Grace in the Time of the Virus

By Melanie Bell        

Take this time
For yourself.
Everyone around you
Is doing the same,
Snatching the last eggs from air.
You start, you care
A little too much,
Don’t finish the chapter
You intended to write.
Everybody’s chapters
Are unfinished, now,
Some cut off mid-sentence,
The foot suspended midair,
The period still to come.

You are alive.
Remember, every breath,
Hold in the droplets
Lest they infect.
Act as if you are the virus.
It lives inside all of us now,
Eating our cereal, oatmeal,
That bread we were lucky to get.
So does grace.
Remember, it whispers,
Not to touch your face.
This is how best to avoid
A shelter in place.

Grace puppets your body
And motivates your limbs.
Grace closes restaurants and gyms.
Grace in the faces of loved ones on the screen,
Of tweets reaching out,
All those hearts behind the news, news, news,
All those people dancing in their kitchen
And smiling at you.

 


Melanie Bell holds an MA in Creative Writing from Concordia University and has written for various publications including Autostraddle, Cicada, The Fiddlehead, Every Day Fiction, and CV2. She’s the co-author of a nonfiction book, The Modern Enneagram (Althea Press, 2017). You can visit her website at InspireEnvisioning.com.

Photo by Wesley Tingey on Unsplash.

Whiteness in Bloom

[fusion_builder_container hundred_percent=”no” hundred_percent_height=”no” hundred_percent_height_scroll=”no” hundred_percent_height_center_content=”yes” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_2″ spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

By Jill McDonough

Thinking about whiteness, what it is and what
it does, we go to the MFA to see Art
in Bloom. Groups of white suburban women,
garden clubs, look at art, arrange some flowers
to look like the art. Or something. Lilies scattered
over scaffolding: the Rape of the Sabine Women;
a column of callas: the Dead Body of Christ.
Older white women figuring out the flowers always
crack me up. One group looked at a boat of flowers
under a portrait of an Asian guy and was like huh?
So one of the ladies read the description, pointed to it,
said “You can read about him. He’s a tradesman
from China. So kinda. . . that’s a boat.”  I text that
to myself, say it again, delighted. This is the kind
of whiteness I’ve come to see. We go every year, think
it’s hilarious, like seeing parodies of our slightly
older selves, a little richer, continuing to come
here but without irony. There are phrases
from my southern youth about whiteness I remember:
Mightly white of you; Free, white, and 21.
Whiteness was aspirational. Sometimes I wanted more:
more whiteness like more money, the whitest kids
with ski passes from Vail on jacket zippers all winter long.
Invited to be a debutante, join a sorority, I said no,
explained I couldn’t join an all-white group. They have
their own groups, other white people told me, exasperated,
leaving me in confused tears. It’s embarrassing, talking
about whiteness. A hard job, imagining who you want
to be as an adult, barely knowing what it is
you don’t want to have ever done.

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container][fusion_builder_container hundred_percent=”no” hundred_percent_height=”no” hundred_percent_height_scroll=”no” hundred_percent_height_center_content=”yes” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_1″ spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]


Jill McDonough is the author of Habeas Corpus (Salt, 2008), Oh, James! (Seven Kitchens, 2012), Where You Live (Salt, 2012), Reaper (Alice James, 2017), and Here All Night (Alice James, 2019). The recipient of three Pushcart prizes and fellowships from the Lannan Foundation, the National Endowment for the Arts, the Fine Arts Work Center, the New York Public Library, the Library of Congress, and Stanford’s Stegner program, she taught incarcerated college students through Boston University’s Prison Education Program for thirteen years. Her work has appeared in Poetry, Slate, The Nation, The Threepenny Review, and Best American Poetry. She teaches in the MFA program at UMass-Boston and offers College Reading and Writing at a Boston jail. Her website is jillmcdonough.com.

Image credit: Hand-colored photograph by Ogawa Kazumasa, 1896, via Public Domain Review.

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

To Face Ourselves

By Claudia Wair

 

Most people keep their masks in a kitchen drawer or hang them up on a rack next to their keys. The masks are then easily accessible in case of visitors and when you’re on the way out of the house. My mother is different, though. She keeps hers in the top drawer of her bureau and wears it even in the house.

The law only requires that people don their masks at home when outsiders visit, not in front of the family circle. My mother, however, took hers off only for my father in the privacy of their bedroom. As a small child, I never questioned her habit, but as I grew older and understood more about the world outside, I was saddened and a little offended at my mother’s insistence on wearing her mask around us. Only once have I seen her face. That was the day her own mother died. I was nine. Her face was lovely—flawless brown skin, high cheekbones, full lips—and I remember thinking that it was wrong that she had to hide her face.

The next day, Mother’s mask was back. And that was also the day I began wearing my mask about the house. At first, I think it was in childish sympathy, a daughter’s desire to be like her mother. But now I wear it to remind me of what they’ve done to us. To keep me from thinking of the person I’d be without it. And because, if I take it off for more than sleep, I’m afraid I’d never put it on again.

We are taught to be ashamed of what’s underneath. Shame followed my mother into the house like smoke, coalescing into an unnatural shell that surrounded her, her true self shrinking within it.

Individuality is ugly. Conformity is beautiful. Uniformity is cleanliness. Creativity is the result of a bad upbringing.

My brother, always an impetuous boy, joined a militant group of bare-faced people. We see him seldom, and then only at night when he can spend a few hurried hours with us. Before the Law catches up with him. As family members who harbor a bare-faced relative, we are accessories to his crime. He’s never asked us for anything; he may be headstrong but he’s a good boy. He and his friends stage protests in front of public buildings; ripping off their masks or carrying pictures of bare-faced people. Whenever there is a press conference on the steps of the capitol, he and others like him crowd behind the politicians making sure they’re in view of the cameras. They wait for a particularly important moment in the speech, then they remove their masks. Sometimes they rip the masks off and shout their slogans of “Bare-faced and proud!” or “Back to the way we were born!” At other times, they slowly, quietly slip the masks off, so deliberately that it takes the cameramen from the State News Agency a long time to notice that bare-faced people have been filmed live; that good, honest, hard-working people have been subjected to such sordid exposure, and it’s too late to censor the broadcast. There is risk in every show of defiance, so the protesters run, separating to make it harder to capture them all. Escape routes are planned well in advance.

We worry that the police will knock on the door and tell us my brother’s been taken to one of the prison camps. We’d be lucky to ever see him again. The few political prisoners who are released come back with bodies and minds so broken that they need permanent care. The politicians say, “See? These criminals flout the law, and then live off the taxpayers’ hard-earned money!” And the taxpayers agree, even when it’s their own sons and daughters being hauled away.

To express doubt is to admit heresy. To propose change is sedition.

I’m most angry at the people who sit silent. They hold the keys to their own shackles, but have bought into the lie that their chains make them exceptional. They recite the approved litany without comprehending the meaning of the words; each utterance is confirmation of their enslavement.

This has to end. I want to join my brother and his freedom fighters. I have nothing of value to fear losing. There are sympathizers everywhere: the bare-faced, if not able to find shelter, are always sure of at least a meal from the compassionate who, like my mother, are too afraid to remove their own masks.

But when I see strangers’ true faces around me and am confronted with revealing mine, can I look into the empty eyes of my mask and run, leaving it to dry rot and dust?

 


 Claudia Wair is a Virginia-based writer and editor. Her short stories appear in anthologies including Dread Naught but Time, Fantasia Fairy Tales, and Winds of Despair, as well as in Fiction War magazine. Learn more at claudiawair.com, and follow her on Twitter, @CWTellsTales, Instagram, @CWTellsTales, and Facebook.

Photo by Ruslan Zaplatin on Unsplash.

Elongation

By Annette Januzzi Wick 

 

Liz Warren drops from orbit

Venus still lit but out of reach

Back to the old man in the moon

Hope doesn’t float when scorched

 


Annette Januzzi Wick is a writer, teacher and community connector. She makes her home in Cincinnati’s Over-the-Rhine, with her husband, who calls her the “worst introvert ever.” Visit annettejwick.com to learn more.

Image credit: NASA

 

 

 

Women’s Day

By Cooper Gillespie

 


Cooper Gillespie is a writer and musician. She was raised in the wettest parts of the Pacific Northwest but escaped to California as soon as she was able and was overjoyed to discover the sun actually exists. She plays bass and sings in LANDROID and is an MFA candidate at UC Riverside-Palm Desert. Presently, she resides in Landers, CA with her husband and their two enchanting hounds. Learn more at coopergillespie.com.

Photo by Victoria Strukovskaya on Unsplash.

This poem

By Rachel Norman

 

is a product
of our time.
It wakes up,
gasping
after
dreams
where it
drowned
in ice-melt.
It believes
we can still
change.
I saw it
yesterday,
running,
and asked
why it ran.
It had no
words to
answer with,
only a song
it wrote for
a child
who cried
last night.
It heard
and cried
back in
chorus
— like a wolf,
it said, only
sweeter.

 


Rachel Norman is a high school student. Currently living in Cambodia, she will be attending the University of Pennsylvania next fall. She has been published in Isacoustic and Falling Star Magazine. She is admittedly idealist, but hopes that eventually we will all take the time to listen to one another, to give each other space to speak, and to be willing to walk towards one another rather than away. Beyond that, she doesn’t know very much.

Photo by Annie Spratt on Unsplash.

Beating Wanderlust

By Mileva Anastasiadou

 

It’s not like you chose the destination. But you step onto the car, or the plane, or the ship, attempting to find a comfortable seat. You don’t choose the seat, they tell you, so you sit where indicated, not bothering with questions. And it all seems a miracle in the beginning. The landscape unfolds before your wondering eyes and for a minute or two you see magic out there. The world lies ahead, like uncharted territory for you to discover.

You have to learn, they say, for this trip is educational. So they start throwing information into your brain. Facts, dates, numbers. It’s important that you remember, they say, but you want only to watch the scenery through the window. You’re still eager to enjoy the journey. Perhaps I can learn more looking out the window, you think, yet you don’t dare speak. They detect your doubt as if they have been expecting it and show you people in other seats. You want to be like them and get a better seat, they explain. But you don’t mind your seat. Those better seats come with privileges, they add, only you don’t know the meaning of the word, and even though they explain, you still don’t get the point.

They finally convince you those better seats are worth fighting for. Or perhaps they don’t. So, you are now the kid in the front seat. Or you remain in the back seat.

Once or twice, you take a glimpse at those better seats. You either admit it or you may not, but it’s already in you; you imagine having a better seat, like when you’re really young and secretly believe older people are stupid, but also secretly envy them and want to enter their world to make it better.

You may or may not be able to memorize their facts. Some passengers are lucky enough to choose their teachers, but chances are you cannot. Either way, you already feel unsafe. You tell them, and they wink jokingly at you as if asking: Aren’t we all? The car may crash any minute now, the plane may fall, the ship may sink. You wish you knew from the start. Why did they bring you here? It’s the trip that counts, as long as it lasts, they promise. You trust them. As if you had a choice.

Either way, you’re now traumatized, so they send a therapist your way. You don’t enjoy the trip because of the trauma, he explains, and you nod, because therapists know better. So they tell you. You’ve been too stressed too soon. Your self-esteem came to depend on your performance. You take it all too seriously. You either admit it or you don’t, it doesn’t make a difference. That only shows traits of your personality, but is of no importance. You need unconditional love, he finally says. And that becomes your next goal. Before you know it, you create bonds. Some of the co-travelers are interesting, but most of them are boring. Some come sit next to you, only to leave the next second, for a better seat. Then you do that too. You think it’s normal, yet disappointing at the same time. You expect unconditional love after all. They say you deserve it, but it’s hard to find. So you demand it. You act crazy sometimes, but not on purpose. Not consciously. You only want to give them the chance to prove their unconditional love you deserve.

Co-travelers come and leave. You come and leave. You can’t settle down. You even forget to enjoy the view. You’ll have plenty of time later, you say to yourself. You suspect you may have commitment issues. So now you ask for the therapist, who says you need boundaries. You say that’s the opposite of unconditional love. Of course it is, he answers in a way that implies that he doesn’t have more time to waste on you. So you discover boundaries.

They ask for your ticket. If you’re lucky enough, you’ll find it in your pocket. Yet chances are you’re not that lucky. You search for the ticket and sometimes that takes your whole time. Meanwhile, you have to somehow pay for the trip. A stowaway, they yell before you know it, so you say you want to go out of the car, or the plane, or the ship, but they insist there’s no alternative. You yell and you scream you didn’t choose this trip, you didn’t choose this car, or plane, or ship, but nobody listens. You take a glimpse out of the window and you see the desert, or the sky, or the sea and you wonder where the magic’s gone and if you can survive, or fly, or swim. You may want to jump out sometimes, only to land onto a smaller car, or plane, or boat. Yet you cannot be sure. You may jump into nothingness instead and you fear nothingness. You never knew it existed. So you probably stay in and try to pretend you enjoy the experience. You remember the therapist’s advice; you shouldn’t take things too seriously.

The trip is expensive, they tell you. You somehow have to pay. If you belong to the majority who weren’t born with tickets, you must pay however you can. They ask for your qualifications. You tell them they should know, because they taught you. Oh well, unfortunately, you’ll have to do something else, they say most of the time. You complain for a while, but usually not for long. So you do what they tell you, which may be tiring and exhausting, but the alternative is even worse. So that’s why they’ve been trying to convince you trips are pleasant, you think. You’re supposed to like the experience. They’ve even created myths and songs about them. But you don’t. You only want to step out of the journey. You want to go home. Only you don’t have a home to go to.

Day after day, they ask more of you. And you remember boundaries. So you say no and they look disappointed, as if they knew you were useless all along. Once again, they insist you need therapy. You tell the therapist what you know about boundaries. Boundaries don’t work like that, he says. You ask why. You have to be flexible, he says. You have to be competitive to get the best seat. Get serious, he implies, only he doesn’t say it aloud and you feel like raising your hand to present your objections but you don’t. He rolls his eyes, like you’re stupid or lazy. At the moment, you think you are. Or this is a very confusing trip. It will make sense in the end, they promise. But you don’t believe anything they say. Not anymore. Or you do. For their voices are loud. So you bow your head and move on.

So you do as they say, and sooner or later, you find a seat that fits you. A seat you don’t want to leave, for there beside you sits a person you can have some fun with. At least in your free time. And you stick around. You don’t feel so trapped anymore. That trip has finally started being a little pleasant again. Or bearable at least. And you almost hear that old yearning from time to time, still beating inside, like a heartbeat, that longing to explore the world and keep moving ahead, enjoying the view.

Time flies. Before you know it, you’re post-everything. Post youth, post lovers, you’re almost post life. If you’re pre-something you’re only pre-death, but that doesn’t matter much, because you’ve been pre-death, since day one. This could have been a wonderful trip, you realize. If only it weren’t about those stupid seats. Who made it about those seats?

You’re still not post-love, you think, squeezing the hands of the passengers beside you, the ones you’ve chosen to travel with. One can never be post-love, until the very last minute. You take care of them with all your effort, which makes you the opposite of lazy, you realize.

If only it hadn’t been for those stupid seats, you’d have been able to care for all passengers. After all, you’re in the same car, or plane, or ship together, sharing the same destination, which none of you has chosen.

 


Mileva Anastasiadou is a neurologist. Her work can be found or is forthcoming in many journals, such as the Molotov Cocktail, Jellyfish Review, Asymmetry, the Sunlight Press (Best Small Fictions 2019 nominee), Ghost Parachute, Gone Lawn, Ellipsis Zine, Queen Mob’s Tea House, Bending Genres and others. Follow Mileva on Facebook and Twitter.

Photo by Reza Aulia on Unsplash.

Teaching Poetry In Prison

By Susan Kelly-DeWitt

 

I think of him
as a victim
(a veteran)

of war—
every day was
the enemy

in a house-
hold that thought

children should
be punished
with barbed wire,

belts, burns, punches,
pinches, slaps, kicks,

starvation. Where meth
was the vitamin,
sex was the money,

where poverty was
the neighborhood,

poverty was
the country

and nobody ever
called him honey

until high school
freed him to be

part of something
larger than himself,

a gang. They robbed
a convenience
store, someone got

shot, killed—he did not
pull the trigger yet

here he is twenty
years later, life

without parole—
shaking my hand,
smiling at me,

thanking me
for helping him learn

one new word.

 


Susan Kelly-DeWitt is a former Wallace Stegner Fellow and the author of Gravitational Tug (forthcoming 2020), Spider Season (Cold River Press, 2016), The Fortunate Islands (Marick Press, 2008) and nine previous small press collections and online chapbooks. Her work has appeared in many anthologies, and in print and online journals at home and abroad. She is a member of the National Book Critics Circle and the Northern California Book Reviewers Association. For more information, please visit her website at www.susankelly-dewitt.com.

Photo by Aswin Deth on Unsplash.

I See You

By Laura Martinez

 

First you are “pollo”
chicken.
Then you are “illegal”
just so much contraband
or “alien”
strange creature from another place
to be feared.
Less than human.

I walk with you
through the streets of Nogales,
sit with you as you prepare
for your journey,
as you pray the rosary.

I see you in the desert
exhausted and thirsty,
and I see your haunted eyes
as you are detained, chained and
branded a “criminal.”
The smell of broken dreams
permeates the air.

You are a human being,
someone’s husband, mother,
daughter, son,
who lives, loves,
suffers, endures,
never deterred from the promise
of a better, safer life.

 


I am a retired social worker and volunteer with a local humanitarian aid group that supplies water to migrants in the desert. I also am with a local group that coordinates nationally to end the criminalization of migration. My poems have been published locally in the Tucson Weekly and Arizona Daily Star. I am a regular contributor to an online magazine, Downtown LA Life.

Photo credit: Jasper Nance via a Creative Commons license.

Please, Be Safe

By Tyhi Conley

 

Before they arrived, we were laughing, telling stories outside of the convenience store. Over the years, the store’s owner got to know us. He’d sold to us since we were kids buying dollar Arizona’s and 50 cent honey buns every summer day on our way to the pools, courts, or houses of friends whose parents let us in.

The people knew us. They’d stop and talk as they came and went. The older women wondered what we’d do with our lives, and called us handsome. The older men asked us which sport we played, and if we were being recruited. All of them warned us, almost begging that we “stay safe.” At the time, we didn’t understand why our elders used the phrase to say goodbye, or even how they all knew to say it. In hindsight, I’ve concluded it’s something our elders expected we’d need to hear.

See, our elders predicted that they would come, and that when they arrived they wouldn’t see laughing teenagers enjoying their day. They aren’t proud like the older men and women of our community. They’re scared. They hold a false sense of duty. They mischaracterize.

“Look at where they live,” they say while driving by. “What do they have to laugh about?”

“Why are they together?” they question. “Too many of them in one spot is bound to cause a problem.”

As they pull in, our smiles vanish quickly, like a small flame in the wind. We contemplate running, but reconsider, as we haven’t committed any crimes.

“What are your names? Where do you live?” The interrogation begins.

“Here,” we answer. “We live here.”

“Where were you guys last night?” they continue.

Last night, we were doing what regular teenagers do. No, we weren’t selling drugs or breaking into houses. We were with our girlfriends, or playing video games, or working to buy sneakers.

Despite our declaration of innocence, the backup appears. One at a time, until the parking lot becomes crowded and lit with flashing blue lights. Curious about the cause of the cop cars, the drivers passing by slow down, snarling traffic. The people around the store, instead of coming and going, stop and stare and pull out their phones. Our predicament becomes clear.

We understand that we are staring into the face of death; that witnesses don’t matter, and neither do cameras. The crowd is helpless, like an audience watching a horror movie: No matter how much they wish a character hasn’t gone in that room, the best they can do is scream once the violence occurs. At worst, if they decide to act on their fear, our deaths will result in a couple months of paid leave.

We finally discover what it meant when our elders begged us to “stay safe.” The farewell was a reminder to move in a way that would ensure our survival.

“Bookbags?” they say. “It’s summer time; there is no school. You guys mind if we check those?” They frame their commandment as a question.

Knowing things will escalate if we deny the request, we open the bags. In them, are towels or cleats or video game controllers. Not weed, guns or stolen objects. After a few more questions, they grow weary of the harassment and let us go.

Although we’re free, the summer day is ruined. No more swimming, playing basketball, or hanging out, telling jokes in front of the convenience store. We’d rather go home and celebrate the teachings of our parents, along with the blessings that boredom can bring.

We grow, forever moving differently with a newly acquired perspective. Years tread by and we start our own families. Now, it’s our duty to give our children the speech. Now, we’re the elders coming and going from the convenience store, proud to have seen our community grow. Now, when we see the teenagers laughing out front, we feel obligated to tell them, “Please, be safe,” because we know they’re coming, and we know they need to hear it.

 


Tyhi Conley obtained a B.A. in journalism from Kennesaw State University and is working in Atlanta as a personal assistant. 

Photo credit: Steve Pisano via a Creative Commons license.

Poem Where I Mix-Up Fairy Tales

By Courtney LeBlanc

 

Sometimes the wolf shows up in a suit,
hair neat and tie perfect, teeth tucked
into his mouth to mimic a sly smile.
Sometimes he’s a friend, sometimes
a stranger, sometimes a lover.
Sometimes I crave the beast’s
hands on my skin, sometimes I want
his bite, sometimes I don’t want
to be rescued. I wish this sleep could
last forever, my still body tended
by the forest and the animals, hidden
from the prince’s kiss — why wake
up in a world that constantly kicks
and takes away my rights. I’ll take
the beast to get his library, I’ll take
the spindle to finally catch up
on my sleep, I’ll take the wolf
to avoid future errands. And
that house of sugar? I’ll lick
every windowpane and wait
for the witch. She won’t push me
into the fire, instead we’ll sit
around it, spiked drinks in hand,
munching on cookies, toasting
our luck at finding one another.

 


Courtney LeBlanc is the author of Beautiful & Full of Monsters (forthcoming from Vegetarian Alcoholic Press), and chapbooks All in the Family (Bottlecap Press) and The Violence Within (Flutter Press). She is a Pushcart Prize nominee and has her MBA from University of Baltimore and her MFA from Queens University of Charlotte. She loves nail polish, wine, and tattoos. Read her publications on her blog: www.wordperv.com. Follow her on Twitter, @wordperv, and Instagram, @wordperv79.

To the Racist in Line for Chinese Food at Safeway

By Ty.Brack

 

Yes, you are racist.
I know this because of the way you reduced
Estefania and America to colored women.
I know this because Estefania was helping me
and America was helping you.
You and I ordered the Express Special at the same time.
Estefania returned with my container
before America returned with yours,
and Estefania asked, Rice or chow
You cut her off with a grumble, Chow mein,
like you were so sure this was America
and she belonged to you.
When Estefania looked at you with confusion,
you looked at Estefania like she was your America,
and you grumbled again, this time with seething chauvinism,
Chow. Mein.
Estefania’s confusion changed to composure
as she said in her smoothest customer service voice,
Sir, I was actually helping the other gentlemen;
America will be right with you.
I watched the creases in your forehead
flatten into lines of seasoned microaggressions,
revealing your familiar fragile rage
over the blanks between the lines.
So I filled in the blanks for you,
Dude, you’re racist.
But I don’t think I offended you enough.
So now you’re in a poem.

 


Ty.Brack is a poet and teacher from Portland, Oregon, who believes each word should aid in the dismantling of the white heterosexual, cisgender, male supremacy. He performs his work through Portland Poetry Slam, Slamlandia, and Wordlights, and he doubles as a hip hop recording artist, with several singles available on major digital streaming platforms. Follow him on Instagram: @ty.brack.poetry.

Photo credit: DijutalTim via a Creative Commons license.

Clutching at the Last Straw

By Dini Armstrong

 

After consulting with the elders, they chose to buy Oideacha, approaching life on this tiny Scottish island with all the naivety and determination of youth. Quaker values still rang true to them when they signed on the dotted line: peace, simplicity, integrity, stewardship of the earth. Hamish had years of experience volunteering on building projects in Malawi, so he took on the lion’s share of any construction work—using reclaimed materials whenever possible. Maria covered the roof with grass and sowed wildflower seeds. The inside of their little hobbit house was deceptively spacious, with water and heating provided by an air source heat pump. They used fleece insulation, 95 percent of which consisted of recycled plastic bottles. Triple-glazing and the use of A-rated kitchen appliances further lowered their carbon footprint. Maria procured a boat that was made from recycled plastic litter. Their secret shame was a four-stroke outboard motor, but the mainland was too far to row the distance.

The young couple soon found their rhythm. Each day began by feeding three sheep, a goat and five chickens. Next on the schedule were gardening, cleaning and renovating. They were hoping to grow organic vegetables within a year. After dinner, they went for a stroll along the beach. It took roughly two and a half hours to circle the island, especially as they brought empty burlap bags to collect plastic litter, washed in by the tide. They found soda bottles, torn shopping bags, drinking straws, food cartons, a surprising amount of tampon applicators, even a plastic leg.
On Sundays, they travelled to the mainland, attended Meeting and did some shopping. Hamish, with the strength of an ox and a fiery red beard, might as well have come over on a longboat. Maria, not petite, felt dainty next to him. Although she fiercely loved their little paradise, her Maltese skin was riddled with midge bites and she ached for sunshine.

Weeks into their stay, on discovering an article in The Guardian, she let out a high-pitched yelp.

Scientists accidentally create mutant enzyme that eats plastic bottles
The breakthrough, spurred by the discovery of plastic-eating bugs at a Japanese dump, could help solve the global plastic pollution crisis.

Six months later, like children waiting for Santa, too excited to sit down, they hovered in front of their laptop, balanced precariously on the edge of the kitchen counter, where WiFi reception was most reliable, awaiting a special broadcast by King Charles.

“God, he looks old,” Hamish blurted out when the first picture appeared.

“Ssshhhh!” Maria hissed, her eyes fixed on the screen.

“Twenty-twenty has been a sad year for us all,” the monarch began, his voice heavy with solemnity, “The United Kingdom was cruelly robbed of her beloved Queen, my mother.” He wiped an invisible tear from the corner of his eye, took a sip of water and continued.

“But it has also been a year of beginnings and a year of discovery. Scientists all over the world have worked tirelessly to bio-engineer bacteria—as well as fungi—capable of producing an enzyme that can break down even the most resistant plastics into their base components. One might say it was their PET-project.” He paused and allowed for any laughs. “For this thrilling breakthrough, we owe our deepest gratitude.”

He drifted off into an expansive, upper-crust version of “I told you so,” in which he recounted all the decades of his own personal crusade against plastic litter – among other environmental pollutants. At this point, Hamish began to embrace Maria from behind, gently kissing her neck. She could feel her body relax against his, when King Charles declared:

“We have all seen them over the years—videos of whale carcasses being cut open, releasing tons of plastics that the poor gentle giants ingested, photos of seagulls, dying with their wings twisted in plastic netting, turtles, trapped in ghost nets. All this will be a thing of the past, like the monstrous torture instruments in the Tower museum. Which is why we feel we are ready to release these clever little bacteria into the oceans—and to set free these glorious spores into the atmosphere. May they help mankind atone for their sins against nature!”

Roaring applause could be heard, although, considering he was still in a studio, it was unclear where this originated.

Hamish turned Maria around and kissed her, gently at first, hovering a few millimetres away as if seeking permission before touching the softness of her lips, and she responded with increasing enthusiasm. When he lifted her up onto the kitchen counter and slowly pulled down her knickers, neither bothered bringing up the issue of a condom. With Hamish’s tongue expertly teasing her sweet spot, Maria whispered, “Maybe.”

Within eight weeks, they found less and less litter during their circadian walks around the island. Joyous disbelief was gradually replaced by a solemn gratitude for witnessing history in the making, an evolution in reverse, until, finally, they found their last straw. Just when Hamish felt sure he had reached a pinnacle of happiness, Maria broke the news of her pregnancy. He lifted her up high, twirled her around and kissed her over and over.

“I have to show you something,” he declared, and she noticed he was blushing with pride. He took her hand and practically dragged her back home and into the garden shed. In the corner stood a cradle, made from driftwood. Pieces of sea glass, suspended as a mobile, gyrated and refracted the sunlight into tiny rainbows.

Rendered speechless, Maria caressed every intricate detail, every curve—when she found herself on the ground, her face pressed beneath Hamish’s chest. All hell broke loose around them. Tools fell from their hooks. Outside, something hit the ground with a heavy thud, then a violent shattering, again and again —more than something, many things, in almost perfect synchronicity. When the noise began to die down, she tried to wriggle.

“Are you okay?” he asked.

“I will be when you get off, you big oaf.”

Hamish let out a sigh and reluctantly obeyed. He squinted and blinked.. Tears streamed down his cheeks; his eyelids were red and swollen. “I think my contacts shifted, I can’t see a thing,” he muttered. His hair and back were covered in fine powder. She drew a deep breath and began to cough. It smelled of mushrooms. Not unpleasant like mold in a cellar, but more akin to the perfume of a freshly cut chanterelle from the forest.

“What in the …” She pointed through the open door of the shed. “The windows!”

Maria ran towards the house. Hamish tried to stumble after her, but soon capitulated and remained in one spot, rubbing his eyes. The triple-glazed panels lay in shards on the ground. Glass only, no frames. Following a hunch, Maria stretched up to a windowsill and sniffed. Ice-cold sweat trickled down the back of her neck.

“It’s mushro—” The words stuck in her throat when she turned and saw Hamish. From the corner of his eyes, two vertical red lines marked his face like war paint.

“Come on, let’s get you inside and cleaned up, you mucky pup,” she said. She was unsure why she did not mention his eyes. He nodded, and, fighting through a treacle pit of dread, they made their way inside, arm-in-arm.

The sofa had collapsed into an empty shell—draped with blankets. Water was gushing from the cupboard under the kitchen sink. The scent of chanterelle was competing with the fetid stench of sewage, wafting up through cracks in the floorboards. Hamish’s shirt started to disintegrate and fell off his torso in patches. Maria’s vegan shoes dissolved, leaving only shoelaces, draped over her socks like a bizarre pair of earthworms, still in the crisscross patterns they were threaded into, a bow at the top.

“The light switch is gone,” she mumbled weakly. Even if WiFi and electricity had survived, their laptop no longer had keys. With a faint flicker of hope, she moved towards the telephone, but, like an intricate little sand sculpture, it disintegrated on first touch.

They stood in silence. The chanterelle air was thick with dust and fear.

“Check the boat, I’ll find something to rinse my eyes,” Hamish stated as if suggesting a shopping trip.

She left him standing. Away from the house, the garden looked almost normal, and she could pretend to herself that all was well. The greenhouse finished, they had planned to buy seeds on their next trip. Walking towards the pier, she savoured every step as a prisoner might, on the way to execution. All that was left of the boat was a hemp dock line, still secured to the piling with a cleat knot.

Back at the house, Hamish was crouching on the floor, an empty glass bottle in his hand. The war paint was gone, but his eyes were shut. He did not ask her about the boat.

“How about the pantry,” he enquired, his composure betrayed by a tremble in his voice. They had only ever planned a week in advance.

Thankfully, all food cans seemed intact, as did six jars of homemade preserves Hamish’s mum had forced on them last autumn. Juice and long-life milk, kept in tetrapacks, had leaked onto the shelves below, spoiling both flour and sugar packs. All fridge and freezer items lay on the glass shelves, contaminated by the remains of their plastic containers.

“There’s loads,” she shouted, “We’re fine!”

It was weeks before the first signs of malnutrition sneaked up on them in the disguise of fatigue, depression and poor concentration. Lack of fresh vegetables caused constipation; they were chilled to the bone. Hamish remained blind, and puss was oozing out from under his eyelids. Both had been vegetarians since childhood, leaving them without the faintest notion of the intricacies of fishing. There was no nylon to use as a line. They had heard of some cultures using animal gut, but both agreed they would never steep as low as to harm their livestock. Maria tried to use a makeshift spear, but in her condition, did not want to risk wading in too deeply. Rather than produce the fast results they had seen in castaway movies, her attempts consumed the last of her energy.

Three months in, Maria felt the baby stir inside her, a faint bubble at first, then more decisive kicks. She did not tell Hamish. Lately, his large frame, once so attractive, had become a source of concern to both of them. He tried to pretend he could last on the same portions as she, but both knew better. His ginger mane fell out in clumps. In a trance, she used a kitchen knife to slit her goat’s throat, but without the protective plastic handle, it slipped, cutting her hand. The wound was not healing.

Shielding her eyes from the evening sun, she raises her hand, wrapped in dirty strips of cloth. She cannot remember who suggested the trip to the mainland first. All she knows is Hamish is out there, floating towards a shore he will never reach. She takes one last look at the crystal-clear ocean—then turns back to home.

 


Dini Armstrong, now Scottish, has worked in journalism and psychology. She is currently completing an MA in Creative Writing and has published short stories and flash fiction. Her pithy style got her into trouble from age six, when, after writing a particularly seditious piece about a vengeful cat with explosives, she promised never to write again. She lied.

Visit Dini’s website at DiniArmstrong.com, and follower her on Facebook, @GermanScotsAuthor, and Twitter, @ArmstrongDini.

Photo by Ishan @seefromthesky on Unsplash.

Indian Doll for Sale at the Thrift Store

By Heather Johnson

 

A middle-aged woman, orange hair tightly
permed, bones jostling within a threadbare

corset, manhandles the wide-eyed Native
doll—hands pet imitation-buckskin fringe

dress, sewn with plastic beads. A smile parts
lips like the sheer cut of a razor

as she rubs her thumbs over the doll’s sprayed-on
brown skin—as his fingers explored

and claimed the landscape of my body—Your skin looks
great against mine: brown on white. But the doll’s

skin is flawless, no evidence of cutting
scars at the wrists, thighs, shoulder, or at the hollow

between the breasts—he mapped the shimmery
ridges of those scars, too. The doll’s hand-painted

eyes are brown with black flecks, glaze
and shade like mine. The woman clutches

the doll against slack chest, hand cupping
the back of her head—synthetic

black hair parted down the middle, tied
in pigtails, with a headband snug

over her brow, restraining memory. He wrapped
my hair around his fist, pulled until my back

bowed, until he came hard—Can you grow it longer?
I amputated my hair, dyed it punk-red, and the color

bled out slowly in the shower.

 


Heather Johnson is an androgynous Diné writer from the Navajo Nation, currently residing in Albuquerque, New Mexico. She is at work on a novel, a memoir, and poetry. Her work has appeared, or is forthcoming in, Prairie Schooner, the Sigma Tau Delta’s The Triangle, Anti-Heroin Chic, and HeArt (Human Equity Through Art). Her poetry will be anthologized in the Dine Reader: A Guide to Navajo Poetics. Previously, she was a blog contributor to Blue Mesa Review. Her subjects are surviving personal and historical traumas, the experiences of marginalized identities, the complexities of mental health and well-being, and the landscape as sacred. She is also a founding member of the Trigger Warning Writers Group.

Two poems by Cheryl Dumesnil

[fusion_builder_container hundred_percent=”no” hundred_percent_height=”no” hundred_percent_height_scroll=”no” hundred_percent_height_center_content=”yes” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”2_5″ layout=”2_5″ spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

Bible Study

Truly I tell you,

The life expectancy

whatever you do

for transgender women of color

for these sisters of mine,

living in the United States

that you do unto me.

is thirty-one years old.

Matthew 25:40

[/fusion_text][/fusion_builder_column][fusion_builder_column type=”1_6″ layout=”1_6″ spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][/fusion_builder_column][fusion_builder_column type=”2_5″ layout=”2_5″ spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]

What You Must Believe

As a mound of dust and a mouthful of spit
is to a brick,

as that one spit-and-dust brick
is to a wall

is to a shelter for a family
fed by one pot

hung over a fire tended all day
and all night, too—

my love, this
is how you will survive—

as a spoon scraping concrete
is to escape—

no matter what they do
to break you.[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container][fusion_builder_container hundred_percent=”no” hundred_percent_height=”no” hundred_percent_height_scroll=”no” hundred_percent_height_center_content=”yes” equal_height_columns=”no” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” border_size=”” border_color=”” border_style=”solid” margin_top=”” margin_bottom=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=””][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_1″ spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” id=”” background_color=”” background_image=”” background_position=”left top” background_repeat=”no-repeat” hover_type=”none” border_size=”0″ border_color=”” border_style=”solid” border_position=”all” padding=”” dimension_margin=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” last=”no”][fusion_text]


Cheryl Dumesnil is the author of two books of poetry, Showtime at the Ministry of Lost Causes and In Praise of Falling (University of Pittsburgh Press), and a memoir, Love Song for Baby X (Ig Publishing). A freelance writer and writing coach, she lives in the San Francisco Bay Area with her wife and two kids. Read more about Cheryl here.

Photo credit: Francisco Gonzalez via a Creative Commons license.

[/fusion_text][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

First Day of College Classes, 2036

By John Sheirer

 

“Good morning, everyone,” the professor said looking out at the enthusiastic room full of vibrant young people. She pulled up a class roster on her palm-sized tablet. “When I call your first name, please raise your hand. Okay? First up is Ashley.”

“Here,” a woman in the back row called out.

“Donald?”

“I go by Danald,” a male student said quietly.

“Understandable,” the professor replied. “Pence?”

A woman in the front row raised her hand. “I just had it legally changed to ‘Hillary.’”

“Hillary?” the professor asked.

Five young women scattered around the classroom raised their hands and simultaneously said, “Here!”

“Oh, my!” The professor laughed. “We’ll have to sort that one out later, maybe assign nicknames.”

The whole class chuckled.

“Donalda?”

“Just “D,” please,” another woman said sharply, eyes fixed on the sunshine outside the window.

“Flynn?”

“I prefer to be called ‘Duckworth,’ ma’am,” said an ROTC student in fatigues.

“Eric?”

A burly, white football player from Alabama said with a southern drawl, “I go by ‘Barack.’”

The professor squinted and stuttered the next name: “Ja … Jar … Jarvanka?” There were audible gasps from around the room.

“Call me Michelle, please,” said a student with a strong, clear voice. “Yes, I hate my parents.” The gasps turned to chuckles.

“I think we’re all with you on that one,” the professor said.

Then she paused for a brief but noticeable instant before calling the next name. “Wall?”

“Yeah, I prefer ‘Wally,’” a soft-voiced man said from the back corner.

“Wally it is,” the professor repeated. “Good work making lemons into lemonade.”

The professor hesitated again, brought the tablet closer to her face, shrugged. “Is this a misprint? Maga? M-A-G-A?”

“I’m transitioning to ‘Maggie,’” said a tall, attractive woman.

“Congratulations!” the professor beamed. “Tweet?”

“Please call me ‘Instagram,’” a stylishly dressed man replied, tapping his oversized smartwatch.

“Budi … Budda … Buja …”

“Buttigieg,” called out a bright, optimistic student who looked too young to be in college.

“Sashamalia?”

“Here!” came the energetic reply.

“All right, thanks everyone. I’m glad we have that out of the way,” the professor said, tapping a set of controls on the instructor’s console. “Let’s begin the course. My name is Professor Reagan Bush-George, but please call me by my initials: RBG. Welcome to Political Science 200: Chaos to Enlightenment, 2016-2020.”

The lights dimmed slightly, and a hologram appeared at the front of the classroom, slowly rotating for a 360-view. It depicted a life-sized man slouching in a shabby black suit and oversized red tie. His ruddy face was caught in deep grimace beneath a ridiculous flop of unnatural hair. The students recoiled an almost imperceptive degree as if they subconsciously sensed toxic radiation.

Hovering near the holograph were internet headlines reading, “Improbable Electoral College Victory,” “Record Low Approvals,” “Foreign Collusion,” “Impeachment Debate,” “Ousted in Historic Landslide,” “Multiple Counts of Obstruction of Justice,” and “First President Jailed After Leaving Office.”

When the hologram pivoted to reveal the man’s back, the students saw that his wrists were restrained by handcuffs. Their hackles relaxed as they nodded in satisfaction.

The students powered up their touch-screen desks, synced them with their handheld devices, and focused their attention on Professor RBG’s words. After class, they’d do what college students have done since college began: meet up with friends, discover the best places to hang out, blow off energy, have conversations that would pivot from deep to shallow in an instant, possibly drink too much, perhaps even begin a fun but meaningless relationship. But for this moment, they were all determined to learn everything they could to avoid the mistakes of the past and help create a better world in the future—especially the Hillarys.

 


John Sheirer (pronounced “shy-er”) lives in Northampton, Massachusetts, with his wonderful wife Betsy and happy dog Libby. He has taught writing and communications for 26 years at Asnuntuck Community College in Enfield, Connecticut, where he also serves as editor and faculty advisor for Freshwater Literary Journal (submissions welcome). He writes a monthly column on current events for his hometown newspaper, the Daily Hampshire Gazette, and his books include memoir, fiction, poetry, essays, political satire, and photography. Learn more about John at JohnSheirer.com.

Photo from the U.S. Library of Congress.

Subliminal and Unanimous Dreams of the Future

By Kimberly Kaufman

 

In the shadowy, damp cities of our eon
no Martian parent will guilt their children
into eating their slimy green protein crumbles
with stories of the starving Children of Earth

As the dust storms rage above no Martian
child will flick internal game consoles, the
giant screens their only chance to marvel at
the blue, cool expanse of the Pacific ocean

No Martian will stagger through the thick,
viscous gravity, envying Earth refugees
who had a chance to spin and fall in warm air
without seventy pounds of protective plastic shell

As Martian children grow to moody, tense teens
they will never dream of an ozone layer keeping
them safe from this hostile universe that waits for
the first opportunity to twist their skulls inside out

We will not look out the window
to a night filled with two shrunken,
misshapen moons,
whispering,
the Earth
she was irreplaceable,
but we lost her

 


I have previously published speculative fiction in various literary magazines, including Metaphorosis, The Future Fire, and Jersey Devil Press. A brief list of things I’ve been, am, or will be: a student of Spanish literature, a lawyer, a punk bass guitarist, a traveler, a quiet child, and a mountain climber.

Photo credit: Mars dust storm, NASA.

It Looks Like Dancing

By Otis Fuqua

 

The moon is not out. Deborah is not in bed. A stranger’s silhouette is not rolling toward her like a panther.

“Mish Deborah?” a child’s voice asks—Ricardo, at the front of the classroom. The esses catch on his braces.

There is no face like a saber-tooth tiger. An eely stripe of stubble does not pass through a moonbeam that does not bisect the bedroom Deborah is not in.

Deborah wobbles, steadies herself against Jeffrey’s flip-top desk.

“Ish everything okay?” Ricardo asks.

Deborah is not pinned to a mattress. No bedsprings squeak in protest. The moon is not out.

“Yes, Ricardo. Thank you for asking.” Deborah sounds upbeat and relaxed, as she wants the ten-year-olds to hear her. “I think I’m just dehydrated.” She goes to the teaching station in the corner, toasts the class with her water bottle. “Those of you with hydration units, a moment for hydration!”

Deborah drains the bottle in three staccato swigs. Some of her students sip with her, but most slip off into side conversations and distractions. Aly and Grace, the horse girls, are neighing at each other. Morgan and Savoy are clunking their feet together in a competitive game of footsie. Shana is smiling at her crotch. This means she’s taking pictures of herself. Elijah’s arm is buried in his pants up to his elbow.

Outside, a cloud moves in front of the sun. The classroom dims to a pale blue. The students’ faces look shadowy and old.

There is no chemical spreading through the air, thick and soporific. There is no hand like a manhole cover over her nose and mouth.

Deborah’s neck prickles.

“Bill Nye—” The words come out of Deborah’s mouth stronger than intended. Thirty childish faces turn toward her at the same time. She feels like she’s dumped a spoonful of sugar on top of an anthill.

No cloth scrapes against her tongue.

“—is in your future. We will watch Bill Nye, if you pull yourselves together for fifteen minutes.”

Madison scribbles something to Chris. Jeffrey farts—a soprano boink that rocks the class with laughter.

The moon is not out.

As the class laughs, Deborah removes a marble from a jar at the front of the room. A second. A third. A wave of shushing circulates through the room until all eyes are on Deborah, and there is silence.

“I don’t like asking twice, squirrels. Pull yourselves together for fifteen minutes. You’re the oldest in the school. I expect you to act like it. I’ll put these back in the pizza party jar if you can get through this activity, but please, pull yourselves together.”

The class transforms into a sea of tiny executives. Spines straighten, hands clasp, love-notes and sketchbooks and phones disappear.

“Thank you, squirrels.” Deborah slips the marbles into her pocket. They rattle. “The fifth grade community service project: Raise your hand if you’ve seen fifth-graders working around the school in years past.”

No one raises their hand.

The moon is not out. No bed. No sting.

“Well. Some of you have. Those who haven’t, every year, the fifth grade class takes on a project to improve the school or surrounding neighborhood. The gardens by the primary playground, the kindergarten mosaic, and the picnic tables out front were all fifth-grade community service projects.”

Eulalia raises her hand. “Is the new fence on the highway a community service project?”

Deborah crosses her arms. “Yes. It is. That’s a specific kind of community service though, different from ours. Those men committed a crime and are doing community service as a punishment.”

Elijah doesn’t wait to be called upon. “Did they kill somebody?”

There is no stubbled, saber-tooth tiger face. No one’s thighs are squeezing Deborah’s ribcage. No one’s breathing sour air into her nostrils. The moon is not out.

“Elijah. One strike. Don’t test me.”

Elijah slouches and looks at his toes.

Deborah pulls her lips into a smile. “Our community service project is a reward, not a punishment.”

Opposite Elijah, Mariah raises her hand. “Isn’t a reward where you get something, not give something away?”

Deborah uncaps a dry-erase marker and points it at her. “Good question.” On the board behind her, Deborah draws a table with two columns:

ME                                                      MY COMMUNITY

The marker squeaks as she writes.

There is no mattress. There are no bedsprings. The moon is not out.

“Can anyone name an effect of community service?”

The usual hands are up before Deborah has finished the question.

“The preservation of nature,” Mariah says. Deborah writes this under my community.

“Friendship!” Eulalia says. This goes under me.

“It improvesh our infrashtrucshure,” Ricardo says. This makes it under both headings.

The table fills with ideas. They come in bursts. Grace’s “stables” and Jeffrey’s “basketball court” do not make the list. Madison’s “dirt management” confuses the entire class. In general, the discussion is off topic and below grade-level. Unsatisfactory.

Fifteen minutes are up. Elijah’s pointing at the clock.

Deborah’s chest tightens. “Almost there. You’re missing one. On the me side. This is a big one. What do you get from community service?”

“Exhaustion!” Elijah cries.

Everyone, even Eulalia, giggles at this.

A voice like a broken bottle isn’t growling into Deborah’s ear. She doesn’t hear the words. Chapped lips don’t scratch her cheek. No tastes of copper and sugar burn her tongue. The moon is not out.

“Every weekend I read to the seniors at Dignity Village. I don’t build anything. It’s not super fun. I don’t have any friends there. The place looks the same when I leave as when I came. But it has this one specific effect on me. Can any of you tell me what that effect is? It goes on the me side.”

Most of the class is staring out the windows. The first flurries of a new storm are falling.

A blurry ring forms around Deborah’s vision.

A man’s silhouette doesn’t grow until all she sees is darkness. The moon is not out.

“Thursdays and Fridays I volunteer at the American Legion. I cook dinner for the veterans and do the dishes. Do you think I do those dishes for the exercise? Do you think I’m friends with those dishes?”

Eulalia laughs nervously. On opposite ends of the room, Elijah and Brandon begin to chant at a whisper, “Bill. Bill. Bill.”

A rivulet of sweat runs down Deborah’s spine.

No sour air, no soporific chemical, no body odor pounds her nostrils. The moon is not out.

“No. I’m not. This should be easy. You’re smarter than this. For a marble in the pizza party jar, why do I do those dishes?”

Mariah raises her hand. “Because no one else will?”

Deborah jabs her fingers into the nerves at the tops of her hips. “Mondays and Fridays I visit an old woman.”

The chant snakes from pod to pod. “Bill. Bill. Bill.”

The moon is not out and no one is in it.

“This old woman has no friends or family, and is very sad and angry. She says some really hurtful and sometimes even painful things.”

The flurries outside turn to dense sheets of snow. Shana’s voice joins the chant. “Bill. Bill. Bill.”

Deborah is not trapped beneath someone gigantic. Her voice is not stifled by something wet and scratchy.

“I don’t like this woman, but I bring her fresh groceries, I change her oxygen tanks, I clean her house, I drive her around town. I even give her a shower. Twice a week I do all of this. I do all this and when I leave I feel good. I feel good. Now class, why do you think I feel good? For a marble in the pizza party jar, why do I feel good?”

Jeffrey farts, and the chanting swells to a wailing. “Bill! Bill! Bill!”

Nothing compresses Deborah’s chest until she fears it will collapse. Nothing forces her eyelids closed, the air from her lungs, the world to disappear. The moon is not out.

“Quiet!” It is an unfamiliar voice that comes from Deborah. A squeal. A death metal scream.

The chanting stops.

“You don’t deserve to watch Bill Nye! No! We will not be watching Bill Nye! No Bill Nye!” Deborah rests her forehead against the white board. “I’m fine, Ricardo. Thank you. Everyone just put your heads down. Someone turn off the lights.”

The students fold onto their desks without a sound. An icy wind whines through a crack beneath the door.

Beneath the me heading, Deborah writes self-worth in messy letters. She drops her arm from the h. Its tail runs off the board.

Deborah lets them watch Bill Nye for the last half hour of school. As they bundle up and leave, she catches snippets of plans for snowball fights and play-dates. It’s unpleasantly silent when they’re gone. Deborah returns the marbles to the pizza party jar, with three hollow clicks.

On the drive home, Deborah doesn’t blink once. The town melts into a blur of color behind her. The Christmas lights on her building look like a city veiled in fog.

Inside, she slumps in her chair with a bottle of wine. A thumping house beat registers behind her head, and she realizes she’s left the radio on.

“How long were you on?” Deborah asks the radio. She reaches around and turns it off, then back on, louder, until each beat sends a prick of pain through her ears. With her mouth full of wine, Deborah pushes herself to a stand. She shuffles her feet to the clank of the drums, wiggles her elbows to the thrum of the strings. It is work, keeping the moon from rising, but to the woman Deborah sees reflected in the TV, it looks like dancing.

 


Otis Fuqua is a Colorado native with his head out of the clouds. Fresh from school, he’s taking some time at home before diving into the whole writer-in-New-York thing. When he’s not hunched over a story trying to get the words right, he’s hiking, writing sappy songs on guitar, and doodling. Past works have been published in Laurel Moon and can be expected in the forthcoming issue of Horror Sleaze Trash.

Photo by aj_aaaab on Unsplash.

Wealth of Nations

By Gemma Cooper-Novack

 

Jeff Bezos wrote a
capitalist haiku and
we all live in it

 


Gemma Cooper-Novack’s debut poetry collection We Might As Well Be Underwater, a finalist for the Central New York Book Award, was published by Unsolicited Press in 2017. Her poetry and fiction have appeared in more than twenty journals, including Glass, Midway Journal, and Lambda’s Poetry Spotlight, and have been nominated for multiple Pushcart Prizes and Best of the Net Awards. Her plays have been produced in Chicago, Boston, and New York. Gemma was a runner-up for the 2016 James Jones First Novel Fellowship, and she has been awarded artist residencies from Catalonia to Virginia and a grant from the Barbara Deming Fund. She is a doctoral candidate in Literacy Education at Syracuse University.

Photo by Rick Tap on Unsplash.