by Stanley Nesbitt | Dec 15, 2025 | flash fiction
The wind keened in the birches as the door swung behind Claire and the house took her in. Ice climbed the windowpanes in delicate ribs. On the mantel, three birthday cards leaned like little doors; all of them were blank inside.
“Do you like the house?” Aunt Maureen asked by the fire. She didn’t turn. Her hands were clasped—too tight, as if pinning something shut.
“It’s quiet,” Claire said. She kept her coat on. The couch still wore roses from another decade. The coffee table had a new scar in the veneer and, centered on it, a box in pale pink paper. No ribbon. A warped tag: To Claire – Happy Birthday.
She hadn’t told anyone.
“It’s polite to open a present when it’s given,” Maureen said, voice syruped, not sweet.
“I can open it after dinner.” Claire’s stomach answered with a small, hard knot. She had come for a key, for the letters Maureen said were “left behind.” She had promised herself she would not leave again without them.
“After dinner,” Maureen echoed. The fire crackled and flinched. “Go on, then.”
Claire sat. The paper was damp under her fingers. The tag’s ink looked wet, as if it had just remembered her name.
She worked a fingernail under the seam. The paper parted with a sound like a quiet sob. Maureen’s bare feet whispered on the rug behind her and stopped. Lavender. And meat.
“No ribbon,” Claire said, to have something small to say.
“Ribbons are for show,” Maureen said. “This is for keeps.”
The paper sloughed away in slow strips. Underneath: a wooden box, old and blackened at the edges as though it had been warmed too close to a fire. No hinges—only a fine line like a healed scar.
“Where did you—” Claire touched the seam. Cold bled through the wood. It hummed faintly, as if a fly were trapped inside. “What’s in it?”
“What’s yours?” Maureen’s gaze fixed somewhere above Claire’s shoulder. “What your mother and father never let me give you. Go on, if you don’t accept it, it won’t keep.”
“You said they—”
“I said what I said. And now, all you must do— is accept.”
Claire pressed her thumb to the lid and levered upward. The box creaked open. Darkness first, then the pale oval of a face nested in torn velvet. Brown hair matted to a skull. Eyes wide and glassed. Mouth slack with dried blood tracking the chin.
Maureen’s face.
Claire did not breathe, nor blink.
Behind her, Maureen whispered—right behind her—though the air had not moved. “Well?”
The head’s lips twitched. A twitch that softened into a smile with too many teeth. “What did you get?” the voice asked, silk dragged over broken glass.
Claire’s tongue stuck to the roof of her mouth. The house sat silent— patient.
“You don’t want to hurt my feelings,” Maureen breathed, closer now. A hand hovered near Claire’s shoulder, yet did not touch. “It’s polite to say.”
The tag lay on the coffee table where it had fallen, a curl of pink with her name fat and black. The ink shimmered, waiting.
Claire stared into the box. She thought of her mother’s handwriting on hospital forms, her father’s careful squares on grocery lists. She thought of the key she had not yet asked for. If she named it, it would be hers. If it were hers, it would never leave.
She shut her mouth on the word the head wanted.
“What did you get?” the head asked again, smiling wider, as the tag’s letters began to crawl.
Claire picked up the tag. It tried to stick to her fingers like a tongue. She turned it over. The back was clean, pale, patient. She lifted the pen from Maureen’s dead-silent mantel, shook it once, and bent close to the box until her reflection bent with her in the head’s dull eyes.
“I—” she began, and felt the breath behind her lean in, hungry as a drain.
“I deny thee,” she whispered.
The house let go of its stagnant breath, and the warmth from the fire—found her. The tag took the ink and would not let it go, though it smeared beneath her fingertip. Claire pressed it to the wood.
When she looked up, the chair—and the room— were empty. On the table, the seam in the box knit neatly shut like a freshly sewn wound.
Outside, the wind forgot how to keen. On the mantel, two cards leaned. The third had fallen open. Inside, one last message in her mother’s handwriting: Do not open.
by Molly Weisgrau | Dec 11, 2025 | flash fiction
My momma is a professional wrestler. At night, I hear her practicing in her bedroom, stomping around in her sparkly red boots. When I can’t sleep, or all the bumping and grumbling wakes me up, I lie in bed and imagine the matches. In my head, she always wins – jumps into a diving bulldog, then pulls a double-knee armbreaker, and finishes them off with an atomic drop.
There are two types of wrestlers: heels and faces. Faces are the good guys, the real fan favorites. Heels are the villains. They wear metal spikes and do illegal moves. Sometimes someone doesn’t even mean to be a heel, but since the audience doesn’t like him, he becomes one. I think momma is a face because the clothes I sometimes see in her hamper are bright colors and look soft like doll clothes. At least I hope momma is a face.
On school days, I get myself up and dressed. I know wrestling is hard work that goes long and late. When I get home, she’s usually still in her pajamas, cooking eggs and toast like it’s breakfast time, even though I’m already stuffed full of science and gym and rectangular pizza by then. Sometimes I see marks and bruises on her neck or legs, but when I ask about them, she just says they’re from kicking the bed frame or bumping the car door. Says she bruises easy. She’s very humble.
Sometimes she has to go away for the night. She says it’s for meetings in the city, but I know it’s for a big match. I want to watch them on TV, but they cost money, and anyway, I don’t know what name she goes by when she’s wrestling. Those are pretty much the only times I see my dad.
Today she left for the whole weekend. My dad came over to the apartment because he mostly lives in the Motel 6 these days, and momma doesn’t want me bit by those bedbugs. He smokes inside even though she doesn’t like it. Maybe because she doesn’t like it.
“Joseph,” he says between puffs, “you should be a plumber. Plumbers make good money.” He’s always talking about money because he never has any. He’s had a lot of jobs: janitor, cab driver, guitar player, sandwich maker in the airport. None of them stuck, so now he’s a house painter.
Some war movie is on TV. I have to talk loudly over the sounds of landmines that send soldiers flying. “Does momma make good money?”
“If she did, you wouldn’t live in no place like this,” he says, laughing a little. Seems fresh coming from someone who lives in the Motel 6. He drops the butt of the cigarette into an empty glass on the end table. I don’t think the apartment is so bad. A little noisy from the highway and the bathtub always backs up, but it’s the only place that feels like home to me.
“Why does momma have to be gone so long this time?” I pick at the rubber buttons on the TV clicker.
He lights up another smoke. “She has to see the doctor,” he says through the side of his mouth.
My heart booms along with the movie. “Is she sick?”
He jerks his head around me to see the screen. “She’s sick, alright.”
The tip of my nose starts to tingle, and then I’m crying.
“Jesus, kid,” he says, finally looking me in the face. “She’s gonna be just fine.” He digs around in the leather bag next to the chair and holds out a Slim Jim, grumbling something about her own damn fault.
One night I asked him about where she goes in the city. He just winked at me and said she’s doin’ tricks. But calling them tricks doesn’t seem fair. Wrestlers aren’t like magicians, who are more like liars, fooling you into thinking they can cut people in two and put them back together again.
When I told the boys at school about momma they said that wrestling is fake, just like magic.
I push the Slim Jim away. My dad opens it and takes big chomps, cigarette still burning between his fingers. “You stay far away from women like your mother when you get older. Ain’t nothin’ but trouble, trust me,” he says, then turns the volume up on the TV.
If my dad were a wrestler, he’d be a heel.
Momma comes home after dark on Sunday night. “You’re up late, Jojo.” She looks at my dad while she says it. Then she drops her bag and starts pushing open the windows in the living room. She’s wearing stretchy pants and a soft black coat that tickles my nose when I wrap my arms around her.
My dad whispers something in her ear on his way out the door, and she gives him a look like she wants to suplex him. She kisses me on the head and hands me the clicker and says to put on anything I want. I put on a cartoon then follow her into the kitchen. Blue-purple spots on the back of her hand shine under the yellow lights when she scoops a spoonful of coffee into a mug of water and warms it up in the microwave. She also warms up a mug of milk for me.
We watch the cartoon together on the couch. She holds her mug against her belly. “Why are you doing that?” I ask.
She smiles. “Tummy ache,” she says. I hold my mug against my belly, too. Soon, the warmth spreads all over. I put my hand on top of hers and shut my eyes. The tricks might not be real, but the bruises sure are.
by Melissa Sharpe | Dec 8, 2025 | micro
More helicopters are falling this year. Not the real ones; not yet. These are the papery maple seeds. They float down, spinning on a single feather. They coat the sidewalks, collect in planters, nest in gutters. In the evening, they glow, lit from behind, the sun red and hazy from the Canadian wildfires.
At the tennis courts, some of the helicopters have sprouted into seedlings. Two leaves on each stem, rooted in the fault line cracks of the hard-topped courts. For now, they have avoided being hit by our serves or trampled by our feet. In ten years, if left alone, without us, they’d split the courts, eventually towering amongst the crumbling electoral poles.
We wouldn’t know it, and it wouldn’t matter.
by Fractured Lit | Dec 5, 2025 | news
Another round of difficult decisions to narrow our shortlist to 20 stories to send to Judge Jemimah Wei! Congratulations to the shortlisted writers! We’re all wondering who the winners will be!
- Collective Memory
- In the Temple of the Ugly Women
- House of the Minotaur
- The Other Sister
- aiteal
- Seven
- Odd Biography
- Rock Dove
- Blood
- Overage
- Feathers
- The Last Eden
- Hypongogia
- The Map with No Roads
- Apoptosis
- Photorealistic Hello Kitty
- Moving In
- Worlds Apart
- String Theory
- Problems of Inheritance Law in Fig Country, Chapter 117
by Fractured Lit | Dec 5, 2025 | interview
by Timothy Boudreau
Patricia Q. Bidar’s Pardon Me for Moonwalking was recently released by Unsolicited Press. Get your copy HERE or wherever you buy books. Guest interviewer Timothy Boudreau recently met with Patricia for a lively exchange about the collection, Patricia’s first.
Timothy Boudreau: What are you proudest of in this collection? What did you learn from the process of putting it together?
Patricia Q. Bidar: I’m proud I became a writer again.
The stories in this collection are from my first four years writing flash fiction, in my mid-fifties. I began writing again after a long hiatus. As in, 20 years long. For me, it was raising kids while I worked full-time and also freelanced. I was stressed out and had lost touch with everyone I knew who was writing. Lost touch with myself.
So, putting the collection together gave me an astounding feeling. It meant I’d found teachers, devoted many hours to craft, and learned a bit about this phenomenal genre of literary writing. And then a dream publisher, Unsolicited Press, accepted it!
TB: How have your connections to the flash fiction community influenced and improved your writing?
PQB: Online classes and social media—particularly the brief but wonderful golden age of literary Twitter—help me connect with others near and far. I’d been publishing for a year or two when my story, Las Pulgas, came out in JMWW. It was like a seal over a spigot had burst. Because suddenly people were messaging me and sharing the story and saying they liked the work. Something had shifted. I felt like people knew me, and I, them. Around the same time, I had a story accepted by SmokeLong Quarterly. I have shared with, leaned on, uplifted, and learned from countless other writers since then. The flash fiction community provides a sense of camaraderie I have never before experienced. Connection to community is a big part of why I serve on staff at SmokeLong Quarterly and STORY Magazine.
TB: So many sentences leap out of these stories. “Your underpants cling to everything like starfishes.” How important in flash fiction is the succinct, vivid detail? How often does this exist in your early drafts?
PQB: The vivid details are often all I have in the first draft! An image in a film, a deeply felt emotion, or an overheard sentence spurs a draft. Never a theme or god forbid, a lesson. I revise to infinity. The idea that a work is finished is peculiar to me. Stories are alive. I tighten and deepen and re-work as long as I am still interested. Some fall by the wayside or are published and done. Others can’t shake me off!
TB: Many of your characters walk a knife’s edge between seeking security and wanting to “dare”—to choose recklessness, new experiences. How much of this dichotomy is intentional?
PQB: My brainy friend, I don’t know the answer to that. I’d say any recurring dichotomy is unintentional. But I can’t stay away from exploring freedom and trust; escape and anxiety.
TB: In this collection, characters at all stages of life struggle to create, redefine, or perhaps erase their identity. Tell us about how you create identity, and how that evolves as the story progresses.
PQB: I enjoy digging into the differences between what a character says and what they do. The difference between how that character sees themselves and how the reader sees them. Those blind spots are where depth and mystery reside.
What strategies did you use when arranging these stories? Is there a particular sequence that strikes you as especially effective?
PQB: I recently received advice to think of a collection as a museum show, with one room following another. Isn’t that great? However, my strategy with this collection was intuitive. I switched it up many times during the submission process.
TB: This book contains many memorable endings, final lines that seem just right, like, “A soft old couple together in matching recliners, a cat for each of our laps.” How do you know when an ending is “right”?
When you know, you know? I don’t always nail it. But I work hard on it, aiming for a landing that is beautiful but also feels both surprising and inevitable. It should depth-charge back into the piece and color its impact.
TB: “Going Public,” a much longer narrative than the rest, provides the collection with a powerful, satisfying conclusion. In a prior interview, you mentioned that you’re currently leaning toward longer forms. Which themes or types of story work better as flash? Which works better as longer pieces?
PQB: In grad school at U.C. Davis, I wrote and taught the short story. My own works from back then—Going Public is one of them, as is my novelette, Wild Plums—are very long! Sometimes it’s not clear at first whether a draft is flash or a short story. It comes down to scope and pace. It becomes clear as you progress. I look forward to a lifetime of learning about flash and about the short story form.
TB: What comes next for you, creatively? What are you striving for in your latest work?
PQB: I’m seeking a publisher for my second flash collection, which I’m absolutely in love with. It’s creative in that the sequencing and content are such an ongoing process. As for what I’m striving for, I’ve been in the cycle of drafting, revising, and subbing flash since 2017. I’m trying to be patient about which direction my work will take next. Thematically, and also in terms of form. I will always love flash fiction and will always write flash!
###
Timothy Boudreau lives in northern New Hampshire with his wife, Judy. His collections Love You, Miss You, Goodbye Forever (Stanchion Books) and Stepdad on the Dance Floor (Unsolicited Press) are forthcoming in 2026; his novel All We Knew Were Our Hearts (Unsolicited Press) is due in 2027. Timothy serves as an editor at The Loveliest Review. Find him on BlueSky at @tcboudreau or at timothyboudreau.com.
Patricia Quintana Bidar is a western writer from the Port of Los Angeles area, with ancestral roots in San Francisco, southern Arizona, Santa Fe, and the Great Salt Lake. Her work has been celebrated in Wigleaf’s Top 50 and widely anthologized, including in Flash Fiction America (Norton), Best Microfiction 2023, and Best Small Fictions 2023 and 2024. Patricia’ novelette, Wild Plums, is available from ELJ Editions; Pardon Me for Moonwalking (Unsolicited Press) is available now. Patricia lives with her husband, Trinidad, and their unusual dog outside Oakland, California. Visit patriciaqbidar.com or @patriciaqbidar.bsky.social.
by Fractured Lit | Dec 4, 2025 | news
Judge Gwen Kirby has chosen her grand-prize winner and the 15 finalists, who we will publish in 2026! Please congratulate these writers and get excited about reading their stories soon! We think these are some of our best from 2025!
Grand Prize Winner: Blackboxing by Anna Cabe
About the prize-winning story, Judge Gwen Kirby said, “Like the best flash fiction, ‘Blackboxing’ is a study in compression and contrasts. The chatbot, the friend, the protagonist’s body, the disembodied: each part of this story puts pressure on the others, creating a textured, nuanced vision of loneliness and friendship that rewards reading after reading. “
Finalists:
- Body Count by Savera Zachariah
- A Thousand Ways to Eat a Heart or: Is It Worth Going Inside the Sagrada Familia? by Hannah Eko
- Miss Piggy on the Dashboard by Sara Fraser
- Plaque by Eliza Gilbert
- Lessons from Birth by Elana Lavine
- Cranberry Thyme by Dan McDermott
- Ah Ma is a Reusable Bag by Wanying Zhang
- The Weight of Jade by Deborah J. Chinn
- Simulcast by Abby Melick
- What Were You Thinking by Christina Berke
- Sometimes Grief Is a Moonrise by Allison Field Bell
- Kismet by Claire Guo
- Tiny God by Jennifer Murvin
- Dead Mother Card by Emily Rinkema
- Pure Trash by Dawn Tasaka Steffler
Shortlist:
- Body Count by Savera Zachariah
- What Were You Thinking by Christina Berke
- The Wreck of the Medusa by Jo Binns
- Blackboxing by Anna Cabe
- The Weight of Jade by Deborah J. Chinn
- Cat Lady by Amy L Cornell
- A Thousand Ways to Eat a Heart or: Is It Worth Going Inside the Sagrada Familia? by Hannah Eko
- Meiyueby lx fang
- Sometimes Grief is a Moonrise by Allison Field Bell
- Three Months After Turning Forty by Ashley Foster
- Miss Piggy on the Dashboard by Sara Fraser
- Plaque by Eliza Gilbert
- Kismet by Claire Guo
- Lessons from Birth by Elana Lavine
- Advertence by Lyndsie Manusos
- Cranberry Thyme by Dan McDermott
- Grooves by Jay McKenzie
- Simulcast by Abby Melick
- The Cardinal by Alison Morretta
- Tiny God by Jennifer Murvin
- The Last Wrong Turn by Tracie Renee
- Every Solid Thing Casts a Shadow by DC Restaino
- Fishy Pants by Kathy Rhodes
- Dead Mother Card by Emily Rinkema
- I Want That Tomorrow by Sheila Rittenberg
- The Pitch Perfect by Abhishek Sengupta
- Pure Trash by Dawn Tasaka Steffler
- L’Emergency Bars by Liz Swanson
- With These Wings I Set Thee Free by Leslie Wibberley
- Ah Ma is a Reusable Bag by Wanying Zhang
by Myna Chang | Dec 4, 2025 | micro
Oasis Motel
3:06 a.m.
Mandy picks shattered bits of windshield out of her arm. Glass fragments glisten red, stark pinpricks against the yellowed porcelain sink. She looks away from the marred counter. Plinks another shard into the basin.
The motel room is dark. Highway noise, pierced by a distant siren, seeps through the open window. She nudges the bathroom door shut, wedges a dirty towel into the threshold to hide her light. Abrasions score her forehead, the grain of the dashboard etched into her pores.
She cannot acknowledge the gash in the countertop, scans past it as she wrenches the hot water tap; it runs cold.
“Figures.” Her voice is a rasp, a grinding gear, a scudding tire. She leaves the water running and yanks the shower curtain aside, hoping to find soap, but the room hasn’t been made up since the previous guest checked out. A leftover shampoo bottle lolls, empty, tipped on the drain’s rim.
She turns back to the sink, tests the water again: lukewarm. A metal coil bolted to the wall holds one folded washcloth, fabric rough as pavement. Her gaze flicks toward the counter. She squeezes her eyes closed, sucks in a deep breath. Refocuses.
That countertop.
The surface is flayed. She shoves her hand over the peeling pink laminate, tries to smooth it back into place, presses with each fingertip, feels again the fading wisp of Johnny’s heat, the peel of his cheek. Tremors slam through her, violent, involuntary spasms, and her bag spills on the floor. She slumps down next to it, hugs her knees, rocks. Stacks of twenty-dollar bills fan out of the bag.
C’mon, Johnny, it’ll be easy, her own voice, an echo in the slap of the water, hanging in the air like steam as the tap finally runs hot. She breathes in the memory. Tastes the edge of her words.
Fixes her eyes on the money.
Originally published in WWPH Writes.
by Fractured Lit | Dec 1, 2025 | news
We love how writers interpret and are inspired by this theme and prompt each year! It helps us see our own world through a new lens, and these stories always resonate! Here are the 40 longlisted titles for your review! We’ll be back next week with our shortlist, which will be read and judged by Jemimah Wei!
- Rubik’s Cube and the Taste of Guilt
- Collective Memory
- Borrowed Time
- In the Temple of the Ugly Women
- Engagement
- The Bookstore at Memory’s End
- House of the Minotaur
- The Other Sister
- aiteal
- This Did Not Matter
- Seven
- All The Fake Smiles
- The Conquest Bride
- Collateral Damage
- To Float
- Odd Biography
- Rock Dove
- Blood
- Rewilding
- Blood Feathers
- Dead Davids
- Waiting for Soup
- Shattered
- Overage
- Vertebrae
- Feathers
- The Last Eden
- Snip, Snip, Snip
- Hypongogia
- The Map with No Roads
- Selection
- Apoptosis
- Photorealistic Hello Kitty
- Moving In
- Consort
- Forget-Me-Nots in the Bell Tower
- Milagro
- Worlds Apart
- String Theory
- Problems of Inheritance Law in Fig Country, Chapter 117
by Jeff Friedman | Dec 1, 2025 | micro
He built a house out of wood in which to lose his grief. To fill the house, he stole crumbs from the lips of strangers as their tongues searched their mouths. He stole the sadness floating in the eyes of the bereaved. He stole the darkness inside their clasped hands. He stole the feathers of a crow, dried blood from wounds, bones from open graves. He stole petals from flowers, juice from broken stalks. He stole wings from widows as they stumbled over the grass. He stole half laughs, whispers, and voices lingering in the wind. He stole lies that were as good as truth. He stole truths that fell like silence. He stole silence from the spaces where bodies had fallen. He stole the perfume of death and kept it in bottles stacked in a room. He stole dark suits and dresses, shovelfuls of dirt tossed on caskets, dust from headstones. He stole trays of rotting cold cuts, and the flies raised a ruckus. The house grew wings but couldn’t fly. The windows dissolved. The doors fell off their hinges. The staircases rose into emptiness. He set the house on fire, and the fire burned for years, stealing his sleep and his breath, but not his grief.
(Originally published in KYSO Flash)
by Fractured Lit | Nov 25, 2025 | calendar, contests
AWARDING $3,500 + PUBLICATION
Judged by Steve Almond
December 01 to February 01, 2026
Fractured Lit has always been a place that celebrates small stories with big impacts. In the return of our Micro Prize, we want to honor stories of 400 words or fewer that tell a complete story and have us marveling at the depth of character and language. We’re looking for microfictions that demand more than one reading, invite us into their small containers, and awe us with the mysteries of being human.
We invite writers to submit to the Fractured Lit Micro Prize from December 01 to February 01, 2026.
We’re thrilled to partner with Guest Judge Steve Almond, who will choose three prize winners from a shortlist. We’re excited to offer the first-place winner $2,500 and publication, while the second- and third-place winners will receive $600 and $400, respectively, along with publication. All entries will be considered for publication.
Here’s what Steve looks for in a microfiction:
“I love stories that make me feel something, emotionally, that capture bursts of empathy, that peel back the defensive emotions and allow us to see the deeper, and more dangerous, emotions beneath: sorrow, loneliness, hope.”
Steve Almond is the author of a dozen books, including the New York Times bestsellers Candyfreak and Against Football. His first novel, Which Brings Me to You (co-written with Julianna Baggott), is now a major motion picture. His second novel, All the Secrets of the World, is in development with 20th Century Fox Television. His latest book is Truth Is the Arrow, Mercy Is the Bow: A DIY Manual for the Construction of Stories.
The deadline for entry is February 01, 2026. We will announce the shortlist within 12-14 weeks of the contest’s close. All writers will be notified when the results are final.
OPTIONAL EDITORIAL FEEDBACK:
You may choose to receive editorial feedback on your piece. We will provide a two-page global letter discussing the strengths of the writing and the recommended focus for revision. Our aim is to make our comments actionable and encouraging. These letters are written by editors and staff readers of Fractured Lit. Should your story win, no feedback will be offered, and your fee will be refunded.
Submission Guidelines
- Your $20 reading fee allows up to three stories of 400 words or fewer each per entry—if submitting more than one microfiction, please put them all in a SINGLE document.
- We allow multiple submissions—each set of three microfictions requires a separate submission accompanied by a reading fee.
- Writers from historically marginalized groups will be able to submit for free until we reach our cap of 25 free submissions. No additional fee waivers will be granted.
- Please send microfiction only—400 word count maximum per story.
- We only consider unpublished work for contests—we do not review reprints, including self-published work (even on blogs and social media). Reprints will be automatically disqualified.
- Simultaneous submissions are okay—please notify us and withdraw your entry if you find another home for your writing.
- All entries will also be considered for publication in Fractured Lit.
- Double-space your submission and use Times New Roman 12 (or larger if needed).
- Please include a brief cover letter with your publication history (if applicable). In the cover letter, please include content warnings as well, to safeguard our reading staff.
- We only read work in English, though some code-switching/meshing is warmly welcomed.
- We do not read anonymous submissions. However, shortlisted stories are sent anonymously to the judge.
- AI-generated or -assisted work will be automatically disqualified.
The deadline for entry is February 01, 2026. We will announce the shortlist within 12-14 weeks of the contest’s close. All writers will be notified when the results are final.
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