Laney Lenox

The Most Exclusive Club in Berlin

It only took me six seconds to realize the Xanax wasn’t working. There were 44 minutes, 54 seconds left of the MRI, but I was approximately two seconds away from a panic attack. My breaths grew shallow, and my heart felt as though it might pound out of my chest. I moved my arms to the side to touch the all too close edges of the machine. Don’t open your eyes– as soon as the thought entered my mind, my eyes flung open to stare at the machine’s ceiling. It felt so close to my nose that I wondered if I had enough space to breathe. 

Before entering the MRI machine, I’d been stuck in a sterile waiting room with an intravenous port jutting from my forearm, steadily collecting my blood in a short tube with a screw-on cap. When the nurse unscrewed this cap, blood spurted out all over her and the machine. She hastily cleaned up the blood with a tissue from a pocket in her scrubs and then placed an alarm in my hand, telling me to press it if I felt myself start to panic.

I thought about the pear-shaped alarm button in my hand, wondering if I should press it and also wondering if the ultra-cool, ultra-Berlin MRI tech could see the tears streaming down my face and flowing out of the plastic, cage-like structure around my head. I wanted to press the button, but German medical professionals are not necessarily known for their bedside manner. Before I fully realized what I was doing, my hand contracted around the alarm’s trigger. 

I braced myself for a loud ringing to accompany the clanging of the machine that continued circling my body. It never came. I pressed again. Nothing. Just as I was getting ready to press a third time, my body went limp and suddenly I realized how overconfident I’d been about my German language skills. I told the doctor that I’m claustrophobic– I knew I’d gotten at least that much right. But what I hadn’t fully understood until that moment was that, in response to this confession, they’d given me a muscle relaxer. It must have been covertly administered intravenously through the needle they’d inserted in my arm for the contrast fluid that would light up my insides and help the doctors decipher the puzzle of my organs. 

As the muscle relaxer, well, relaxed me further, my brain receded into a delusion. The MRI tech transformed into Trinity from the Matrix, the line tattoos that I’d noticed peeking from her scrubs became more exposed, running up to her shoulders disappearing again underneath the straps of her black, fitted PVC tank top. She came out from behind the tech booth, climbed up on the bed of the machine and crawled her way towards me. She joined me in the machine, which had been transformed into a special dancing cage for pulsing bodies to let the bass reverberate within and through them. No longer was I in a loud, banging, coffin-like medical device in a hospital in the middle of Berlin. No, I was in an exclusive techno-club with a noise music artist headlining, deep in a k-hole and letting the beats wash over me. 

The very real, very un-Trinity-like MRI tech’s deep, German voice came over the loudspeaker: “Okay, I’m going to need you to hold your breath again.” A long pause followed, as if the MRI tech was holding her breath along with me. She pressed the intercom button again, exhaled deeply and said, “Also, can you stop puckering your lips and sticking your tongue out? It doesn’t technically affect the exam, but it is distracting me.”


Laney Lenox is an anthropologist, writer, and researcher living in Berlin with her husband. Writing featured in Salvation SouthThe Anarchist Studies BlogBurningword Literary Journal and elsewhere. Learn more about her work here: https://linktr.ee/laneylenox 

B. B. Garin

Frozen in Neverland

Peter keeps the ice. He’s young, his back doesn’t yet crack when he wakes in fading starlight. His feet are light, they barely mark the thin shroud of snow. He glides across the milky surface, shovel in hand scraping the hard pebbles of frost away. He counts the stars as they wink away one by one. The ice is perfect—cold and empty. 

He sucks in the stillness, lungs stretching wide. The air tastes of iron and brittle earth. He’d like to keep it this way, unmarred; half silver shadows, half sparkling light. But he’s only one boy, shoulders narrow beneath a long coat. 

When the sun cracks gold across the horizon, he goes to fetch the others, spying them through the trees. His wanderers. His lost ones. Red cheeks and white breath. They’ve assembled in a disorderly regiment, boots munching the frost-crusted grass. Yawns open deep caves in their throats. Their voices are sleep scratched and hushed. Their scarves dangle in poorly knotted nooses. 

Peter packs a globe of snow in his bare hand, letting it fly with a whistle. It catches a freckled boy in the shoulder. He jumps and shouts, boney finger finding Peter amongst the bare winter branches. The children swell together like a cresting wave and break.

The game has begun. 

 

*

 

Peter leads them to the ice. They clamber up drifts and tumble down, leaving empty graves in the snow before they move on in one solid flock. On first sight, the sun off the frozen glass blinds them. They stumble to a halt, rubbing white spots from their eyes. For a moment, they seem to teeter, glancing behind at the trail already dissolving beneath the clear and distant sky. 

Another whistle breaks the spell. Peter plucks his fingers from his teeth and strides forward. The children start slowly after, gathering speed as they go until a great avalanche of elbows, knees and flapping coats skims down the last slope, hopping to tug off stubborn boots and lash on freshly sharpened skates. 

The rules of the game are unspoken and few. Time is not kept. A goal is met with a wild chorus from all players. They rollick back and forth, flying on thin blades that never seem to falter. The great clatter and clamor echoes unchallenged over the empty snows, as if they are the only creatures living in the frozen shafts of winter sun.

Peter does not play. He stands at the center line, boots sinking into crystal snow. At every teeth-crunching turn, every unleashed stride, every taken chance and near calamity, he cheers until his voice is hoarse and old. And if his toes creep a little closer to the ice, he’s not to blame. He keeps the ice, scraping away the scars left by the others, but the ice is not his.

The game hurtles forward. It grows wilder. Thunder drums in their ears. Hungry lungs press against their ribs. Peter reminds them that the days are short, but they pretend not to hear. They believe the sun will hang suspended for them. That their will is enough to keep the game from ending. Peter sighs, but he doesn’t argue. He knows what it is to believe. So, the children play, while the wind works cracks into their lips and leaves needles tingling in their fingers. They play, and bright blood stains the ice.           

Winter’s long night comes down. Neither Peter nor the children can stop such things. Darkness laces the sky and with a last whistle, Peter draws them from the ice. Their legs jelly as they hunt out abandoned boots, the gravity of frozen earth tugs them wrong after the loose fingers of frozen water. Peter waits for them to assemble, not so rosy and tender as they came, but there’s something new in their eyes—a sharpness that the game always leaves. 

They look to Peter with new, hungry eyes and he shakes his head. He’s led them as far as he may. He waits for protests, watches one or two cock their heads toward the purpling horizon, wondering what night will bring to the ice. But their curiosity flickers and does not hold. 

Peter grows impatient. The ice is rough and scored; his fingers flex, wanting his shovel and the time to put it right. To make it gleam again. He wheels his arms as if the children are crows to be scattered away. He says nothing about where to go from here. And he does not weep, though his throat feels sore as it hasn’t before in the clean, dry air. 

The children march on alone. Not the way they came. That trail has melted and vanished. 

Only Peter remains, silhouetted in a final burst of winter sun, the furrowed ice at his back waiting for his care and the ones who will come tomorrow. 

 

*

 

Peter is an old man now. He wakes earlier, while the stars are still diamond sharp. He needs the extra time to work the shovel and broom, to make the trek through the trees to fetch the waiting children. They come as they always have, whooping and stomping, blade-bright creatures. 

Peter envies them now with the dull ache of a weathered tree. He hopes soon one will refuse to cross the ice as he once did. Then Peter will pass his shovel to young, unbent hands. He’ll cut grooves of his own, savor the sting on his cheeks and feel thunder in his chest again. He’ll be young for just a moment, and he’ll wonder why he ever stayed to see the stars.      

Then he’ll remember, someone must keep the ice. Peter will turn and raise a hand to the willowy figure waiting at the center line. The boy will not answer, just as Peter never answered. But Peter knows he’ll remember.    

With a final sweep of his eyes over the fragile surface, Peter will go. And someone new will scour his blood away with the melting ice.


B. B. Garin is a writer living in Buffalo, NY. Her work has appeared in Hawai’i Pacific Review, Westchester Review, Luna Station Quarterly, and more. She is currently a guest editor for The Masters Review and CRAFT Literary. She earned a B.F.A. in Writing, Literature, and Publishing from Emerson College, and continues to improve her craft at GrubStreet Writing Center, where she has developed several short fiction pieces, as well as two novels.

Rory Perkins

Liable To Scratch

It was on the way to pick up my son Stevie that I saw the polar bear for the first time. People were calling him Sven, wondering on social media about what would happen if he escaped and made it into the city. I’d tried to tell Stevie about Sven the last time he called. Said we could go take a look, that it might be fun. Stevie said I could go fuck myself.

When I spot him Sven is laying on his side in the middle of the paddock. When the train approaches he looks up slightly, then closes his eyes and rests. Online it says he’d spent time in a zoo before they carted him over here, and when the zoo closed down he didn’t have anywhere else to go. 

Outside, Sven has laid in a circle, leaving a space in the middle where the cub would have sat. I look up how long a bear cub sticks around for before heading out into the world. 3 years, which seems awfully short, but what would have been enough? Would they still be a species on the brink of extension if that number was ten, or eighteen? 

They say Stevie is doing better. That it’s been a few weeks since he last tried to fight anyone so would we mind having him back home for a while. I wanted to ask if we would get reimbursed, since we’re paying the school to house and re-socialise him, as they put it. I’m carrying a self-help book that Deb made me bring for him. Light reading for the journey home, she’d joked.  

The last time Deb tried to hug Stevie he pushed her against the wall, saying he never wanted to see her again. Now she sends me on weekly trips to bring him messages and gifts, her way of maintaining her role as mother, care-giving by proxy. I don’t tell her how he rips the envelopes up without reading, or how I end up eating the cupcakes she has baked on my journey home. The last time I hugged my son he was three and giggled when I picked him up.

I can tell something’s changed before getting to the school gates. The head mistress is waiting for me, all tight lips and minimal eye contact. Stevie’s had an incident. A bully that had it coming to him although she isn’t meant to say that. He should stay behind all the same. 

On the journey home I stop off at the place they’re keeping Sven. Ask the rangers if I can feed him some cake, maybe put my hands through all that fur and give him a hug. He is liable to scratch, they say, but I wouldn’t have it any other way. I sit in the paddock and read him passages from Deb’s book. I teach him about the destructive power of anger and feel the warmth of a paw on my back.


Bated Breath

It wasn’t my idea to go down to the estuary, but I didn’t say no either. Five of us finishing medical school, knowing better but choosing not to. Knowing, for instance, how long a body can survive without oxygen. Daring each other into the water regardless. Anything to forget the last decade of studying. Late nights and stress disorders. Holding our breath under the surface for longer than we should because it beat the waiting that would come. A month from then, when sitting by the letterbox would lead to meeting the postman at the gate, phoning up the university and asking when the results would be in. 

Ryan had built a fire. We did not want to return home, and so did not care that the tide was coming in. The rising water was just another deadline to wait for. To ignore. Sarah tugged me into the trees, told me to hold on a second. Her lips appeared in the place stethoscopes usually took up, her voice in place of a patient’s heartbeat. She dropped away in the darkness and then the whole of her came back, too close, not close enough until the two of us were indistinguishable, one form existing only through touch. 

A few seconds later, everything shattered. There was a cry for help that we later told ourselves was not anticipated. Unavoidable even though the signs were there. Signs like the rising tide and our own forced naivety. It was Ryan’s voice, flailing in the water until he wasn’t and empty silence returned.  Sarah and I didn't react, didn’t rush over to help. Instead we held one another, held our breath, and waited for the water to reach us.


Rory Perkins is a British writer focusing on shorter works. He has been published in Vast Literary Press, SoFloPoJo, Passengers Journal, and Artam's The Face Project (forthcoming). He can be found at @roryperkinswriter on Bluesky.

Michael Thériault

Pants

Franco knew the horn. It had once been his. He crossed to the front of the second-story apartment and looked down from the bay window. He saw rust spots on the Chevy’s roof. They were no longer his concern. Giving it only the briefest of breaks, Connie still leaned on the horn.

He went to the door to take the stairs down to her.

Mary was at the door. It was not quite five. He was just home from work. Normally her mother would bring her at seven or eight, and he’d have had time to call her and discuss the weekend’s plans and what to wear and to bring. Now she wore pajama bottoms. Flannel balloons in red, blue, and yellow ascended her legs. In one arm she held Jacques, her turtle, its green plush growing patchy, its stuffing uneven; in the other, a knapsack covered in scrawls resembling those on the neighborhood’s fences.

“What does your mother want?” Franco asked.

“She wants to tell you I’m a problem,” said Mary.

 “What kind of problem?” Franco asked.

“That’s between you,” Mary said and pushed past him, the short brush of her brown hair almost flicking his nose.

“I’ll be right back,” Franco said. “I’ll go talk to her.”

But the horn had stilled. He closed the door and returned to the window. Mr. Cataldo from across the street stood by the driver’s side window of the Chevy and waved arms. Cars and then a bus swerved around him. Franco heard Connie’s voice but not what she said, just that she shouted. Then the car sped off, leaving Mr. Cataldo alone mid-street. Franco heard tires squeal at the corner.

Moments later a text came as Franco entered the kitchen, where Mary filled a teakettle at the sink.

“Does your mother always text when she’s driving?” he said to Mary.

“Again, between you and her,” Mary said.

He read the text.

Ignoring the typos, he then read it aloud. “She’s all yours,” he read. “I’ve had enough.” Mary’s green eyes had not met his eyes since he had opened the door to them and did not now. “Does she mean it?” he asked.

As answer he received only a shrug from the fine-boned shoulders in the fading black V-necked T-shirt.

Franco restrained his questions. The weekend had time for them. Just now he wanted to let Mary finish making her tea and bring the knapsack and the mangy turtle to her room. He had rented – at real expense in San Francisco – a larger apartment than he needed for himself so that he would have a small room just for Mary on her weekends with him. Only a twin bed in plain metal frame, a small white dresser he’d found at a garage sale, and a short stool that served as nightstand furnished the room. She did homework at the kitchen table. She kept nothing in the dresser; rent left things tight for him to provide her a parallel wardrobe, and so he’d counted on her to bring what she needed from her mother’s. She left only a toothbrush in the bathroom cabinet.

“When you’re done with tea,” Franco said, “throw some pants on and let’s go get dinner.”

“These are the only pants I have with me,” said Mary, with dip of her head toward the flannel balloons trailing their serpentine cords.

Franco’s mouth hung open an instant.

“Seems there was some hurry,” the girl said, “and no time to let me pack. I grabbed and ran. Which is what was required.”

“Then let’s go back and get you some,” Franco said.

“How does this seem like a good idea?” said Mary.

Franco conceded her point to himself. “Pizza, then?” he said.

“You could cook,” Mary said. 

“You know better. That’d make me guilty of child abuse,” said Franco.

“Then pizza,” said Mary.

She went with tea, turtle, and knapsack to the room and did not emerge while he called in the order and set the table with plates and paper napkins and a can of beer for himself and of Mug Old-Fashioned Root Beer, her favorite, for her. The doorbell rang and he went to the street and tipped the delivery man in cash and brought the box back up and set it mid-table. The pizza was ham and pineapple, to which he like anyone in his family of his generation or earlier objected. Mary preferred it, though, and it did not seem a moment to impose tradition.

He knocked on her door. She came out and went without a word to the table. Without a word, she opened the box and served herself.

He did the same.

Hoping eating would hold her to the table, he waited for her to take two bites and sip her soda before attempting his questions. He began, “Is it about a boy?”

Her mother’s eyes, Connie’s, Consuelo’s eyes, pale green tinged and flecked sometimes with gold, had something marine in them, like kelp pierced irregularly by sunlight. Mary had them. She turned them now, at last, to his. The eyes on him, he felt his loss of Connie’s brilliance and of the bells of her laughter, which he had once expected – had long after expectation had proven absurd so hoped – would sound for him until his breath no longer stirred air. The gaze froze him.

“Could you be more wrong?” said Mary. Her voice at least was not Connie’s. This drew him back, if painfully, to fatherhood.

“A girl, then?” he said. 

Her laughter, too, thank God, was not Connie’s.

Unlike him, Connie had never smoked. He had heeded her protests and quit. In the end, this had done nothing for him in her green eyes. “Smoking?” he asked.

“No. Here, smell,” Mary said, and half stood to lean her brown hair across the table toward him.

“That’s okay, I get the point,” he said. She sat back down. He waited this time until she had demonstrated by taking a second slice an intent to stay at the table. He sipped the beer. “I have to ask, because I love you, and maybe it’s something we have to work through,” he said, and then, with no interrogative rise, “Drugs.”

She wiped her fingers on the napkin. Opening her eyes wide, she pulled down the lower lids with index fingers. Franco assumed she was demonstrating that her pupils were no wider than the weakness of light at the table demanded. As evidence, Franco thought, this was nothing; as statement, it sufficed. He nodded.

“School,” he said, again without the upturn of question.

“They think I’m something there,” Mary said. Franco had long wondered where the cherry lips had come from, not from Connie’s long and ample lips, not from his, narrower but broad in movement; from somewhere back generations, Italian side or Salvadoran side. Somehow now, first time he’d seen it, one corner of the lips found a way to curl up. She said, “What do you think I am?”

He knew that the movement of his own lips now, their opening, their irregular quiver, showed her that he was stymied. To say anything was to go wrong; to be silent, to go at least as wrong. “Well, what is it, then?” he said at last.

She seemed not upset but amused that he hadn’t answered her; the little curl now appeared at both ends of the cherry lips. “Again,” she said, “that’s between you.”

Franco said, “That can’t really be the case, since you’re the subject.”

Mary shrugged. She said, “Maybe it’s just that I’m part you.”

Franco was stymied again, this time painfully.

“Nothing I can do about that,” Mary said.

“Yes, I’m aware,” said Franco.

They ate in silence. At the end of his second slice Franco brought himself to say, “I was planning for us to take a hike tomorrow, Point Reyes, nothing long or hardcore, dinner maybe after in Point Reyes Station. But you’d need pants for this first thing in the morning. Do you have a friend who wears your size, who we could borrow them from?”

The green eyes were back on him. They narrowed a few moments. He felt those moments in his spine; it tugged his head back. He could not bring the head forward again until the cherry lips, not Connie’s, said, “Blanca, maybe.”

“Would you call her to see if we can come by?” Franco asked.

“Let me finish my dinner,” Mary said. 

“Of course,” Franco said and was glad to let her turn the eyes from him and back tableward and to listen awhile to nothing but the faint scrape of crust across cornmeal and plate, and mastication and swallowing, and the hiss and growl of the city outside.

As he put leftover pizza in the refrigerator, she made the call.

“Blanca says come by,” she said.

It was a block and a half to the closest spot he’d found to park the car; rent for the apartment had left also not enough for a garage. Besides, Franco had a better use for any extra money. He bent conduit and stitched it into walls with the best of them, and the electrical contractor that employed him was happy to give him all the weekday overtime that was available. When there was enough, he took Mary someplace nice, if casual, for dinner on the weekends, when the settlement said she was his. That had been his plan for Point Reyes Station and Saturday. 

Wind harried the summer fog along the street between the apartment and the car. Mary had excavated a pullover from deep in the knapsack and wore it now, but the pajama bottoms snapped back and forth in the hard eddies of the wind as she and Franco walked between buildings of different heights and shapes, and though she crossed her arms Franco knew she must feel the cold more in her legs. The tugging of the balloons on the pajama legs one way then another wanted, he thought, to remind him of something. To his dismay, he couldn’t recall what.

The car was an older Ford Bronco he’d bought used, in good mechanical shape but with rust spots in the Toreador Red bigger than his big hands, when he’d surrendered the family Chevy to Connie. The first day he’d driven it to work an apprentice had said, “Not a date car.” The apprentice had been right, the car signified a surrender of certain hopes; but Franco had said to him, “Apprentices are to be seen, not heard.”

Blanca’s was about fifteen minutes away, on one of the quiet streets tucked between Mission and Alemany toward the Daly City line. Franco parked blocking the driveway. The fog was darkening now above the streetlights, which illuminated its near swirls and rendered them ghostly. Mary stepped out into the cool and mounted the terrazzo stair to the front door of the house, its pastel stucco graying now like the others up and down the block. Her hips in their windy pandemonium of balloons, Franco saw, had started toward the curves of Connie’s. He felt in himself swirls like the spectral fog’s, pride in his daughter becoming a woman, fear for what awaited her in this, sorrow that he and Connie had made a wreck of what should have been her shelter and sustenance.

The door opened quickly to her, and she was inside.

The Bronco had only a radio. He found a station playing older rock-and-roll. He sang with the first song, bobbed his head and drummed on the steering wheel to the second, sang with the third.

By the end of the seventh the door at the top of the stairs had not reopened.

He took out his phone and texted Mary, just “?”.

A train whistle sounded from the passenger seat.

Switching on the dome light, he saw Mary’s phone.

He took the stairs two at a time, but paused at the top to still himself, to let the anger he knew was in his face drain from it, to become less frightening, and only then rang the doorbell. 

A plump woman of maybe forty in gray sweatpants and sweatshirt, her hair dyed not quite to blond from the brown still in her questioning eyebrows, opened the door and stood in his path. Past her right shoulder and down a long hallway, family photos covered the wall, generations of them, of dark-skinned farmers and farm workers in sepia, of uniformed soldiers and sailors, of women in dresses through a history of style, of baptisms, First Communions, quinceañeras, graduations, weddings.

“So sorry to bother you,” Franco said, it seemed to himself too unctuously. “My daughter Mary is here. I’m here to get her.”

A small man, black-mustached, in white athletic undershirt, his dark and thinning hair tousled, appeared at a door to the woman’s left and back, behind him the flickering glow of a television. A boy of maybe ten, slender, his thicker dark hair also tousled, barefoot in T-shirt and jeans, came up beside him.

“Mateo, get your sister and her friend,” the woman said.

The boy went down the hall and turned through a door.

Franco waited for what seemed more than five minutes. He found nothing to offer in conversation. The woman said nothing. The man continued to stand in the door, the dim flicker still behind him. The woman began to shiver in the damp chill of the thickening night but did not ask Franco in so she could close the door.

Mary and another girl and the boy Mateo came into the hallway by the door through which he’d disappeared. They came toward Franco, the boy veering off and returning to stand by the man.

Mary still wore the pajama bottoms. Her hands held nothing.

“The pants?” Franco said.

“Pants?” said the other girl, shorter than Mary, a grin spreading her round brown cheeks, her dark eyebrows arched above dark eyes.

“I’ll tell you another time,” Mary said.

“Thank you very much, ma’am, sir, real sorry to have bothered you. Mary?” said Franco. He extended an arm toward the stairs. He waited for her to walk past him before he started down. 

“Good night.”

“Good night.”

“Good night,” and the door closed on the house and its warmth and warm light.

Franco waited until they were driving to attempt to speak. “What were you…. I want to know…. Can you even….”

“It’s different there,” Mary said in a voice flat and simple. “I liked it.”

Franco abandoned his attempt.

 

*

 

 

In the morning he knocked on her door, and when she emerged made blueberry pancakes for her from the batter he’d already prepared and served them with maple syrup he’d been warming. She liked blueberry pancakes with maple syrup as much as pizza with ham and pineapple. It had come to him that making them for her this morning might seem to her a pathetic attempt … to keep? to regain? … to buy her affection. The one alternative that he had imagined – telling her to get her own breakfast, she knew where things were – had seemed to him worse.

As he returned to the stove to cook his own pancakes, he glanced at her and so at the pajama pants and their balloons. One in particular, red, seemed to tug at a cord caught beneath her thigh.

He remembered what had eluded him the night before. He turned to his daughter.

“When I was a boy,” he said, as much to himself as to her, “I saw a movie on television, short one, set in France, I think; yeah, in Paris. A boy frees a red balloon caught on a lamp pole. Balloon’s alive. They become friends. One day, bullies chase them, and they kill the balloon with sharp stones. Balloons from all over come to the boy and his dead balloon and they pick him up and carry him off over rooftops, into the sky.”

Mary stopped eating. Her head dropped.

“Mary,” he said to her.

“Nothing,” she said, “is going to carry us away from this.”

Franco found this inarguable.

He turned to the stove. He cooked a pancake, another. Pouring batter for a third, he heard, “Can you find that movie online?”

“I … I think I can,” he said. 

“If you can, let’s watch it tonight,” said the voice, not quite yet a woman’s, no longer quite a girl’s.

He pictured, he felt a thousand strings tug at him. They might, he thought, they just might lift him up.


Michael Thériault, a native and resident of San Francisco and graduate of St. John's College, Santa Fe, has been an Ironworker, union organizer, and union representative at various levels. He published fiction in his twenties, half a dozen stories in literary magazines, but abandoned it for decades to support first a family, then a movement. In his recent return to it, since 2022 his stories have been accepted by numerous publications, among them Pacifica Literary ReviewOverheard, and Sky Island Journal.

Harli James

Be My Baby

When I was twenty-three, I lived in an apartment on 35th Street, two blocks off Broadway. Before I had the baby, I took a bus to work everyday, traveling to and from my apartment through the city’s gray tones . At lunch, I’d sit along the river and eat a peanut butter and jelly sandwich and watch barges prowl past. 

I worked for a firm that did the accounting for product importers, so the boats were a very real component of my life, as I would later be cataloguing their contents—Siesta Bowls, Turquoise, set of 100—their sku codes and weights.

More than once, I saw a homeless couple engage in acts of love along the river without the screen of foliage. I became fearful of taking a wrong turn in life. I imagined only a thin veil existed between such indignities and my own personal luxuries, and so I stayed employed at the importing firm. I had the sense at the time that I was living on the cusp of no return, teetering between great decisions, and there was little time left before everything became inevitable. 

Two years later, when the baby was born, my boss called to congratulate me. My parents thought that was really something. I hung up the phone and wondered if I could keep up the whole charade of responsibility. I leaned over my baby’s crib and thought she was the most beautiful person in the world. 

Ten weeks into maternity leave I stood at the window watching a bus pass on the street below when someone knocked on the door. No one ever came to our door—it was a second-floor apartment over a Christian Science bookshop. I passed by my daughter’s room and saw her sleeping through the slats of her crib. The bundle of her body seemed impossible to me. I pulled the door shut.

Through the peep hole I saw a harried-looking white woman. Though she appeared younger than me, her hair was brittle and frizzed and her cheek bones stuck out painfully. She was curled over a package buried against her chest. It was wrapped in a blanket and had the form of a human. 

I opened the door. “Yes?” I said, offering a smile.

“There’s been an error,” she said. “At the hospital. This is your baby.” She pulled the bundle from her chest and offered it up.  

I dropped the smile. “What?” 

I saw then that she was distressed, and I couldn’t close the door on her. The little thing was sleeping. Perfect cheeks, fuzz of blond hair. A cherub wrapped in a ratty blanket that was damp from the recent drizzle. I worried about the child’s feet being cold.

“My baby is asleep inside,” I said. 

The woman shook her head. “No. This is your baby.” She pushed it toward me, and I stepped back.

I knew that a hospital would not send the mother of the baby over to do its dirty work, had it indeed switched a baby at birth. The woman must be deranged, and she certainly looked like she was on drugs. 

“I have a friend who works at the hospital,” she said. “She gave me your address. 

I wanted to shut the door and send her away, but she had that precious baby who needed help. I glanced behind me into the apartment, then looked back at the woman. 

“Wait here,” I said. I shut the door, locked it, then fell against the wall. I eyed the phone on the wall and wondered if I should call the police. My legs shook as I walked over and touched the receiver. But what if? What if? Could they take my baby away from me? Make me take hers? What if they wanted to take both babies in for an investigation? What if they then got switched in the handling of the affair?

I rushed to the linen closet and pulled out a few blankets. I kept extra formula in there too, and I grabbed two canisters and stuffed them in a canvas bag. I stopped by my daughter’s room and put my fingers on the doorknob. That woman’s baby did look alarmingly like my own. Same shaped head, same rounded cheeks, same pale coloring. 

Back at the front door, the woman said “Please, you have to take her.” The skin around the woman’s eyes was gray and sunken. I shook my head and handed the canvas bag to the her. She took it limply, but seemed to have a hard time hanging it on her shoulder while holding her baby. “Please hold her while I arrange myself,” the woman said, again offering the baby to me.

I glanced back inside then stepped onto the porch. I imagined the woman bursting into the apartment to get my/her baby while I fumbled in the doorway with her/my baby. I couldn’t thrust the poor thing down and chase after her. 

She placed the baby in my arms while she bent over to arrange the items in the bag I’d hastily put together. I studied the infant’s nose line, the arc of her brows, the thin sheath of hair that lay flat over her tender skull. I was looking at a mirror image of my daughter. Could a woman have twins and not know it? Was it possible this second child had been clandestinely taken from me after labor? Perhaps the nurses had been intent on giving her to a more deserving, more capable mother. Someone who would not return to work after twelve weeks. Something had told the doctor:  one baby is enough for this woman; two will do her in.  

The woman had rearranged the bag and was shaking out a warm blanket to wrap the child in. I took this as a sign of good mothering. She recognized the thin, damp blanket on the baby was inadequate. As she lay the cloth over top of the child and began to pull her out of my arms, the baby’s head rocked to the left and my breath caught in my throat. She had a small freckle just under her ear—exactly where my daughter’s freckle was.

How had I forgotten about the freckle? It was the first day in the hospital that I noticed the small brown dot just south of her little ear lobe. It had seemed to me at the time both banal and singular, a symbol of how much I loved that mysterious child in that moment. It had been a hard labor that transgressed into a c-section, a rough recovery with some complications. I won’t say I loved her right away. She was an alien against my chest in those first hours, a stranger in my room the next day, but by day three, my hormones had shifted and a sudden crush of love like an avalanche pummeled me. While I fed her, I ran my finger over that freckle and pondered the miracle of her existence. 

But coming home had been so overwhelming. The crying started, the nights and days blurred. My husband returned to work, and I’d forgotten all about the freckle until now.

The woman had wrapped the blanket snugly around her baby and situated her against her own chest. “Listen to me!” she said. “This is your baby. There was an error. They were switched. 

“That doesn’t happen anymore. They have tags to identify them.”

“I was there. I saw it.” The woman was gaunt. Her frame hollowed out where a fetus would have been three months ago. Her shoulders hunched, her skin mottled. “I was watching through the window at the nursery. I saw them make the switch. They took the tag off one and put it on the other. I banged on the window and started yelling. A nurse took me back to my room and gave me morphine. The next day they said I had to leave.”

“Are you saying someone did this on purpose? Why would they do that?” 

“I don’t even want the other one,” the woman said. “I’m not in a position right now to be a mother. Keep both. Please.” She held the baby forward.

It was fall—two years exactly after I watched homeless couples resort to public fornication on park benches outside of my office building. Now, the incessant rain had soaked most of the tree’s leaves, resulting in a disarray of yellow and red on the ground. I had a wind chime that hung from the ceiling of the porch off my front door. Its delicate ting sounded other-worldly. 

When I think back to that moment, I’m pretty sure the wind picked up right when the woman offered me her child for a third time. I’m pretty sure that chime ting-ed. Sometimes I wonder if time is indeed a dimension that folds around us, if our future selves can give our past selves some warning sound, something like, take that baby.  

“I — I can’t take your baby.”

“But she’s yours.” The baby woke. Her eyes fluttered open. Brown like molasses. I jumped back, tripping against the threshold of my door, and fell into the apartment. The woman bent down. The baby began to cry. 

“I can’t take your baby.” I backed up into the hallway. The woman was lying about not wanting my daughter. She’d wait for me to take her baby and then run and grab my daughter from her bedroom. I jumped up and slammed the door before she could take a step in. Outside the baby wailed. The chime sounded. I couldn’t tell if it was from the wind or if the woman had whipped the canvas bag over her shoulder and knocked it into orbit.

I didn’t tell my husband. I feared I’d made a grave mistake. He would tell me I should have taken the baby on the spot and sent the woman away. He’d say, Sisters! He’d say, Kelsey, you gave our baby away! How could you?! He’d stand up suddenly, jerking his chair back. He’d say, It’s my baby too! How dare you make that decision without consulting me? It was true. It was his child too—his little life out there somewhere. 

For the last two weeks of my maternity leave I cried everyday. My husband told me it would be okay. That it would be hard, but lots of women do this. He suggested we visit the daycare facility again. 

But I had spent three months alone with my daughter in that apartment, pretending I was a stay-at-home mom. We had gone for stroller-walks in the morning. I had stopped for coffee I couldn’t afford. I envisioned my daughter one day going off to pre-school and imagined that my husband had had many promotions by then, that I could quit my job, make homemade soup and do the grocery shopping. I could go to yoga class.

Now, I held my daughter against me all day, terrified the authorities would come and take her away and give me a stranger in her place. And I worried desperately that my real baby was living on the streets with a drug-addicted mom. I thought of the child as she grew. She’d eventually be taken away from the woman. She’d go through foster care, end up with a family that had always wanted a child and could never have their own. But she was my child. She had my genes. I had abandoned her and was buried in guilt and shame.

Four years later I hurried home from work, picked up my daughter from daycare, and rushed into the house to get dinner started. Back then, I tried to make healthy meals for her every night—something green, some kind of beans, whole grains. 

I started the bath for her while I stayed busy in the kitchen. I could hear her giggling over the water rushing into the tub. “What are you laughing at, Sweets?” I called to her.

“My sister is telling me a secret!” she called back.

I stopped chopping carrots and waited. 

“She says there is a secret tunnel between our houses!” 

I set the knife down, walked into the bathroom, and turned off the faucet. “Who’s this sister?”

“Miranda is her name. We talk through our heads.”

“Ah, interesting.” I sat on the edge of the tub. 

I thought about the months that followed after the woman came to my doorstep. I had succumbed to a festering fear over my decision and become nearly non-functional. At work I had mixed sku codes so many times my boss had to pull me aside. My doctor said it was postpartum and prescribed me medicine. It worked, and eventually I stopped thinking incessantly of the woman, the bundle against her chest, the fear that the authorities would take my child, the fear that my real child was homeless.

My daughter lay back in the water, her hair floating outward, wavering away from her neck. The memory came to me. Again, I’d let the evidence go—the proof that this child was my own. The freckle. In all my obsessive thoughts, I had let that detail slip away, and had not thought of it since seeing the freckle on that baby on my front porch. I leaned down and turned my daughter’s head to the side. Her nape was smooth and clear of markings. She had no freckle. 

I sat up straight while she squirmed in the water. She smiled up at me. And I wondered, how had I ever made such a thing up?


Harli Palme is a writer living in Asheville, NC. Their work has appeared in several literary journals, including Jabberwock Review, descant, Permafrost, and The Gateway Review. Their work can also be found on their web site, harlijames.com.

Dana Wall

Conducting Time

Dr. Serena Koo discovered she could see time gaps during routine heart surgery. Not the metaphorical kind—actual rifts in spacetime, shimmering between systole and diastole, each cardiac contraction creating a microscopic pause in reality. At first, she thought it was fatigue, the result of too many thirty-hour shifts. But the gaps were always there, waiting in the space between heartbeats.

The discovery started small. During a valve replacement, she noticed how time seemed to stutter around her patient's exposed heart. The surgical team didn't see it—they never did. But Serena watched as each contraction created a tiny tear in the fabric of now, a moment when time held its breath.

She began recording her observations in a notebook she kept locked in her desk. The gaps varied by patient. Children's hearts made barely perceptible pinpricks in reality, while the elderly created longer pauses, as if their lifetime of heartbeats had worn thin spots in the universe.

Her colleague James thought she was working too hard. "Take a vacation," he said over coffee in the doctors' lounge. "When was the last time you saw your daughter?"

But Chloe was exactly why Serena couldn't stop. Her thirteen-year-old's congenital heart condition meant surgery was inevitable. And Serena had started to develop a theory about those gaps.

She found the first proof during Mrs. Harris's triple bypass. As she held the elderly woman's heart, feeling it beat against her gloved fingers, Serena saw how each gap contained fragments of other moments—glimpses of what looked like alternate possibilities. A flutter showed Mrs. Harris at her grandson's wedding, though the real ceremony was still months away. Another revealed her painting in a sun-filled studio, though Serena knew from the intake forms that her patient had never touched a brush.

The implications were staggering. Each heartbeat wasn't just pumping blood—it was puncturing tiny holes in possibility, letting glimpses of other timelines leak through.

When Chloe's surgery could no longer be postponed, Serena insisted on performing it herself. The ethics board objected, cited conflict of interest, but her record was impeccable. They relented.

In pre-op, Chloe squeezed her hand. "Will it hurt, Mom?"

"Not at all, sweetheart. You'll be asleep the whole time." Serena kissed her forehead, breathing in the familiar scent of her daughter's shampoo. "And when you wake up, your heart will be perfect."

Under the operating room lights, Serena saw the gaps more clearly than ever. They formed around Chloe's struggling heart like soap bubbles, each one containing a different future. In one, Chloe was grown, conducting an orchestra. In another, she was climbing mountains. Each gap showed her daughter living, thriving, her defective heart nothing but a childhood memory.

But there were darker visions too. Timelines where the surgery failed, where Chloe never woke up, where Serena spent the rest of her life visiting a small grave.

As she began the repair, Serena realized she could do more than just observe the gaps. If she timed her movements precisely, worked in the pauses between heartbeats, she could reach into those moments of possibility. Choose which future would become real.

The surgery took nine hours. Nine hours of peering into quantum rifts, of selecting the right moments, of stitching together not just heart muscle but reality itself. The team thought she was being methodical, thorough. They didn't see her fingers sliding between seconds, weaving timelines together like sutures.

Chloe recovered perfectly. Better than perfectly. Two months later, her follow-up echocardiogram showed a heart that had apparently never been defective.

"It's remarkable," the cardiologist said, reviewing the results. "I've never seen anything like it. It's as if the condition never existed."

Serena just smiled, remembering how it felt to reach into those gaps, to pluck the best possible future from an infinity of options and pull it into now. She never told anyone what she'd really done during that surgery. Who would believe that healing sometimes means reaching between heartbeats, into the places where time comes apart at the seams?

She still sees the gaps during surgery, still watches possibility leak through with each cardiac contraction. But she doesn't reach into them anymore. Some doors, once opened, are best left alone. Besides, she got what she needed—one perfect repair, one chosen future .

These days, she watches Chloe practice violin and remembers all the futures she didn't choose. Sometimes, in the space between notes, she swears she can still see them, shimmering like heat waves, like roads not taken, like hearts that beat in perfect time.


Dana Wall traded balance sheets for prose sheets after years of keeping Hollywood's agents and lawyers in perfect order. Armed with a Psychology degree that finally proved useful when creating complex characters and an MBA/CPA that helps her track plot points with spreadsheet precision, she ventured into the haunted halls of Goddard College's MFA program. Her work in Bending Genres Journal, Mixed Tape Review, New Verses News, Intrepidus Ink, 96th of October, 34 Orchard, Eunoia Review, Summerset Review, Witcraft, Neither Fish Nor Foul, The Shore Poetry, Bright Flash Literary Review, and Sykroniciti confirms that words are more reliable than numbers, though occasionally harder to balance. 

Bonnie Brewer-Kraus

Lessons from Basquiat

I encounter Jean-Michel Basquiat twenty-seven years after his death, on a wall of the Metropolitan Museum of Art in New York. I step through a mirror into a chaotic circus of words and images. They trail, circle, soar, and jostle for space. My brain accelerates, my heart pauses, and I float, a crown upon my head. My husband anchors me, heavy hands on my shoulders. “Enough art for today,” he says.

I edit other people’s books for a living, trying to see through their thickets of words to their meaning. Basquiat plucked words from the air as if he were an open channel, always receiving. KING HEART SNAKE CYCLOPS ROOTBLIND CIRCUS BLOOD MOUTH VILLAIN RAGTIME. All caps, all the time, some words struck through, but still visible. Secret messages to decode.

I scrawl lists on a reproduction of Basquiat’s painting “Riding with Death”, a painting in which a desiccated brown figure sits astride a disintegrating pale skeleton. I cover the painted bones with the story of our marriage. All the ways that my husband and I have hurt each other. All the ways we have loved and cared for each other. I add to the lists daily, seeking a revelation or a balance. The phrases sprout tentacles and form a maze that grows and grows, blocking out the light.

Early in our marriage, we spent two days in the dark without power, cocooned on the couch in front of a wood fire. Wrapped in our old down comforter and each other’s arms, we watched the light change on the snow outside.

“Do you ever think about when we’re old?” I said into his chest.

“No, do you?”

“I imagine us in a canoe on a lake, two old people paddling into the setting sun. And a loon is flying overhead, emitting her lonesome cry.”

“Why a canoe?”

“That’s what you get out of what I just said, why a canoe?” We rolled over, laughing, and it became a joke between us: why a canoe?

Touch can be caress or slap, bite or kiss, embrace or shove. Fury is fire-engine red, death is black, regret is midnight blue, and love is sunny, sunny yellow. In Basquiat’s paintings, I step from one shade to the other, like rooms. The maze swallows me, and I cannot find the exit.

My husband and I play a game of our own invention that we call Hands Up. We hold our hands above our heads when we are angry, like prisoners. We can say anything we want, but we can’t touch each other.

Basquiat knew addiction. How what you most desire can annihilate you and pain becomes your currency. He died of an overdose of cocaine and opiates at age twenty-seven, three years younger than I am now. I mourn all the colors he never painted. I mourn all the words unsaid. I mourn the foreclosed future. My husband says, “I know you don’t love me.” Is it losing to leave, or winning? We are gamblers hellbent on redeeming our losses. 

On our honeymoon, we leaped off a boulder into blue tropical water, and for a moment we were suspended in empty air, holding hands.

Basquiat created grids as nets for reality. He organized his chaos with lines. My husband and I section off the house spatially, walking invisible boundaries, heads down. My study, his den; his kitchen, my living room; his porch, my attic. Our bedroom: no man’s land.

I read that Basquiat’s paintings sell for millions at auction. He is monetized, packaged, branded, and people wait in long lines to view his posthumous art shows. His disembodied face adorns tote bags. What we love, we destroy. I am feasting like a crow on a radiant corpse.

When my mother died, my lover, not yet my husband, held me in silence. Words meant nothing to me when I had lost the person who loved me the most. He held me against the void, and I knew I would spend my life with this man.

My husband and I argue as if the other has the answer and is withholding it out of spite. Our needs thicken the air between us. I walk to my window and see Basquiat in the moonlight. He draws with chalk on my sidewalk: faces and fists, skeletons and crowns, dinosaurs and monsters. He notices me and writes I HAVE NO ANSWERS. But I have so many questions, I want to tell him. He draws a vampire with blood dripping from its fangs. 

Words like arrows, bullet points, sharpened spears. Get a real job, you’re blaming me for your mistakes, it’s not my fault, you’ve disappointed me, you’re not the man I married, you’re lazy, you’re stubborn, you’re naïve, you waste money, I feel alone, I’m not your mommy, you’re not what I wanted, you’ve abandoned me, you don’t love me, you’re not my dad. And we sharpen the points of our spears because the spew of accusations scares us and makes us feel more alive and as if we are getting somewhere. Then we fall on each other and have hungry sex that just leaves us feeling more alone.

My favorite Basquiat is an untitled painting from 1982. The yellow outline of an angel on a sky- blue background, shadowed in cobalt and blood red, rises untethered in the air. To heaven? Or perhaps it is the chalk outline of a body, a claim to a last piece of identity. 

We hike to the cliff edge in the park on a foggy autumn day. My husband walks first, and I think that with a simple push, or with a step or two of my own, all the anguish, indecision and sleepless nights would be over. Fini. I stagger back and lie on the ground, anchoring myself so I cannot move. I have my answer. We are not safe with each other. The sky wheels above me and Basquiat’s angel flies into the distance. 


Bonnie Brewer-Kraus is a former architect who lives on a ridge overlooking Lake Erie with her husband and rescue husky. She is an enthusiastic member of Literary Cleveland and a volunteer reader for Gordon Square Review. Her fiction can be found at River and South Review, The Metaworker, CommuterLit, 101wordstories, and Gordon Square Review, among others, and is upcoming in The Blue Lake Review.

Derrick Martin-Campbell

PROMISE THE HUMAN BEING

The night before she meets Rabie, Promise wakes from burning city dreams to a smoke smell out her window. She trails the smell down the fire escape to a smoldering paper bag half-buried in the alley trash, six hundred dollars in twenties and a burned-up note inside:

...three times I screamed at you...and in that last season...lied about hooking up...with your cousin...and I swear to fucking god...
—luv Kelly

The note crumbles to ash as she reads but the twenties seem fine, still warm as she counts them by the bathroom night light, seizing still each time her grandma coughs awake on the couch. She is fifteen years old and she moved in with her grandma a month ago.

“It concerns me, from a health perspective,” says Promise’s social worker to her grandma the next morning, pushing for them to address the vermin droppings piling in the hall corners, under the sink. “We could start with your landlord, or at least the building manager,” the social worker says. “Or there’s the tenants’ alliance, if you're concerned about retaliation...”

Promise’s grandma sighs as she washes dishes in her work clothes. She says It’s been like this since the garbage strike, the whole building, whole neighborhood, trash bags piled higher than your head and that puked-up candy smell every time you walk outside. She mentions the glue traps that caught two of them right away. “Which just means they're everywhere” she says, “like spitting in the sea, or crying in a river.”

Promise scrolls her grandma’s phone on the couch, bed-headed and empty-faced at eleven-thirty in the morning. She can smell the heat wafting off the social worker’s desire – just barely held in check -- to remind them it’s a school day.  

“Ones I caught were this big,” her grandma says. “They watched me through the glass of the mason jar I drowned them in, big eyes full of regret.”

The social worker sets her pen down, rubs her own eyes like she has a headache. Promise smiles at her grandma who lifts a soapy jar from the sink, pretending to check for spots.

“Least I washed the jar.” she says.

      

*

 

That night, Promise watches the alley from the fire escape, apple munching, bare legs dangling in the warm dark. The city is a chorus of engines, sirens, phlegmatic AC window units straining with trapped voices in the humid shadows. Around midnight, she hears rustling in the bags, empty-rolling cans, hissing and voices. Finally. 

“It’s not here...”

A crash.

“She fucking lied then because it’s not fucking here!”

She under-hands her applecore into where the noises clump. Eyes startle in the dark, bound off for deeper night, all but one pair, the biggest, wettest, smartest eyes of all. A mouth opens below them, takes a bite of her discarded apple, smiles chewing. “Hello there.”

“Hello there,” echoes Promise.

Uncurling a body from the shadows, she watches as the speaker takes the form of a dirty, teenage boy, motley clothes and boots held together with tape, mane of stormy hair matting around scarred cheeks. And the lusting animal hunger of those eyes. Encouraged, Promise smiles back.

“What are you doing?” she asks.

“We’re, uh, looking for my homework,” says the boy. “A friend of mine was supposed to leave it here, but I can’t seem to find it.”

Still smiling: “That’s not what you’re looking for,” she says.

At which the boy laughs. His eyes narrow up at her. “Hey, my name’s Rabie,” he says. “What’s yours?”

Promise giggles at his stupid name, tells him her own. The boy offers a formal wave of greeting which she pointedly does not return.

“Well, you’re right, Promise. I’m not actually looking for my homework. Fact is,” he says, “I don’t go to school at all.”

“I know,” she says. “I’m not stupid.”

“Course you’re not, course you’re not. In fact, I bet I got a real smarty on my hands here, don’t I? Guess I’m gonna have to give it to you straight...”

He tells her he and his friends are traveling, leaving town tonight, but there are traveling papers they need first. Their friend said she’d stashed them here...maybe in an envelope?

Eyes track their exchange from the alley’s far end. Rabie’s teeth show, his true canines long and yellow.

“You haven’t seen an envelope around here, have you, Promise?”

Promise says nothing, savoring his need, kicks her long legs above him. A spark glows in Rabie’s eyes.

“Did you hear what I said?”

“It’s not papers you’re looking for, either,” she says.

The spark lights to a flame. Rabie leaps snarling for her – “where is it you little bitch” -- but Promise has already pulled herself up to standing, legs out of reach.

“No,” she says, sternly, not yelling, but as to a dog. “Stop that.”

And Rabie stops, quiets, jaw-clenched watching her. She checks the window to her grandma’s apartment, quick-scans the alley. Then, quietly: “Take me with you,” she says.

She says she has the money but that it’s hidden somewhere he’ll never find it, not in a million years. “Not unless you take me with you,” she says.

Rabie sniffs the air, low-growls looking around. His companions crouch along the streetlight’s edge. Promise waits until the snarl to melts from his lips and, with some effort, he is able to look politely up at her once more. A nod. “Alright,” he says.

And again she is smiling, auburn mane a-wild in the streetlight, already evoking Rabie’s own as she descends the fire escape. Her feet touch the ground and the city’s power grid strains, then shudders; streetlights dim and the air conditioners all chug nearly off before some desperate system failsafe kicks in, redirects sufficient power, and the city -- lights, sockets, AC, security systems – groans once more barely back to life.

When the lights’ return, the alley is empty. The children have all gone.

 

*

 

And so begins that part of Promise’s life, her years of traveling with Rabie, up and down the west coast, as far south as the boondock colonies of Baja, as far north as the Alaska canneries, Kodiak and Pelican, where the fish are nearly gone and the boats all sit on blocks. Not that either of them has much taste for work. Rabie claims his only salable skills are murdering humans and trimming weed and even the latter he never manages for longer than a month on some sketchy friend-of-a-friend’s farm before fights and changes in the wind return them to the road.

Promise knows he’s been living like this a while already from the number and frequency of “old friends” they encounter, individuals either ominously wary of Rabie or over-friendly to the point of suspicion. He is called many names and she sees how he lies to everyone, about everything, often to no end and surprising even him, the truth wild-shaping as he speaks it. Raised by liars, Promise understands and often finds it strangely comforting. Lies are sometimes the only language one knows well enough to speak. And Rabie talks a lot.

He says he knows how to hop trains and takes her to the yards that night, gets them as far as up into an empty grainer before getting so high that he barely seems to notice when the bulls find them an hour later, toss them down into the gravel culvert, stand on Rabie’s hand, and take turns kicking him in the ribs. He’s a fast healer, though, and good at hitching. Promise’s being a girl, a human girl, doesn’t hurt, either.

They winter whenever they can in the abandoned malls where his cousins the wolves are coming back, young packs ranging in the skylit-dusk between the stalls and clothing racks, cracked tile and overgrown planter ferns, spring water dripping new creeks from the long-dry fountains. They sniff and are satisfied with Promise, tolerate Rabie for as long as he can hold off stealing from them. Then they have to leave. 

But Promise enjoys their life, these first few years, or that heavy, dark part of her is anyway appeased and lightened, as long as they are either arriving or leaving. Rabie’s loyalty to her is a wild dog’s, desperate, unpredictable, and seemingly limitless. The magic burning envelope smolders always between them, faint smell of old smoke pleasurably leashing Rabie to Promise, trapping him for years in that increasingly farcical lost-boy shape, assumed so casually on their first night, his pleading for the envelope is a balm to her, even in their meanest seasons. How she savors the aphrodisiac desperation of his howls and threats, the forced vulnerability of his tears and rage, snapping jaws impotent in the glow of dying cities.

Once she wakes tickled by a wetness that turned out to be her own blood, sees Rabie strung-out kneeling atop her, her own knife stolen and trembling in his hands, Rabie’s face twisted with sobs.

“--just tell me what the note said at least!”

And Promise feels the heat race in her, bites her lip and raises her hand to stroke his face, Rabie nuzzling against it. 

“Hello there,” she says.

Though these rituals sustain her day-to-day, the trajectory of their lives remains pretty much unchanged. Episodes accumulate. Experiences that would break good people like you and I, Promise mostly endures, uncomplaining, an already-wet person walking home through the rain. But where is home? She is beaten and robbed, worse stuff, usually because of Rabie. She holds a drunk, old vet down in a snowy parking lot as Rabie beats the man to death with a bike lock. Years later, the blood-wet sound of the man’s weeping between Rabie’s growled accusations remains clear in her mind, even if any further context is lost -- and what would she do with context? Time crumbles to ash in her fingers, and not without some relief.

November. Two men emerge from the ravine behind the empty apartment complex. She’d seen Rabie accept money from them earlier that day and now he is nowhere to be found. The men circle her in the weed-choked foundation of one of the burned-out units, approach from either side, smile at one and other. Wind blows the trash and branches. Promise does her best to disassociate through the encounter, focusing on the bottle pressing against her back, until the scent of something wafting off one of them -- from in his beard or breath, from before she can remember -- penetrates her, and she looks him finally in the eye. Her fingers circle the bottle neck. She sees him smile once more, grossly pleased to have earned her attention, then explode as she smashes the bottle against the side of his face. Her body bursts into a teaming murder of six hundred crows and ascends coursing through the bare tree branches to depart into the purple sky. It is the only time she does it, but it is how she leaves him. 

She trades the money for a gun.

Years later, grown and solitary, squatting with a few others like her in the cathedral of the old brewery here on Tumwater falls, she wakes from burning city dreams to the anguished, human-like cry of one of her cats. Cracking the door to look, a pair of them dashed ragged-eared inside, trembling behind her legs. 

In the gray dawn light she sees him, a coyote, yellow-toothed, still and watching from the edge of the parking lot. He is himself a much scarred and chewed-up thing, barely bigger than the cats, and just a little older than her. But those eyes, how big, and regret-filled. 

She levels the gun, her first shot’s ricochet echoing across the valley.

She walks toward him, gun still level, jogging to a run: “You leave my fucking cats alone, you motherfucking--”

He flees struck by the second shot, trails blood into the trees. And Promise pursues him, unsatisfied, screaming threats and accusations of her own, until his sign is lost in the cold mess and skree. Yet still she stalks him searching, calling furious to him, to someone, anyone, as human animals are wont to do.

“--and I did hook up with your cousin,” she screams, “--I swear to fucking god!”

These are the last words discernable as language to those of us listening. But the roar of her pursuit continues, is still known to us an hour or so after, unmistakable, at a range of about two miles.


Derrick Martin-Cambell a writer from Portland, OR. His stories have recently appeared in Joyland, Cold Signal Magazine, The Evergreen Review, Apocalypse Confidential, and Necessary Fiction.

Donna Cameron

Kodak Moment, April 1964

My parents gaze up from a faded Instamatic photo. Seated on the garish green and yellow-striped couch in our living room, my father’s arms span its back, right leg crossed over left knee. He looks directly into the camera, relaxed, smiling, as if there is nowhere he’d rather be. I smile back. My mother, leaning into him, appears shrunken, although in fact she is slightly taller than he. Her flower-print dress clashes with the sofa. Her smile is strained, lips colorless and tight, no hint of it in her tired eyes. 

My friend picks up the framed photo and examines it closely. She declares, “It’s clear the rooster ruled the roost in this family.” When I ask what she means, she blathers about body language, about women giving away their power to placate men who expect no less, how we must eradicate the patriarchy.

I could tell her, No. You’ve got it all wrong. They both know what’s coming, though perhaps not how very soon. A month from that moment, he will be dead, plundered by cancer. And she will live on, twenty-five more years, every day wishing it had been her. 

But I don’t say anything. My friend believes men conspire to steal her power. Who am I to say they don’t? 

I only know that this is the last picture we have of my parents together. I only know what I see in my father’s smile, a quiet determination to ease the pain for us, no matter what lies ahead. And in my mother’s eyes, a grief that will inhabit her for all the years to come.


Donna Cameron’s work touches readers worldwide in many languages. She is author of the Nautilus gold medal winner, A Year of Living Kindly, and the popular blog by the same title. Her short prose appears in many literary journals, anthologies, and other publications in the US and abroad, including The Washington Post, Writer’s Digest, Dorothy Parker’s Ashes, Eclectica, and Brevity.

Sophia Holme

Selected Texts She Sent

Summer

 

Forget what? Haha. But for real yeah, totally, never need to talk about it again x 

 

Yeah, exactly, I value your friendship too much to mess it up as well

 

Happy Monday! Have a great day <3 

 

Omg GIRL Chinese + movie marathon sounds amazing

 

It meant a lot to me you were there the other night btw. 

 

Sorry at the club?? we were just fooling around ?? like it doesn’t mean anything lol 

 

Autumn

 

I’ll go if you go?

 

Okay the key is back under the mat. I made you a spare copy so you can keep it x

 

Nah the date was a bust. Why are men? lol

 

Thx for saving me a seat! 

 

You looked so stunning tonight 

 

Good morning 

 

I didn’t think it would happen again either tho 

 

We were both drunk sooo - like I don’t think anything that happens when we’re both drunk can really ‘mean’ something, you know?

 

Sweet dreams to you too babes xx

 

Meet you there are 8! 

 

Winter

 

[image of a robin egg) 

This. This is the colour your eyes are when the sun hits them and you're worrying about if he’s going to text you back. 

 

I wasn’t going to, but I’ll make time if it's you. 

 

Ummm because you’re exhausted silly?? Come over, I’m ordering us a pizza + running you a bath. 

 

Yes, I accept that I said I wanted to kiss the freckle under your jaw so badly it was literally killing me. I’m sorry if you found that misleading, I really did just mean it as a friend. 

 

I can’t believe we’re talking about this again lol 

 

Yes please to cinema tomorrow! 

 

Yeah but like. I don’t even hate dating apps. I’m just really busy lol. 

 

Yeah he seems really cool. I’m just happy you're happy. I don’t think I can do a voice call tonight tho I’m a little tired. 

 

Yeah 

 

Sorry I couldn’t make it tonight - work was crazy

 

I’m good thx. Hope all is well with u 

 

Oh cool yeah I heard you were moving 

 

Cool, thank

 

Spring

 

Hey, how have you been? I keep meaning to reach out. 

 

I’ve been thinking a lot lately about stuff. 

 

Hey I know you’re probably really busy with the move, but can we please talk? Face to face. There’s some things I’d like to say to you before you go. 

 

So last night - was incredible. 

 

Making up for lost time haha x 

 

But for real, sorry it took me so long.

 

I love you. 


Sophia Holme (she/her) is a queer writer and poet. Her work has appeared in Molotov Cocktail, Magma Poetry, Not Deer Magazine, and elsewhere. Made in Canada, she now resides in Oxford, England. 

Reece Ludwig

In the Middle of the Water

The water is quiet. Only the gurgle of turtles coming to the surface break up the of screeching hum of cicadas. I paddle us out further to the middle of the pond where the muck can’t reach the sides of the boat anymore. I have never liked the smell of the muck. But I like the way it clings to the paddle and the way the water still ripples underneath like it doesn’t even notice that it’s there. I can feel the sun on my face, it feels like it’s soaking into my skin. I close my eyes.

“My shoulders are burning. This isn’t fun when we don’t bring the speaker.” Maggie’s voice cuts through the sun and I open my eyes. The clouds are thin and wispy. I don’t know where the birds are hiding. 

“Did you put sunscreen on?”

“No.”

“Well, there you go.” I make a show of pursing my lips even though she’s sitting behind me. The cicadas chime in with me, a little bit louder than usual. “I think I’m gonna do it. I talked to mom about it. She said it would bother her more if I stayed.”

“But I want you to stay. Our kids were gonna grow up together.” She rocks the canoe, and the water ripples out in a big oval. It dies before it reaches the muck. Her voice is whiny.

“I don’t want kids.” I speak with too much of a bite. I think back to when we were little and she pushed me from the bunk bed ladder onto her Barbie doll and snapped the rubbery plastic hand. No more fingers for Barbie. She told on me, and I had no technology for a week. “I don’t think motherhood would suit me.”

“Probably not. They’d be like little soldiers.”

“Yeah probably.” I dip my hand into the water, picturing a deep-sea creature rising to the surface in a fantastic show, swallowing my sister whole. I would pet the creature after. I don’t know who would help me pick out my outfit for the funeral. 

“I don’t think mom wanted kids.” She dips her hand in the water, swirling her fingers in a way that annoys me. Too much noise. “And people shouldn’t have kids if they’re only doing it to try and make up for what their parents did wrong.”

I think of telling her that it feels unfair to talk this way about our mom who always had dinner on the table and new books to read before bed. My sister thinks our mom is a narcissist. “I don’t know, I feel like she loves being a mom.”

“I’m not saying she doesn’t like it, it’s just why she did it that I have a problem with.” 

“Why would you do it?”

“Because I need someone to obsess over if you’re gone.”

“Fair enough.” I watch a spider crawl over the lip of the boat, towards my legs. They’re looking rosy. I forgot sunscreen. The spider has a white sack hanging from the end of its body. I imagine the miniature spiders that would tear away from their mother if I popped the sack. Just a tiny little slit would do it. I don’t actually know anything about spiders, that’s just how it would go down in my head. I think about telling Maggie about the thing inching toward her, but her head is turned, and it didn’t find me interesting enough to stay in my part of the boat. Without the warning she will panic, and I will laugh at the dinner table when I tell our parents how it happened.


Reece Ludwig lives in Columbus and holds a degree in English and Creative writing from The Ohio State University where she received the R.L. Stine Creative Writing Award. Her work is featured in Sink Hollow Magazine and Deal Jam Magazine.