“The Panamint Range” by Kirsty MacKay

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

I awoke at about 4 a.m. with salt-water-swollen eyelids. My comforter was ruffled up around my neck; its ridges looked like low-lying mountains. I imagined Death Valley’s ranges as black with blue streaks in their fissures.  Maybe I was in a windswept valley, surrounded by clay hills. I was frozen in my bed, only breathing. To stir meant relenting to a new day without Marie. Frozen was safer. I was not yet able to say infidelity or dissolution. For now, there was only kick-in-the-gut mornings and crying on people’s wicker furniture until they edged me out. 

I had really wanted to go to Death Valley in the spring of  ’05 for “the Bloom of the Century.” The New York Times had promised a “Technicolor Season,” due to massive rains in Southern California. However, sometime after planning the trip but before departing for the desert, Marie told me she was falling for someone else. I screamed at her over the phone to cancel because if we went on this trip, “We would be like divorced people on holiday!” 

She said, “I stand to lose around $600.” 

“Cancel! I don’t care anymore!” 

So the morning I woke up in my illusion of darkened hills embracing me, I was still debating on going it alone. I even researched whether a bus goes from Las Vegas into the national park. I had done things alone before. Five years prior, I moved up from California to Oregon to be with Marie in Portland. I had a sick moment of picturing myself heart-broken in Las Vegas trying to find a bus out of there.

I stared wide-eyed at some realities of my life as the contours and colors of my bedcovers defined themselves in the morning light. I needed my family, my friends, my acquaintances and familiar street corners. I needed my mother to make me a cup of tea and my father to put the tearing grief into exact words and help me to detach. 

Marie arranged for her ticket miles to be claimed later. She re-routed my own ticket to my parents’ house, at a penalty. I spared my heart the telescopic mirage of having while not having—traversing a valley of poppies and primrose with a woman steadily disappearing in plain sight. I missed the Hundred Year Bloom and surfed the net instead for wildflowers of the Mojave Desert. I yearn to go to Death Valley National Monument in person and see a Mojavea breviflora in the flesh. 

   

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.

“Night Fishing” by Whitney Curry Wimbish

“Passage of Time” by Lisa Boardwine, 12 x 12, Oil/Cold Wax on Panel.

Abel’s twin sister had died a modest death, not the spectacular one friends and family feared, or privately expected. An aid worker traveling the world should perish operatically, from the sudden outbreak of civil war or the contraction of a rare deadly virus. Yet Ariel died during a work meeting when she leaned too far back in her chair and fatally struck her head. Abel’s parents phoned him at his own job to deliver the news, and for several long moments he stared out the window, waiting for the words to resolve into meaning. In that period of shock his thoughts drifted in and out of arguments he’d had with Ariel over the years, and it occurred to him that he finally had proof his job ensuring regulatory compliance at Deloitte was indeed the better career. Here were comfortable chairs made to lean back. Here was a floor that could hurt no one, covered as it was with a plush carpet. He thought, miserably, that for once he could have said what she did every time they argued about career choices: “I win.”

It was a year later when Abel arrived in Cambodia. He’d put off the trip in order to receive several vaccinations, including one against Japanese Encephalitis, though it was unlikely he’d contract it, and because he wanted to avoid the rainy season, and because he had always been afraid to fly, and because, most of all, he wasn’t sure if he could do it alone. His bravest moment in life had been accepting an internship in New York City immediately after graduating from the University of North Dakota. It was his first offer and he wasn’t sure he’d get another; He had been terrified to walk the block and a half between his apartment and the office for at least half a year. The internship turned into a job, and since then, his only trips were back home to Grand Forks. He’d never visited Ariel at any of her postings, though she visited him at least annually.  

His plane touched down at 9 p.m. and he hired a motodop, as recommended by his travel guide.

“English?” the man asked. “French?”

“English,” Abel said. “Or American.”

“Oh. Comedian. You speak Comedian.”

Abel wished he was the kind of person who could seize the moment and extend his half-hearted joke into a playful exchange. Instead he named his guest house and handed the man a printout of the address written in English and in Khmer. Through the busy city center the man bobbed and weaved, and Abel held him around the waist, as he saw was the custom for men and women alike. The driver’s body was relaxed and safe. He delivered Abel to the right address and Abel clutched his backpack to his chest as he watched him go.

It was hot. The lane was quiet and pockmarked. Vines strained against the tall cement fences. The heavy air smelled of jasmine and garbage and bore the sound of a million tiny wings.

Was it jetlag or something else that woke him at dawn? He wandered out to the porch and saw for the first time what Ariel must have seen every day, early riser that she’d been. A watercolor sky. Thickening haze. Trees and tall grasses wet and bright.

And there at the far end of the porch was Ariel herself, sitting in a wicker chair. She wore shorts and a sleeveless shirt and was pouring cream into a glass of ice coffee. It moved through the liquid like it was alive. Another glass sat on a low table in front of a second chair.

“Coffee?” she said.

Abel wanted to scream in her face. Pour out his tears. Embrace her and never let go. But the setting was so calm, her posture so relaxed, that the impulse evaporated. In its place: a pointless flicker of hope.

Ariel pushed a list across the table. “Can you get me this stuff?”

The curvaceous Khmer script was indecipherable to Abel.

“Ok, but – ”

“Go to Orussey and then go to Tuol Tom Poung.”

“Ariel, can you just – ”

“Hey, want to see something?”

She reached into a backpack. When she turned back she was wearing the wooden mask of a demon. One eye was closed and slashed across the eyelid, the other wide open and bulging. From bright red lips poked two fangs.

“Boo!” she said.

Abel stared at her.

“I’m a ghost!”

“No kidding.”

Ariel shimmied and wiggled her fingers. “Ooooooo,” she said. Then louder, leaning forward. “OOOOOOO!”

“Okay! Jeez.”

“According to folk tales here, if you shake your bare ass at a ghost, it will get scared and go away. Isn’t that great?”

Abel’s laugh was genuine. “Would that work on you?”

“No.” Ariel took off the mask.

Abel stood at the curb to hail a tuk-tuk and another guest house resident came to stand beside him, a white woman in a white linen dress with a white leather purse and a big floppy straw hat. Abel fidgeted and hoped she would leave him alone.

“It is so, so hot out, isn’t it?” she said. She retrieved a fan from her purse and thworped it open with a flick of the wrist. She held it before her face and waved it with a fussy little motion.

“It’s so nice to see another expat here,” she said. “I’ve been here for a year now, volunteering.”

Abel’s smile was a closed door. He scanned the traffic.

“You’re going to love it,” she said. “It’s so pretty, there’s a ton to do. Oh – there’s an expat party every second Tuesday at Sunny’s, so that’s coming up and everyone goes. You should come!”

“Hm.” No tuk-tuks, no motodops, no taxis.

“Let’s see, what else. We hang out on Street 140. Check out Pontoon Bar. It’s a bar on a pontoon. Buy some lotus seeds and feed the monkeys as soon as you can. It’s so fun. And make sure you get a pair of shoes made. All the expats have some. They make them exactly to your specs.”  

Abel did not want to do any of that. He wanted to see what his sister saw in her last days, just a glimpse, maybe understand finally why she kept travelling so far from home. And then he wanted to leave. But suddenly he also wanted something else, some way to dispel the welter of anger he was surprised to feel. He met the woman’s eye after a beat.

“You keep saying ‘expat,’” he said. “What do you mean, exactly?”

“You know, someone who moves here.”

“So, an immigrant?”

The woman looked at him blankly.

“People from El Salvador, then,” he said. “Nigeria.”

The woman cocked her head. Abel pressed on. “You mean white, no?” His voice rose. “White people are so fucking special, so they get the special word.”

“I never really thought about it.”

“You never thought about it,” he said. “Cool.”

“I don’t know what you’re getting so mad at me for. I’m trying to help.”

Abel had never picked a fight with a stranger before, but it wasn’t fair this lady got to be here instead of Ariel, who had made fun of words like “expat” and phrases like “friendly fire.” He reached for the worst thing he could think of and ignored the tightness in his chest. “Well you should try harder.” He willed his voice not to crack. “Because otherwise what good are you.”

Stalls of spices, of vegetables, of freshly butchered meat. A vendor of deep-fried insects and tiny flattened frogs, tossed in oil and salt and eaten one after another like potato chips. A stall of hot peppers whose proprietor wore thick rubber gloves.

Abel wandered towards the back and found a series of food stalls around a big fire pit that filled the space with smoke. He greeted a vendor and pointed to a plate of food someone else was eating. With quick precision she produced another of the same: a wide eggy crepe filled with bean sprouts and leafy greens. It hung over the plate and he took a bite of one edge, as he would have a plain slice. The woman was looking past Abel at the next in line, so he moved on to a communal table and pretended not to understand when a table of English-speaking men asked where he was from. Two of the men had broken off from the others.

“At the beer garden, these girls – ‘Beer Girls’ – they come up and give you a massage, and if you give them more money, they’ll do more,” one in a suit said.

“Oh man, that’s awesome,” the other said and raised his hand to receive a high-five.

The first was distracted by his phone. “Wait – sorry bud,” he said. “I gotta head back. You go on without me.”

“Man, the embassy works you guys so hard.”

Ariel was waiting again in the early morning and Abel handed her the sacks of groceries. He passed her the list, each item ticked off.

“Thanks,” she said. “Now we can get started.”

The food came together like magic, neat cabbage-leaf parcels of minced pork and herbs, tied with a length of lemongrass.

“So on balance, ‘aid worker’ is kind of a misnomer,” she said.

Abel made a face. “What are you talking about?”

“‘Aid worker’ sounds nice, but it’s kind of bullshit.”

“But you worked for the UN,” Abel said. “That’s no joke.”

“It kind of is.”

“You guys went around, giving people money and stuff. That’s good, that gives people security. When you’re secure, you’re happy!”

Ariel’s hands were busy. The cabbage rolls multiplied by the hundreds. “There’s more to it than that.”

Another list. A different market. In the morning he found this one outside the center of town, near the Japanese Embassy. Rougher. Smaller. The tarps covering the outermost stalls were frayed around the edges and whipped the air. A storm was rapidly gathering in a sky that minutes before had been clear. The street emptied.

Abel bought a plate of food and sat on a stool to watch the rain fall in sheets. A tiny girl approached and extended her hand. Six years old? Five? She was dressed in rags and held a baby on one hip. Its arms hung limp and its mouth was open.

“Please,” she said in English. She patted Abel’s arm with a bird’s fluttery staccato. She shifted the baby to her other hip. Abel dug into his pocket and held out a dollar bill, worth many times over the local currency. She hesitated before taking it. “Please,” she said again. Abel thought back to his guide book; he was meant to turn away now to show he would give no more. The girl stood by his side for a long moment. A man from behind the counter glanced at Abel and handed the girl a skewer of meat, the same kind stacked high on Abel’s plate. The man spoke a few words to the girl and for an instant her too-adult countenance transformed as she smiled. Another child appeared and the two took turns eating and holding the baby. Its head lolled back.

An enormous pot simmered on the stove. Noodles gleamed in thick brown sauce. A whole fish was fried and golden, its skin slashed into diamonds. The kitchen smelled of freshwater and wood smoke, of oil and ginger and sweet grasses and history.

“The Khmer Rouge wiped out the country’s whole culinary tradition,” Ariel said. “And now people are trying to remember the old recipes.” She was issuing statements like this, one after another. “Did you know there was a big rock scene here before the KR?” Her face was obscured by steam. “Did you know the country was once a matriarchy?”

She sent Abel out twice more. Two more days of heat and humidity and grit in the folds of his skin. He went to the killing fields and stared at a tower of skulls. Afterwards he heeded his intense desire to stand barefoot in the fine dirt, to physically feel the earth beneath him more intimately than he could with shoes. He ignored the sidelong looks of other tourists.

“Hope you’re hungry,” Ariel said that night. “Dinner’s ready.” There was a long table that stretched forever, laden with endless plates of food. The Cambodian ones came first, followed by those of a dozen other nations, everything beautiful and enticing, valuable in a way Abel could not precisely explain. They sat facing each other and Ariel stretched her arms wide to indicate the bounty. She folded her hands in prayer and closed her eyes. “Dear God,” she said, and frowned. “Actually, what am I saying, it’s just us here.”   

When they were young, Ariel would always say “this is what heaven must be like” every time they went to Whitman’s Candy Store in Fargo, and in adulthood, she transferred the ritual to restaurants. When she visited Abel in New York for their 30th birthday, she said it of a fancy uptown hotspot Abel chose in the hopes of pleasing her. But she would have said it of the corner diner. And now, here, in this dreamstate or purgatory or whatever it was, she said it again, and for the first time Abel did not think the phrase was sentimental nonsense. And then the forces at work transported him backwards in time, and he saw himself in the year since Ariel died, checking off his to-do lists, saving his money. He saw himself come straight home from work, night after night after night, double-lock his door, and sob.

In the morning Abel had coffee in the guesthouse café and watched fellow travelers discuss what they would do that day. Shopping figured heavily into their plans. Massages. High tea at the big fancy hotel. The dollar went so far here. They lamented the city’s poverty and promised to make donations. They considered visiting the genocide museum and decided against it. It was, after all, awfully grim for a vacation.

Abel wandered the streets without aim, around a wat where monks in orange robes played Candy Crush on their cell phones. He bought noodles from a food cart, tried to squat low to the ground and eat like the locals, found he could not. The beef and egg and chilies and fresh greens were straightforward and nourishing.

After nightfall Abel walked past a throbbing party and saw it was Sunny’s. Today was the correct Tuesday and the enormous outdoor garden was packed. The party was sweaty, loud, and it stank. He walked on and soon found himself along the Tonle Sap River. Past the Foreign Correspondents Club and its own hectic gathering. Past motodops. Past taxi girls dressed up and waiting. They walked expertly over the gravel in their stilettos. Abel crossed a causeway to the dark silence of the river’s other side. He stood on the shore. Let his eyes adjust. There ahead, the silhouette of a long canoe. The figure within flung a net wide and it slapped the water. He pulled it in. Repeated the motion. The sound was clockwork, a hand measuring time. The boat passed beneath the bridge. Then it was gone.

   

Whitney Curry Wimbish 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.

“The Hospital” by Suzanne Burns

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

For a week I sit by your bedside
while nurses come and go, medicine
to clear the alcohol from your blood,
your bones, rising and falling,
your thin finger, now bony, sheathed
at the tip in a steady red beat
to monitor how well you breathe during sleep.

Mostly, you sleep. Hardly touch
any food I try bringing while your wife,
moved south with all of your things,
feigns concern on the phone, while women
you dated, sexted, who knows what
after she left, text you as I hold your hand
until I block them all for my peace,
my family thinking I am such a good friend
to never leave your side while we fight
on and off about your indiscretions
but never about your drinking.

As you sleep your way to sobriety
I cry into tuna salad in the cafeteria downstairs,
a larger scoop given to me each day
by the man behind the counter who wants to know
if I need a punch card, I’ve been there so long.

I try to pray my Catholic prayers into
your Buddhist heart—
we both carry around a lot of beads—
but the hospital chapel sits closed for repairs,
a leaking roof, the worst storm in years
I drive day and night and day through
just to watch you sleep.



Suzanne Burns writes both poetry and prose. This poem is in her full-length collection, Look At All the Colors Hidden Here.

“Peeling an Orange” by Suzanne Burns

“Storie di Pietra” by Lisa Boardwine, 12 x 12, Oil/Cold Wax on Panel.

You sit cross-legged on your bed
like nothing ever happened the day
Your roommate, back in town,
hands me money to buy beer at the store
when he hears I am going shopping.

I buy blueberries you will never eat,
salmon you will place in your freezer and forget,
organic peanut butter, a bag of Mandarin oranges.

Mandarin oranges, we both know, will not cure you,
the nurses and doctors letting you go
once the alcohol is gone, knowing
it will find its way back to you in a month or two
of being left alone while I go back
to my husband and watch him drink,

the pendulum I will swing on for months
before leaving, many fights, many drinks,
guilt, bargaining, apologies,

but this afternoon we pretend
you are healed and everything
will be like it is in an Afterschool Special
we both grew up watching,

the handsome, troubled boy
sitting on the edge of the bed peeling
an orange the neighbor girl brought him.

Look, they marvel, it is so juicy.
Look, they exclaim, like it’s the single most important revelation,
there aren’t even any seeds.

   

Suzanne Burns writes both poetry and prose. This poem is from her full-length collection, Look At All the Colors Hidden Here.

“There is No Point” by John Riley

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

for Liz

You’re dead today I learned before the meeting at noon
where I watched a white spider travel from the room to the hall
spitting and stringing a new home the janitor
will tear down when he returns from lunch
for it’s a clean church that does much good
and will always slaughter the spiders and they will still come.
My seat—it was a pew—was soft and provided
me a place to watch the spider work away.
I swear he never stopped to take a sip
from the shiny, clean fountain waiting below,
was never tempted to turn from learning to sew
and try to escape a relentless, soundless fear.
His head will never be seized by the despair
that could make a slight girl fall into my old arms
as we stood in the middle of a similar big room.
I had learned not long before that day
there was no talking any of us from wanting to dive
off the highest point, much higher than the spider worked,
and you slowly stopped crying and thanked me, smiling nervously.
Over the few months left you would poke my ample belly
and tell me I should lose that gut
because you wanted me to stick around
for the next time you needed an old guy to hold you up.
I’d like you to know I stayed, gone child, though some days
I too want to turn and walk into the dark
toward that tower but I know it’s an illusion,
there is no point so high we forget we are alive.




John Riley 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.

Homepage Spring 2019

“Winter Into Spring” by Lisa Boardwine, Oil/Cold Wax on Panel, 12 x 12.

Welcome to our April issue with the theme of “PEELING.” I considered this theme for a long time before settling on it, mostly wondering if it would be “right” for this (or any) issue. Then I discovered the beautiful and evocative abstract paintings of Lisa Boardwine. When I approached Lisa about the possibility of using her work to illustrate this issue, she said that much of her work involves peeling away the surfaces to reveal the hidden colors and textures beneath. And isn’t that a perfect metaphor for life? Aren’t we all accreting layers and subsequently peeling them away to reveal our truer, more beautiful selves? Once Lisa was on board, I knew we had found our perfect theme, so PEELING it is.

We have several new and emerging writers in this issue–a fact that always makes me proud to do this work. Also a wonderful Shorts On Survival piece in a collective voice. We even have several authors with multiple short pieces in this issue.

My sincere hope is that the fine writing and beautiful artwork in this issue offers you some light in the darkness, a measure of healing laughter, and/or the gift of cathartic tears. As always, thank you for reading.

Yours in Recovery,

Mary Akers
Editor-in-chief

Homepage Winter 2019

All artwork appears with permission of Anna Rac.

Welcome to our January issue “BY DESIGN,” featuring some wonderful poems, stories, essays, and flash all complimented by images from the wonderful abstract paintings of Anna Rac who generously supplied us with artwork for this issue.

We have quite a few new or emerging writers in this issue–a fact that always makes me proud to do this work.

My hope is that the fine writing and artwork in this issue offers you some light in the darkness, healing laughter, or cathartic tears. And as always, thank you for reading.

Yours in Recovery,

Mary Akers
Editor-in-chief

“Low-/Tide Heart of Mine” by Jennifer Martelli

Painting by Anna Rac.

That summer I put down my last drug, I stood

on my board & paddled around the tide pools

at Short Beach, above the hermit crabs

scuttling over purple rocks looking for new

homes & below planes landing, coming

back, so low I could see their metal bellies.

I cut through the hot solstice air, my balance

steady enough I could look over my shoulder,

back to the beach: kids, some crying, a small dog

chased a gull fat with fried food, & I think now

I was happy, or if not happy, nothing fed this low-

tide heart of mine. I remember it was mid-

year & I had yet to give back even an inch of light.




Jennifer Martelli is the author of My Tarantella (forthcoming, Bordighera Press), as well as the chapbook, After Bird (Grey Book Press, winner of the open reading, 2016). Her work has appeared or will appear in Verse Daily, The Sonora Review, Iron Horse Review (winner, Photo Finish contest), The Sycamore Review, Sugar House, Superstition Review, Thrush, and Tinderbox Poetry Journal. Her prose and artwork have been published in Five-2-One, The Baltimore Review, and Green Mountains Review. Jennifer Martelli has been nominated for Pushcart and Best of the Net Prizes and is the recipient of the Massachusetts Cultural Council Grant in Poetry. She is a poetry editor for The Mom Egg Review.

“The Broken Cherry, the Poplar, the Yew” by Jennifer Martelli

Painting by Anna Rac.

One Halloween when I was a child, my mother taught me how to make ghosts
from tissue & silk thread tied around their necks. We’d hang them

from the old trees: the broken cherry, the poplar, the yew. The Italian woman next door
left tomatoes from her garden on our back porch, some so fat & ripe

they split & spilt their seeds. We forgot to bring them in, left them out back
on the kidney patio, by the dying orange cosmos. During childbirth—my birth–

they gave my mother forgetting drugs & the straps
to hold her down were lambs’ wool so they wouldn’t leave marks

around her wrists & ankles & behind her knees & remind her
of the pain. She didn’t remember this of course. I remember her

forgetting, it started with numbers, then clocks, then faces. I remember
anybody who ever forgot me. My heart opens a space for a whole autumn night.

I remember the picket fence around our yard, the one with the gate & the old man
with the accordion against his flannel chest. He’d play these slow, slow songs

from another country, or songs I’d never heard here. He’d play that thing
through fall until the first frost & the air rushed too cold through the expanding folds.




Jennifer Martelli is the author of My Tarantella (forthcoming, Bordighera Press), as well as the chapbook, After Bird (Grey Book Press, winner of the open reading, 2016). Her work has appeared or will appear in Verse Daily, The Sonora Review, Iron Horse Review (winner, Photo Finish contest), The Sycamore Review, Sugar House, Superstition Review, Thrush, and Tinderbox Poetry Journal. Her prose and artwork have been published in Five-2-One, The Baltimore Review, and Green Mountains Review. Jennifer Martelli has been nominated for Pushcart and Best of the Net Prizes and is the recipient of the Massachusetts Cultural Council Grant in Poetry. She is a poetry editor for The Mom Egg Review.

“Between the Living and the Dead: A Chernobyl Monologue” by Stacey Johnson

Painting by Anna Rac.

The name means black event: think 350 Hiroshimas. You’d drive out of town, see a cow wrapped in cellophane. Beside her, an old woman, also in cellophane.

            Dogs and cats did not know to be afraid. Soldiers came to shoot them for their radioactive fur, loading the bodies in trucks. We wondered, What about the birds?

            The bees knew first. They did not return for six years. It became a crime to eat the tomatoes from our gardens. They made us pour out the milk. I had a cat, Vaska, who saved me from being eaten by rats in my bed, but in the winter he was gone. Starving cats ate their kittens.

            Warnings came: breast milk was radioactive.

            Who’s to blame? was a question we only asked in the beginning. Later it was simply, What now?

            An infant, mouth to his ears and no ears. Another born like a sac: no eyes, no mouth, four operations before her fourth day. It took four years to get them to admit that the reactor was the cause. The mother needed to know that it was not the fault of their love.

            Soldiers removed the top layer of soil. Everything alive was contaminated. They drank vodka with goose shit, for protection.

            It’s an old story: Prometheus steals fire, Adam bites the apple, Frankenstein defies death. They called the atom the peaceful worker. They laughed in the face of God and then the reactor blew up. Then they told us: here is punishment for our sins. I ripped my dress on a fence; my brother broke a milk bottle. We hid these transgressions from our mother.

            In school, children drew upside-down trees, red rivers, and cried. In the abandoned areas, time moved anyway, without people around. Like childhood, said the old man before he died.

            Did you hear about the priest called to Auschwitz? When the Nazis announced plans to starve men to death, he said, “Take me instead.” He sang aloud for three weeks until he got lethal injection. Unless a grain of wheat falls to the earth and dies, it remains alone. He knew. There are better shields than flesh, but you work with what you are given.

            See the woman: In her yard are the bodies of her parents, brother, husband, daughter. I love my graves, she says, as she tends to them, singing.

            Her husband was a liquidator. The doctors said, stay away, that is no longer a man. In the final days, bits of his skin would come off in her hand where she held him. It took fourteen days for his liver to come spewing out of his mouth.

            Here is no mystery: flesh tears, bacteria invade.

            Nails hold a body at its weakest point, against the wood of the tree of knowledge, fastened on a crossbeam of cypress.

            If no one looks for the body in the tomb, then no resurrection. The women went. They hid in the ancient forests and crawled back under the barbed wire. Now they tend chickens.

            Most walked away, to escape contamination. But this should tell you something. Outside the Zone, they labeled the milk: “for children” and “for adults.”

            With Hiroshima at least you could see the cloud. This melts you from the inside out. One day we were sitting in the garden and the apple trees were right there, blooming, but we couldn’t smell anything.

            Uranium decomposition: 238 half-lives. A billion years.

            Thorium: 14 billion. How do you hold that?

            What can you hold?  A cat, a potato, a hand.

            Don’t you worry about looters? the soldiers ask.

            To steal what, my soul?

            The dead are here, in the yard. You can talk to them just like the living.

            The baby looked healthy, but I buried her at my husband’s feet. Cirrhosis of the liver, congenital heart disease: she absorbed the shock and I lived.

            We were prepared for bombs. But the atom is everywhere. We learned to fear rain, snow, and love. How do you protect yourself from the things you cannot see?

            Stories are always dog eat dog, man vs. nature, David and Goliath. But the monster beneath our beds we learn not to talk about; it lives in the spaces we abandon. Adults tell children, if you can’t see it, it must not exist.

            I saw cesium pieces in my yard: bright colors the size of my handkerchief. Then I was not afraid, and I sat watching the birds and the elk and the planes that flew back and forth from the reactor, looking for answers.

            If you remember the famine, it’s hunger, not radiation, that scares you. So cook the mushrooms and the wolves howl around your house and you sing.

            Outside, we are lepers. Here, we wait together. Tell me, Who is the victim and who is the priest?  Here we are both.

            There is a man who stalks the reactor now, keeping watch. He explores the rubble, the rooms no one else will go into. There are thousands of workers tasked with erecting a sarcophagus around the site. He is keeping watch for them. He returns daily to the thing that kills him. He calls it his main enemy, his main friend.

            What else can we hold it with, but our bodies? We need to place our fingers in the wounds.

            If I stay alive, he says, I will leave the factory, become a shepherd.

            Come inside now. I have jam from the garden. Oh my legs, I don’t want to stand anymore. Sit with me, drink.  Look!



Stacey Johnson writes and teaches in San Diego County, where she is a current MFA candidate at San Diego State University. Her work has appeared in The Adirondack Review, A Year In Ink, and various small online publications. She lives with her daughter, Grace, who inspires everything.