Contributors Summer 2019

Faye Brinsmead (The Museum of Salt-Encrusted Objects) lives in Canberra, Australia. A lawyer by day, she writes flash fiction in all the snippets of time she can find. Recent work appears in MoonPark Review, The Cabinet of Heed, Twist in Time Literary Magazine, Reflex Fiction and The Ekphrastic Review. She tweets @ContesdeFaye.     

Jennifer Campbell (Diving In) is an English professor in Buffalo, NY, and a co-editor of Earth’s Daughters. She has two full-length poetry collections, Supposed to Love and Driving Straight Through, and was a finalist in both the 2017 Fairy Tale Review Poetry Contest and the 2014 River Styx International Poetry Contest. Several of her poems appear in journals such as Pinyon Review, Little Patuxent Review, The Healing Muse, Sow’s Ear, Comstock Review, Pennsylvania English, Saranac Review, Oyez Review, and Fugue, and her work is forthcoming in the AROHO Waves Anthology.

Patsy Creedy (Cardiff by the Sea) lives in San Francisco, waiting with dread for the next wave of millionaires to arrive. She has an MA and an MFA in creative writing from San Francisco State. She worked for many years as a labor and delivery nurse helping women have babies at UCSF. She has published poems in Transfer Magazine, Dragon’s Leap and Inlandia. She has published some nonfiction work and recently completed a memoir about her brother who died of alcoholism. She co-leads an occasional writer’s workshop, “Writing the Way,” at the San Francisco Zen Center. She was a board member and speaker for several years at the SF Zen center for the Meditation and Recovery group that meets most Monday nights.

Laura English (A Healing Unto Death) posts a daily blog called Eat More Life (https://eatmorelife.weebly.com), a healing space for women living with anorexia. On Sunday afternoons, she teaches writing to people from all walks of life. Work has appeared in dozens of magazines including minnesota reviewSow’s EarCider Press ReviewAdanna, and Straylight. A chapbook, Graves Too Small to Be Red (Finishing Line Press) was published last year.

Soramimi Hanarejima (New Hierarchy) is a writer of innovative fiction and the author of Visits to the Confabulatorium, a fanciful story collection that Jack Cheng said, “captures moonlight in Ziploc bags.” Soramimi’s recent work can be found in The Best Asian Speculative Fiction 2018KYSO Flash and Book XI

Ellen Tovatt Leary (Repossessed) spent twenty years acting on the professional stage. She performed in theaters from the Ahmanson in Los Angeles to the State Theatre in Lincoln Center, including four Broadway, many off-Broadway and regional theaters. She worked with Hal Prince, Maureen Stapleton and James Hammerstein among others. She graduated from Antioch College and was a Fulbright scholar at LAMDA. Her first book, a memoir, Mother Once Removed, details her childhood growing up on Bleecker Street in Greenwich Village in the 1940s with an eccentric, divorced mother. She was on the writing staff of the Carnegie Hill News in New York for fourteen years. She has published short stories as well as poems, is a native New Yorker who currently resides, with her husband, in LA.

Ellen Lord (Relative Sanity) is a Michigan native. Her poetry has appeared in Open Palm Print Magazine, Peninsula Poets Chapbooks and Traverse Area District Library Poets Night Out chapbooks. She was the recipient of the Mike McGuire Poetry Prize in 2019 and won the Landmark Books Haiku Contest in 2017. She is a member of the Fresh Water Poets Group in Traverse City and the Charlevoices Writers’ Group in Charlevoix. She is a behavioral health therapist and loves working with folks who navigate the murky perimeters of mainstream society.

Welton B. Marsland (The Australian Valiant in Its Natural Habitat) is a queer-punk writer from Melbourne, Australia whose stories, poetry & more have appeared in many local & international markets. Debut novel “By the Currawong’s Call”, set in 1890s Australia, recently won the Romance category at the 2018 Bisexual Book Awards in New York and is available through harpercollins.com.au Twitter: @wbmarsland Website: weltonbmarsland.com

Amie McGraham (Training Wheels) grew up on an island in Maine and now lives in the desert southwest. A freelance writer, family caregiver and petsitter, she received her BA in English from Arizona State University. Her fiction has been short-listed for the Fulton Prize, New Guard Review and The Offbeat and she was a two-time semi-finalist in Tucson’s Festival of Books Literary Awards. Her work has appeared in Exposition Review, Motherwell, Women on Writing, The Caregiver Space, Wanderlust Journal, Creative Nonfiction, Best Friends Animal Society and elsewhere. Her flash blog, “This Demented Life,” was featured by AlzAuthors and is read internationally.

Melissa McKinstry (The Hippocratic Oath) grew up on small farms outside of Portland, Oregon, and Seattle, Washington, learning how things grow and how people take care of each other in small communities. She is currently a student in the MFA poetry program at Pacific University. Her poetry has appeared in The Seattle Review and Quaint Canoe, EcoPoetry Washington, and is forthcoming in the first issue of Heirlock. She works to follow the advice of poet Joe Millar: “Sanctify yourself as a poet. Sit down and write every day.”

Sydney McKenna (Illustrator) was born in Santa Monica, California in 1953, and has called Florida her home since age 11. She began her painting career in the Sarasota area in the mid- eighties as a mostly self-taught watercolor artist and gained quick success, winning awards and exhibiting in Sarasota Art Galleries. After obtaining a degree in Visual Arts from Eckerd College in St. Petersburg, Florida and making the switch to oil painting in 1996, she attended a semester of graduate studies in fine art at Cortona, Italy through the University of Georgia. Sydney then returned to the United States, where she relocated to St. Augustine and operated the Sydney McKenna Gallery from 1997 to 2013. She sees St. Augustine as the perfect combination of her two favorite locales: European architecture combined with the lush Florida environment

Don Minson (My Father’s Ashes) is a UVa alumnus, works in Business Administration, and lives in Charlottesville, Va. He’s an accomplished music festival photographer who shoots under the pseudonym Wiley Quixote, and has previously contributed photographic illustrations to the r.kv.r.y. quarterly literary journal. In his spare time, he enjoys listening to music, watching films, drawing, painting, writing poetry, playing guitar, Jungian psychology, and learning how to write prose.

Cris Mulvey (The Unfastening of Winter) was born and raised in Ireland and spent the first half of her life as an educator, activist, and community organizer. Drawn by the beauty of wild nature and its power to feed, heal, and inspire, she moved to Montana where she began to write poetry, short stories, and memoir. Mulvey currently lives in Northern California with her husband Jack, a dog, and two cats. Her work has appeared in a number of journals, including the Naugatuk River Review, the Whitefish Review, Mobius, Last Night and Women’s Voices for Change.

Melanie Perish (Ten and Two) lives in Reno, NV and commutes regularly to Bryan, TX, Northern, CA, and Santa Fe, NM. She is a member of Poets & Writers and Alcoholics Anonymous. She is old and sometimes crabby and does not care that she’s just broken her anonymity. Her poems have recently appeared in the Austin International Poetry Festival anthology, DiversityThe Avocet, Brushfire, and Emerging Poets (Z-Publishing, 2018). Her poetry collection Passions & Gratitudes was published by Black Rock Press in 2011. She is grateful for the generosity of other poets and writers, her history with women’s writing workshops, her online writers exchange, and the current poetry workshops she participates in. She is indebted to small press publications, little magazines, and on-line publications because she knows how much effort these require.

Jaclyn Piudik (Chemotherapy and the Tasmanian Devil) is the author of To Suture What Frays (Kelsay Books 2017) and two chapbooks, Of Gazelles Unheard (Beautiful Outlaw 2013) and The Tao of Loathliness (fooliar press 2005/8).  Her poems have appeared in numerous anthologies and journals, including New American Writing, Columbia Poetry Review, Burning House, Barrow Street and Contemporary Verse 2.   She received a New York Times Fellowship for Creative Writing and the Alice M. Sellers Award from the Academy of American Poets. Piudik has edited three collections of poetry for award winning Canadian publisher Book*hug. She holds an M.A. in Creative Writing from the City College of New York, as well as a Ph.D. in Medieval Studies from the University of Toronto. 

Rhema Sayers (After) is a retired doctor, now working as a freelance writer with some success. She has had over 40 short stories and historical articles published. She lives with her husband and three dogs in the desert near Tucson.

Tara Stillions Whitehead (God and Laundry) has had fiction, essays, and hybrid texts published in Chicago Review, Fiction International, Red Rock Review, Burningword Literary Journal, Texas Review, New Orleans Review, Sleipnir, and elsewhere. She has received a Glimmer Train Press Award for New Writers, an AWP Intro Journals Award nomination, and a Pushcart Prize nomination. A former assistant director for film and television, she now lives in Central Pennsylvania, where she teaches English and Film Studies.

“After” by Rhema Sayers

“Salt Prune” by Sydney McKenna, oil on canvas

The entire house sparkled, immaculate. Or at least it sparkled as much as it could for as old as it was. It had taken weeks, especially with all these people tramping in and out. They’d been coming in, bringing her food, expecting her to be grateful. She had enough casseroles stockpiled for the next decade.

Sometimes she just kept on cleaning while they were trying to talk to her. The visits were becoming fewer and shorter, she’d noticed. When she pounded them over the heads with a two-by-four, they actually figured it out. Her lips twitched. “I vant to be alone,” She said aloud.

Her voice startled her. It was so quiet in the big house. She liked it that way. No more constant drone of the TV or the blaring voices of talk radio. Just silence and the occasional creaks and groans of an old house. So peaceful. So empty.

She filled her time with cleaning. There was so much still left to do. The stains in the rugs and the upholstery had been particularly stubborn. But she’d marshaled her forces, her Windex, her Mr. Clean, her carpet cleaner and her Bissell machine, and she had led them into battle, attacking with a ferocity the enemy could not withstand and the stains were vanquished.

Now she was advancing on the attic, which should produce some epic battles. She pulled down the retractable stairs and was showered with dust, causing her to sneeze repeatedly. Her eyes watered and for a moment she was crying, great tearing sobs that ripped from deep within her chest. But she focused  on the dust and ablution and carefully placed the sobs on a back shelf for later. She had had several long talks with herself (or maybe it was God she was talking to), discussing what her life should be like now. After. And she had struck a bargain with herself (or God). She would think about her life and her loss—after the house was cleaned—thoroughly.

She had gotten through the first few weeks with her dust cloth and mop held high. After the attic, there was the garage and then the closets still to do. There was time yet before she had to keep her bargain. She hadn’t been out of the house except for the funeral. She certainly didn’t need food. But she was going to need toilet paper soon. And laundry detergent. And Windex. And Pledge. And paper towels.

Walking out the front door would be like setting foot into a war zone. The eyes of her neighbors, friends would be watching. They would stop her on the street, in the stores, demanding to know how she was, what she was going to do now. She would see the sympathy, the pity in their eyes. She thought about asking her daughter to go for her, but she would see accusation as well as pity in those eyes, those sharp eyes that always reminded Melissa of her mother-in-law, who had been a world class bitch. Even their nasal voices were the same.

Maybe she could run out to the car, moving too quickly for anyone to reach her and then go to a store on the other side of town where she didn’t know anyone. Better yet! She could go to a different town! Encouraged by the brilliance of the solution, she started up the dusty steps to the attic. Her eyes went up to the black hole of the entrance in the ceiling and she stopped, riveted by the darkness. There it was—the whole of it. Black. Empty. A Stygian hollowness. And she felt its twin in the cold vacuum of her existence with all its light extinguished. And the sobs returned and would not be denied.

 
 
 Rhema Sayers is a retired doctor, now working as a freelance writer with some success. She has had over 40 short stories and historical articles published. She lives with her husband and three dogs in the desert near Tucson.

“New Hierarchy” by Soramimi Hanarejima

“Flow” by Sydney McKenna, oil on canvas, 48″ x 36″

Though you suspect she would much rather spend her weekends and evenings convalescing at home, you ask her to meet you in city plazas and parks, insisting that fresh air will do her some good. To your surprise, she accepts your invitations—the springtime atmosphere of warmth and wildflowers perhaps too pleasant to pass up even in her despondency.

During your outings with her, she makes for dreary company, mopey and taciturn—gloomy, like you’re walking down sunlit streets or through verdant landscapes with a gray cloud floating alongside you, always on the cusp drizzling. But companionship isn’t the point of these excursions.

When meeting her in the open, busy spaces you’ve selected, you always arrive early, so you can see her approaching from afar and furtively point the telephoto lens of the psychoscope at her. It’s supposed to be used only at work—and even then, just for approved projects—but you are driven by concern (and admittedly, curiosity) to discreetly keep an eye on her broken heart; to track the reassembly of the sundered pieces—to make sure they are in fact reassembling. And over successive rendezvouses with her, you confirm that, to your relief, the cardiac fragments are indeed drawing closer together, albeit very gradually.

Your surreptitious surveillance of her metaphysical anatomy continues to be reassuring, until you see that its slow rate of reconstitution is allowing her heart to reorganize out of order, with self-concern and cynicism heading for the center of the new arrangement.

You monitor the situation closely as these two shards of her character vie neck and neck, locked in a sluggish jockeying for the position of greatest influence over her life. Rooting for self-concern, you grow ever anxious about which contender will triumph, what her new psychological regime will be built around.

To your dismay, cynicism wins this slothy race and seizes the crucial spot, dashing your hopes that there would be at last an era of her life when she treats herself with utmost importance. You brace for an epoch of distrust and acrimony.

But even with this mental preparation, being around her is an incredible drag. She is always moody and brooding, unmoved by beauty, barely responsive to kindness. When she does say thanks, it sounds like her gratitude is being relinquished oh so begrudgingly. Little things set her off: cars parked too close to lines marking lot spaces, posters advertising beauty products in subway cars, people who walk in the very middle of the sidewalk making it difficult for her to pass them.

Still, you try to accept her for who she now is and channel your pessimism into conversations with her, which is surprisingly easy. There’s always something you can glibly complain about, and the effect of voicing your dissatisfactions is immediate. As though you’ve flipped a switch in her mind with your judgmental words, the camaraderie of negativity turns her more talkative—sometimes garrulous—in your company. The two of you are soon disparaging all manner of things: insipid mainstream movies, the shoddy state of public spaces downtown, the inflation rate, the overabundance of refined flour and sugar in the local foodshed, the excessive fixation upon—if not outright glorification of—romantic love in pop culture. Riffing off each other’s rants ultimately leads the two of you to rail against the human experience itself: riddled with cognitive biases, feral propensities and other historical cruft, the common enemy you can pin everything on.

All this vehement denigration cements a vigorous rapport with her but one that weighs heavy on your psyche, making it ache with despair and longing.

“I’m sorry, but I can’t do this any more,” you finally say to her.

To pace out the words you’ve prepared, you take a moment to look at the wind filtering through the bright, fresh leaves of the maple trees across the meadow. You’re glad that the bench you’ve chosen faces such a calming view and allows you to say these words as though to the landscape.

“I thought the darkness would be manageable—tolerable if it kept us close. But it’s exacted more of a toll than I thought it would.”

Unsurprisingly, she responds by unleashing a torrent of spite, declaring that everyone proves to be unreliable, untrustworthy and self-serving given enough time. You find it encouraging—almost touching—that her bitter words are leveled entirely at humanity, only falling upon you as they rain down on all humankind. But ultimately, her vociferous sentiments affirm your decision. You just cannot partake in (nor of) this misanthropy indefinitely. So once she’s said everything she must, you tell her to take care of herself and that you hope to see her again under different circumstances. With unexpected ease, you rise from the bench and take the wooded trail that will bring you to the river.

A few days later, you drive to her neighborhood and park down the street from her place, in a spot that will afford a clear view of her leaving for work. When she steps out the front door, you train the psychoscope on her just as you have so many times before. You recoil at what it shows you, then readjust the focus several times as she walks down the sidewalk, until there can be no mistake. Her heart has splintered apart.

You set the psychoscope down on the passenger seat, trying to make sense of this. Are you the culprit this time? It never crossed your mind that you could have this kind of effect upon her—any such thought at least miles away as she wielded scorn so mightily. Behavior you now know you should not have taken at face value. The psychoscope would no doubt have shown you her heart’s persisting, underlying fragility, and you would not have mistaken voluble rancor for true vigor.

You start the car while your mind extrapolates the future: the next rearrangement (no doubt already underway) will run its course, a new order ultimately establishing itself. You won’t watch that hierarchy form and will instead study it covertly when her heart is once again whole. Or simply adhere to the company policy that prohibits the use of equipment for personal reasons, affording her and yourself space. Either way, you will miss her—more than you already have.

 

 
 
 

Soramimi Hanarejima is a writer of innovative fiction and the author of Visits to the Confabulatorium, a fanciful story collection that Jack Cheng said, “captures moonlight in Ziploc bags.” Soramimi’s recent work can be found in The Best Asian Speculative Fiction 2018KYSO Flash and Book XI.

Contributors Spring 2019

Lisa Boardwine (Illustrator) is an artist living and working in Grundy, Virginia. She is a Signature Artist member of both the Baltimore Watercolor Society and the Virginia Watercolor Society. Her artistic process for the work in this issue involves building up many layers of paint to form a “history,” then peeling or excavating through the layers to reveal what’s underneath.

 

Suzanne Burns (Peeling an Orange and The Hospital) writes both poetry and prose. These two poems appearing in the April issue of r.kv.r.y. appeared first in her full-length poetry collection, Look At All the Colors Hidden Here.

 

Bethany Hunter (A Fundamentalist Girl’s Guide to Cussing) is a recovered fundamentalist who adheres to the old adage that writing is cheaper than therapy. She writes for and about the girl who needed to know she wasn’t that weird and even if she was, she’d have good stories to tell later. Her first essay, “Barbie’s Going to Hell,” was published by The Furious Gazelle and “Behind the Pulpit” is upcoming this spring in The Other Journal.

Chris Jansen (Detox Unit – Day Zero) grew up in a notorious shithole called Albany, Georgia.
H has been a nursing home janitor, a paramedic, an IT guy, and, up until recently, a very dedicated heroin addict. He currently lives in Athens, Georgia, where he teaches boxing and cares for a disinterested guinea pig named Poozybear. He has a degree in molecular biology from the University of Georgia.

Kirsty MacKay (Common Blackberry and The Panamint Range) is a live storyteller who shares ancient stories from the Ohlone people of South Bay. She has been writing poetry for roughly three decades while dealing with chronic issues of depression and anxiety. She considers herself to be a fairly recovered woman who remains, nonetheless, vulnerable.

 

Patricia O’Donnell (The Blue Rigi) is the author of the newly released novel, The Vigilance of Stars. Her other books include the novel Necessary Places, the memoir Waiting to Begin, and the short story collection Gods for Sale, which won the Serena McDonald Kennedy Award. Her short work has appeared in many places, including The New Yorker. She is a professor of Creative Writing in the University of Maine at Farmington’s BFA Program. 

Bryan D. Price‘s (Sabine) poetry has appeared or is forthcoming in Manhattanville ReviewMenacing HedgePortland Review (online), and Posit. He lives and teaches in the suburbs of southern California where he writes about time, memory, utopia, and its opposite.

   

Mark Putzi (The Worm Hunters) received an MA in Creative Writing from the University of Wisconsin-Milwaukee in 1990. He has published stories in Jazz Street, The Cream City Review and Wilderness House Literary Review. In 2015 he married for the first time. The family pet, Willow, is an internet star and a highly accomplished tortoise shell cat.

John Riley (There is No Point) has published poetry in Mojave River Review, Smokelong Quarterly, Connotation Press, Dead Mule, Better Than Starbucks and many other journals and anthologies. He works in educational publishing part-time and is a full-time nanny to his beautiful granddaughter Byl.

 

Whitney Curry Wimbish (Night Fishing) is an American writer living in Scotland. Her fiction has been published by MIROnline, and has received honorable mention in two Glimmer Train competitions. Her journalism/nonfiction has been published in The Baffler, The Financial Times, and elsewhere, and is forthcoming in North American Review.

“Detox Unit – Day Zero” by Chris Jansen

“Daybreak” by Lisa Boardwine, Oil/Cold Wax on Panel, 12 x 12.

Thank God things are quiet. I guess it’s medication time everywhere in the hospital, the same way it can be Christmas everywhere in the world. All the mental patients of Cottage C are lined up at their own medication room. They may be crazy, but no one is crazy enough to skip meds. There is the same weird half-light as last night, the same chairs lined up around the open dayroom, which reminds me now of a sad, empty dance floor; a lonely disco ball throwing fake starlight around the room would not seem out of place.

            Behind the glass wall, I see the Tear Woman sitting on the edge of her cot, wiping her nose on the sleeve of her gray WELLESLEY sweatshirt. The only other patient who hasn’t disappeared into the medication room is the regal-looking man in designer pajamas, still sitting there like a monument in front of city hall, staring into space. With his strawberry beard and refined features, he looks like a lost professor. His broken, one-eyed eyeglasses still sit precariously atop his aquiline nose.

            Like the professor, many of the other patients here look almost normal, but there’s always one crack in the egg, one weird tattered edge that sticks out, as if they are struggling mightily to contain it, yet the madness is bulging inside them like an overstuffed suitcase. [In case you’re wondering, you can easily spot crazy people in the wild because they are crazy about accessories. Especially hats. Weird hats, glasses, mismatched gloves = crazy. Don’t even get me started on shoes.]

            I slink around the dancehall, a curious wallflower, a tourist in the strange country of insanity which lies just over the border from Detox. I spot a battered bookcase against the wall and I’m magnetically drawn to the leaning-a-little shelves.

            Books. Reading. Books have always been my anchor in troubled times. When I was a depressed and lonely teenager seeking answer in religion, Jesus didn’t help me, but reading the Bible did.

            I finger through the paperbacks, picturing myself a scholar in the professor’s library, grateful to be able to gently peruse something rather than be behind that glass wall like the Tear Woman, crying into a cup.

            The books are in even worse shape than the patients. I assume they only put bland, inoffensive stuff in here because they don’t want to trigger a reaction in some brittle psychotic. Or maybe it’s just that nobody gives a shit. The collection is mostly science fiction and fantasy novels that pre-date the 1980s. Isaac Asimov, Agatha Christie. The few that still have covers show fanciful 60s-style artist’s concepts of moon colonies, astronauts with crew cuts. Robots. Monsters. Most of the books are yellowed, torn in half, or drop a few pages when I pick them up. The only book that looks brand new is a paperback copy of Hemingway’s The Sun Also Rises. I grab Best Science Fiction of 1974 even though I don’t know if I’ll ever read it. It’s a pacifier. It’s a book. It’s something to clutch in my hand and walk around with, like the memory of my former life.

            By now the Suboxones are starting to dissolve under my tongue and I’m afraid of what they will do to me. I hold the science fiction book to my face, as if focusing intently on the text, and discreetly spit the pills between the middle pages, and walk back the way I came, pushing the heavy metal door open with my shoulder as I hustle through the dark hallway back over to Detox with the book tucked under my arm. I feel like I’m getting away with something. I have some control now. Addicts love to get away with things.

            I pass the medication room, noticing the last of the junkies are at the window. I feel like a shoplifter. I pass Jonah-the-Joker in the hall, tossing away his own medication cup.

            “Hey, do you know anything about precipitated withdrawal?” I ask, with my book full of Suboxone tucked under my arm. “I mean like, is it over in a few minutes?” I’m asking this like I’m asking how bad cancer is.

            Jonah’s joker-mask dissolves into a look of concern. He shakes his head. “Hours, homey. That shit lasts hours,” he says, and shuffles down the hall after Lindsey, the cute blonde. I hear him calling after her, “And how was your medication tonight?” in a voice as smooth as top-shelf whiskey.

            Back in my room I sit on the bed and open the book. The half-dissolved pills have left a chalky paste on the yellow guts of the pages. “The sentinel passed Jupiter on its way to Io while Captain Danby slept in his cryochamber…”

            I close the book and look around. I open it again.

            I’m worried about everything as usual. The combination of tranquilizer and anti-seizure meds I’ve been given has blunted whatever feelings I am capable of feeling and left only a shape-shifting dread where my soul should be. The opiate withdrawal, as inevitable as the sun coming up, has not been as vicious in its return; I’m still frantic and terrified, but so far I’ve received a small dispensation. A little grace. Yet I know there is no way to cheat the dopegods. They were always watching, waiting for one little slip-up to rain down pain and misery on mortal junkieflesh. Vengeance is mine saith withdrawal.

            I sit up and flip to the chapter containing my pills. They’ve turned into four clumps of stuck-on moondust.

            Given a choice between taking something and not taking something, addicts will always choose the taking. Every time. It doesn’t matter if it’s just Tylenol. We are frantically empty. There’s a poem by Galway Kinnell which says ”that enormous emptiness / carved out of such tiny beings as we are / asks to be filled.” But that poem is about love, about the need for human contact, not drugs.

            I fold back the pages of Best Science Fiction of 1974 and scrape the Suboxone moonlumps into my mouth. It tastes faintly sweet. I press the book close to my face and tongue the last of the powder off the pages, the moldy, decaying-book smell burning in my nose and lungs.

            My thirsty cells drink again, as if straight from the mouth of a wild red poppy, and I see the world, the actual physical world, transform in front of me. The harsh light of the hallway is suddenly a warm glow beckoning me to life again. My dry veins fill with warm saltwater, the waters of the sea from which we were born. Though it’s still mercury-lamp gray in here, I know the sun is out somewhere in the world above me because I feel its rays penetrating down, down through the ceiling and walls of the hospital, down to hold me close and keep me safe in its warm embrace. It feels like going home. It feels like love.

            I’m. High.

            Now my strength is returning, my limbs loosening. I’m no longer shot-through with terror and anger. I can’t believe it—I’m really high! My problems seem manageable now. It’s like an actual answer to prayer, a love letter back from God. I hear talentless, awful Bob Marley singing in my ears—“…every little thing / will be all right.” My heart pumps the beautiful warm blood inside my chest. I think of Yeats: I am blessed and can bless.
            Yeehaw fuckos, your boy is high! 

The tattered and dry-rot science fiction book is a lot more interesting to me now. I leaf through it, amused, smiling to myself. I wonder what will happen to brave Captain Danby when he gets out of that cryochamber! What a wonderful book with a wonderful author about a wonderful place—the moons of Jupiter—which I must remember to visit sometime on my next swing around the universe.

            I hear the bell do its ding-ding dance again. It’s time for…who cares what it’s time for, I’m up for it! I shuffle out, doubly happy at being high and at my good fortune at being high in this terrible place. Haha, screw you, friends and family and coworkers. I do what I want. I don’t have consequences. I’m that fucking special. I’ve always been that special.

            “Dinner time,” calls the sour-faced woman. Her nametag says Pamela, but in my mind I call her Nana because she has a busybody grandma thing about her. Her bitterness doesn’t bother me now. “Thanks for calling us to dinner, Pamela,” I say, a gentleman’s gentleman. I think about a happy time in New York while I was sitting at Bemelmans Bar, waiting for my friend Tracy to join me for dinner. “Would you have Ellis make us an Old Cuban?” I ask her. 

            Nana is not amused. Because she isn’t high and I am, and I am a junkie and I bet she is too, or she was before she got caught. “Just regular dinner,” she says, without looking at the annoyance.

            This is the first time I’ve been calm enough to take interest in who my fellow Detox-mates are. I don’t know enough yet to tell the new people from the old—“Old” being anyone who has been here for a couple days. The veterans.

            We shuffle down to the end of the hallway, children following our Nana.

            I’m standing next to the surfer kid, a tired-looking middle-aged presumable housewife with a tiny frown permanently weighing down the corners of her mouth, a trembling-at-middle-age ex-sorority girl who looks beat up but a little too good to be here, and there is a new zombie, a plump little daddy’s girl with a pink shirt, sweatpants and flip-flops, like she just came from the yoga studio. Jonah the joker is standing next to Lindsey, the blonde nymphet with the green-stars-and-moon tattoo behind her ear, who is looking into a small hand mirror and adjusting her lipstick.

            People talk about the fragility of civilization, how a war or natural disaster can turn us into primitive animals. It turns out Detox does this too. Everyone looks tired and sick and desperate except for Lindsey and a tall guy with long dark hair and a white v-neck t-shirt pulled tight over his rippling, fatless physique. I notice a gold football-shaped St. Christopher medallion shining in the deep valley of his chest.

            With his boiled-corpse skin, Jonah looks no better than the rest of us, but he seems to be driven by some inner reserve of social energy. “Cassie dear,” he calls to the sad-faced housewife, “when we gonna turn that frown upside down?”

            “Pauline, you have to stop smoking,” he says to a pudgy zombie with wavy brown hair down to her ass, who looks like she just abandoned her register at the Gas ‘N Go.

            “Oh gaaawwwwd, not noooow, Jo-naaaah,” she whines back at him, her smoked-through voice sounding like she just got done crying buckets or is about to.

            He turns back to me. “Chris, you met Scotty-too-hottie yet?”

            “Me?” Other than Nana no one has spoken directly to me in hours and I feel invisible. Addicts often think they are invisible.

            “No, the other junkie named Chris standing behind you.”

            I limply shake Mr. Handsome’s mighty, handsome hand. He looks like he belongs in a body wash commercial instead of a Detox chow line.

            “You look pretty together, man,” I offer to this giant among us. He shrugs and shakes his handsome locks. He could easily be cast as Jesus in a Bible movie, if Jesus was also ripped and huge.

            “Oxy, man. Oxy,” says Jesus.

            Nana’s enormous keyring is swinging and turning in the lock. She cracks the heavy door open and we pour out into the sunset. This is the first time I’ve been outside so I take note of the grounds for potential escape routes. We are surrounded by a dense forest of trees that goes along the perimeter of the hospital grounds and up to the ridge rise. I can’t see a road or any real civilization from here. I guess they have to keep us mental patients hidden away so we don’t frighten any sane people.

            The cracked cement sidewalk makes a hard left turn and slopes down back under the building we just came from. A large magnolia bows along the walkway, its branches bent low under the burden of its sweet-smelling blooms. Our little group follows Nana as she walks with her keys jangling out of one pocket and a small walkie-talkie clipped to her belt. We are silent except for Jonah, who never stops talking.           

            “Okay, hurry up people, I want to eat. Come on Cassie, vamos Eduardo, Scotty-too-hottie, go long.” He grabs a pinecone and hikes it like a quarterback in the shotgun. “Get open, Scotty. Go long, I said.” Scotty laughs and catches the pinecone pass behind his back. This is silly stuff I used to do when I was a kid, but I’m still glowing from my high so I laugh at the class clown too, grateful that someone is bringing life to this death house. Nana walks ahead of us and doesn’t even bother to look back. I guess she sees idiots all the time. The walkie-talkie on her hip crackles.”Cshhhhhh….10-4. Dr. Hush to admissions…Dr. Hush…cshhhhh.”

            Jonah hikes another pinecone and drifts back in the pocket, scanning ahead for the pass rush. “Dawgs are in an I formation,” he growls, ”He’s looking for his receiver. Scottie get open!!!

            “Y’all need to quit plaaayying,” cries Pauline, in her weepy baby-voice. “Y’all are gonna get us Doctor Huuuu-shed…” Kerph, kerph, kerph, cough.

            “What’s ‘Doctor Hushed’?” I ask.

            Cassie the depressed housewife perks up. “That’s when you cause trouble. ‘Doctor Hush’ is code for all male staff members to wherever you are.”

            “And then you get the booty juice and they put you in a rubber room,” says Jonah.

            Oh. I’m not sure if that is horrifying or attractive right now. At least you get a shot.

            We reach the end of the walkway at another set of security doors that lead to the cafeteria, which is tucked underneath the main building. It reminds me of a dream I had once where I was in a swanky hotel in Manhattan but was stuck in the kitchen, which was in the basement. In my dream, food came and went through holes in the wall, but I couldn’t eat anything, just look at it.

            “It’s nice to be outside,” says Cassie through her tiny frown. “The magnolias are pretty.”

            This seems more like a wish than an observation. I’ve never seen the beauty in flowers. They just seem like monstrously swollen genitals to me. When I look at the natural world all I see is suffering, decay, and death. I’ve always thought the love of nature was a form of mental illness. Stockholm syndrome. But this is a mental hospital, so…

            “Yeah, it’s nice,” I say.

            We make a single-file line going into the cafeteria. The smell of dinner cooking, the hollow ringing sounds of kitchen workers banging pots in the steamy air—this is all reassuring. Someone is expecting you and they have made you something to eat. We file up to the counter where a big bitter-faced woman scowls at the assembly line of junkies.

             Jonah throws his tray down, still laughing at his own football antics. “And how are we doing this evening, Miss Gayle?”

            At the site of Jonah her bitter face breaks into bloom like the magnolias outside. “Pretty good baby, pretty good.”  

            “Your grandson do okay?” he says to her now-beaming face. How does he know her? How long could he have been here?

            “He did fine, Jonah, passed all his studies.” I’m not sure if he really cares or is just doing this to get an extra dessert. It doesn’t really matter though, does it? Jonah grins and takes his tray, now heavy with side dishes and desserts, and moves down the line.

            “Hi Miss Gayle!” I say. In my mildly intoxicated state I think I can imitate Jonah’s bouncy joie de vivre. She frowns again like I’ve insulted her and drops a square, gray meat-ish patty on my plate. You ain’t Jonah. I take my tray and move on. Just like airport security, the only unforgivable sin in a mental hospital is holding up the line.
           
            The cafeteria is small but airy. Even though it’s in the basement, the ceilings are high, likely designed for summers in the South before efficient air conditioning. Spiky, star-like fixtures dangle from the beams in what must have been imagined as a “space age” look back in the 60s. It reminds me of the decaying science fiction where I hid my Suboxone. I think how everything in the world that was once futuristic and full of promise is now hopelessly dated. Even me.

            The seating area is a set of Balkan nations. On the far end there is a long table that looks like it came out of Da Vinci’s Last Supper. There are young kids, teens and even younger, sitting with a strawberry-blonde minder in too-tight jeans who looks barely older than her charges. The only way I know she’s staff is the keys on her lanyard and the walkie-talkie attached to her hip like a barnacle.

            Seeing kids here is depressing, even with my chemically reinforced happiness. There’s a tiny African-American boy with huge square-framed glasses and a basketball-themed shirt that’s so long it looks like a dress, holding in his small hand a hamburger that’s bigger than his little round head. There’s a husky, fat-faced kid with red cheeks and his head cocked to one side in a hangdog expression that looks like pain and malice simultaneously. I recognize the ugly demeanor of every bully I had in middle school, and though I am a man and he is a boy, I hate him. There’s a young girl with straight black hair and black clothes and little red lines all up and down her arms that at first I think are cute little smiley sticker tattoos, but when I look closer I see they are razor cuts, and not just a few, but a dense red rose-thicket of wounds. She holds a cardboard milk carton in one of her razored arms and laughs next to a fat girl with curly hair and braces who is wearing a pink sweatshirt emblazoned with four fiery gold letters: L-O-V-E.

   

Chris Jansen grew up in a notorious shithole called Albany, Georgia. He has been a nursing home janitor, a paramedic, an IT guy, and, up until recently, a very dedicated heroin addict. He currently lives in Athens, Georgia, where he teaches boxing and cares for a disinterested guinea pig named Poozybear. He has a degree in molecular biology from the University of Georgia.

“A Fundamentalist Girl’s Guide to Cussing” by Bethany Hunter

“San Angelo Verde” by Lisa Boardwine, 40 x 40, Oil/Cold Wax on Panel.

Middle school is tough on everyone. Middle school in Arizona is especially tough on a chubby fundamentalist girl who wears long skirts every day and can, at first glance, be mistaken for a teacher.

In eighth grade, John D. asked me if I cursed. I let him know that I did not. Still suspicious that the fundy girl was that innocent he pressed, “Do you curse in your head?” I couldn’t (or shouldn’t) lie any more than I should cuss, so I conceded that yes, I did curse in my head.

My friend, Nicole, a fellow fundamentalist, had the perfect solution, fake cursing (slightly more hardcore than Mormon cursing), and she was more than happy to show me the ropes. “Don’t be such a bench!” “Funk you!” There was even lifting your ring finger as a faux bird. It was the height of rebellion.

Summers in Arizona are about as close as one can get to hell. There are jokes about how hot it is: “go to hell” someone says, “I’m already there” you reply; and you get to tell your friends and family in other states that you live in hell adjacent, just north of hell or in a little suburb of hell called Arizona.

The one that never gets old is, “Hot enough for you?”

Laughing it off shows how tough you are at surviving inhumane temperatures while silently agreeing and pondering your location choices. It can easily be 110 degrees in the shade and yet you’ll walk an extra fifty feet just to park in it. It may be a dry heat, but dry heat doesn’t prevent second degree burns when poolside.

Arizona and its climate provide a great opportunity for doomsday pastors to remind their congregations every Sunday, “If you think this heat is bad, just think about how hot eternal damnation is.” To this day, that statement pops into my head whenever I burn my hands on the steering wheel or scald my fingers on the seat belt buckle: only hell is hotter.

It was on one of those exceedingly hot days that I was in the backyard feeding the semi-feral, neighborhood cat that had adopted us. While standing on the patio, I spotted a creature that terrifies me to this day: a black carpenter bee. Research tells me they are one inch long and do not sting unless molested. I disagree. They are six inches long and armed to kill from ten feet away. When I saw this supposed gentle giant of the bee world, a phrase came out of my mouth that was shocking even though I was alone. It was, “Oh, my gosh.”

I was nine and had just said my first curse word. Disappointment followed shock; how could I have let the Lord down? I immediately asked for forgiveness, there in the blasting heat, a bag of cat food in my hand. “Jesus, I am so sorry, please forgive me. I’ll never say another bad word again.” Appeased, I went inside where the air conditioning and bee-free environment soothed my guilt-ridden soul.

I’m pretty sure I stayed true to my word through the rest of elementary school. Third through sixth grade wasn’t especially taxing and growing up in a majority Mormon area, rough language wasn’t even on my radar. Not that it wasn’t there, but the company I kept was interested more in friendship bracelets and Big Stuf Oreos.

In high school I came into my own. Seeking sophistication and hoping to sound like an adult, the word that would define my freshman year was bastard. Everyone was such a bastard, I would say as I flipped my uncut waist-length hair over my shoulder. I felt safe enough to use it around my friend Amber (also a fundamentalist, but open to scoring cool points). She said it wasn’t that bad of a word, but that I shouldn’t use it in front of my mother.

My mother was (and still is), without exaggeration, the judge and jury of the language court. “Awesome” is only meant for God’s creations. “Butt” is a no-no. “Gosh” is obviously a hair short of taking the Lord’s name in vain, as are “gee” and “golly.” A proper and acceptable exclamation would be, “Well,” prefaced with a tsk of the tongue and then dragged out for a few syllables, “Weeeellll.”

When I was little, I remembered her saying “rats” fairly often, as in “Oh, rats, I forgot to get bananas at the store.” Later she felt such a strong conviction about proper language she even repudiated rats; too close to meaning shit, I guess. In an emotional and heated exchange with my mother I once let her know something was such crap. She demanded to know when I had started cussing.

During high school, my parent’s marriage fell apart. No one thing was to blame for it. Perhaps it was the small church congregation they pastored growing smaller every Sunday, taking their much needed tithes with them. Maybe it was that my parents married too young and grew apart. It could have been my mother’s lack of sympathy or understanding for my father’s lifelong struggle with depression; her commands for him to just get up out of bed only added to his paranoia and anxiety. More than likely it was his extramarital affairs.

At home, my father wandered around the house muttering to himself, having imaginary exchanges with my mother, cursing her up one side and down the other, laying into her for years of frustration and disappointment. I would invariably walk by the bathroom and see him, in a cloud of citrus scented room spray, surrounded by the gold foil shell wallpaper, leaning over the shell-shaped sink, glaring at himself pointing in the mirror. Those mutterings didn’t have much clarity, so most of what I would hear were the staccato pulses of “uck and unt.” The words sounded mean and dirty but his secret mutters kept me safely in the innocuous curse word territory.

My home now a place of tension and silence, I invited myself to dinner with any friend that would have me. On an especially emotional day of general teenager-ness and family upheaval, I shared a dinner of McDonald’s cheeseburgers with my two best friends. They stared at me in bewilderment while I ate and then asked about my recent commitment to be a vegetarian. “Fuck it,” I said taking another bite, though it probably came out sounding like “fughgit.” I didn’t hang my head in shame and I didn’t have that nagging feeling in my chest the way I had when I was younger. I said the granddaddy of all cuss words and I was okay with it.

From there my confidence grew. Things were shitty. People were motherfuckers, assholes, asshats, shit-for-brains and total dicks. A month after I graduated from high school, my parents finally divorced; they had promised each other to be miserable until then. My mother and I moved out of our house and into a third floor apartment where she became an emotionally distant roommate that I saw in passing. I spoke to my father as little as possible. Life was totally fucked up. “Vulgar” words gave me an emotional outlet. It was a way to reach in and give my feelings the words I hadn’t figured out how to give them. I was depressed goddammit, confused and heartbroken that my family was no longer together.

More than two decades have passed, and in that time I have grown and matured. I’m not a foul-mouthed adult who can’t identify and express emotions; most of my cursing now comes after insult or injury, primarily the latter, and I’m just as likely to use a more creative turn of phrase. Unfortunately, my father isn’t around to read the latest research that shows cursing is actually a sign of high intelligence and dropping an “F bomb” really can relieve pain and stress. My mother remains uptight and ever careful to never offend the Lord. She probably thinks evil scientists are doing the devil’s work by encouraging cursing. I just wish I could have participated in the study. My cursing was modified after becoming a mother and the “F word” became flibbertigibbet or fluffernutter or whatever nonsense word eased the pain or frustration of the moment. My daughter is a teenager now; I don’t need to sensor myself anymore. She hears me and rolls her eyes when someone cuts me off in rush hour traffic, “Fuck you and your piece of shit car, asshole.” Science backs up what I’ve felt to be true for a long time, now: a little cussing can be good for the soul.

   

Bethany Hunter is a recovered fundamentalist who adheres to the old adage that writing is cheaper than therapy. She writes for and about the girl who needed to know she wasn’t that weird and that even if she was, she’d have good stories to tell later. Her first essay, “Barbie’s Going to Hell,” was published by The Furious Gazelle and “Behind the Pulpit” is upcoming this spring in The Other Journal.

“The Worm Hunters” by Mark Putzi

“Entangled Essence” a Diptych by Lisa Boardwine.

Towards evening we ran about in our hooded sweatshirts and held our hands over our heads complaining. We had crushed a dozen or so just-opened buds with the bees still in them. Then it came time to celebrate because the sun was low and our spirits were struggling to burst out of our bodies. As the mist of evening descended upon us, we watched the last glorious red rays color the edges of the clouds. We made fog trails with our hands. We listened as the older kids walked up and down the street when all we could see of them were the lit ends of their cigarettes. 

At night, we threw nuts at the nest the squirrels had made in the old tree. Hardly looking at one another, we fidgeted in front of the T.V., while the sprinkler produced an artificial thunderstorm in our back yard. I often wondered why they didn’t simply move to another yard where they’d be safe. For I knew they were aware of me. They felt my voice, even in whispers.  The methodical pound of my footsteps echoed in their hearts like a drum. Sightless, I was sure they could yet envision me: processional, head bowed like a hooded monk, directing my beam of flashlight along the ground. Some darted for cover instantly when detected, but others — the martyrs — stretched themselves out, basking, fully glistening in the light.

I would inspect the cans of dirt for moisture. We would divide into two teams. My brother Chuck and I, on our hands and knees, would comb every inch of grass in the back yard. We could hear our younger sister and Tommy in the front yard, laughing, conversing.

There were hot and cold regions, lush greenlands where the nightcrawlers congregated with a disproportionate thickness, and arid deserts which contained only the odd sociopathic worm.  We worked silently: many times we pushed down the impulse to cry out when our efforts were rewarded with a capture. Afterwards, we compared lengths and thicknesses. We tried to sex them, always settling on females being the fattest because of the likelihood they were pregnant. We discussed fat or wiggly or both to determine which of these attributes would produce the best lure.  We did not ask God to deliver a big fish: He punished selfishness with foul weather and knotted lines inside our reels. So we asked God for lucky worms, for worms the fish could not resist eating.  Then it was up to us to land with our skill from among the many fish, the biggest. 

            We took a knife and cut holes into the plastic lid of our coffee can—we remembered always the time we had not done so by mistake—and set the can in the basement beside the pumpkin, which had ripened to a spectacular yellow-orange, awaiting Halloween dissection. From inside their metal confines, they emitted prayers to my father, imploring him to stay away, until at three in the morning he overcame their will, crashed up the stairs and into the bedroom, awakening me from a nightmare, and fending off my mother en route to the bed. I was on fire again, the Lightning Bolt Man from General Electric summarily cornering me in the attic where the yellowed Polish newspaper in my hands lit with a flash as I awoke. The next day they rejoiced and dug back under between rows of green beans and radishes while my father slept it off, his socks half dangling from his feet. “No you didn’t!” shouted Chuck, “Eat this dirt you lousy worm!” as he tripped and pummeled me when he saw the empty can with its lid beside, full of triangular breathing holes. They were the culprits, these holes allowed the worms to beseech my father’s tardiness. I laughed because I knew we’d fish another time. It never hurt when someone hit you, only afterwards. That afternoon, I went between the houses where the snapdragons grew, took it out on the bees. I watched them curiously, buzzing erratically back and forth, finally lighting on their deathbeds.

   

Mark Putzi received an MA in Creative Writing from the University of Wisconsin — Milwaukee in 1990. He has published stories in Jazz Street, The Cream City Review and Wilderness House Literary Review and poetry in many small press magazines. Since 2012, he has worked as a retail pharmacist in Milwaukee. In 2015 he married for the first time. His wife, Sharon Nagel has published two mysteries in collaboration with her co-writer Jocelyn Koehler under the pen name Juneau Black. The family pet, Willow, is an internet star and a highly accomplished tortoise shell cat.

“The Blue Rigi” by Patricia O’Donnell

“Transitions” by Lisa Boardwine, Oil/Cold Wax on Panel, 12 x 12.

In every story Clarissa began, or even thought of, someone had recently died. There was no other story for her: someone loved, someone irreplaceable, had died, and how did one go on? She told herself it wasn’t because of Jared; it was because everyone dies, and how can one write anything that doesn’t acknowledge that?

For Jared, dying was rich in comic possibilities. He had the worst sense of humor; no joke was too corny for him. “Treat each day as if it were your last, and one day, it will be.” They were jokes he would have told their child, if they’d had one. So he told them to Clarissa, daily, to her anguished moans and protestations: “What’s brown and sticky? A stick.”

Clarissa flew overnight from Boston to Dublin. She faded during the long line going through Customs, twisting through the cavernous, windowless room. She caught a bus to Monaghan, and finally a taxi to the artists’ residency. She was here for two weeks, a trip funded by the university where she taught, to finish a novel. The estate house, in Gothic Revival style, was impressive; the grounds green and rolling down to a tidy lake. Her head swam as the Director showed her around the place, rushing her past the artist studios, making jokes in his Irish accent that left her bewildered. When she made it to her room, she collapsed.

After a time of staring at the posts of the four-poster bed, feeling all the mistakes of her life, including the decision to take this trip to Ireland; her failures in her professional life; her personal unworthiness, and the sense of loss and aching loneliness at the center of it all that she tried not to look at head-on, she fell asleep.

When she woke, it was nearly time for dinner. She opened the drapes and stared at the well-tended gardens in light constantly shifting from clouds moving overhead: early roses, lavender, and lilies. She showered, put on her black dress, and brushed her long brown hair. Maybe there would be single men at dinner, devilishly handsome Irish men or Brits, intrigued by an American woman. She leaned close to the bathroom mirror, drawing a fine dark line around her eyes.

There was just one man at dinner, a white-haired man who sat next to her. He was the husband of the woman across from Clarissa. Painters, they each had a studio in the building that used to be the stables. The man leaned in to Clarissa to hear her speak in a way that reminded her of her father. His wife leaned forward to talk with Clarissa, once reaching across the table to touch her hand. Later Clarissa struck up a conversation with a dark-haired, intense young woman sitting next to her, an essayist from Dublin. The wine helped Clarissa feel loquacious. In this setting, no one knew of her failures, losses and mistakes, or that the novel she was working on was going nowhere. She told the woman, whose name was Siobhan, about her tenure-track position at the state university in the Midwest, and about her two close male colleagues. “They’re both very well-published,” Clarissa said. “And they’re friends.”

“Oh, dear,” Siobhan said, in a way that made Clarissa feel she understood more than Clarissa said; understood something of the paternal tone of the older colleague, and the mild flirtatiousness of the other. Clarissa didn’t want to complain about these men; they were her friends and colleagues, and it was important to keep positive in the workplace. As her mother used to remind her, no one is perfect. “Not even you,” she would say, looking pointedly at her daughter.

There was just one person who thought Clarissa was perfect, and he was gone.

In the morning Clarissa stared at her fingers, resting on the laptop’s keyboard. Left index on F, right index on J, waiting to be told to move. The novel waited on the lighted screen, truncated, partial, and longing. She’d started writing about a young woman who wanted to be a gymnast, but the story shifted until the young woman was older, and had lost her lover in a fire. Clarissa thought this turn might be a bad idea; it seemed obvious to write about a woman who had suffered a great personal loss, but it was all she wanted to write. It was the experience she knew best. Her fingers hesitated on the keys. She wanted her character to grieve, and then fall in love again, and discover she was loved in return. The thought made her embarrassed. Surely that wasn’t enough to write about; surely she needed a darker, more complicated vision.

Three fat flies buzzed at the window in front of her, trying helplessly to get to the garden. The window was closed but she saw it could open at the top, with a lever pushed straight out. Standing on the chair, then climbing onto the desk in her bare feet, Clarissa pushed the window open and secured it. Climbing down, she took a piece of paper from the desk, and pushed its edge gently against one of the flies. She finally got the fly to step onto the piece of paper, and remain there while she climbed back on the desk and tapped it out the window. “There you go, dummy,” she said. She climbed down and back up again with the next fly, and the third. Standing on the desk, tapping the paper out of the crack of the open window, she watched the fly zoom away into the overcast sky, then looked down to see a man, standing in front of her on the garden walk.

He turned away with a smile, embarrassed to be caught watching. From his position on the sidewalk it would have been hard not to notice her, standing full-length in front of the window and reaching up. Still, it had been worth the effort to stop hearing their anxious, desperate buzzing. She sat back on her chair, pushed it up to the desk, and looked at her keyboard.

None of her characters died of cancer, which is what her fiancé died from; she chose more dramatic deaths. Fire, or car crashes, or suicides; something sudden, rather than the slow, sad slog that had been the approach of Jared’s death. She hadn’t really known he was going to die, even though she should have known, until all of a sudden it was time to call his parents. She had never found the right time to tell him that, when he got better, she wanted to try for a child. It was what he’d wanted, all those years, a decision they disagreed on that kept them from settling on a date for a wedding. She was in grad school, then starting a stressful new job; where was there time to be a mother? Then, when she felt ready, he was dying, then suddenly their story was over.

She didn’t want to write a character as stupid as Clarissa had been. She wanted her character, Amanda, to be perceptive, intuitive, and courageous. She wanted someone to fall helplessly in love with Amanda, and for Amanda to fall in love also, after she finally determined the man was for real. Like Jared had been for real. It had taken a long time for Clarissa to finally believe that, and to trust.

There were new people at dinner that evening: a couple of women who were sharing a cottage and working together on a play, and the man who’d seen Clarissa at the window. Shaking her hand, he said, “I’m so sorry about earlier. I couldn’t help watching; I thought you might fall forward through the window, and I would need to be there to rescue you.” He had gray streaks in his dark curly hair and a bit of softness around his middle. Clarissa thought he was British, but he said his accent was originally Australian. “Tempered by years of living in Dublin.” His name sounded vaguely familiar, Dillon Burnham. He asked her name, and what she was working on, and saw him search his memory for any trace of her.

“You wouldn’t have heard of me,” Clarissa assured him. He sat next to her at the table. Throughout dinner she was aware of him, of his arm close to hers. She talked with one of the playwrights. Carol and Isabel were from Belfast. Carol talked about the community theater she worked with, the plays she’d written, their progress on this one.

Clarissa knew she should talk of her own work, but she didn’t want to; it felt private to her, wrong to discuss. Instead she asked more questions of Carol, and nodded thoughtfully, pretending to listen.

Clarissa slept deeply, waking only once when she opened her eyes to darkness, forgetting where she was, what this room was, what this building was. For a brief moment, she thought Jared might be lying next to her in the house they used to live in together, and reached to feel for him. It wasn’t until she was standing in the dark room, feeling the walls, that it came back to her: she was in Ireland, at the Artist Residency. That was her desk, that was the door that led to her bathroom.

In the morning, she was glad she didn’t have to talk to anyone when she helped herself to the food set out on the counter; she was not a morning conversationalist. Jared was more energetic in the morning, but had learned to save conversation, and especially jokes, until later. That was one of the things that it takes time to learn about a person. She didn’t know if she could ever do that again: take the time to adapt to someone, to their snoring, for example, and have them take the time to adapt to her. She thought of the things she did that used to annoy Jared: take too long to leave the house when they were going out, always remembering one more thing she needed, or a last-minute change of shoes. They were getting over these minor irritations, finding ways to reach their affections around the things that irritated them, and Clarissa had just begun imagining what it might be like to have a child with this man, when he became ill.

But for that short time their relationship had been a success for Clarissa, a flash in her life. So brief, it seemed now, the five years they’d been together; a gasp, a kiss, a moment, and it was over, Jared gone as if he’d never been.

Clarissa took the time to look up on her laptop poems by Dillon Burnham. He was quite accomplished, with several well-reviewed books and a major British award. It was strange to be reading the words of someone who was in one of the rooms next to her, just beyond a wall. The language of the poems was vigorous, with exact, unsentimental observation of nature. She particularly liked one that came around to the subject of death, and the loss of the loved one’s eyes. She thought the writer of that poem must understand loss. It helped her move back into the novel; she imagined Amanda remembering her dead lover’s eyes. Clarissa made those eyes gray, the same color Jared’s eyes had been.

At dinner Clarissa sat between the two playwrights. They were a couple, she presumed, thought she wouldn’t have guessed that either of them were gay. Carol had curly red hair and Isabel was tall and thin, graceful, with long blond hair. Isabel took an interest in Clarissa’s work, asking her what it was like to teach creative writing in the United States.

Clarissa was aware of Dillon Burnham at the other end of the table, glancing their way. After dinner, Carol and Isabel stood and apologized for leaving: “Back to work!” Carol said, dropping her napkin on the table.

“She’s a rough taskmasker, she is,” Isabel said, and followed Carol out the door. Dillon moved to sit next to Clarissa, bringing his bottle of wine with him. He filled Clarissa’s glass. “Cheers,” he said, and raised his glass. “How’s the writing going?”

“Let’s not talk about that,” Clarissa said. “I read some of your poems,” she confessed.

She watched a faint pink spread up the sides of his face. “Oh, no,” he said.

“They are quite beautiful.” She couldn’t remember the name of the poem, but said “My favorite is the one about the eyes.”

He raised his glass again. “Here’s to the writing of Clarissa, of which she doesn’t wish to speak. May her characters suffer a better fate than her namesake.”

He was referring to the heroine of the novel by Samuel Richardson. That Clarissa was abducted and raped, but fought for her virtue to the end. “My parents had not read that book,” she said, “Or they might have thought twice about naming me.”

“It is a beautiful name,” Dillon said.

Outside the glass doors, the evening was soft and gray, bushes shaking in the wind. “Would you walk down by the lake with me?” Dillon asked. They filled their glasses and walked down the gravel path to where the lake shone, one white swan drawing lines across its surface.

“This is simply ridiculous,” Clarissa said. Dillon looked at her. “All this.” She gestured with her wine glass. “The building, the lake, the grounds. Ridiculously beautiful,” she said.

They stood by the water, watching the swan cut the lake in half with a smooth line. Dillon taught literature at Trinity, and played the cuislenna, an instrument he described as a small Irish bagpipe, but he didn’t mention a wife. Clarissa kept thinking of the eyes of the poem, and of a pair of gray eyes she couldn’t forget. She wanted to tell him of her sorrow, and see if he had something similar to share. Jared’s death had occurred just nine months ago. Long enough to grow a baby, if she’d been able to do that. She stood tense, and instead of saying anything about eyes, blurted out, “Did you hear about the black swan that walked into a pub?”

“No . . .” Dillon said, turning to face her.

“The bartender says, ‘Hey, I named this pub after you!’ The swan says, ‘What, Dave?’”

Dillon chuckled politely. Clarissa felt a flush of embarrassment. What had gotten into her? After a quiet moment he said, “The lake is just the color of a Turner watercolor, don’t you think?”

Clarissa bit her lip, searching her memory for Turner’s watercolors. When she confessed that she didn’t have a clear image of Turner’s paintings of lakes, Dillon said he would show her one. He wanted to go fetch his computer now, but she said no. “Tomorrow,” she said. “Eleven o’clock. We’ll meet in the kitchen.”

They said good night in the darkened kitchen. Clarissa impulsively reached over and took his hand. He was so kind, his eyes looking down at her warmly. “Good night,” she said. “It was a pleasure.”

He took her hand to his lips and gave her thumb a quick kiss. “Dear Clarissa,” he said. His low voice rumbled through her. She slipped away to her room without saying anything else. There would be tomorrow to talk.

In her room Clarissa lit a low lamp and looked at herself in the mirror. The evening had gone well, except for that ridiculous joke about the swan. In bed, she lay in the darkness, smelling the faint scent of laundry detergent on the sheets, feeling the sensation of her hand being brought up to his lips. As she was beginning to drift off, she heard a familiar voice say, What do you call a fish with no eyes? And the answer, Fsshh.

In the morning, Clarissa looked up more of his poems, but she refrained from looking up Turner’s work. A few minutes before 11:00, Clarissa wandered into the kitchen and sat casually at the table by the glass doors. The room was empty but for a staff member wiping up the floor with a mop. Clarissa poured herself another cup of tea, added a drop of cream, and sat back at the table.

She heard a door open in the hallway, footsteps, and the white-haired man she’d met her first night shuffled into the kitchen. He waved, then went out the door and down the gravel walk. The day was overcast again, though a suffused light came through the clouds. She could see figures down by the lake, people walking, but she couldn’t make them out, then their heads dipped below the rise of the lawn.

At 11:20, Carol pushed open the glass doors and entered the kitchen, her red hair wild around her face. She went over to the coffee machine and pushed the button for espresso. “How’s it going?” she said to Clarissa.

“Well enough. Is your work going well?”

“It has been, yes. Isabel seems to have taken off . . .” Carol glanced down toward the lake. “Taking a walk, I guess. Oh well, I need a break too. My husband is waiting for a phone call.” She sipped the espresso. “Don’t want him to think he’s forgotten, now, do we?” Behind her, the couple walking by the lake came into view again, this time close enough for Clarissa to see that it was Isabel and Dillon, walking slowly, thoughtfully, deep in conversation.

Back in her room, Clarissa looked up the painter J.M.W. Turner on her laptop. His paintings seemed to be mostly of the ocean, many of them set in Venice; only one reminded her of the lake at all. It was called “The Blue Rigi,” and was an image of a Swiss mountain, Mount Rigi, as seen from Lake Lucerne. The gray and blue colors were similar to the colors of the water last night. The painting reminded her of sadness.

She opened a new file. Jared’s eyes were gray, she wrote. They reminded me of a smooth gray stone. When he opened them in the morning, he would make a joke. He would be sick, about to vomit, knowing he was to die soon—and he would make a joke. A terrible joke, but a joke nonetheless. “How does a train eat? It goes chew, chew.”

She would write Jared alive on the page, for herself if for no one else. There was no more of him left in the world, no child with his smile. She would recreate him, breathing, making stupid jokes for her, Clarissa, just to get her to smile. Dillon Burnham wasn’t what was important to her life. She would smile when she created Jared again on the page, smile when she remembered his terrible, terrible jokes. What did the finger say to the thumb? I’m in glove with you. She would write about the way he tried to pretend he didn’t feel too bad, even as he grew pale, and the pain made him pant for breath. He did that for her. She would write about his death, how she told him to close his gray eyes and rest, not knowing he would never open them again. She would spend this entire residency writing Jared alive again, and then letting him die, and when she was ready—when she was good and ready, not a moment before—she would say goodbye.

   

Patricia O’Donnell is the author of the newly released novel, The Vigilance of Stars. Her other books include the novel Necessary Places, the memoir Waiting to Begin, and the short story collection Gods for Sale, which won the Serena McDonald Kennedy Award. Her short work has appeared in many places, including The New Yorker. She is a professor of Creative Writing in the University of Maine at Farmington’s BFA Program. 

“Sabine” by Bryan Price

“Rossore d’autunno” by Lisa Boardwine, Oil/Cold Wax on Panel, 8 x 8.

I am as unmated as a stray, liberated by flight and put to bad use—floating beyond the back of beyond. This is not unlike the outer space that follows good breathing. It has been a year without a recognizable kitchen, without the gurgle of the cat fountain, without the wet sound of the radiator interrupting all good sleep, without the steep drop from the bedroom window, without crosstalk in bed. Unmoored, I am trapped without your night voice. The half kitchen with electric griddle is no travesty, but it reinforces bad habits: hardly standing, drinking too much, eating from the cold cases at the liquor store. Against all good advice I take to the streets for air. I go to buy cigarettes. Flags pop in the wind. I sit against a chair fastened with a bicycle lock to a parking meter. She tells me I am saying Angela Merkel’s name wrong. She is laughing. She does not want to talk about politics. The look is one of remorse. We are silent before the sound of a fistfight moves like a storm across the asphalt. We are in its path.

   

Bryan Price’s poetry has appeared or is forthcoming in Manhattanville ReviewMenacing HedgePortland Review (online), and Posit. He lives and teaches in the suburbs of southern California where he writes about time, memory, utopia, and its opposite.

“Common Blackberry” by Kirsty MacKay

“Gilded” by Lisa Boardwine, Oil/Cold Wax on Panel, 12 x 12.

A woman floats on her back in the Sandy River under a rare Oregon sunshine. The layers of gray have given way to blue skies. The sun says to all the people below, “I’m still here!” She stays afloat with an occasional fluttering of her fingertips and, perhaps, some kind of buoyant dreaming. Growing along the opposite bank are thick and wild stream-fed blackberry bushes. The fruit dangles over the river. The underbrush rustles from waxwings and robins and meadowlarks that feed on the berries. The woman rises slowly from the water in her green bathing suit, noticing. As she carries no basket, she just takes a plump fruit and pops it into her mouth. She tastes fully, raising her shoulders with pleasure, and then reaches for another. With the sun warming her face and the water cooling her ankles, there is no craving for whipped cream for the berries, just the sweet taste of instant gratification. She is like a large water bird surrounded by the things that she needs. As she turns back to the water, you can see blackberry stains on her fingers, her lips, and her chin. The water reopens to her and washes her hands and face gently. She resonates joy like a laughing Buddha and goes to lie down on the sand; anyone watching has learned something without even having had a talk with the bather about her philosophy of life. The past is a phantom and the future never comes, or, perhaps—the fruit is ready; are you ready for the fruit?

   

Kirsty MacKay is a live storyteller who shares ancient stories from the Ohlone people of the South Bay. She has been writing poetry for roughly three decades while dealing with chronic issues of depression and anxiety. She considers herself to be a fairly recovered woman who remains, nonetheless, vulnerable. She also enjoys leading poetry strolls through parks, discussing the works of Wendell Berry, Mary Oliver, and Alice Walker.