hosemann

    It was another brewery tour for Jared and me. The fifth since we’d been married. Or was it sixth? I can’t remember. We were at the part where the guide finally lets you smell the hops. I brought a handful to my face, sniffed, and immediately forgot where I was. Had we come to Austin or Asheville? Portland, Oregon; or Portland, Maine? Or does geography matter in the age of American microbreweries?

    Jared sniffed the hops in his palm and said “Oh, nice.”

    Just then everyone’s phones screeched at once and people dug in their pockets. Severe weather was fast approaching and we hadn’t even begun the tasting. So the guide skipped the barley segment and took us directly to the bar, but not before I dropped a few hops into my clutch.

    Jared, ever the lightweight, pretended to evaluate the first of his unfiltered ales. But by his third, he’d changed the subject to babies.

    “I know it’s your body,” he said. “And I respect that.”

    Thankfully the phones screeched again and I pulled mine out.

    “What’s it say?” he asked.

    “It says thunder and lightning. It says rain. It says tornadoes and flashfloods. It says earthquakes and hurricanes.”

    Jared took another sip of beer and said “I guess we should head for the giftshop.” We collected tall beer glasses and liked them more than the beer itself. We had a cabinet full of them at home. All smooth and curvy, with the names of different cities printed on them.

    I asked Jared if he thought we should leave, if we should take shelter somewhere else, but he just shrugged. He said it would blow over. Just a summer storm. He said people make too much of it, that’s why no one comes this time of year. Jared and I were opportunists, always going places in the offseason.

    In the giftshop, I could hear the wind blowing outside and wondered about the rental car in the parking lot. Did we buy insurance? I thought to ask Jared but he was rotating a glass in his hand, holding it to the light, testing the balance on a flat surface. But when we heard little pops on the building’s tin roof, Jared turned and looked at me.

    “Did we buy insurance?” he asked.

    “Sounds like hail,” I said. “I’m going to check.”

    The light outside was unlike any I’d ever seen. Everything appeared a yellowed sepia. The water in the canal was choppy and little balls of hail shattered on the asphalt. I found it all quite beautiful and wished I could remember where we were, which city this was. I thought I’d like to come back one day.

    All the cars in the parking lot were white or silver and I was pressing the lock button on the keys, listening for the honk, when I saw the little girl. She was standing between vehicles with no adult in sight. Everyone had taken shelter. “Are you okay?” I asked. Suddenly the rain came down hard and I couldn’t hear what she said. She ran up to me and grabbed my hand. I pressed the lock button again and the car directly behind us chirped and blinked its lights.

    Inside the car we had to yell to hear one another. “Are you okay?” I yelled.

    “The car is probably not the safest place to seek shelter,” the girl responded loudly.

    “Yes, I know. But it’s a rental. I couldn’t remember if we bought insurance. I thought maybe we should move the car beneath an awning of some sort. I mean with the hail and all. Where are your parents?”

    “Ah! You’re a tourist!” yelled the little girl. “Have you tried the microbrewery yet?”

    When she said this the wind picked up and I wondered if tornados ever hit cities or if they only happened in rural places. But I stopped thinking about the wind when I noticed the water seeping into the floorboards. The little girl noticed it too. She looked at me and said, “I’m scared.”

    “I am too,” I said.

    “Do something,” she said.

    I reached into my clutch and pulled out some hops from the brewery. “Here, smell this.”

    The little girl leaned over the console and sniffed. “What is it?”

    “They’re hops. They’re from…”

    “I have to go,” said the little girl. She turned, flung the door open, and bolted into the parking lot. I wanted to yell after her but knew not what to call her. 

    I didn’t notice the rain had stopped until Jared tapped on the window. He was bone dry and carrying a bag from the gift shop. “Jesus,” he said. “Were you out here for all that?”

    Months later we’re at home. I open a cabinet and one of the many tall, curvy glasses leaps to the floor. I sweep most of the pieces into the dustpan, but, on my hands and knees, I find some large shards under the counters. I grab one with my fingertips and flip it over. On it, small red letters spell Nashville, Tennessee. And, for a long while, I sit on the floor trying hard to remember anything at all about Nashville, Tennessee.


    J.D. Hosemann lives in Jackson, Mississippi and teaches English at Tougaloo College. His stories have appeared in The Kenyon Review Online, New World Writing, Gone Lawn, The Hong Kong Review, and Night Picnic Press

  • The Brains by Ruby Rorty

    I plant brains out back to help me think. I can’t say whose. In the mornings, I pour coffee over their folds and sprinkle the grounds as fertilizer. At night, the bodiless brains’ dreams drift past my windows like jellyfish. I fall asleep watching them and their phosphorescence seeps into my own dreams. In these dreams, I am brainier than ever.

    I am proud of my brains, so I write a letter to the brain people at the university in town. Secretly, I hope they will give me an honorary degree. A man in a lab coat comes and shakes my hand. He digs up my garden and bags the brains. When he thinks I’m not looking, he kisses each one through the plastic.

    I ask if I can come visit and he tells me it will be best for everyone if I don’t try to contact my brains at their new home. He leaves, and my garden is full of fresh dirt and coffee grounds. At night, the windows stay dark.


    Ruby Rorty is a poet, journalist, and environmental justice researcher in Chicago. Her work has appeared in Cool Rock Repository, Paddler Press, and Mythic Picnic Volume 8. Ruby tweets @RortyRuby and Instagrams @ruby.rorty

  • Does the Pig? by Nick Story

    Does the pig run? 

    Does the pig run and jump over the fence? 

    Does the pig, fleeing the farmer, run toward the fence, to jump the fence? 

    Does the pig, fleeing the farmer, who is brandishing a dull rusty knife, run toward the fence, which is in disrepair, and leap into a kind of freedom? 

    Does the pig, fleeing the balding farmer, who is brandishing a dull and rusty knife, a knife he inherited from his grandfather, speed toward the fence, rotten from termites and broken by teenagers the night before, to find himself in freedom? 

    Does the wiry-haired pig, fleeing the bald overweight farmer, the man who is holding tight to his grandfather’s knife, a knife used to cull generations of pigs, flee toward the broken-down fence, sailing over it to freedom?

    Does the pig with wiry white hair, who just this morning was concentrating on a mud pool he favored, run from the farmer—who looks like he is at death’s door to be honest—and yet who is still white-knuckling a knife, a knife he got from his grandad, a knife used to slaughter pigs over many decades, a knife that was once iron in a quiet hillside, does this pig run to toward the fence, broken by local teens during a night of drunken balance beaming—though the teens were only a proximate cause since the slats had been weakened by termites—to freedom?

    Does our friend the pig, covered in mud from his favorite mud pool, run from the hungry farmer who loves his knife, the knife that Pappy gave him to spill gallons of porcine blood, a knife that was once quiet iron living, in its way, inside a hill, does this very pig zoom on over toward a fence—a fence used the night before in a balancing act by two teenage girls staying out later than they told their parents they would, drinking from a bottle of wine—and pass into a realm of freedom?

    Does the muddy pig, who was recently having some of his best mud thoughts and mud sensations in his mud pool, fly from a farmer who wields his grandpa’s knife—a knife used in the past for killing animals but before that was just sitting there in the dark earth—fly from the farmer and toward the fence, luckily broken by two teens under the moonlight—teens who, the night before laughed when the wood snapped and caught each other—and does the prenominated pig, picking up speed near the end, jump gracefully over the broken fence into freedom?

    Does the pig belong to a trinity we might call “knife—pig—man,” a configuration in which the man dreams of being a knife, the knife dreams of being iron in a hill, and the pig dreams of being a drunk teenage girl balancing on a narrow, rotted board, the same board whose nocturnal collapse has cleared the way for the pig to jump into freedom? 

    No, no. The pig stays where he is. 


    Nick Story is from Columbus, Ohio. His fiction has appeared in The Normal School, The Indiana Review, Monkey Bicycle, and The Common. His website is

  • Two by Stephanie Dinsae

    Bitstream (The Body Keeps Score)

    rewindsequence painprotection 
    wraptransference scarcitydenial
    mumbledata dreambones chucklepoint

    A bitstream is something like a transference of data.

    A succession of layers all working together to achieve the same goal: longevity.

    The bits point to each other for guidance and lessons, all formed by a collection of family units.

    Sometimes the different layers resonate with each other.

    They take on similar appearances or build or mannerisms.

    Sometimes the father-layer has consistent phone issues and is terrible at communicating.

    Likewise, his estranged son-layer has terrible luck, replacing phone after phone, and is terrible at communicating.

    Sometimes the grandchild-layer is stubborn and resistant, sometimes the granddaughter-layer gets it from the mother-layer and the mother-layer gets it from both her parent-layers.

    A transference of data can look like:

    Vivid dreams that cause both a grandmother and her foreign grandson to mumble, chuckle, exclaim in their sleep.

    A vicious patriarchal system wrapping itself around a grandmother and her children, forcing them to attempt to wrap the same system around the granddaughter.

    The genuine care and protection that a mother shows to her child and that he, in turn, shows to his daughter.

    A surplus of rhythm, but a scarcity of ways to use it among grandpa and grandson.

    The adulterous bones that emerge in certain husband-layers of the family units.

    Sometimes the data is the body in all its encoded glory. Family secrets held in code-block. Inheritance a twisted tunnel of traits. Freedom a generative flower pushing forth from its embedded roots.


    1. I am lying on this table of rock. My wrists and ankles restricted.
      My insides chosen to be picked open for the taking of my flesh,
      I want to say I am sorry but I think that’s just the eagle’s beak
      nipping at my gut and I am not used to the feeling of feeling so open.

    2. I opened myself to those I thought were my people
      and they called it a burning, a scorching of the truth. Now my intestines
      dangle outside of my torso and I am told this is supposed to be
      punishment. I am uncomfortable but somehow, this is the freest
      I’ve ever felt. My guts spill across this slab of rock, my heart quivers.

    3. I brought my truth to my people and they called it a burning,
      a burning of any facades and half-truths I tried to claim
      as my own. They called it a burning. A burning I tried to own.
      I tried to claim facades and half-truths. Claim truths and half-
      facades. I tried to claim my own burning. I brought a burning to my people
      and they called it the truth. I called it the truth.
      I brought my people to the burning and they called it a facade.
      A facade of burning. A truth of half-burning. Truth claims to be half-facade.
      Truth claims to be half-burning. Half-truth tried to claim my people.
      My people claimed the burning. I learned how to stew
      in the discomfort of being so bare, supposedly against my will, but I chose this.

    4. I gave permission for my insides to be pecked out. Gave permission
      to be pecked out. To be pecked. Out. To be pecked out. My insides to be.
      Permission for my insides to be out. Permission for. Permission for me.
      Permission for me to be. Out. My limbs straining against the restraints.

    5. I can no longer tell if I am trying to break free or contain my fear.
      Am I trying to break my fear or contain my free. Stifle my free.
      I saw what happened when I unleashed myself the first time,
      my throat still thick, warm with repressed
      flames of my memory, my lips charred with forbidden saliva, my pleasant
      combustion imminent, I saw myself in the flames.


    Stephanie Dinsae is a poet and Black Classicist from the Bronx. She is a 2019 Smith College graduate and has received an MFA degree in Poetry with a Joint Concentration in Literary Translation from Columbia University’s School of the Arts. Stephanie often writes poetry about shame, myth as it relates to Blackness and her own life, video games, and the flexibility of memory. In 2021, she was named one of six Bronx Poet Laureate Finalists and won the DISQUIET Literary Prize in Poetry, publishing her poem “Dey” in The Common‘s Issue 22. Her favorite things to do are dance around to music and obsess over astrology. In case you were wondering, Stephanie has major Libra, Scorpio, and Sagittarius placements. 

  • Two by Shane Kowalski

    The Dark Staircase 

    The dark staircase leads to nothing. But we take it every once in a while, to another possible fate. Silently, a figure in white is digging a grave for you. It is “Purity.” It’s enough to make you want to splash your blood on white linen and scream. It’s enough to kiss passionately on a black horse in a thunderstorm before you die. This toppled chair indicates something intimate happened. Christine, where are you driving tonight, in this heartbroken fog?     

    A Fresh, Shallow Grave 

    These tire tracks indicate a swerve into the dark field. In the field is a hollow. In the hollow is a fresh, shallow grave. Christine, do you know this spot? Did you drive here one crisp night to remember how we used to feel? This metaphorical moon tells me a feeling can be mutual across many years. Most nights it feels like a knife is being sharpened at my throat. Dreams sluice out like juice from a squeezed orange. I’ve been like this forever. Who have you been leaving dead on the side of the road lately? 


    Shane Kowalski lives in Pennsylvania. He works for the United States Postal Service. He is the author of Small Moods (Future Tense Books).

  • Anglerfish by Rebecca Ackermann

    The waiter cleared the table outside the cafe’s front door and slipped two mint-green paper menus onto two white plates. I opened my mouth to object, fingers tugging on the stretched-out sleeves of my mustardy sweater. I was hoping for an inside seat.

    “Thank you,” she said first and slid into the sunnier spot. The waiter put his hand on the back of her chair to wish her, only her, a delicious meal. She smiled with white teeth and a fluency I had never seen in real life.

    She told me about her job at a flashy digital agency as I watched the sun play with her clean hair and white skin as if they were pools of saltwater. Her blue eyes held a ring of green in the middle that I could see when she opened them wide, wider to tell me about the size of her new office. 

    “I could put a hot tub in there it’s so huge!” she said. “Get in hot water to get out of hot water, you know?” I didn’t. But I was enjoying her light reflecting back on me, making me seem more appealing than I knew to be true. I was afraid that if I looked away, I would lose my own potential.


    “Should we split the calamari?” she asked, making the same face as her profile pic. “Or are you one of those people who doesn’t like to share?” 

    “I can share,” I said.

    “You look like you might be a pig for squid. Are you a hog for a cephalopod?”

    “I don’t think so.” I said carefully. 

    “Don’t get me wrong,” she said. “I appreciate a girl who can eat.” Her blue eyes searched my sweater; I drew my arms in tight. She was testing me for weak spots. My jokes could be like that too, but hers were better. My mother told me I scared people. “No one’s out to get you,” she’d said, pinching my arm between her fingers. “Try not to bite everyone’s head off.” She was too kind to say what was real: I was hard to love. 


    We ordered the main course and three men turned to admire her as they passed. One stopped and asked if he could take her picture. She ran a hand down the back of her neck and offered him her left side. That’s when I realized our outdoor seating was good marketing: a beautiful woman makes a shiny lure. In my whole life, I had never thought of myself as bait.


    “I’m glad I found you,” she said, pulling my mind to attention.

    “Me too,” I said.

    “I always wanted a sister,” she said and reached her pink hand across the table, palm up, waiting for mine to fill it. 

    “Me too,” I agreed, even though growing up, I only asked for a dog. I placed my fingertips on hers to see how it felt and she snapped her other hand on top of us both. Our hands were the same, except for my nails, short and chewed on. Hers long and impossibly iridescent.

    “Now that you’re here, I don’t think I’ll ever let you go,” she said, showing me her teeth like she had to the waiter. She barked a laugh, her hands still holding mine, her nails starting to find skin. “My sister! My very own sister, can you believe it?” 


    The waiter placed the squid in front of her and I watched the creature’s smallest tentacle reach for a slice of lemon. It was an illusion; the dish was warm and grilled. I stretched my own arm across the table to stab a bite. She pushed the bright white plate two inches closer to me. 

    “Are we sharing?” I asked.

    “You can have it,” she smiled, leaning all the way back in her chair. “I’m not hungry anyway.”

    I was starving. I forked puckered legs into my mouth over and over, as she mooned about a trip to hidden hot springs, each pool more scalding than the last.

    “Sounds uncomfortable,” I said, a bite lingering in my cheek. 

    “Oh, you know the story of the boiling frog,” she said. 

    But I didn’t.

    “Suffice to say, it’s quite pleasant actually!” she laughed. Heads turned at the table on the other side of the glass door to catch the source of her perfect sound. 

    “You like things hot, I guess,” I said.

    She cocked her head like a curious seal.

    “Hot tubs, hot springs…”

    “I run cold,” she said. “At least that’s what my boyfriends tell me!”

    “Me too,” I said, a little warmer after filling my stomach. “Maybe it’s genetic.” But then why did she choose seats out in the early winter air?

    “Have the last bite,” she gestured at the plate, one arm and one lemon left in an eddy of speckled aioli. I obeyed and washed it down with iced tea. She told me about the regular mud baths that kept her skin young and flexible. 

    “It’s like being buried,” she purred. Suddenly, the world in front of my eyes flickered and faded. Then the sirens, the freezing pavement on my neck. I couldn’t move or speak but I was still there and so was she. 


    “She’s mine!” I heard her shriek through sobs to a cast of blurry figures. “Let me stay with her!” Her silky arms wrapped around me, she brought an ice cube to my lips, still sweet with tea. She lifted me into her car on her own, cooing nursery rhymes as she worked. The last thing I remember is how the leather seats stank of the beach.


    Rebecca Ackermann is a writer, designer, and artist living in San Francisco. Her short fiction has been published by Barren Magazine, Wigleaf, Flash Frog, and others. Her essays on tech and humanity have appeared in The New York Times, Newsweek, The Week, and elsewhere. You can find her tweeting bad jokes and strong opinions @rebackermann

  • Some Things We Just Make by Blake Bell

    At first, her ghosts are just shapes, but in time, they grow into themselves. Her sister cuts her bangs, and her husband starts writing lyrics again. The dog aggravates her parents. They’ll spend eternity with a yapping puppy who won’t train like Jack, their beloved golden who passed before them. The new dog thinks the grass smells like dead animals now—and not the kind he’d like to roll in or eat—but ones that serve as a warning: nothing lives here.

    “Nothing leaves here.” Momma’s dyed-blonde hair has come back gray. She combs it incessantly. “Death isn’t a place. There’s no coming or going. We just are,” she says.

    But Maggie tears into books and falls deep down dark-web forums. Maybe she can bring them back. “But you still are, aren’t you? A shade, but still, a shade.”

    The how-tos and spells and rituals require wildly different materials. Some say sage and star anise and lavender. Others require goat blood and chants in writing Maggie can’t understand.

    Your drawing needs darkness. It’s empty, her art professor says, standing over her unshaded bedroom sketch. The wooden bed she designed for her lover centers the room. Frankenstein’s monster, an antique dream, brought to life.

    Now, Maggie studies her husband; he’s smooth not stippled. His songs are all about walruses. The night before the accident, they’d watched a nature documentary about Arctic walruses and their disappearing habitats. Nowhere else to go, blubber-filled bodies fell slack from cliffs and bounced to their death on the rocks below. “Stop this,” Adam says. “You don’t know what could happen. We could change.” “Remember all those horror movies we used to watch?” her sister asks. “No,” Maggie lies. “But I remember watching Practical Magic over and over.” Mary’s face fragments into crosshatches.

    Maggie smells butter. Mary is ten, and her cheeks are so full of popcorn when she laughs, it spills out the sides of her mouth and onto the couch they share. The movie is loud, but they are louder, and soon, Momma stomps up the stairs. You know better than this, Maggie. Y’all are keeping us up, Momma says.

    “Do you remember what it’s like to be alive?” Maggie asks each of them, but none will say.

    Build it! her professor says, pointing at her pencil. Maggie’s grip tightens. The dots grow in the corner of the room, multiplying, creeping toward the bedpost. That’s more like it, he says.

    When she goes to bed, curling wooden arches threaten and cradle her. She sleeps on her husband’s side and buries herself in her momma’s quilt, squares of ornate flowers and ferns. When she wakes up, time starts over. She opens her eyes and peels the quilt back. Under the bathroom mirror, hot water steams from the tap, and Maggie draws shapes in the fog with her finger pad. A dog, a car, silhouettes of necks, twisting.


    Blake Bell enjoys writing and teaching teenagers writing in South Louisiana. Find some of her recent work in Entropy Magazine, The Adroit Journal, and X-RAY Magazine, or visit and follow her @blakelbell.

  • My Uncle Lived in the Future by Parth Shah

    He mailed the paperwork when I was still an orca. The hungry days. Unyielding seasons of screaming water. Mother obsessed over deciphering their sound, preoccupied when kinfolk sank to the rocks. I died in the alien net before we could learn the language, and I became his nephew. My rebirth is at a hospital close to the ocean and close to the post office where he mailed off the forms. My uncle comes in the morning to hold me, dressed in his customary polo and slacks, square glasses with silver frames like beams of a bridge. He built bridges for the state, one in every county. Always building, unable to ignore connections. My uncle lived in the future. Itineraries were his prose. He planned sweet sixteens, sangeets, he edited college essays and filed taxes. He engineered the visa process for relatives and friends and strangers, including my parents. My parents. He didn’t ask if they wanted to come. He learned their names and saw a fate outside of una. They didn’t know english but they could speak two languages already, a third would be an easy extension, especially with a television. I saw him the other day on the train, an orb of buttery light hovering by my seat as we crossed the seabridge over my grave. My uncle lay in bed that last year, watching movies, immobilized by his tired lungs. I gave him the password to my netflix. For his profile, he chose an avatar that looks like a bollywood policeman, aviator sunglasses and a handlebar mustache. He was always clean shaven. When black hairs started to accompany my whiteheads, and some aunty caught me kissing a swim teammate at a matinee, my uncle told me on this land I can choose who I want to be, but once I choose, I must memorize my script. 


    Parth Shah is an MFA candidate in fiction at the University of Wyoming. Prior to graduate school, he produced podcasts for NPR. He logs his writing at

  • Two by Flower Conroy


    The shell’s tomb, the materials breathe.
    The darkness of matter is bottomless.
    –Aase Berg

    Perhaps in 1839 Johann Jakob von Tschudi meant to crown you blunt mouth. Did you know the symbol ℞ descends from Jupiter & is abbr. Latin for Recipe which in turn meant take thou? Neoteny regenerator. Ideal human model. Water monster. Of tiger. Not apex predator cat or Victorian slang for prostitute—but rarest salamander with poppy seed eyes.  Found only in one complex of lakes, one of which no longer exists. If noon’s the vortex hour where Poseidon anagrammed into poisoned & marsupial into I am a slurp then anagram reinvented itself into a rag man. Meanwhile you just float timorous carnivorous in your bath, sorta smiling—as if you’ve got this primitive streak business all figured out—hypnotic buoy. You’ve a Sea Monkey Cum Cabbage Patch Kid verisimilitude to you that makes me think of that extraterrestrial & chimpanzee couple holding their hybrid alien-monkey (human) baby. (Where’d you think we came from?) To’ve syntax & imagery work in equal measures. Like the spirit of the staircase glancing over its chilled shoulder. Or the threat display of a devil’s flower mantis. 


    So I’ll be wed in the Church of the Holy
    Incestuous Mushroom?
    –Silvia Moreno-Garcia

    To detect such designs, however, is not necessarily to understand them. Why do we prize rarity & not its cousin, deformity? The arbitrary unmasked is the occult science of aesthetics. Filament to stitch the tear in heaven shut. Sometimes the only way to please a deity is disbelief. For you breathe, slip of chromosome, chosen one, you serve as example of the impossible made possible stepping into the god particle light. I speak of the uncanny valley, wheat cake & whelk brewing between your must reeking pages—wattle. Don’t stew. Rake the leaves off the concrete sidewalk so the pathways from the saber-toothed to the throat radiate. Unencumbered usher us slightly wounded toward wreckage uncalled-for. How to cope—this daily barrenness, its hot polish?  I bleed you gill-side on a piece of paper; white spore print telltale sign you’ll kill me. Destroying Angel, it’s best to leave you unmolested. 


    LGBTQ+ artist, NEA and MacDowell Fellow, and former Key West Poet Laureate, Flower Conroy’s the author of Snake Breaking Medusa Disorder (winner of the NFSPS’s Stevens Manuscript Prize), A Sentimental Hairpin (a Small Press Distribution bestseller), and Greenest Grass (or You Can’t Keep Killing Yourself & Not Expect to Die) (winner of the Blue Lynx Poetry prize, forthcoming 2022). Her/their poetry has appeared in American Poetry Review, American Literary Review, New England Review, Prairie Schooner, and others.

  • Candlelight by K.C. Mead-Brewer

    Strike a match, light a candle, here we go. In this version of the story, the messenger urges his horse on, faster faster, away from the blood-soaked fields of Vlad the Impaler’s latest battle, off to inform The Impaler’s beloved that he is alive, he has conquered, he will return to you soon. But only messengers bearing bad news ever reach their destination in time.

    The Impaler’s enemies enchanted a lunar moth to flutter up to the princess’s window, collapsing upon the stone sill as a missive and single drop of blood. Her beloved is a man of many mysteries and horrible miracles, and so she falls upon the ominous letter at once, convinced it must be from him, until the note, its soul, it says: welcome to the end, my dear. your impaler is dead, and your window is wide open.

    I think you know what happens next.

    In a fit of grief, the princess leaps from her tower, determined to rejoin with her lover in death. Too bad, then, that when her body smashes against the castle moat below, she only continues to fall and fall until she reaches the other side of the water and meets air again, sitting up in a fog-chilled churchyard, the tombstones bright as teeth. She’s in search of her lover, Romeo. It’s a secret, a rendezvous, yes! She’s ready. Together they will make their romantic escape. But the tombstones tilt into a grin and the fog tightens like a noose. The moon has never cared for poetry. A gruff friar steps forward, shaking his head and saying to her, “Come, come away. Thy husband in thy bosom there lies dead.”

    And you think you know what happens next, you’ve heard a version of this story before: The way the young woman weeps over her lover’s corpse, soaking his doublet with tears. The way she plunges his dagger into her bright chest, intent once more on joining him. The way the wound rips through her until she falls inside herself, through the centuries of different lands, different waters, different arms and deaths and versions.

    It would be so easy for this to be a dream.

    If dreams bother you, consider how your lovely lips pucker to blow out a candle. Consider how the flame must feel, blushing, breathless, believing itself about to be kissed.

    Consider how it may be lit anew by match after match after match.

    Consider how, in some versions, the princess is elated by the news of a violent man’s death. Free of him at last. How she clutches the lunar moth’s remains to her chest and paints her lips a glowing red with its blood. How she falls into action straightaway, taking command of the castle for herself. How she flees the dead churchyard for a life on wild horseback, leaving Romeo blinking and dry in her tomb. How a woman like this, knowing Death so well, might have been a ghost all along. How she floats out to greet the weary messenger and silences him with a kiss. “No, no,” she tells him, a hand in his hair. Licking, breathless. “Let’s pretend we never heard a thing.”


    K.C. Mead-Brewer lives in Baltimore, MD. Her fiction appears in Electric Literature’s Recommended Reading, Carve Magazine, Strange Horizons, and elsewhere. She is a graduate of Tin House’s 2018 Winter Workshop for Short Fiction and of the 2018 Clarion Science Fiction & Fantasy Writers’ Workshop. For more information, visit and follow her @meadwriter.

  • Two by Rubén Casas


    It started simply, with a wish: “I wish every word was as fun as ‘kumquat’.”

    “That’d be fun,” I replied.

    Later that week, when I needed a paper towel but couldn’t immediately recall the word for what I needed (or, I did, but I also thought of the word “napkin,” and could not quickly enough reconcile the tension between one word and the other to designate what it was that I was asking for, precisely), I said: “Could you hand me a—that—a…please, hand me a ‘kumquat,’ please.”

    I asked for a kumquat and got a paper towel.

    A few days later I proffered the right item (a receipt we’d need to make a return) when all I heard was, “Do you know where the ‘kumquat’ for the shirt I bought yesterday ended up?”

    It’s been nine months. It seems as if every 10th word we say to each other is “kumquat.” Kumquat means “love;” it means “no”; it means “blowjob,” “pizza,” “tired,” “sad,” “not-it,” “your turn,” “book,” “car,” “nerd,” “shower,” “nap,” “dinner,” “phone charger,” “gas,” “not now,” “dog,” and so much more. It’s never confusing, what one of us means when the other says “kumquat.”

    The bag of kumquats my coworker gave me on Friday on the way out of the office has sat on the counter all weekend. Neither of us has discussed what it would mean to eat them, or to throw them out, or to give them away. But we’ll have to sooner than later. I hate to think what would happen if we just let them go moldy and bad.

    Weather Report

    The sun did not rise today. Or it did rise, but didn’t see it. Couldn’t tell. The smoke is thick—thicker than it’s been for weeks. It’s also overcast, supposedly. That’s what the weather report says, anyway. What it is is hot. The weather report says it’s in the 90s, but it feels hotter. Is it humid? Or is it dry? Yesterday conditions were dry. Today, I think, they are humid.

    What I can see is round-the-clock red glow down the street. The fire station on Canyon Road must have been upgraded to a field station. Last week the glow was yellow, when the station served as a makeshift pantry. I went to see what was on offer and left with a box of baked beans and three boxes of macaroni and cheese.

    “Enjoy it while you can,” said the volunteer who greeted me on the way out. “Wheat isn’t growing. No more mac ‘n cheese.”

    Tomorrow’s high is going to be 93, says the weather report. Smoke quotient will be at 5 again. No progress has been made on the ORWACA mega-fire, and conditions are supposed to worsen by the weekend, when the smoke is expected to merge with a volcanic ash cloud coming up from the South Pacific. The weather report says they’re talking about adding a lettering system to the smoke quotient scale to designate even worse air quality, accounting for factors outside of forest fires. In this case, volcanic ash.

    The clock says it’s 11am. It could be 7pm. The smoke quotient today is 4C. I could see into my neighbor’s yard, which is something, but I’m not supposed to be outdoors for more than 10 minutes because an atmospheric river is dumping inches of acidic rain all around us. According to this e-mail, we’re not supposed to eat any food we grew ourselves outdoors if we didn’t harvest prior to Monday.

    My houseplants are dead.

    I said earlier that I could see into my neighbor’s yard. That wasn’t true. My neighbor doesn’t have a backyard. We have small patios.

    Today’s weather report said that world bee populations are increasing, reversing a trend that’s been observed for at least a decade. Because no one really understood bee colony decline to begin with, it’s not totally understood what’s behind this reversal. The high today was 97. Smoke quotient was 4A.

    The constant glow down the street went from red to purple. I don’t know what that means. The news says that the ORWACA mega-fire has grown. Smoke is at 5C. It’s 101 out. My neighbor came by about an hour ago and knocked and knocked. I didn’t answer.

    We’re being evacuated. My neighbor, who is sitting next me on this bus, is telling me that he came by earlier to tell me that we were going to be evacuated. “I was sleeping,” I lied. “Well, no matter. Here we are,” he says.

    This is my neighbor’s second evacuation, I’ve learned. My watch says it’s 10am. My watch stopped working weeks ago. I tap on the glass, expecting nothing to happen. Nothing happens. There’s an announcement. We’ll be on the road for three, possibly four hours. No stops. We are to keep the windows closed as much as possible. We are encouraged to sleep. Someone asks where we are being taken.

    We were each given a shortwave radio. There’s nothing to listen to, though, except for the recorded messages coming from FEMA. At night, someone somewhere sends out old episodes of “Coast to Coast,” so that’s something.

    My neighbor hasn’t been seen for days. No one knows when he was last around. His cot and his things are all accounted for. The last thing he told me was that the fires and the smoke were all a cover. A cover for a sunless sky. He said that the sun had not been rising for months now. “We’re being lied to,” he said. “There’s no more sun.”

    The camp loudspeakers are playing “Walking on Sunshine.” No one seems keen to finish their lunch. Today is a can of pineapple chunks and a chunk of summer sausage. The summer sausage had a sticky film on it, which was a chore to remove, but once it was off it each bite was salty-minerally good. When the song ends, people just sit and stare. Some get up and throw the remnants of their food away. I ask the little girl next to me if I can have her pineapple juice. She slides the tin in my direction.

    The little girl has taken a liking to me. She brings me cuttings from a plant that grows nearby; it thrives in dry, rocky soil. The leaves are heart-shaped and variegated: some are a transparent milky white, some are a velvety, fuzzy black. She also brings small piles of flint and turquoise, which she says is food for the plant.

    No one is bothered by the expanded playlist we get with meals now. The rotation includes, “Here Comes the Sun,” “Good Day Sunshine,” and “Soak up the Sun.” The temperature has hovered around 103 for weeks now, the smoke quotient around 4B.

    Today’s FEMA report brought new information: the ORWACA mega-fire is 51% contained. It’s been 52 weeks since the fire broke out. Smoke quotients have been hovering around 2B. Temperatures remain high, but seem to get above 100 only occasionally. I saw a bee today.


    Rubén Casas is a writer living in the Pacific Northwest.

  • A Real Boy Blankets the Earth by A.A. Balaskovits

    Now voices are silent, like stilled wind-chimes or green mold. Before it all went kaput, crash, boom, there were whispers about the carved-out-of-soft-pine-wood boy who told fibs loud enough to reach every ear from Atlantis to El Dorado. Whose body grew incrementally with each false word. Expanding like silly-willy-putty. Heavy as a father’s calloused hand on his child’s knee. He was the type, they said before they said no more, who grew out instead of growing up. The only voice is his. Even the air can do little more than whisper across his body, diving in and out of the divots in the unfortunate softness of his wood.

    Not all the living went under his body without resistance. Before the wood-boy crashed his pinkie over her head, a barren mother decided she would not be the last of her last name, and collected blood from her nicked finger, the salt in her eyes, and her last beet-root. She buried these under an ancient willow tree as gnarled as her fury. When she heard his screech of a voice say, “I am alone and I miss you,” she spat at the fat pinkie above her head and was smushed.

    The mother wasn’t the last to die like that, but they were all dead now, so no one remembered her, because there was nothing to remember, except a growing piece of carved wood who covered the entire world, and the bones rotting-dull beneath him.

    The past will be forgotten with no voices to sing it into the present, but a future born beet-red never does.

    She came screaming out of the mud as only blood, salt and root can. Her head fit inside her mother’s skull, and this she wore because it was warm, and because there was dried salt in the sockets. As she licked, she tasted the memory of ire so red it reminded her of herself. She had no language, no voice, but she did have her mother’s rictus teeth and a belly full of hunger.

    The fingers were easy to climb. When she touched his surface-wood, it came away in the clamp of her fist, and this she swallowed down the length of her. She heard him cry out and followed the noise, eager to find its source. Many days and nights she walked, stopping only to bend over to tear more of him for her aching belly. She shat out splinters.

    When she reached his face, she was surprised to see he had one like the skull she wore, though his eyes were painted white with black dollops instead of a cavern of emptiness, and he had lips made of molasses, sweet stickiness.

    He said to her, “You’re not real.”

    He said, “They were mean to me.”

    He said, “I’m innocent.”

    Each time he spoke, his body gargled and grew, and the dirt groaned underneath. She did not know what his mouth noises meant, because she had no words in her head. Her nose liked the smell of those painted lips, and she reached for them.

    “No!” he cried out, and thrashed his head back and forth. He made to pull himself up, but he was too heavy, and could only twist. “You’re not real, none of them were,” he said. “I’m as real as apple pie and vinegar. Don’t you see? Can’t you see I don’t deserve this?”

    She snatched those lips off of his face. They tasted sour, and raw, and oozed down her hand like a wound. The absence silenced him, and it was delicious. She pulled off more pieces of him and passed them across her mother’s teeth into herself. When his wood skin scraped across her mother’s molars, the teeth clinked together in a sound as bright and delicate as the blue above.


    A.A. Balaskovits is the author of Strange Folk You’ll Never Meet and Magic For Unlucky Girls. Winner of the Santa Fe Literary Arts Program Awards, her writing has been featured in Best Small Fictions, Kenyon Review Online, Story, Indiana Review, and many others. On Twitter @aabalaskovits

  • Preserved by Joshua Hebburn

    While sitting at the bar I see your doppelganger. She’s peeling a garniture orange at the table beside the one where the man with tight black rubber gloves, using a long thin silver knife, removes long thin almost clear slices of Ibérico from a hock screwed into a wood hock cradle on a special ham cart. I think of this feeling I have standing in front of my fridge. I do that a lot, stand in front of my fridge. I like how it smells, I like the dim, familiar light. I keep my fridge clean. Sometimes I smell my leftovers, say, Orange Chicken, sitting there in a bag. Then Orange Chicken diminishes like a light being turned down, orange chicken to just orange to the air. I smell the cool air. Fridge air, fridge light. I can’t smell the light, but thinking about it, I feel like I do. Maybe I do. Maybe light can be smelled. The windows in my apartment are always open. I hear the hum of the fridge and neighbors’ voices and noises. The voices don’t form words, the clatter and thump a significance, unless I will them to. I don’t. I close my eyes. Once, I thought I heard the pop of a bottle of champagne but I decided, I decide, it was a car, or something. I stand close to it, to the glowing interior, in the cool air. I see the glow through my eyelids. Then I open my eyes. I see the full glow. I watch. I watch the little bulb’s minute variations. There’s a white undertone to the light. In my last apartment, the undertone was yellow. There was more flicker. You can watch anything if you don’t think too hard, especially something like the fridge, which can’t show me anything other than what I expect, for the most part. It’s not a phone. It’s not a television. It’s not the human face, on which the lines are seismographic. I have this feeling there’s supposed to be certain things in the fridge. These are a block of Kraft cheese slices, broccoli, ketchup, milk, spring mix or baby spinach, Dijon mustard, a head of cauliflower, salad dressing, deli slices of cheese and deli sliced meat, a box of Arm & Hammer with the little tab popped, and a few cans of beer. These are Kirin, usually. I look at these things. I may hear the words that are their names, but they’re more words than names. If all the things are there, if they’re well preserved and neat, if they’re in the usual positions I put them in, I feel good in a fridge way. I move away when I get too cold. 


    Joshua Hebburn edits fiction for Hobart. His own has also appeared in New World Writing, X-R-A-Y, and Forever Mag. He lives in L.A. 

  • Two by Leanna Petronella


    Your green eyes are butterflies. Your long eyelashes are their trillion legs. “Foom foom,” I say, flapping my hands at your head.

    We will marry soon! I will wear my mother’s ring!

    Sometimes I look at you and try to make you strange. If a lemon is yellow’s bumpy eyeball, if a banana is a comma in sunlight’s long sentence, if a corncob is rows and rows of teeth wrapped around the beehive’s emptied bone – then you are just some man sitting next to me. I toy with that terror.

    It’s almost summer here in Texas. I am going mad with bluebonnets, as I do every spring. The fields measle so suddenly. It seems like a warning, and I struggle with it, blue’s unloosed rage against its careful white spots.  

    And I love the long unfolding of an image, how it flips and flips. I love to bouncy-house myself until I popcorn out the world. See the clouds that I make? I oil and salt them. Their kernels are copper umbilici, they crunch between my teeth.  

    And I want to witch out, slamming stars with my broom. Can you hold this, my need to rumble with myself? Will you love me when I return, covered in straw and snouts, will you brush off my mud as I tell you about it?  

    In bed, I nuzzle you with an old teddy bear. I lug my cat towards your face until she meows unhappily into your chin. I nudge your armpit like I am trying to crawl inside you, and what is it that I need, that I am looking for?

    Your nephew understands. Five-year-old piglet, ringleted, sunny, he tapdances stuffed animals on your head and shrieks as you pretend not to notice. Curled in your lap, he idly pulls your beard. Sweet elf, romping chunk, I want to mother him and also be him, laying my head on your shoulder. What a toffee pull of shame, this tender confusion. 

    Here comes the dog! He throws his body against you and starts licking your face. Your nephew pokes an elephant’s soft trunk into your ear. You drown in dog, nephew, and toys, and why do I love this, your trampling? 

    Pull me down again, love. I float high above. I’m trying to measure the distance: between myself and my mind, between my heart and yours, between terror and comfort and peace. I won’t do this calmly: I hear hooves latch for no reason to feet. Such a thunder to chase! Then I crash back to you, where was I, oh I know. What I’ll try to remember: all flowers need stems. Is it barrier or bridge, the connection from roots to bright opened heads?

    The bluebonnets are in their field. Their bones peek through, getting fresher and whiter. 

    The green sea of your eyes. Whose legs kick up, who flew too close to the sun? I could melt across the sky with you. I think we can take it with us: the leap and the paint, the honey taste of wax, the gold rings that outline your pupils. I float among longings. I could get somewhere, all taut with horizon.

    One Good Push

    When my friend was in high school, her boyfriend built her a robot. It was a prom-posal. The silver arm extended from her locker, the invitation clenched between its pincers. I can see her, fiddling with the lock, expecting only her usual private mess. Then the mechanic whirr, her startled gasp, the sharp arm reaching towards her. I guess the boy peered over her shoulder, memorizing her locker combination. I guess he measured the locker’s width and made the robot to fit inside. I never got a robot, but when I was twelve, my pediatrician told me I had child-bearing hips. I never got a robot, but once I had a pet rabbit, whom I sang to, who liked to hump my bunny slippers, popping pink against my toes. And what did they do with the robot for the rest of the day? Did my friend lug it around in her arms, jiggling to hush its spastic motion? Did the boy show it off in the lunchroom, cheering as it rolled uncertainly across the floor? It gets cuter and cuter in my mind. And then after the proposal: “I made this for you,” the boy says. “You can keep it.” I never got a robot, but I wonder about the distance between locker and floor, the crash of shattered metal. I never got a robot, but what girl hasn’t held that door open, deciding. When they go to prom, the girl dances like a cornfield, her blonde hair caught in the sky’s blue chewing mouth.


    Leanna Petronella’s debut poetry collection, The Imaginary Age, won the 2018 Pleiades Press Editors Prize. Her poetry appears in Beloit Poetry Journal, Third Coast, Birmingham Poetry Review, CutBank, Quarterly West, and other publications. Her fiction appears in Drunken Boat, and her nonfiction appears in Brevity and Hayden’s Ferry Review. She holds a PhD in English and Creative Writing from the University of Missouri and an MFA from the Michener Center for Writers at the University of Texas. She lives in Austin, Texas.

  • How You’ll Go by Wendy Oleson

    Human, be honest—you’ve mistaken us for the living. Even the wisest and most steely among you catch yourselves wondering if we haven’t shifted against our wire stands, if the red paint of our mouths hasn’t spread. Did our eyelashes flit once, twice against porcelain cheeks? Because your flesh is soft, you hear the swish of our petticoats and the creaking of our shoulder joints. You fear our placid faces. You smell your own decay. 

    You’re sad. Desire hardens your chest or yields a dripping emptiness no matter how dutifully you tighten the knob. We need only stillness while you suffocate in your bed sheets, dream of live burial. Loneliness frightens you awake. We can’t feel sorry for you though. You represent billions of neurons, eons of evolution, instinctual memory, imperialism, and industry—should we be impressed you’ve made it this far? 

    We don’t mean to be critical. We’re grateful—if anything can be grateful to exist. You’ve bestowed upon us the plague of consciousness, and it does burn a bit. We know how the cycle unfolds. You put us in the crib with her, so she may learn to love. Love for the sake of loving, the way it instructs and possesses her. She gazes into our eyes, and you hope she loves well and is well-loved in return. You hope it’s enough. 

    It’s almost admirable the way you treat your little girls. But it’s not who you are. 

    Show us how the boys play. 

    You teach them to court death. Death strapped to the waist, clutched against the chest. A ten-pound seduction in steel. Teach the boys they’re gods while wielding weapons. (Our eyelids flicker open.) Magazines click into place. (Glass eyes scrape against their sockets.) The machines make metallic rain. (We blink each time your boys reload.) 

    Our universe is expanding.

    You’re nothing but fear and dust.


    Wendy Oleson is the author of two award-winning prose chapbooks. Her flash appears in No Contact, Fourteen Hills, the Adroit Journal, SmokeLong Quarterly: Best of the First Ten Years, and elsewhere. She’s managing editor for Split Lip Magazine and lives in Walla Walla, WA. 

  • Three by Jose Hernandez Diaz

    The Moon, 2050

    A man in an At-the-Drive-In shirt bought a new car because his old car had disintegrated. The new car was a flying car. It was the year 2050. The man in an At-the-Drive-In shirt flew in his flying car to the zoo, except the zoo was on the moon. When the moon had first been colonized in 2025, the Americans brought baby zebras to the moon to start building the species on the moon. Eventually, there were too many zebras roaming free. They were rounded up by astronauts and placed into a zoo. The zoo of zebras was a major attraction on the moon. Right next to the ballet of penguins. When the man in an At-the-Drive-In shirt finished his day at the zoo of zebras and the ballet of penguins, he had an iced coffee at earth set. “The earth is so old-school and nostalgic,” he said to himself, as he sipped his iced coffee.

    Meeting James Tate in Heaven

    I met James Tate at a carnival in heaven. Tate was riding the bumper cars with his cat, “Lucy.” I was smoking a cigarette on the Ferris Wheel with my dog incidentally named, “Carnival.” We met in line to buy hot dogs. “My name is Jose,” I said. “I’m James Tate. Nice to meet you,” he said. We ate our hot dogs at a bench with graffiti scribbled by fallen angels. Tate asked me a couple of questions: “What’s your favorite season?” “Autumn,” I said. “Who’s your favorite baseball team?” “The Dodgers,” I said. “I like the Kansas City Royals, myself,” he said. As the clouds darkened and the carnival ended, the jugglers and clowns packed up for the next town in heaven. Tate and I shook hands, said our goodbye, and went our separate ways. Tate, to a fancy cocktail party with the original nine muses. Myself, to a library of forgotten saints on the other side of heaven.

    The Man and the Dragon

    People who deny the existence of dragons are often eaten by dragons. From within.” ― Ursula K. Le Guin.

    A man in a Jimi Hendrix shirt walked a dragon to a liquor store. The dragon was named Louie, the Dragon. The dragon was purple and green. The man in a Jimi Hendrix shirt tied the dragon to a pole outside of the liquor store as he purchased marigolds and an umbrella. It was only slightly raining, a drizzle.

    Next, the man in a Jimi Hendrix shirt jumped on the dragon and flew over the freeway in the jagged city. The man saw cars and buildings below; he felt like a star. The dragon only obeyed his owner, the man in a Jimi Hendrix shirt. He had nurtured the dragon since infancy.

    The man in a Jimi Hendrix shirt finally arrived at a gothic cemetery. The man laid marigolds on the dragon’s mother’s grave. He’d promised to take care of her baby dragon until it grew strong and independent. The man in a Jimi Hendrix shirt and the dragon sat by the grave until sunset and then flew back to the suburbs.


    Jose Hernandez Diaz is a 2017 NEA Poetry Fellow. He is the author of The Fire Eater (Texas Review Press, 2020). His work appears in The American Poetry Review, Boulevard, Colorado Review, Conduit, Georgia Review, Huizache, Iowa Review, The Missouri Review, Poetry, The Southern Review, The Yale Review, and in The Best American Nonrequired Reading Anthology 2011. He teaches creative writing online and is a Guest Editor for Frontier Poetry.

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