by Matt Bell | May 18, 2020 | micro
Because the princess was dying of love for the suitor, the suitor who was so athletic and so strong, the great suitor who despite the princess’s would not love her back—because when he spurned her, she determined to kill herself—
No. No she did not. She would never kill herself again, not for this suitor or any other.
1.
Because after her husband died writhing in his poisoned robe, she did not cry at what she had done, or if she did cry it was not enough for us, or if it was enough then still we fumed when she refused to take her own life. I was tricked, the older said, blaming not herself but the dying centaur who gave her the poison, that husband-shot beast who told her it was a salve made to guarantee not death but monogamy. After all, how many times had her husband cheated, how many children had he sired by other women, by women and nymphs, dryads and witches, other creatures of the forests and marshes?
Her anger was righteous, her violence accidental—and if now her husband were dead by her hand, the older said, then surely she was not doomed but set free.
2.
Because after the virgin prince firmly explained his refusal to sleep with the younger, he expected her to die of lust and longing, as all others had—but instead she simply took no further notice of him, spending her days as she always had: at her loom or upon her harp, or else smashing her mallet against loud-clacking croquet balls, her blows sending the bright orbs spinning across the prince’s father’s vast palace lawns. How angry the prince was at her refusal to be affected by him, how in his anger he followed her everywhere, begging her to die, whining out his reasons! Hadn’t her heart been broken? Didn’t she wish to put pen to paper, to write out a false accusation against him, then kill herself, so that their story might be fulfilled, so that when the prince’s father came home the prince would be exiled for crimes of passion never committed?
Pen to paper, the prince cried, then poison to lips! I demand it!
The prince believed he deserved a tragedy, but the younger didn’t care, didn’t listen. She was done listening to him and to all men like him, done dying for them too. In those days, there was so much fresh sunlight to feel upon her skin, so much bright birdsong to hear and sweet breeze to smell, so many harp chords she wanted to perfect, and always there was so much croquet to play, so much satisfaction in smacking mallet against ball, the satisfying thwack of the mallet so much like how she imagined it might sound when at last she tired of the prince’s whining, when finally she took her tool to his crying skull.
3.
Because surely, the king thought, his daughter would understand they needed the north wind to cease its blowing. And anyway, aren’t all a king’s children the king’s possession, shouldn’t the king spend from his treasures how he wishes? And so the king promised the younger sweet marriage, and so she dutifully she arrived arrayed in her wedding dress—how beautiful she was, how perfectly she made the picture of Greek girlhood.
The fool, the fool! Too young to marry, she should have known better—but wasn’t she also too young to die?
What girl expects her father to tie her to the altar, to approach her with bloody blade and burning pitch to put her to the sacrifice?
What girl but a girl in tales.
In one telling, the king killed the younger, the north wind ceased to blow, the king’s fleet sailed off to ten years of failure followed by a single night of victorious battle. But in our tale, the tale told right for this book, the younger escaped, saving her life and dooming her father’s fleet. Perhaps she took the north wind’s place, sinking the fleet herself; perhaps she transformed, becoming an albatross flying overhead, ill omen dodging the arrows of men. Or else, in my favorite of the possible tellings, she had invited her older to attend her false wedding, and thus it was the older’s army who saved her, all the brave women who rode beside her, who had named the older daughter their Achilles, who called themselves her Myrmidons, a company of great soldiers who fought for no man or king, only women, only queens.
4.
Because the older’s husband died so bravely, the gods that in those days still were reluctantly decreed he could visit his wife one more time. Soon he returned to the living lands to haunt the older’s house, the house that was now only hers, the husband’s shade clattering her dishes, unfolding her laundry, making himself known by tapping spectral code against her bright-washed walls, by knocking askew the paintings hung in her hallway. Everywhere the older roamed, she wore the mourning clothes, black on black; but nowhere did she acknowledge her husband’s return, no matter what trouble he made for her.
After the widow began to court other suitors, the dead soldier manifested with new anger, breaking heirloom furniture, shaking the high bed in which he had once slept, where now his supposedly mourning wife dreamed sweet dreams without him, about another. Due back in the underworld on the third day, he manifested fully to demand she kill herself, so that he wouldn’t be lonely in the land of the dead—and when she refused, claiming that she had loved him in one life, all the life she had promised to him, what could he do but leave her be, to watch her strip off her mourning clothes and begin to live again, to live on as he could not?
5.
Because he said they were not married. Because he said he could leave at any time. Because Zeus had bade him to go, or else Jupiter, or else some other god who was always the same god, the god of all men who preferred questing to husbandry. The older suffered his excuses, then made her own complaint: had she not given him all of herself, her household, her kingdom? What now was she to do in his absence? Was he to become a hero, she a mere spinster abandoned, some crone aged and unloved, not married enough to ever even become a widow, even if he came home carried upon his shield?
In another story, he said, I sailed upon my ship while you stayed here in your palace. And by night I looked back at this mighty city, and saw at its heart a great column of flame burning. Then I knew you had killed yourself, that it was your funeral pyre I witnessed, for you knew I would not come back, for you would not live without me.
But this is not that story, said the older, shaking her head, waving away his suggestions of death. What did Zeus ever do for me, the older said, that I could not do for myself? Was it Jupiter who gave me my crown, my kingdom, my many warrior-women? Am I not a queen all my own, great giver of gifts, grave avenger of slights? Am I not ruler of all the domain I can see from my high castle, a kingdom of no more men, not now or ever again?
Before the night was through, the disloyal suitor was sentenced to banishment and exile, his armor stripped, his sword and shield broken, his men put to the spear. So what, so what, the older cried, as in her harbor the suitor’s ships burned, so what do I care if this means Zeus is denied a hero, if this means Jupiter has no champion, if this means no more great men of Greece land on no more foreign shores?
by Cathy Ulrich | May 13, 2020 | interview
Cathy Ulrich’s story collection, Ghosts of You, published by Okay Donkey Press, hums with the chatter of forgotten women. Ulrich creates a creeping resonance through the details that make these characters rise above their deaths, their fabricated plot devices to dazzle us with their humanity. Ulrich uses the magic of language, her skill with repetition to awake our empathy.
Dean: I’ve read several of these stories
online in literary journals and magazines, but now that they’re collected, I
didn’t realize you had written so many! What was the first story you wrote? Was
it the first one that was published? What inspired you to keep coming back to
this theme and subject matter? When did you start to think that maybe this
would be a book?
Ulrich: The
first story is the first in the collection, “Being the Murdered Girl.” It was
written at least a year before the second was written and, yes, the first one
published! (It was in the lovely Crab Fat Magazine in – don’t hold me to this,
but I think 2015?)
It
wasn’t written intended to be anything more than a stand-alone story, and I
actually didn’t think about it for a while after it was published, until I read
an article about Joan Vollmer (she was married to William S. Burroughs, he shot
her in the face) and was inspired to write the second story, “Being the
Murdered Wife.”
It
wasn’t until the third story, “Being the Murdered Lover” that I realized this
was going to be a series (like the “Japan” stories), and that they were all
going to have the same title and opening sentence and point of view.
What
inspires me to keep coming back to this theme and subject matter is, often, rage. I had never even heard of Joan Vollmer before I read this article,
but everyone has heard of Burroughs! She was completely erased in service of
his legacy — and that happens a lot, I think. So I will see something in the
news or in fiction about a woman being erased, and it will “inspire” me.
I never
really thought it would be a book until it became a book! It’s kind of
unbelievable for me.
Dean: Your readers have been asking when you’d
have a book out for a while now, and then we were happily surprised when you
announced you were publishing a collection of your “Murdered Girls” stories
with Okay Donkey. This is there first
full-length publication. How did all of this transpire?
Ulrich: I
was incredibly lucky — the editors at Okay Donkey reached out to me and said
they were interested in starting a press and wanted their first publication to
be a chapbook of the Murdered Ladies series. It turned out, though, that I had
written about twice as many pieces (at that point!) as they realized, so it ended
up being a full-length collection instead of a chapbook!
I’m just
so grateful that this is something they wanted to do. I hope it will be just
the beginning of a great publishing career for them!
Dean: When writing this series, were you ever
worried about writing too close to a trope?
Ulrich: Actually,
that’s not something that really crossed my mind! Tropes are tropes for a
reason — there
are a finite number of stories in the world. What isn’t finite is the ways
people tell them. I have my own way of telling stories that I think, especially
in this case, where I’m kind of subverting tropes, that works really well for what I’m doing.
Dean: How did you create such specific details
for each woman, each side character? The concept of each story may be the same,
but each character is idiosyncratic, each story is different because of your
attention to detail! How many of these details were in the original drafts? How
many of them were found during revision?
Ulrich: That’s
not really something I think about either, actually. The characters are with me
from the moment I start writing their story, so the details kind of come along
naturally. There might be some finessing in the end, but the characters are there from the beginning and so
are the details that make them real.
I will admit there are a few Murdered Ladies stories that have been put aside because I lost the character or couldn’t create her completely — I think this is because I didn’t have enough feeling for the character I was writing to make them real. Hopefully, someday I will be able to come back to those stories and set the characters free.
Dean: Do you think death reveals us, shows the
world who we are? Or are we always a mystery?
Ulrich: Oh,
absolutely death makes us even more mysterious — while I’m here, now, I can maybe correct some assumptions that
people might make about me, or do something that makes people think, “oh, that’s
what she’s like.” Once I’m dead, I
haven’t got any say anymore in how people see me. I will be, like the
characters in these stories, recreated the way people need for me to be
recreated.
I think
it’s true of every death, like you see in obituaries “loved by all who knew
her,” but how often is that really true? I’ll bet some people despised her. I’ll bet some
people saw her coming and made their excuses and left. But her family wants to
remember as beloved. And so they do.
But it’s
especially true of murder victims, because so many people outside of family become
“invested” in their death. They need to create a story for themselves to
understand what happened, or to feel like they understand.
A friend
of mine was murdered when I worked at the local newspaper, and the reporters
all had their theories on what he had done to deserve it. They needed to do that for themselves, they needed
to talk about his murder like he had somehow caused it, somehow deserved it.
Because if a murder victim isn’t somehow complicit in their own death, then
couldn’t any of us be killed?
At any
rate, I had to tell a lot of people to shut the hell up about my dead friend
when I was around! (Ha!)
Dean: Another trope you’ve managed to subvert
is that most of the murders are never solved. What intrigued you about not
solving the murders? Does this say something about our larger world? The way
women are treated by society, our American culture?
Ulrich: In
the real world, a lot of murders go unsolved! And the truth is, I just didn’t
want to focus on that. I think some of the murders in the Murdered Ladies do get solved (as a matter of
fact, one of the stories was based on a local murder and, though I say in the
story “your killer is never found,” about eight months after the story was
published, in real life, he was! I am
so relieved he won’t be able to hurt anyone else), but I didn’t want that to be
the focus of these stories. That would make them plot-driven things, focused on
the crime-solving and detecting. For me, I’d prefer to keep my focus on the
people: the victims and the survivors.
I think,
for our culture, there is something inherently comforting in crime stories:
something bad happens, it gets investigated, the bad guy gets caught. The day
is saved! That’s not how it really works, and it certainly doesn’t heal
anyone’s wounds, but it is comforting to think of a world where bad guys never
get away with the things they’ve done.
Dean: I’ll admit that when I first started
reading this book, I had nightmares about murdered women. Once I was the
murderer myself. I could only read it during the day from that point on. Were
you able to separate your own self from these women while you were writing
these stories? Did the empathetic act of creating these characters cause any
difficulties for you?
Ulrich: Oh,
gosh, I’m so sorry you had nightmares! For me, by keeping the focus on what
these women were and
what they have become rather than
writing about what was done to them has definitely kept me from getting too
upset by the subject matter.
That
said, I think there is a piece of me in all of these women. But there is a piece of me
in all the survivors too.
Dean: Do you think you’re done writing about
these women? Are there other murdered women whose stories need to be told?
Ulrich: I
actually wrote two new Murdered Ladies stories in the last couple of weeks, so
I’m definitely not done! There will always be women whose stories need to be
told, and I don’t think this series has an ending point.
Dean: This quote comes from the last story in
the book. “They will say girls like you. They
will say and they will say girls like you.”
Why do we blame victims? Why do we create these myths? Do they ever help
anyone?
Ulrich: I
kind of touched on this when I talked about my experience in the newsroom —
people need for victims to be somehow guilty so that they can feel safer. If a victim is somehow to
blame for their own death, that means that, yes, the rest of us will be safe.
And I think, logically, most people know that it isn’t true, that it isn’t
right, but there are some people who are so eager for the world to make sense
in the most narrow, limited way, that they hope and want it to be.
And, no,
I don’t think it helps anyone, least of all the people who are trying to
protect themselves by thinking like this.
Dean: When the readers turn the last page,
what do you hope they will feel?
Ulrich: Like
reading it again? Ha, ha.
But
seriously, I just hope they will feel something. Good books always make you feel something, even if it’s maybe not what the writer intended.
Dean: You have a large presence on Twitter,
especially with reading, sharing, and supporting hundreds of writers. How do
you balance your non-writing life with your writing and your generous support
of the writing community? Thank you, by the way!
Ulrich: I’m very lucky that I have a lot of down time for reading and sharing writing. I love to read and I’m grateful for all the opportunities I have to read and share the amazing work that is being published! I think it’s a really important and great thing if someone’s work means something to you: TELL THEM. A lot of people, and writers especially, can feel really worthless and hurt inside, and if they think no one cares about something they’ve worked so hard on, that can be really terrible. So I want people to know that their work has meant something to me, that they have meant something to me. And I hope by sharing that work, it will mean something to someone else too.
Dean: What are you working on now?
Ulrich: I have a lot of different series going, the “Japan” series, the “Astronaut Love Stories” series, and my newest “Girl Detective in the multiverse” series, which needs a much shorter name. So I’ve always got some project or another going for writing.
Plus, I’m busy with my journal, Milk Candy Review, and with Atlas and Alice and Parentheses, seeking out more amazing writing to share with the world!
by Tara Isabel Zambrano | May 11, 2020 | micro
Living so closely
When the girl falls off a cliff, a few people hear a shriek, see a black dot with flailing arms. Thereafter, fear colors their ohs and ahs, as they talk about her, the color of her dress, her hair, even her eyes, aimlessly staring at the fogged-up windowpane in front of them, their hands pressed on their chests until their breathing is even. Afterward, they sit quiet like a rock in a valley, while her red scarf stuck on a crumbling log in the dark-snuffed creek, recedes like a worn-out heart.
Off season
Every Fall, for a night, he comes to my bed, his neckline smelling of dirt, bug sap, roots stuck on his tongue. Together we milk the night, grind against the jawline of the moon, his breath a hot wire extended across the length of my body, a hint of early love. Through the dark, life keeps bleeding through. Come morning, I scrub his body, place him under a fallen trunk where mushrooms and yearning spore. When the ache gets too big to live, I lean in, curl to the earth’s breathing while the sunlight whipped to a peak, falls and falls.
Larger things
It’s an ordinary night when the earth feels juvenile, skips hours, splinters on its surface. It grinds its arctic teeth, wobbles in and out of its orbit, as if it has given up waiting for answers. It’s only a few billion years old, fossils peeping from its underbelly. She rests her head against the periphery of unfamiliar. The stars down and above, shoot aimlessly in the leather of night, looping into themselves like spun sugar, sucked into their gravity. Light years pass by. When the solar system opens its jaw, the moons and the oceans fall out, dimpling the dark, each planet a snuffed-out flame, with nothing to give.
Cosmic eyes
The space station is a cold, white skeleton in the abyss. The astronaut breathes between manuals, operating instructions, muscular atrophy and fluid shift. Samples of moon dust, pieces of meteorites. He imagines his wife standing next to their toddler, pointing to the sky. The code written inside each of them, bodies, dust, rocks, even gravity. Cells from his bone loss floating in the thermosphere, each time less and less of him makes it to home as if the dark is keeping a piece of him, staring at it.
by Cathy Ulrich | May 7, 2020 | flash fiction
The girl detective has just turned fourteen. She will be kidnapped a week before her fifteenth birthday, ice cream in the freezer, balloons wilting on the dining room table, birthday cake gone stiff and dry. The housekeeper will sweep up ashes from the girl detective’s father’s cigars, she will run the dishwasher, do the laundry, leave meals out on the table that grow cold while the girl detective’s parents wait for a ransom call that never comes. The housekeeper will keep the house fresh with opened windows and lemon polish, she will find blank pieces of paper hidden in places she thought she had already checked, turn them over in her hands, over and over, crumple them up and throw them away.
The girl detective, at her fourteenth birthday, has 19,000 followers on Instagram. She shows them pictures of the magnifying glass her parents gave her, what do you want with a thing like that, her mother wondered, poured herself a glass of red wine. The girl detective’s mother doesn’t have as refined a palate as her husband when it comes to wine; she tells the housekeeper to keep something nice on hand for guests, drinks from the same cheap bottles she did when she was young.
The girl detective was holding her magnifying glass above her hand, admiring the wrinkles and hairs and tiny scratches of her skin, she was thinking everything is so much closer now, and her father said, it’s time to start thinking about growing up.
When the girl detective was small, there was a nanny. The girl detective doesn’t remember the nanny, but there she is in the family albums, standing in the background at the girl detective’s birthday parties, one, two, three.
The nanny is smiling in the photographs and the girl detective is smiling and the party guest and her parents are smiling. The girl detective thinks everyone was so happy then.
The girl detective doesn’t recognize anyone in the family albums except her mother and father. Even the little girl in the photos, she thinks, was that me? Was that really me?
The girl detective, sometimes, asks her mother things, like what happened to the nanny, who is this in the photo, can we get some ice cream?
The girl detective’s father goes on business trips from time to time, that’s what she’s heard her mother tell people, he goes on business trips from time to time. The house is always quieter and somehow heavier without him. The girl detective and her mother leave his place empty at the dinner table, scrape their forks across their plates.
What happened to the nanny? the girl detective asks.
I don’t remember, her mother says. I don’t know.
At her fourteenth birthday, the girl detective shares a video with her Instagram followers. She is writing a message with invisible ink.
It’s just lemon juice, she says. It’s not hard. It’s science.
She shows her followers how heat brings the message forth, browning her words into reality.
I’m here, the girl detective writes. She tears off scrap of paper after scrap of paper.
I’m here, I’m here, I’m here.
by Jen Michalski | May 2, 2020 | flash fiction
The meteor fell from the sky and landed in the yard of the couple. It charred the grass and flattened the grill and sent the soccer ball whining until it was flaccid. It pulsed, a white and orange marbled planet, stoic, propelling waves of heat through the neighborhood, wilting the tulips next door, melting the tires of a Toyota RAV4. The woman came out of the house, drawn to the murmurous sphere, its undulating marble lava moving in its core. She walked across the warm soot, embers stinging her face, the waves becoming hotter and hotter. The man came out of the house.
We have to leave. He pulled at her synthetic shirt, which had begun to melt to her skin. The whole neighborhood has to evacuate.
I want to stay. She did not look at him. I think I am in love.
With the meteor? He squinted his eyes at the white-hot light, pulling at her arms. Are you crazy?
Don’t you feel the enveloping warmth of its heart? She struggled to free herself from his grasp. Don’t you understand the radiance of its mind?
It’s going to kill you. He hooked her by the arms and began to drag her away. You’ll thank me later.
The fire department came. Fire trucks from several municipalities joined in, and the firemen knocked down fences and sawed down trees until they could surround the burning rock with their hoses. They sprayed the water, and steam filled the air, burning the neighborhood squirrels and raccoons. The powerful streams of water bounced off the meteor and pelted the aluminum siding of the houses, stripped paint off the cars.
Several times, particularly in the thick steam, the woman escaped the man and secretly made her way back to the meteor. The entire neighborhood waited in the gymnasium of the nearby high school except for the emergency response units and the man and the woman, who, without protective clothing, were badly burned. The woman was blind in one eye, and began to lose sight in the other, but with her arms in front of her, she felt her way again and again to the now-cooling mass.
Several hours later the meteor was the temperature of bath water. The neighborhood was ruined. The man urged the woman to go to the hospital.
I’ll wear my scars as proof of my love. She stood on the warped frame of their patio door. The attached deck had long since burned away, and she looked strange, up there in space.
Weeks later, the community association met again in the gymnasium. They decided to move the meteor to a vacant field outside the neighborhood, behind a billboard that advertised DNA testing. Everyone voted in favor except for the woman, who wanted the meteor to remain in their yard.
My love for the meteor will never die, she insisted.
The man forgave the woman. After all, the meteor landed in their yard, without provocation. In its own way, he supposed, it could be considered beautiful and pure. The chances of another meteor falling in their yard were incredibly remote. As she lay in bed recuperating from her injuries, he knew she would come to her senses, see the damage the meteor had caused.
Things got better. The man brought the woman chicken soup and diet 7-Up. They watched movies on Netflix in bed. Eventually the woman got well enough that she could sit on the couch, and they watched Netflix there. Sometimes they even held hands. It rained in the spring and the earth absorbed those tears. The dirt expanded and filled the depression of the meteor. Grass grew over it. The neighborhood slowly recovered. Squirrels ran along the newly constructed fences. Other things returned.
When the woman became well enough to leave the house, the man asked her where she wanted to go.
To the meteor, she answered. And she left.
The man brought chicken soup and diet 7-Up to the field behind the billboard, but the woman refused them. She sat and leaned against the hard gray orb, trying to wrap her arms around it. At night, the man brought blankets to keep her warm, and a parka when it began to snow. Still, the woman grew thin. Her hair got matted. She looked homeless. The man could not understand why the woman he loved did not love him, was killing herself for a meteor.
He filed for divorce. The woman did not return, and he stopped visiting her. He heard that maybe she had taken ill, or died, but he kept himself from checking. He stayed in the house. After an extensive interview process, a new woman came to live with him. She seemed to have no interest in meteors or any other types of heavenly bodies. They watched Netflix on the couch. Things returned to normal.
One night a few years later, another meteor fell from the sky and landed in the yard of the couple. It charred the grass and flattened the grill and sent the soccer ball whining until it was flaccid. It pulsed, a white and orange marbled planet, stoic, propelling waves of heat through the neighborhood, wilting the tulips next door, melting the tires of a Toyota Prius. The man came out of the house, drawn to the murmurous sphere, its undulating marble lava moving in its core. He walked across the warm soot, embers stinging his face, the waves becoming hotter and hotter. The new woman came out of the house.
We have to leave. She pulled at his synthetic shirt, which had begun to melt. The whole neighborhood has to evacuate.
I want to stay. He did not look at her.
Originally published in The Rupture
Photo by Alan Labisch on Unsplash
by Dan Chaon | May 2, 2020 | flash fiction
Alas, behind the garage where the trash cans are, hunched and weeping, your cousin Glenna says she is pregnant and you are the only one she can tell.
You are ten–a boy–and she is fourteen; the two of you smoking grass.
“It’s going to affect your little balls,” she’d said once. “You won’t be able to have babies.”
You let her smoke this one for free, the two of you passing it back and forth. Usually, there‘s a charge, even for relatives. Two or three dollars for a joint as long and skinny as a nail–and you go to the playgrounds and basketball courts and video game arcades and the county fair–which is where you once made more money than you could comfortably keep in your pocket, a wad of bills thicker than your fist.
And you take the money back to your cousin Keith–who is Glenna’s twin brother who she can’t stand most of the time–and he gives you more of the joints to sell, which are like thin little cocoons that you keep in your pocket.
And Keith has always said that he thinks Glenna will die before she is twenty. He doesn’t want her to die, but he still thinks she will.
And Glenna saying that the guy is twenty years old and he already has a girlfriend who is seventeen and dropped out of high school and who plans to kick the shit out of Glenna if she ever finds her.
And you say, “How do you know for sure?” You watch as the joint turns to ash, millimeter by millimeter. “Unless your stomach starts stretching out or whatever.”
“Do you know what a period is?” –she asks.
You think of first grade. You think of learning how to write sentences. How beautiful and remarkable it was to learn the punctuation marks. It had made you so happy to make that dot at the end. You darkened it and darkened it with your pencil, until you broke right through the paper onto the blonde formica of your desk.
“Sure–I know,” you say–although you know you don’t. But you will know enough–soon enough–and this crying and this whitewashed garage wall and these black bags full of your dad’s beer cans are part of what you will know–and you sit down cross-legged and she wants you to press your palms against her palms–and so you do. The only comfort in life is going on with it.
Originally published in wigleaf
by Sarah Freligh | May 2, 2020 | micro
We smoke because the nuns say we shouldn’t—he-man Marlboros or Salems, slender and meadow fresh, over cups of thin coffee at the Bridge Diner. We fill an ashtray in an hour easy while Ruby the waitress marries ketchups and tells us horror stories about how her first labor went on for fifty-two hours until her boy was yanked out of her butt first and now she has this theory that kids who come out like that got their brains in their asses from Day One. She says we’re smart to give our babies away to some Barbie and Ken couple with a house and a yard with real grass and a swing set, and we nod like we agree with her and smoke some more.
Nights we huddle up under the bathroom window in the Mercy Home for Unwed Mothers and blow smoke at the stained sky while we swap stories about our babies doing handstands on our bladders, playing volleyball with our hearts, how our sons will be presidents or astronauts, and our daughters will be beautiful and chaste, and because we know our babies are not ours at all, we talk about everything and nothing while we watch a moth bang up against the light and smoke some more.
Originally published in Sad Math (Moon City Press 2015)
by Kathy Fish | May 2, 2020 | flash fiction
Their father drank Hamm’s when he finished his shift. After supper, on good days, he’d grab the boys and hang them upside down by their ankles and they’d scream and flail their arms and when he put them down, they’d ask him to do it again. He smelled of beer and hot metal and sweat. He told funny stories about the men he worked with who were not nearly as smart as he was. He was a toolmaker and he could eyeball to one-sixteenth of an inch.
Neal was the oldest and he and his father worshipped the Cubs. Neal had baseball cards he kept in a shoebox, but the Ernie Banks he kept pressed between the pages of his catechism. If his brothers begged enough, he’d take it out and show it to them. They waited for the day, the really good day, they could ask their father to take them to Chicago for a game.
In the evenings they watched Mutual of Omaha’s Wild Kingdom and National Geographic and The Undersea World of Jacques Cousteau. They had a full set of Funk and Wagnall’s encyclopedias their father had bought from a door-to-door salesman. They owned a Bible kept always in a box in the parents’ closet. They turned the thin, gilt-edged pages with just-washed hands. They loved the pictures and, most of all, loved the Pietas. They loved the grown, dead Jesus draped over Mother Mary’s lap, his pierced ribs, his crown of thorns, the purple lids of his eyes.
They played church and Neal was the priest. He stuffed Wonder Bread into their mouths and said, “The Body of Christ,” and they gagged and washed it down with grape Kool-Aid from Dixie Cups for the blood.
Summers they heard train whistles and the factory whistles and the rustle and squeak of corn growing in the fields outside of town. They heard tornado sirens, blaring from all directions, thrumming inside their brown chests and they stood out on the front porch and scanned the yellow sky for funnel clouds. They heard police sirens and ambulance sirens and made the sign of the cross. If the sirens were close, they ran to see where they stopped.
Once they watched Mrs. Ernst rolled out of her house on a stretcher, her face dark and shriveled like the shrunken heads on National Geographic. They drew pictures of her and wrote, “What, me worry?” underneath and tacked them to their walls. Their mother tore down the pictures and when their father came home he called them little bastards and Neal got the belt. They ran and hid under the porch and pressed their fists over their ears.
Every day at three-thirty they heard the Deere whistle and got lost quick because their father would round the corner of Leland Street and he didn’t want to see them until suppertime. He’d sit at the kitchen table with their mother and drink Hamm’s and tell stories and they would hear their mother laughing.
Sometimes he missed supper altogether and their mother sent them to bed early. They’d wake up later to the sound of him coming through the back door, the scratch of a chair across the kitchen floor, their mother’s sharp voice.
They held their breath. They closed their eyes, then opened them wide. They curled their toes. They rocked themselves. They shoved each other. They pressed their fists to their ears. Their stomachs hurt. They bit the tips of their fingers. They listened hard. They never cried.
And Neal would reach across the bed they shared and touch their backs. His voice in the dark, like the skirr of cicadas, talking about Ernie Banks and Wrigley Field and the Cubs until they fell back to sleep.
Originally published in Frigg Magazine
by Aubrey Hirsch | May 2, 2020 | flash fiction
Amelia hates it when people call her Amy. Amy is her mother’s name, she tells them, and her grandmother’s name. And she is nothing like them. She is educated. She is a career woman. She wears pants and a leather jacket and has short hair because she is a flyer. And Amy and Amy? They are helpless wives of alcoholics, dragging their children behind them like designer luggage through the clatter of empty whiskey bottles.
She also does not want to be called Meeley anymore. It is an unfortunate nickname. It conjures images of undercooked oatmeal and apples that have sat too long in the blue bowl on the kitchen counter. It reminds her of the time she rode her sled off the roof of the farmhouse. She spent a moment on the ramp, angled toward the clouds. Then a long beat in the air—flying! It was the same stomach-dropping feeling as being at the top of her arc on the swing set, the moment when the chains go slack and you just fall. And then the hard smack of the ground. Her dress torn, her elbow bleeding, her molar turned to powder in her mouth. She shifted it around with her tongue. Rubbed it against the roof of her mouth. Mealy.
The students in her class called her “the girl in brown who walks alone.” That’s what they printed under her photo in the yearbook. Maybe she wouldn’t have been alone so much if any one of them had had half a brain. Or even a quarter of a brain. A quarter of a brain she could work with. But the girls at school were mindless idiots. They were just looking to get out of high school, get married, have baby after baby until they get a boy to carry on the family name, and die having learned nothing more than they knew in high school. Amelia filled a binder with images of women doing men’s jobs and doing them well: scientists, doctors, a mayor in New Jersey, a pilot. And look at her now. Ten world records under her belt. Now she is attempting her biggest stunt yet. The papers say she is the first woman to attempt to fly around the world. But she knows better. She is looking for more than good press.
Amelia really doesn’t like being called Mrs. Putnam. She’d rather be called anything else, including almost all of the cuss words. When the reporter from The New York Times captioned her photo, “Mrs. Putnam,” she was so mad she couldn’t see straight. George smiled a wide, beaming smile. “What do you think about that, Mrs. Putnam?” he said. She would have pitied him if not for the searing heat suddenly cloying at her brain. “I don’t know, Mr. Earhart,” she’d spit back. He struck her, the only time he ever did. She knew then she’d have to leave him. She rubbed her flushed left cheek. It would happen soon. She would board the Electra and never look back.
A.E. she doesn’t mind so much. She could make a fuss about society reducing her whole being to two letters, but she doesn’t. She concentrates instead on her flying. It is her escape. She takes Canary, her yellow bi-plane, up to eight-hundred feet where even the air she breathes feels different. Up there her busted sinuses magically clear and her headaches evaporate like dew in hot sun. No one is as fast as she. No one can follow her up this high. This is where she gets away. This is how she will get away.
Amelia is what she really wants to be called. Fred Noonan, her navigator, calls her Amelia. “Amelia,” he says, “we should start sending the signals now. We’re about three hundred miles out.” She nods at him, takes his hand. He calls in their coordinates as if they are still heading for Howland Island. But they are not. They are going to Gardner Island. It will be lonely there but beautiful. Fred is a marine man. He can make them shelter and find them food, fishing in the island’s big lagoon. She has nurse’s training. She will keep them safe and healthy. Her hair will get long. Fred will grow a beard. There will be no whiskey and no stupid girls and no grandmother telling her to wear a dress like a lady. Every morning she will wake up, naked as the day God made her, to the feeling of warm wind on her face and Fred’s sweet voice in her ear whispering, “Amelia.”
Originally published in Smokelong Quarterly
by Shasta Grant | May 2, 2020 | flash fiction
I heard my daughter was working at Laundry & Tan Connection and hoped it wasn’t true but when I went inside, the bells on top of the door jingling to announce my arrival, she was standing behind the counter.
“Jenny?” I said. She looked almost the same as when she was a child: hair still long and wavy, only now her face was thinner, her skin a deep bronze.
She looked up from a magazine. “What are you doing here?”
Coming here seemed like a good idea, since I was driving through town. That wasn’t exactly true, but it was only two and a half hours in the wrong direction. If I had turned around, I could pretend she wasn’t stuck here. I could pretend that in August she packed her bags and moved to Durham or Keene or Portsmouth with the others.
“You got laundry you need to do? Or you want to tan?” she asked.
She wouldn’t look at me and I couldn’t blame her. I wasn’t expecting her to throw her arms around me. The place was empty and quiet except for the whirling sound of a few washing machines. The owners of those soon-to-be clean clothes must have been next-door buying chips and soda, browsing the aisles of empty VHS boxes, the tapes stored behind the counter. Nothing much ever changed in this town.
“I’d like a tanning booth,” I said.
“Come on, you don’t really.”
“I’ve always wanted to try it.”
“Fine. What level do you want?” she asked.
“What are they?”
“You should start with level one unless you already have a base tan,” she said, finally looking at me. “Which you obviously do not. You want some lotion?” She motioned to the display of rectangular packets hanging from the ceiling with names like Chaos, Smokin’ and Hot Stuff.
“What do you suggest?”
The last time I saw Jenny and Shawn they were in middle school. We drove around town in my new car because there wasn’t much else to do. I thought the leather seats and electric windows would impress them. I wanted to take them to lunch but Jenny refused so we drove for a little while and then I brought them home to the trailer we had lived in together all those years ago.
“A lady came in yesterday, insisting on Chaos but she’d never tanned before. She came out with her eyes bloodshot and watering and said she felt high.”
“So you recommend Chaos?” I hoped to make a joke.
“If you want to feel high.”
The day I left, the kids sat quietly on the sofa and watched me pack my things. Their father and I had picked up that plaid sofa on the side of the road. Someone decided it wasn’t good enough anymore and pinned a sign on it: FREE.
“We’ve got a promotion,” she said. “Thirty-five percent off a bottle of lotion with a one-month unlimited package. But I don’t suppose you’ll be here long enough.”
“I deserve that.”
“You’re probably better off paying by the minute. You can stay in the level one booth for up to fifteen minutes. It’s three dollars and fifty cents for a full session.”
Saturday mornings, when we used to be a family, Jenny and Shawn would sit on that old sofa and watch cartoons while I made chocolate chip pancakes in the kitchen and smoked Newport cigarettes.
“Jenny,” I said.
“You want the lotion or not?”
“No. Can we go somewhere and talk?”
“I’m working. If you came here to see what a failure I am, now you know and you can leave. You know the way out of town.”
She closed the magazine and placed it next to a stack of Avon catalogs. I picked one up and turned it over, hoping not to see her name and phone number on the back but there they were. I sold Mary Kay when the kids were little. For six months I was a Beauty Consultant, which sounded important. We all thought I’d get one of those pink Cadillacs. I didn’t even make enough money to cover the cost of the starter kit.
In the end, Jenny used the makeup on her dolls, smearing Mystic Plum on tiny plastic lips. She’d set up a beauty salon in the living room with those dolls lined up on the sofa, waiting their turn. Shawn took the role of receptionist, bringing empty teacups to each customer.
“You’ll need to put these over your eyes,” she said, handing me a pair of funny looking goggles.
“I don’t really want to tan.”
“I know,” she said.
I remembered what she was wearing the day I left: a corduroy jumper with a white turtleneck. I had brushed her hair that morning and snapped her favorite barrettes in place. I held onto that image but it wasn’t enough. I wished I could tell her something beautifully sad about leaving: that I waded in an ocean of grief or that the loss rested in my heart like a heavy stone. I was happier after leaving and I couldn’t tell her that.
“So that’s it then?” I asked.
“I guess so. I need the goggles back.”
The bells chimed and a young man came through the door. He nodded at me and smiled at Jenny, handing her a can of soda. He asked if she’d be at the football game on Saturday and I saw a trace of pink on her tanned cheeks.
I came here to tell her it wasn’t too late, that she could leave this town too, but seeing her behind the counter, I understood she never would.
Jenny returned to reading her magazine. The young man unloaded his wet jeans and t-shirts into a metal laundry cart. My fifteen-minute session was up. There was nothing left for me to do but go. I stood outside, the little plastic goggles still in my hand, hoping she’d rush through the door to get them.
Originally published in Pithead Chapel
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