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Micro Prize Judged by Steve Almond Shortlist

Micro Prize Judged by Steve Almond Shortlist

We absolutely loved reading these microfictions and are back to present the shortlist! Stay tuned to see which stories Steve Almond will pick!

  1. Mothers Bake Pogácsas
  2. Makbara
  3. Burial at Sea
  4. My Father’s Orange Farm
  5. Quiet Survival
  6. In the Larchmont House
  7. Loosed
  8. What It’s Like
  9. Inheritance
  10. I’ll sew your socks if you stay
  11. Competitive Grieving 
  12. No Voltage on a Quiet Road
  13. Color Theory
  14. The Thing With Feathers
  15. Lost girl found
  16. Doves
  17. Girls Who Use Wheelchairs Don’t Climb Trees
  18. We Are Mothers
  19. katsu.
  20. Dad in his Elements
Snow

Snow

We have nine snowmen in our front yard.  One snow child.  In the past month or two, I rolled, lifted, and balanced balls of snow for their snow bodies, searched for sturdy twigs.  My wife peeled carrots, dumped raisins in a dish, ransacked closets for hats and mittens, a moth-eaten vest, an old apron, faded scarves that wave in the wind.  Five-year-old Sibby patted ice-cold stomachs, smoothed bumpy lumps of snow, tucked old boots and shoes in front of round white bottoms. We have a large lawn, as do our neighbors on the cul-de-sac, but we have the most and best-dressed snowmen.  In the mornings, I clear the porch steps, shovel our walks and driveway, before I head off to my job at the PO.  My next-door neighbor shovels his walks and driveway in the evenings.  His MAGA sign keeps getting buried, and he keeps digging it out.  Of course, when he waves, I wave back like a good neighbor. Somehow, though constant, this snow is not burying us. Hard to explain.  Yesterday, Sibby said it first. “When’s it going to stop?”

This Saturday morning, I stand at the window and see that the heavy overnight snow is perfect for building snowmen.  “Maybe we should add to the snow family,” I tell my wife and Sibby.  “Or do a dog or cat,” though I’m not sure how.  After breakfast, we suit up in coats and boots, hats and mittens that have come to feel like a uniform.  Freezing cold air is waiting on the porch overlooking our white yard below. New neighbors three doors down are out in their yards with their toddler, who is piling snow on his head.  Suddenly, Sibby pulls up short at the top of the stairs and squints at the nine snowmen in our white yard.  “What?” I say. “What?” my wife echoes.  We are both oddly fearful.  Sibby shakes her head, hat tassels flopping. “I’m done.  No more snowmen.”  She slams back inside, and we follow.  She kicks her snow boots under the kitchen table, unzips the polka dot snowsuit my wife just zipped her into.  Without looking at each other, my wife and I unzip our own parkas, unlace our boots.  Sibby clicks on the weather channel, where a new weatherman is talking about last night’s record snow accumulation. Recently, three weathermen have come and gone with no explanation. This new weatherman is non-committal as he talks about snow patterns, lake-effect snow, and tells historical anecdotes that are meant to be comforting.  We have hot chocolate with our snow cones.  Sibby says, “We’re running out of syrup.   Why aren’t we running out of snow? When’s it going to stop?”

Monday, an early meeting takes me to work before I do my usual shoveling, so I shovel in the evening before dinner.  Sibby is replacing pilfered carrot noses.  Then she sets to making snow angels to watch over the snowmen.   The next-door neighbor, out shoveling too, is surprised to see us.  He leans on his huge red shovel that has partially rescued his red MAG sign, and calls out, “Your snowmen sure got spiffy outfits.  You raid the closets?”  In my mind, I too think “snowmen, snowman”– leftover from childhood.  Our neighbor is still peering at our populated yard, so to be neighborly, I call, “Come on over and visit our snow people.” I really do say “snow people.”  “Hey, sure thing,” he says and plants his shovel in the drift beside his sign, then crosses from his white yard into our white yard.

Sibby and I are proud snow parents as he slowly circles the nine figures, admiring the plaid vest, limp scarves, and the apron with lemons.  He gingerly shakes the twig arm of the largest snowman, then he praises Sibby for sharing what was surely her own ratty stuffed bunny.  Squinting, he says, “Hey, I’m really pleased to meet my neighbor’s snow people.  Yeah, great snow people you have here.”  “And snow angels,” Sibby says, and flops backwards to create another one.  I say, “It’s sort of strange how the snow doesn’t seem to stop.”  “Yeah,” he says.  “But soon the government is going to do something about it.  You’ll see.”  He steps around the latest snow angel.  “Like what?” Sibby says, from flat on her back. “Do what?”  Yeah, I think, do what?   Our neighbor just waves and slogs back to his yard.  We can hear him muttering “snow people, snow people” as he gives his sign a final thump in place, “hah, snow people.”  Next time I see him out shoveling in his white yard, he pretends they aren’t there. We all pretend something. 

Micro Prize Judged by Steve Almond Longlist

Micro Prize Judged by Steve Almond Longlist

These micro stories demanded more than one reading, invited us into their small containers, and awed us with the mysteries of being human. We’re ecstatic to present these longlisted titles and will be back with the shortlist soon, which will be judged by Steve Almond!

  1. Mothers Bake Pogácsas
  2. Makbara
  3. Burial at Sea
  4. My Father’s Orange Farm
  5. Acquaintance (B)
  6. Quiet Survival
  7. In the Larchmont House
  8. Loosed
  9. Tree Rings
  10. What It’s Like
  11. Aguacero
  12. Under the Sea
  13. What Remains
  14. Grown-Ups
  15. The Ghost of Our Father’s Love Attempts to Make Contact with Our Mother
  16. HANDS
  17. TRAVELER
  18. Patio People
  19. In the Event of a Hurricane 
  20. Meadow of Tarsi
  21. The Act of Remembering
  22. I Might Be a Vampire
  23. Inheritance
  24. Setting the Record
  25. Friday Night Lights
  26. I’ll sew your socks if you stay
  27. Oh, Happiest Day
  28. Ninety-Nine Invocations
  29. Competitive Grieving 
  30. No Voltage on a Quiet Road
  31. Color Theory
  32. The Thing With Feathers
  33. Two Peas in a Pod
  34. Lost girl found
  35. Doves
  36. Can I Confess Something to You?
  37. Girls Who Use Wheelchairs Don’t Climb Trees
  38. We Are Mothers
  39. katsu.
  40. Dad in his Elements
Neon Afterparty

Neon Afterparty

1. The Ghost of Sylvia Plath

Sylvia Plath is tired of things, but we have trapped her inside our minds, and we want more. She did her part, and she performed, but we are greedy, and we clap and cheer and stamp our feet for an encore, because she left too soon. Sylvia Plath is tired of fig trees, and performing, and running after life. We were her parents, and her teachers, and her lovers, and her husband, and we said, “Wow, that’s good, but you can do better,” and she tried hard to please us all, until the effort exhausted her and she wanted out.

Sylvia Plath is tired of things, and she wants to die. But she’s already dead, and she should be free and carefree, flying over rooftops and walking on clouds, but something keeps dragging her down; the industry is greedy, the industry loves pain, because pain sells. We say, it took you years, and we welcome her to the lab with open arms and hungry eyes, we have romanticized and mythologized her, because she’s dead, and the dead won’t change, can’t let us down.

Sylvia Plath is tired of us and smiles like we can’t frighten her, not anymore. She knows we will rebrand her, that we will plaster her face on posters in neon colors to make her look modern, that we will never admit that we did anything bad, because we think we give her space, and time, and the chance to build a new legacy, a second chance at the spotlight, we offer her cottagecore filters, and feminist merch, and she’d be ungrateful to not grab our gift.

We clap and cheer and applaud the silence, the suspense is killing us, Neon Lazarus has risen, an angel in the glass booth floating above our heads, like a promise of resurrection. But she lets out a scream, a loud, deafening sound, Sylvia Plath spits out her pain, and we freeze for a second, we hesitate, and exchange awkward glances. Then we feast. We devour it, the pure, unedited shriek we came for all along, because that’s all the poetry we wanted. We rise too, we’re resurrected, and we clap and clap and clap for this cruel and tender and iconic encore we’ll loop forever.

2. The Ghost of Ian Curtis

Ian Curtis is dead tired of being sick and poor and dead and wants to come back and enjoy love and fame and all those things he didn’t enjoy because he left too soon. Ian Curtis is tired of epilepsy and depression and lost love. He wants to come back and he wants money; he doesn’t want to be rich but be rich enough for love to be enough.

Ian Curtis is dead tired of being dead at such an early age. But he’s dead and meds won’t bring him back and won’t cure his epilepsy and depression either, he should be free from disease now he’s dead, he should be floating, like ghosts, but something keeps dragging him down, and it isn’t gravity, for gravity doesn’t apply to ghosts, it’s sadness and it’s pain that keep pulling him down and grounding him, we tell him, love is enough, and we welcome him, we have pathologized and plathologized him because he’s dead, and death comes with benefits, no power bills or mundane tasks.

Ian Curtis is dead tired of us and he doesn’t want to perform, he wants his money and he wants some love that won’t tear him apart, but he’s in the room with us and we demand an encore, his wild dance moves, and we want to mask his darkness in neon lights, to brighten up his dark melodies, we want to dress him in black and white blinking lights, at least, before we allow him to perform., and he’d be ungrateful to not accept our gift.

We clap and cheer and applaud the noise, the suspense is killing us, a gothic thin figure with neon loneliness eyes is staring at us from the stage, but then he collapses and is in grand-mal mode, he’s lost control and we wonder if we should help him, but we then think that the dead don’t die, and we clap and clap and clap, to the rhythm of the seizure, to the blinking lights, dead souls keep calling us and we answer, we feed on his dance and his breaking ghost body like there’s no tomorrow, and his agony is our trance.

3. The Ghost of Kurt Cobain

Kurt Cobain is in the room and wants to sing. His eyes cold and empty, but watery, like he’s on the brink of collapse, and we stare at him in anticipation, we clap and cheer and expect a lot from him, because he left too soon. Kurt Cobain is tired of lithium and being sad and acting sad. We were his audience and his band and his friends, and we said, “You are our hero,” and he tried hard not to be, until the effort tired him and he wanted out.

Kurt Cobain is in the room and we ask him to play a couple of songs, and Kurt is happy he’s among us, but also he isn’t, he wants to sing, but wants to sing happy songs, because he’s tired of being labeled as sad, he’s here to feel joy and transmit joy, he offers chocolate cake in a heart-shaped box, and he wants to eat our cancer, but we won’t let him.

Kurt Cobain is in the room and we want to dress him up and wear him shiny neon clothes that fit his new persona, but he’s checking the clothes like he doesn’t approve, and we explain he needs rebranding, that he can’t hang around in those old jeans and t-shirts, but Kurt shakes his head, refuses to be a sellout, and we’re confused and say we don’t use this term anymore, we say that branding is now a virtue, a goal, and his ghost shimmers away, like ghosts do when they feel shattered.

He puts on the red neon dress we gave him and he turns our way, the suspense is killing us, we expect a cover of Dumb but he surprises us, he’ll sing Iggy’s Mass Production, and won’t dance or play guitar or smoke on stage, but he’ll scream, coarse voice, blank stare, he’ll scream, almost like him, and almost like him, and almost like her, then he’ll stop singing before the music dies, he’ll stare right through us into the void, and he’ll thrust his tongue out of his mouth, like he’s mocking us and our world, like he has no regrets he left all this behind, and the fig tree blooms in glitchy filters, the heart-shaped box fills with merch, the grand-mal lights strobe in perfect sync, and we rise in flannel shirts and worn-out cardigans, and we play cool again.

The Space Between Me and Them

The Space Between Me and Them


I’m riding shotgun with our big grandma of a fridge sticking out the back. She’s sandwiched between the hatch and the rusted bumper, tied by the rope from my tire swing.  I rub her smooth metal top where she held my cereal.  We’re headed to the dump.  It’s where Dad says quitters go.  He isn’t one to give up but his last attempt to fix her only got us a week of semi-cool air before she stopped altogether.  Mom spent the morning not sleeping after the night shift to cut cry onions for beef stew and Shepherd’s pie so that the defrosted round roast was used before it spoiled. The smell made me nauseous, but she says a meal isn’t a meal without meat, which is another of the differences between me and them.  

In the crusty beige console is a pack of cool blue gum.  Only two slivers are left.  They’re limp, having lived the morning in the back pocket of Dad’s jean cut-offs.  I peel off the foil and stuff a rectangle into my mouth.  The flavor fades real quick, but the chewing is good enough to keep going on and on. 

It’s fixable, Dad says, just needs a new compressor, but GE doesn’t make them anymore ‘cause they want you to buy a new one every goddamn decade.  On eBay, there’s a guy in Clovis, California, who’s charging an arm and a leg, plus shipping and handling, for one, which is criminal but still way less than buying a used fridge from Ollie’s Appliance Outlet.  But Mom is still boiling hot about cooking stew and pie on a summer morning, so asking her to live a week without a crisper is a no go. 

The car smells like the cigarettes Dad promises Mom he isn’t smoking, and she believes him even as she steps over butts to go to work every night.  It’s hot enough for Dad to have the windows rolled down.  As we speed along the highway, I lean out with my mouth open to trap more cool into the gum.  It’s not hot enough for the AC.  AC hot is triple digits ‘cause he says it uses up gas.  It’s like how he paid extra for a car that’s manual shift with crank windows in order to cut out the middleman.  It’s not just about the cost of the thing; it’s the add-ons they’ll suck out of ya.  And yet, he’s never mentioned how much it cost to get me.  To buy me?  I found the adoption paperwork at the bottom of his gray metal lockbox that’s never locked.  I was thousands, and that’s just the upfront price. I’ve had a good amount of extras over the years, too.  I keep a tally and don’t know if he is too, or this is another of the big differences between me and them.

As we bump down the back road to the dump, dust sticks to my failed attempt at blowing a bubble, so now it feels like I’m chewing a clam.  We’re waved over to the recycling road entrance, and Dad squeezes the steering wheel tight as we pass by rows and rows of grandma fridges just like ours; wide and squat with welcoming round edges.  The metal detailing on their handles shines ‘cause they’ve got none of that plastic crap that Dad says will be the end of us. 

The stained t-shirt attendant shows us where to park.  He hangs his head sorrowfully and mutters, such a shame, she’s a real beaut, as Dad gets out.  I watch from the side mirror as the men shake hands and wonder if they can feel each other through their thick thumb blisters.  They pull in close for tap, tap, taps on each other’s backs before separating.  Dad recounts the injustice of the whole thing, his hand on the attendant’s shoulder for support.  Then they put on their work gloves and get down to the business of haulin’ out the trash.  Gently, they nudge her frigid metal body out of the car and set it upright.  The attendant assures him it won’t get crunched, he’ll see to that, someone’ll at least pick her up for spare parts.

Dad returns and slams the driver-side door so hard I choke, swallow my gum.  He peels out, leaving a cloud of dust that looks like fireworks.  I wave goodbye through the sparkling dirt.  When goodbyes are too hard for me, Mom says enough now, you were too young to remember.  But this is the biggest difference between me and them, being left is who I am.  So before the ride to the dump, I tucked a note inside grandma fridges’ metal icebox telling her that she was loved, that she was a perfect fit even though we aren’t perfect, and that we wanted to keep her, but it was too hard.

At home, I pretend the place where the grandma fridge lived is my kitchen bedroom.  The wall behind her was painted a hubba bubba pink that’s so bright the fridge shape color radiates onto the oil-splattered white walls around it.  The floor is a fluffy filth covered with magnets, bottle caps, and rubber bands.  But a sweep of my hand shows that she had been protecting the tile underneath, it’s still shiny new.  

For dinner, we eat more of the same from lunch because Mom says, waste not want not.  It’s the remains of our dead grandma’s fridge, jars with just a scrape of jam, pickles that are mostly onions and mustard that disappear into bread that’s been saved for the birds.  Mom makes a serving platter out of plastic hamburger and hotdog bun bags and puts paper napkins under our chewing as plates.  Cleanup is just brushing away some crumbs, and we are done.  There is nothing left to do but ignore the emptiness, the wide openness, the space no one’ll ever talk about.

Still Life Under Glass

Still Life Under Glass

We stand in front of the cameras dressed in red, white, and blue. We clutch pocketbooks and pearls, pull the silk scarves woven loose through our arms around bare shoulders. We smile into the lens with an unwavering tenacity we hope convinces the rest of the world—and ourselves—that we were placed upon the Earth for this exact purpose. We sing hymns and pray for the safe return of our astronaut husbands and our sanity. We place hands across hearts and swear we are proud, happy, and thrilled, even though the veneer wears thin from overuse. We nod yes, even when we mean no. We try not to think about what ifs and worst case scenarios. We want to believe in happy endings. We try not to dwell on what we cannot control. We instead hug our children and corral monsters from dark corners. We sew buttons and fix our hair and the flywheel on the lawnmower. We bandage knees, clean scrapes, the dinner dishes piled high in the sink. We sweep the floor and wash the windows in the middle of the night when the curtains can be opened once again. We solve X for why. We attend picnics and birthday parties, bridge games where tea and sympathy are served in equal measure. We smoke cigarettes and gossip about politics and infidelities to pass the time. We commiserate, laugh, cry, put a new pot on to boil. We refrain from asking questions like: How will we survive if everything goes BOOM? We know when silence is the only cure. We help our sons and daughters cut stars out of construction paper to make a chain to count down the days until their father comes home. We study our reflections in the bathroom mirror. We are tired. We are husks blowing in the breeze—dry, empty. We brush our teeth, our hair one stroke at a time. We spritz perfume on our wrists, even though we are alone. We lie on chaises in the backyard at two in the morning because it’s the only time we can breathe deep. We tilt our heads toward the moon shining above and imagine our husbands floating like weightless birds in the night sky, while gravity keeps us grounded. We know that every little thing we’ve done will be written down, preserved. We know there will be a time of reckoning, looking back. We close our eyes and sigh. We remind ourselves to take one day at a time because that is all we are given.

Mother

Mother

What you leave out, when you tell the police about it, is how the woman reminded you of your mother—charismatic and brash, with short-cropped black hair greying at the temples. The woman had dark eyes that flashed when music played, and she drummed her fingers against whatever surface she could find to mimic bass—just like your mother, who played snare drum in a college marching band, who taught you to play drums when you were five with no ability for rhythm, but with such a slavish, abiding love that you did anything she asked. Anything. You filmed her walking across the ridgepole of a house during an electrical storm. You timed her holding her breath in the bath. You hunted snakes under railroad crossties and learned how to hold a copperhead so it couldn’t strike. When your mother died, there was no one who understood your need for lightning or calculus or percussion. No one who understood that your mother’s secret name was Viola, the name she gave herself. No one understood why that was important.

What you leave out is that you liked giving the woman money. It felt normal to be part of someone’s scheme again. It felt safe.

The detective says the woman felt sorry for you. He says that she would have taken more money, but she felt sorry for you. You can tell by his moist, dark eyes that he feels sorry for you, too.

You feel like a traitor when you pick the woman out of a lineup. You know she isn’t your mother, but you feel like she is. You feel like you’re making your mother very small when everything she did was big, so very big and so very bright, that you would have paid anything to hold her hand while she stared the world in the eye again. You would have paid anything.

Vespers

Vespers

She finds the rosary tangled in the bottom drawer of his dresser, amid balled socks and a single cufflink shaped like a compass rose. The beads are wooden—olive pits carved smooth by generations of thumbs. The crucifix hangs crooked, silver worn thin at the corpus, the face rubbed away. She lifts it out, lets it uncoil in her palm.

Outside, snow falls in fat flakes. The backyard is a white sheet pulled tight over the garden beds where he planted tomatoes every May, even after the doctor said no more heavy lifting. The bird feeder swings empty from the maple branch. The bag of seed sits unopened in the garage.

He died on a Tuesday, mid-sentence, fork halfway to his mouth. “Pass the—” and then the slump, the clatter. The paramedics were kind but efficient; they did not linger.

She threads the rosary through her fingers, bead by bead. The first Hail Mary catches in her throat—full of grace—but she presses on. Her voice is small against the radiator’s hiss. She reaches the Glory Be, pauses at the Fatima prayer he always skipped, calling it superstitious fluff. She skips it, too.

Forty-seven years they shared this drawer, though it was nominally his. She kept her own things tidy in the nightstand: reading glasses, lip balm, a dog-eared copy of The Joy of Cooking with his marginal notes in pencil—too much salt, try thyme. She digs deeper: a matchbook from their honeymoon hotel in Niagara, cover faded to pink; a ticket stub from the opera where he proposed, Puccini smudged by rain; a lock of her hair, tied with faded ribbon, from the night they met at a parish dance.

The window whitens. She stands at the window, rosary dangling from her fist. The neighbor’s dog barks once, muffled, then falls silent. She thinks of the wake tomorrow: black dresses, covered dishes, the practiced phrases. She will nod, accept hugs that smell of perfume and casserole, say thank you until the words go flat.

She slips the rosary over her head, lets it settle against her collarbone. The wood is cool at first, then warms. She walks to the kitchen, fills the kettle, sets it on the stove. While it heats, she opens the back door. Cold rushes in. She steps onto the porch in sock feet, feels the snow melt through wool to skin.

In the yard, she kneels where the tomatoes once grew. The ground is frozen. She digs with bare hands—nails scraping ice—until a small hole appears, ragged, no deeper than a teacup. She removes the rosary, holds it a moment. If it stays above ground, she will pray. She places it in the hole and covers it with snow-damp earth. Her palms come away black, streaked white.

Back inside, the kettle whistles. She pours water over tea leaves in his favorite mug—the one with the chip from that argument in ’92. The steam rises, curls, dissipates. She sips once, sets it down.

Upstairs, she strips the bed. Sheets into the hamper, pillows fluffed and recentered. She opens his closet, runs her hand along the row of shirts: flannel, cotton, the silk one he wore to weddings. She selects the blue button-down, lays it flat on the mattress. From the drawer, she retrieves the cufflink and fastens it to the left sleeve, though the right is empty.

She lies down beside it and curls her body around the fabric. The house settles: creaks in the joists, wind against the eaves. She closes her eyes, listens for the rhythm of his breath that is no longer there.

Morning comes gray. She rises, makes coffee strong and black. The bird feeder still swings empty. She fills it now—sunflower seeds scattering across the snow. A chickadee lands almost immediately, pecks once, twice, then flies off.

At the wake, she stands straight-backed beside the casket. Friends file past, touch her arm. He was a good man, they say. She nods. When it’s over, she drives home alone, the radio off.

That night, she opens the drawer again. It is empty now, save for dust and a single olive pit she must have missed. She rolls it between thumb and forefinger, feels the faint grooves where prayers once wore paths.

She places it on her tongue and swallows it whole. It lodges somewhere deep, a small hard seed.

Later, she stands at the kitchen window and looks out at the yard. The feeder is empty again. The tracks in the snow are small, precise—bird feet, nothing more. She walks to the buried spot and kneels once. No digging this time. Just her palm flat against the ground, feeling for anything that might answer.

There is none.

She stands, brushes snow from her knees, turns back toward the house. Inside, the kettle waits. She fills it, strikes a match from the old book, lights the stove.

The flame catches blue, steady.

Beyond Salt and Wings

Beyond Salt and Wings

The bird was wild with fear. Entangled in the fishing-rod line—wings awkwardly stretched, feet dangling mid-air—it leaped and bounced and swayed, a puppet on a string dancing a macabre pas de deux over the wordless song of the waves.

More frightened than the bird, the boy was dancing too—a step to the side, one forward, two back—gripping the rod for dear life, and glancing, glancing around. Mud-brown and pebbled, Thornton Bay stretched long and empty. The tide was already slicing the beach into a dark crescent.

As though called by the sea, the woman with the red beanie strode onto the sand, her bare feet drawn to some urgent, faithful place. She saw the boy, the dance. Stopped. Understood. The day was running out of light; time was running out. Then she was running.

“Hold tight, you hear?” she yelled.

The boy turned to her, his face—a grimace that could be hope.

“Got a knife?” The waves, crushing the skull of the rocks, blew her voice into pieces.

With the white of his eyes, the boy pointed at his bag. An empty can, a crumpled 

packet of chips, a multitool knife. She flicked the blade open.

The bird hung there, exhausted, motionless. Yet, the shadow of the woman and her hands reaching out ignited a fury—yellow beak darting like a steel arrow going for blood.

“Yes, my darling, fight, fight!” the woman whispered.

She took her beanie off—an old, hand-knitted child’s hat—but dropped it, and the waves hurried to claim the crimson shape, to carry it away into the deep. The woman grabbed it back, shook off the wet, the salt. Another step, and she slipped the beanie over the bird. A light, insubstantial body, but a pulse so wild it could propel a whole new life into being.

“Let go, my little one,” the woman murmured. “You just let go. It’ll be dark at first, but then it’ll be all right.”

She sat and placed the trembling creature in her lap; the waves surrounded her, curious to see. She freed the feet, the tail feathers one by one. There was blood on the body, garnet shards amidst the plumage. The line sprang away from the neck, from the wings, the hook snagged loose from the tip of a feather. Finally, the woman took the red beanie off.

The bird didn’t hesitate. It didn’t glance back for a thank you or goodbye. Feet stretched, wings flapping the rhythm of flight, its shape melted over the darkening skin of the ocean.

The woman got up, jeans soaked, the beanie too. The boy—Andrew would’ve been his age—dropped on the sand, the rod clenched in his hands.

“You did good,” she said. “We did good.”

The boy said nothing. The waves rippled the remains of daylight and chased them towards Ngarimu Bay.

Grief is a Noose Around My Neck.

Grief is a Noose Around My Neck.

The dumb bomb that dropped on my mother’s house did not explode. Instead, it flattened the dinner table and severed the left leg of my uncle. He had just finished eating a bowl of chè đậu trắng, my favourite dessert, when the roof caved in on them. It was not an uncommon occurrence for bombs to be in the predicted weather forecast in 1968. But usually, air-raid sirens would shriek through the neighbourhood, alerting everyone of their fated arrival. It was a high-pitched siren, the rising and falling wail of an infant in need. Only then, would people leave everything they had behind to hide, hip bone to hip bone, in a makeshift bomb shelter underneath their homes.

My mother animates with her hands when she speaks. Her fingers dance through the air, sometimes waving in sporadic, top-dizzy circles when she speaks about her past. She’s doing that now, sitting on the chaise lounge by the window, while I start the kettle. It’s beginning to snow outside, and I’m tempted to draw the blinds before she begs me to take her out there.

“And there was no siren,” she says. “There is always a siren.”

I come to sit by her, and I take her hands into mine. My thumbs glide over her arthritic fingers. The doctors said that it was normal for her to get like this sometimes. Her body still. Her eyes glazed over. Her soul somewhere far away from here.

“I know, Mama. I know.”

There are many things that she can no longer remember. Sometimes it’s her name, or where she is, or the day of the week. Sometimes it’s the street she lives on, or when her birthday is. Sometimes she’ll look at me with a tilted head, trying to place me, and I’ll hold my breath and grip the counter, knuckles white, waiting for her to remember the face of her daughter. There are many things that she can no longer remember. But the death of her big brother lives within her like a parasite.

“I left him there,” she whispers out into the open air, and I try not to let the sudden stillness of my body catch her off guard. My mother has told me many stories about her past. They are stories of resilience and of desperate survival. They are stories of death and deep loss. But this story, she has never told me to completion.

My mother turns to me, and in her eyes is a version of herself that I have never seen before. She looks young and afraid. Her eyes are frantic, and her fingers have my hands in a vice grip.

“It was too heavy, anh trai, it was too heavy.” She speaks to me directly, and then I see her. My mother, the little girl, trying to push and shove a 500-pound bomb off her big brother. I see her, my mother, the little girl, running into the rural streets of Vietnam, screaming for help. But nobody comes because the siren has started to wail. I see her there, little hands scraping and shoving handfuls of blood back into the near corpse of her sole guardian. I see her, my mother. I see her there.

She speaks quickly and frenzied, like she doesn’t have much time.

“What do I do, anh trai?”

The kettle whistles, and the burden of guilt living too long in my mother’s chest detonates. She weeps into me, and I cradle her into my chest. Her cries are moans of agony, and she calls out for her brother.

“I didn’t mean to leave you. I didn’t mean to.”

When my mother tells me stories about her past, she speaks them out to me like straightforward facts. Like how boarding onto a boat that may not make it to shore was as simple as catching the bus. Or how pulling her neighbours out from underneath layers of rubble and dust was as painless as harvesting potatoes from her garden. I often wonder how she heals and if she has at all. And I often wonder how much of her trauma I have inherited into the deep bones of my genetic makeup. But I see her now. I see the lineage of our collective losses. I see the noose of grief that lives around her neck and mine.

“I didn’t mean to leave you, my con yêu. I’m sorry.”

Something inside me cracks. And maybe this is what it means to heal.

“I know, Mama. I know,” I tell her. “It’s not your fault.”

When the debris settles, and her shaking subsides to small aftershocks of breaths, she looks up at me, and she is my mother again. Her eyes are swollen, and her mouth is in an upturned smile. I put my forehead down to hers.

“Are you making tea?”

There’s a moment of pause between us, and I laugh at the absurdity while the kettle screams out. I rise to move it away from the heat, and I see her staring out the window. Her finger tracing the melted snowflakes landing on the windowpane.

“You know, your birth caused a snowstorm like this.”

The story of my birth is my mother’s favourite. She tells it to everyone she knows, even to the people she has just met. A blizzard in the middle of July, coming down with the wail of a newborn baby girl. The Earth was covered in a blanket of white, and she brought me out there to touch the whispers of magic falling from the sky. 

I grab our coats from the rack, and I head towards the door.

“Mama, would you like to go outside?”