Micros
AN ECHO IS FOREVER by David Luntz
Owls hoot to each other across dusking hills—the medieval whorehouses in Genoa are rediscovering electricity—news of masts spotted earlier on the horizon has circled back to them, which they’d divined already, for the seagulls took off from the harbor walls hours before—still, the whores step out onto their balconies, float up to the blanched rooftops, hoot to each other through rising stalks of stars swaying in the dark grange of night—they’re dreaming of sleeping in silk dresses, bathing in gold florins, myrrh and musk, tracing with inward eyes the moonlit-draped, rudder-furrowed wakes of phosphorous, the billowing sash of earth’s shadow smothering stars, burgeoning sails and masts growing ever-taller, getting closer, buzzing, buzzing, shriller than the summoning bells behind their locked doors, until they get so close those suave ladies glean that most precious secret all those learned scribes and bishops are too afraid to whisper—the world is round.
April 3, 2025
Fiction
SOLITUDE by Sebastian Castillo
The purchasing of books is life’s finest pleasure. And while I often have a stack of them unread, they are read eventually, and therefore this habit does not seem excessive or indulgent to me. It is perhaps a bourgeois affectation—there is something embarrassing of an over-large personal library—but there are certainly less healthy ways to spend one’s money. I am no stranger to that, certainly. If God and constancy may will it, that period of my life is closed shut, like a book I’d like to forget entirely. Those pages are wine-soaked anyhow, grainy with drug-powder, the words to those many stories smudged and barely legible. Yet unfortunately, I had upset an important balance: I was buying too many. If I bought, say, four books, I would read three of them immediately, and leave the last for some later time. But now I was acquiring more than ever. While I am a prodigious reader, I couldn’t keep up. Yes, I am one of the top admirers of literature in the world, currently, and anyone in my life (the few, that is) can attest to that. So, as you can see, this position of mine had gotten the better of me. I could count at least 150 books in my possession I had not yet read. Many of these books were purchased during various publisher’s and bookseller’s flash sales, when a $18 paperback can be purchased for a measly six, shipping included. It’s hard to stop oneself in those moments, erratically clicking on as many attractive titles as memory allowed me to recall. And now, well, 150 books! That’s simply too many left unread in one’s possession, and so I promised myself I would buy no more until that pile had shrunk by half. And, in the case I badly wanted to read a book I did not have access to, very badly wanted to do this, then I would either have to wait, or see if it was available at the public library. God, grant me constancy!I went to the library to acquire Too Loud a Solitude by Bohumil Hrabal. This book had been recommended to me by a well-meaning friend. The recommender, the doorman of my building, said it read to him like something I would dream (I often tell him my dreams, for he is the only friend who tolerates this, always a smile on plump Horacio’s cherubic face). Well, of course I found this comparison flattering, and felt I needed to read it as soon as possible. Sometimes books announce their presence to you, like some vagabond courier knocking haggard upon the castle walls with an important message. Leaving the library with the slim volume (it is a mere 80-page novella, among the best kinds of books there are), I flipped through its pages and was left agog: the prior library patron had annotated it. And not merely lightly annotated—they had underlined, circled, and written words in the margins of almost every page of the book. It is a public book, and they had made it private. My reading, effectively, had doubled: not only would I read Too Loud a Solitude by Bohumil Hrabal, but I’d have to read this phantom reader’s version as well. I considered returning it. I did not want this person’s version of Too Loud a Solitude. I didn’t even know them. What if they had very bad ideas? I feared their version of the novella would merge with the one printed by the publisher, and they would, unknowingly, from the past, destroy the effects of this book on me.I tried to ignore this phantom reader’s pointing and gesturing as I read. The plot of the book was simple enough: an old man destroys books using a hydraulic press. It is not clear why. He is completely insane and an alcoholic. But why did this phantom reader insist on underlining the fact that this drunk and insane man had worked at this hydraulic press for 35 years? The narrator repeats this fact, it’s true, yet this reader felt it necessary to highlight the number of years every time. I could not feel anything but contempt for this version of Too Loud a Solitude by Bohumil Hrabal. It does not matter that this old man has been at this work of destroying books for 35 years. It could have been 40 years, or 20. The effect would remain the same. The author had merely made an arbitrary decision. 35 years. Yes, authors enjoy doing a bit of this all the time: the marquis went out at seven in the evening and so on. The curtains in my room are blue (they are white).This phantom reader-cum-writer (for now, they had written their own version of Too Loud a Solitude by Bohumil Hrabal, which we could call Too Loud a Solitude by Bohumil Hrabal 2, or perhaps, My Too Loud a Solitude by Bohumil Hrabal by Anonymous) had many things to say about the book in question. Some of their marginal notes said: “love for destruction” and “destruction” and “against common sense” and “discovery” and “loneliness in society” and “weird tenderness to work tools” and “power of books” and “USSR?” and at the end of the book were a series of furious notes, completely and utterly illegible.Was this person fucking stupid? Were they just a fucking complete fucking idiot? A total degenerate moron? They had heavily underlined or added multiple stars (drawn as if the person holding the pen were in fact an illiterate child or a mental invalid) to the following words or phrases: “slaughterhouse” (heavily underlined, starred), “too loud a solitude” (heavily starred, if you can believe it), “the heavens are not humane” (underlined multiple times), “too loud a solitude” again (heavily starred, again). When I had finally reached the end of Too Loud a Solitude by Bohumil Hrabal, I felt annihilated. Not by the novel in question, no, but by this phantom reader-cum-writer’s new version of the book. Their stupidity, I found, was so boundless I felt certain then that the human project was completely doomed. Completely, utterly doomed. Nothing would ever get better. Things would only get worse. Every day, I realized, was a testament to this fact: life itself was the experience of being surrounded by entropy, atrophy, and necrosis. But most importantly, it was a testament to boundless stupidity. Nothing should have existed in the first place. And in fact, it was the stupidity of nothingness to have created existence by accident.I realized, then, there was only one thing left for me to do. I would either have to hang myself (the thought of which turned my stomach), or I would have to kill this person. Anonymous. For they had done something of irreparable harm: they had forever damaged Too Loud a Solitude by Bohumil Hrabal which had led me to lose complete faith in the human project. I could not merely go out and buy myself my own copy and read it again, unsullied by this silly and ridiculous and more importantly, very stupid person. That initial phantom reading will have forever imprinted on me, and therefore, completely and utterly destroyed Too Loud a Solitude by Bohumil Hrabal—a book, incidentally, I did not really like, which is in many ways beside the point. The only punishment I could fathom was to end their life. Because then I could say we will truly have had a tit-for-tat: I will have altered the course of their existence (by ending it) in exchange for their having ruined my experience of Too Loud a Solitude by Bohumil Hrabal, a book I didn’t like, and more importantly for causing me to lose faith in the human project. It’s possible I would have liked this book much more had I not first encountered it in this fallen state, and perhaps then, I could have gone on living in a satisfactory manner. The human project could have seemed salvageable. I could have continued to eat breakfast and so on, I could have continued to make love with beautiful women and so on, but now I had lost complete faith in the human project, and everything, utterly everything, had become equally ruined.But, of course, I first needed to find out who they were. This proved trickier than I imagined, the more I thought of it: I had assumed, perhaps incorrectly, that it was the previous library patron who had done this. But in fact, it could have been the patron before that one, or the one before that, or the antepenultimate lender. The more I thought of this possibility, the more I felt enraged: they had not only permanently ruined this book for me, but for, perhaps, an entire population of readers. There could, by all rights, be a small city of now permanently damaged readers, who are to walk around for the rest of their lives with this version of Too Loud a Solitude by Bohumil Hrabal residing within their forever diminished personhood. So, in fact, one of the reasons the human project was doomed, utterly and completely doomed, could have been for the fact that—given so many readers had read this version of this version of Too Loud a Solitude by Bohumil Hrabal—they too had given up on the human project, and they too had lost the will to improve the conditions of life in any achievable fashion. And if this were to happen to several people, all from the same source, then that hopelessness would spread like a bacterium. And as we know, when something of that nature goes untreated, it’s over. It’s completely over. In many ways, I thought to myself, it was conceivable that this version of Too Loud a Solitude by Bohumil Hrabal could be the inaugurating gesture of the human apocalypse itself. If I did not do something about it, if I did not stop it right then and there, I would be allowing the annihilation of all that was good and true and meaningful on our planet. I was so overwhelmed by the realization I felt the need to consume my third bowl of chocolate cereal for the day (I would typically admit only two), and this I always did in my study, which I called my suicide den, where I kept all my books, hundreds of them scattered in idiosyncratically designed piles for reasons which I cannot address.It struck me, then, that the passage of my thinking had led me off toward an unexpected detour: while at first I thought I had lost all faith in the human project—and, indeed, I had—I was now, quite ironically, put in the position to save the possibility of the human being by ensuring that no other person would ever read this book. If some of the damage had already been done, and surely it had, I could at the very least stop it dead in its tracks. And so, of course, while some people, a small band of citizens, surely, will have been permanently damaged (and I forever would be one among their number—their leader?), I had the power to prevent this insipid disease from spreading, and in that way, save the possibility of the human being. And yet: I felt a profound sympathy for my fellow comrades. Who were they? Had they all hanged themselves? Perhaps they were spreading their necrosis—no fault of their own—in our little community, irreparably poisoning all with ears to hear. So now, I realized, my labor had not doubled, but grown exponentially: not only would I have to kill Anonymous, this phantom reader-cum-writer, but I would have to kill all who had read this volume—out of pity, and diligence, of course—so that they could not spread their human necrosis as a result of having read Too Loud a Solitude by Bohumil Hrabal by Anonymous.This would be much easier than I had at first anticipated. My only other friend in the world, besides Horacio, was Sherman, the steward of our public library. Now, this might strike one as curious. How could such a prodigious purchaser of books be on good terms with a librarian? Surely, one might think that the average librarian would treat me with a bit of suspicion: I was a profligate and erratic purchaser of books. But no, this was not the case. Sherman was my next-door neighbor. I live in 7-H and he lives in 7-G. In fact, it was Sherman who had convinced me to come to the library in the first place: I was carrying inside a bundle of books that had recently been delivered to me, when I complained about the excess of my habit, in passing. Sherman, ever the perfectly polite neighbor, chuckled and said, “You should stop by the library, then,” he said, “not that you’ll need it, it seems.” I admit to having found this last remark a little distasteful. Not that I would need it? One always needs books. More and more books… For there is nothing but books. (People are disposable. The human project is doomed, after all. But books are something else, and of course literature is better than life.) I forgave him for his careless comment, but I have not forgotten it. In the morning I knocked on Sherman’s door. He had just finished his breakfast and was preparing to leave for work. I sheepishly submitted to him my request: is there any chance he could tell me how many people had rented out Too Loud a Solitude by Bohumil Hrabal, and, if so, could he give me their names? I crafted an excuse: I wanted to do an art project, I said (an art project!): I would photograph, and interview each prior patron who had rented the book, and I would have an individual discussion with each of them. This way, I said, all of these prior patrons will have unwittingly been in a book club, in the future, without knowing it; and by sharing their unique perspective on the book, the art project would demonstrate the importance and trans-historical value of literature, that great unifier of the human project, I said. Once finished, I would collect these interviews in a book, which I would call Solitude. “I’m really not supposed to do that sort of thing,” he said. I could see Sherman was chuffed. Bits of flax seed stuck unattractively to his teeth, and I could hear his toddler child sing a dullard song to herself from the living room. She threw her toy at the toy dog. “But that’s such a great idea. I’m sure our director would agree. We’re always trying to find some way to drum up interest in the library. I would have to get his permission. Come by later, and I’ll see what I can do.”I was thrilled. Little did he know, of course, that he had just quite literally signed several people’s death warrants. For indeed I would seek out each one of these patrons, and need to kill them all. My logic was: if I confronted Anonymous about his scribbles, if I approached this strange idiot man at his house with a copy of this version of Too Loud a Solitude by Bohumil Hrabal and, shaking the slim volume, asked, “Did you do this? Did you mark up this library book?” he would naturally lie. There is no denying he would lie. And so, as a safety precaution, I would have to kill each and every single one of these readers of this version of Too Loud a Solitude by Bohumil Hrabal, to ensure the success of my plan. I would be the last living being poisoned by this text, I would have to suffer that my whole life, but I will have stopped an inchoate bacterium from spreading any further than it needed to, and by doing so, I will have saved the possibility of the person. I returned to my quarters and took a nap. I no longer had to work, because of my lottery winnings, and subsequently had taken on an irregular schedule: I would wake very early in the morning, read 60 or 80 pages of whatever book was currently on my pile, then take my breakfast and sleep for three or four hours. In the late afternoon I would rise, and either visit the park, read more, or begin my long and slow dinner preparations. Then I would eat, and read even more until I felt my eyes grow heavy in their sockets, and sleep for the evening. But today things would be different: I needed the extra rest to gather my strength for my forthcoming travels and revenge plot.As I was leaving my building, I was struck by a horrific thought: had Horacio—who first recommended this book to me after all—acquired this book from the library? Would I have to kill my poor friend, dear Horacio, a wonderful and cherubic man, a stalwart of all that was valuable in the human project, etc.? And, indeed, if he had read this library copy, and had somehow survived its assault, perhaps my calculations were in error? Perhaps it was only I who had been so damaged by Too Loud a Solitude by Bohumil Hrabal by Anonymous, and my entire revenge plot upon which I was to embark was an unforgivable calumny against these innocent souls (save for, of course, Anonymous, who deserved death no matter what). I stood in my building lobby and wept. Please, no! Horacio was sitting on his stool looking at something on his phone. It was surprisingly sunny outside, despite the time of day, though perhaps I had been indoors for too long. I could barely manage a word to him.“Good afternoon, Mr. Sebastián,” he said to me, bright and cheerful as always.“Horacio,” I said, “I have a very important question to ask you. It is of too much importance I can scarcely tell you… Too Loud a Solitude by Bohumil Hrabal. How did you read this book?”“I started on the first page.”“No, no, Horacio… Where… did you get this copy?”“Oh. My cousin lent it to me. He’s getting his degree and had to read it for a creative writing class. He said it was too crazy and made him laugh too much.”“So, you didn’t get it from the library?”“My cousin lent me his copy. Did you like it?”I embraced Horacio and kissed him on the lips. He would be saved! The human project! Ah! “You’re crazy man!” he said, laughing, and pushed me off him.“Horacio! The human project! Ah! I will make you its king, my good man! I will make you the governor of a little ínsula, just like Sancho Panza! Except actually! Ah!”“Thank you, Mr. Sebastián,” he said, and returned to the endeavor of his phone.My walk to the library felt blissful and light. I was doing something important, finally. I had been reading all this while as preparation, I now realized. Literature was the preparation, and I was preparing myself for something. And finally: here it was. The future of the human project, in my hands. I would have to do something awful, something unbelievably violent, depraved, and disgusting, but it would be for something far, far greater than I could have imagined. The possibility of the human.The library was mostly empty. Though I had been inside it but a few days prior, I had somehow forgotten its incredibly high ceilings, its battered bookshelves and threadbare reading chairs, its trademark musty smell—almost like tobacco, though no patron or worker had smoked a cigarette inside its walls for many decades now. Sherman was by the computers, helping an elderly woman with the device. She was pointing at the screen, and yelling at him. Yet his face was the picture of warmth and composure. Sherman, the human project! Ah! I tarried by the front desk.“Sebastián!” Sherman said, once he was finished, approaching me. “I’m glad you could make it. Unfortunately, I have some bad news.”I feared this possibility. The director was onto me, then. He saw through my ruse. He must have taken a glance at Too Loud a Solitude by Bohumil Hrabal, and probably felt sick to his stomach, seeing how marked up it had been, and then realized what an effect something like that could have on a future reader—indeed potentially driving that reader to an unforeseen madness that would transform into bloodlust. He knew what I was after. He had now become my new enemy. The director. I would have to devise a different plan of attack.“I didn’t even have to speak to the director,” Sherman continued. “When I checked the records, it looked like the book had only ever been rented out a single time before you, by one of our long-time regulars, Harold Pinter. Funny about the name. No relation to the writer, of course. Anyway, yeah, Harold sadly passed away last year. He was quite old.”“Passed away?” “Well, he stopped coming in, which we all thought was strange—he was practically here every day—and then Shannon found out he had died in his house. One of his neighbors found him. His wife had died a few years back and he became a real regular, as I was saying. He was pretty lonely. He had a terrible habit of marking up all the books he took out from us. I politely admonished him but he just smiled. I didn’t have the heart to do anything about it. He just wanted to be around people. Poor guy. Don’t know if he had children. Anyway, I double checked and it looks like you were the first person to check out this book since him.”“Are you certain?” I asked. “Sherman, are you absolutely certain no other person has read this copy of Too Loud a Solitude by Bohumil Hrabal?” I was once again nearing tears. The human project. The possibility of the person.“Yeah, it’s a shame,” he said. “No one reads anymore.”
April 2, 2025
Fiction
POOL RULES by William P Adams
The below-ground swimming pool in our neighbor Robbie Garvin’s backyard was ready. Robbie’s father, the beneficiary of a large insurance settlement, wasted no time improving the Garvins' status in the neighborhood. I heard my parents talking about it; they used terms like ‘not above board’ and ‘possible fraud,’ which I knew nothing about. The pool was heated and had a diving board – enough said.Robbie let on at school that he would throw a start-of-summer pool party on the first Saturday after school was out. He bragged that there would be unlimited food and drink and bikini-clad girls from our junior high. I was beyond stoked for the party.Saturday came. The early summer sun was beating down at noon when I arrived at the pool. The only girls were two eight-year-old neighbors splashing in the shallow end. No food in sight, just a six-pack of store-brand soda. Robbie and two pals started a cannonball contest off the diving board, scaring the little girls from the pool. I sat poolside, drinking warm pop. A sign on the shed where Robbie’s dad kept the pool equipment read: WE DON’T SWIM IN YOUR TOILET—PLEASE DON’T PEE IN OUR POOL. I finished the soda and slipped into the shallow end, lazily back-floating with my eyes closed. As Robbie and the others cannonballed into the heated, chlorinated water, I added to the warmth, letting twelve ounces of fizzy cola stream from my young loins, imagining Robbie and his buddies swimming in our toilet.
April 1, 2025
Fiction
WOLF IT DOWN by Billie Chang
I push Ally’s note clean into the corners of my mouth, the motion wet and slow, the ink kissing molar. Finn is in the shower. The bathroom door splintered last week after Mr. Rutabaga ran into it, full force and head-on, in pursuit of a fast spider. We drove him to the on-call vet. He sits now in his doghouse with one less tooth and a tender snout. I can hear Finn’s motions through the wood-chipped cracks: the stumbling as he raises his leg to wash the bottom of his foot, the collapse of water after he pools the drops and cups them to his face. I swallow. The wad is thin, mushed-through, tickles my esophagus. Binder paper goes down smoother than, say, cardstock. And when lined with a three-hole punch, I like to start by pressing my tongue clean through the holes, make a game of it. The shower squeaks off. Steam erupts, slowly escaping.Finn is not technically my boyfriend. The neon “O” in JOHNSON’S BAR was flickering in and out, one night a month or so ago, and he was there standing under it. The glow made the stubble on his chin shift from dark to light. Feeling bold and bright from the pregame and in want of the cig in his hand, I’d gone up to him. Now we see each other intermittently: He knows my roommate by name but I’ve never been introduced to his. We’re doing a dance, where we both don’t talk about the unspoken thing, and I don’t ask because I’m scared to lose the attention. But if someone new were to come up to me, their head halo-d by the club lights, and press their face close to mine, I’d turn away. I feel loyal to Finn. When casualty becomes punctuated by nakedness, it morphs into something else entirely. The intimacy of a mark, sleeping skin-to-skin. It’s a mower to lawn, all my fine prickles picked and collected. The door unlocks downstairs. Must be Gloria with the cake. It’s her birthday today, 23. She’s always been particular about her cake, an 8-inch tres leches from a quiet market in Rockridge. Louis, the baker, delights in this annual cycle. Every year since I’ve known her, she returns with a Happy Birthday, Beautiful Gloria, iced on the cake in Louis’s thin cursive. Gloria sleeps next to me, two twin beds separated by a desk, in a cramped one-bedroom. We’ve been roommates since the 49ers won the Super Bowl, an event which, coupled with Mom’s death, catalyzed my move to SF.Gloria and I have only fought once, after my last boyfriend. He was hard to forget. He left me his childhood stuffed teddy, brown and made of pilling cotton. It took Gloria and I five days to finish and a bottle of Frank’s RedHot. The stuffing was bloating, glue-like. Each piece went down in big gulps, lumping together in our throats, like tens of Adam’s apples. I split the teddy with Gloria because she kissed Reef, once, while we were still dating, and regretted it fully. This betrayal was so shocking that when Gloria first confessed, the sidewalk where they’d kissed erupted and split right down the middle.
–
Gloria places the cake on the table. She’s wearing her favorite dress, all-black with polka dots. She glances at the shoe rack. “Finn is here?” she asks. “He came over early to help set up,” I say. I pad over to our standing cabinet, a heavy wooden thing Gloria found on the side of the street. We dragged it to ours, down Rincon Hill, the concrete smoothing the wooden feet out into patchy bulbs. We keep our party decorations in it, a few nice plates and a sword. For intruders, Gloria said, when she unpacked it. “Are you finally done with Ally?” Gloria asks. I nod Yes. Ally is my community theater director. She left me a note, after she’d given the part of Baker’s Wife to Emma Rose, a preppy girl I hate. Sorry, I know you wanted it, she’d written. Fuck her. Down the hatch she went. When I want to forget someone, I eat and digest whatever they’ve left, things they’ve given me. Gloria is the only one who knows. She’s no stranger to the process; sometimes, she’ll do the same. But it gives her hives and makes her throat itchy, so she’s more selective, has more baggage to carry. It must be hard to walk around so heavy.For me, the gut is its own biome, a paradoxical landscape where digestion means complete erasure. My side of the room is white-wall bare. Everything once meaningful exists instead in my stomach, deep down and feathered by acid. Letters, rings, Mom’s photo album. The hardest was a key, one time. The ridges burned all the way down. I hand Gloria the balloons and we take turns blowing air into them. Finn walks in, his hair all wet. He rubs my shoulder and kisses the skin.–
Evening and the birthday party is in full swing. Gloria is drunk and so am I. The kitchen light is on, but the rest of the apartment stands dark. I’m chatting in the corner with Hanna, a frilly girl with asthma, who’s in Gloria’s roller derby club. “Hannaconda,” she says, pointing to a word on her sock.“What’s that?” “My roller derby name. I had them specially made.” I big-belly laugh, pressing my glass of wine to my forehead. “What would mine be? Wait, no. Do Finn. What would Finn’s be?”“Who’s Finn?” Hanna asks. I smile and look around, trying to point him out. I see two seconds of a man-body rush into the kitchen and have an urge to follow. “Right there. He’s my guy.” “Finndiana Jones,” Hanna decides, and then I giggle-collapse to the floor, too drunk to leave.Thirty minutes later, Hanna presses me about singing and says, "It’s the perfect time. Gloria is in the kitchen." I light the candles and cup the little flames so they stay lit. I lock eyes with the people around. Press a finger to my lips. The quiet spreads and then it’s only breathing. We stalk over in a mass towards the kitchen. The light is still on and a shadowy blob swells on the tiled floor. I hold the cake out in front of me and turn in, Happy Birthday on the tip of my tongue. But then the blob reveals itself and on a chair, Gloria sits straddling Finn, her fingers cupping his face. He’s looking at her, soft. Then the mass begins the chorus and the two pull away from each other, all guilty. Finn’s eyes sweep down to mine, his gaze troubled, and with the candle flames bouncing the light, he looks like he did the night we met, stubble and all.–
It’s no shock when the apartment splits in two, right down the desk. The plaster separates and the house-bones shake. The rip is so big, it cracks the ground and halves the dirt, all the way to the center of the Earth. If I lie down and lean over, my stomach flat against the second floor’s hardwood, my head peeking out above the cavern, I can see stalagmites, bats, Hell. I’m working on finding a tarp so that I can cover my half of the apartment without having to see Gloria across the ravine. She’s trying to fashion a bridge to mine, already threw a can on a string and missed. I should call my landlord. Maybe my rent will be less.I haven’t talked to Gloria since she untangled herself from Finn. When he left our place, his shoes hanging loose in his hands, I stood tall and still on the doorstep and told him how much I cared for him. "I’m surprised," he said, his voice low. "I feel like I don’t know you at all. You’re all blank."–
Before this, Gloria meant trumpets blaring and pop music coloring the background – my weak memory placing her onstage in that dark karaoke bar, all confidence and a soft, lilting voice, on our first night out as roommates. I started work at the seafood house early the next morning, a prim and proper waitress, shucking oysters and recommending white wine to pair with Tilapia. Gloria had gotten to the bar early and signed herself up for karaoke in slot #2. It was a few days before Halloween, the 25th or 26th, and so all the windows were colored with cobwebs. Gloria was in a big bedsheet. Ghost Gloria can sing, I said after, my hands buzzing from applause. She stretched her legs out onto my lap, piling the soft points of her heels into my thigh, and smiled big at the attention, establishing then some sort of need to prove herself worthy. “I’m dressed as my mom,” she laughed, her eyes ablaze. “She haunts me.” I stilled, because I had come here to start again, to try and erase my history. But feeling the alcohol snake its way up my chest and knowing, truly, that memory is inevitable, water to a sinking ship, I coughed and said, "I lost my mom too." And then we spilled open, craft scissors to the hippocampus, remembering things we long fought to forget. A few hours later, we both took to mouth our first memory. For me, a picture frame. For Gloria, a pill bottle. Her mother’s.–
About a week passes and I’ve got the tarp up. But it’s cold in SF, and the wind presses the sheet outwards, making gaps. Eventually, a paper airplane finds its way in. The front says Please forgive me in Gloria’s careful scrawl. I don’t open it, because otherwise I’ll have to sit in the hurt, like I did when Mom died, all the pieces of her life staring empty and back at me: clothes, a toothbrush, her will. God, it’s so much easier to prepare a feast. I take out the seasonings– pepper and salt, some parsley for a green. I go around the house and start the pile. When I’m done, Gloria’s things fill my room. She is in every crevice, from ceiling to floor. I put on a song, let it boom around, and crawl my way to the top. I start with the paper airplane– crumple it up so it’ll sink down smoother. I take big bites and try to forget. Even with the music blaring, I can’t help but listen to the slippery sounds of it all entering my belly. It tastes cozy. Like warm apple pie.The next day, I’m feeling big. I take Mr. Rutabaga on a walk. As we’re climbing up a rounded hill, I feel something grumbling upwards, from deep in the gut. I let go of the leash. Mr. Rutabaga runs ahead, his body disappearing in the tall grass. After a heavy breath, I heave forward and throw it all up. Salmon against the stream. March 31, 2025
Interviews & Reviews
KYLE SEIBEL’S ‘HEY, YOU ASSHOLES’ IS NOT NEAT, BUT IT’S PERFECT: A CONVERSATION by Naya Clark
Kyle Seibel is not a veteran writer or a magical realism writer, but he is a veteran and his writing has magical and realistic attributes. He is still breaking into the literary world even though he seems to have a hang of it. He’s witty on a website we used to call Twitter, and can write a hell of a short story. Rarely does he add quotes when his characters are speaking and he doesn’t capitalize his story titles. Seibel is based in Santa Monica and lives with his wife and dog named Snacks—who also has an established internet presence now. In this interview, Seibel and I chat over the phone, discussing what it means to be a “break out writer,” the literary industry, crafting a story cocktail of real-life anecdotes and surrealism, and his short story collection Hey, You Assholes (Clash Books, 2025). Naya Clark: The nuance in the situations and the characters you write sometimes make your short stories feel surreal. Do you consider any of your work magical realism, or is that just happenstance?Kyle Seibel: No, I don't know if it's intentional, and I don't know if I could say it's magical realism. I think that comes with its own audience, parameters, and guidelines. I read that kind of stuff, so I imagine that it's had some impact on my work. I think there’s that feeling of uncanniness to something that's normal. I really love art that does that. It's the normal stuff, and that’s subverted by something absurd. Those contrasts and that tension make really interesting stuff happen in art. And that's the kind of stuff that I'm drawn to. David Lynch is the really big kind of tentpole in this kind of stuff. But then also, I think of Denis Johnson. There's a book called Jesus’ Son. One of my favorite stories in this book [called “Work”]—these guys are ripping copper wire out of a house that's been destroyed by a flood, and sell it for money to do drugs. And while they're getting all the wire out of the house, they see a naked woman in the air, and she's parasailing, being pulled by a boat down the river, and it's this guy's ex-wife. It's never explained, but I love that. There's this crack in reality, where something extraordinary comes through, and it throws all of what preceded it into a new context. I think that's a trick that I try to bring to my writing.NC: I feel it’s the same with life. Sometimes there is no understanding of reality, or justification for why something happened, or why you, in particular, saw a part of someone or a situation. I'm particularly thinking of “Be Gentle”.KS: That one, especially, is such a special story. It's one of these stories where I was kind of writing it and putting it together and had an idea of how I wanted to have the basic idea that a veteran gets a job at a computer lab and befriends a weirdo student. I started to really think about the idea of the weird kid in class. So, I would ask all my friends about their stories about their weird kid from class. And everybody has this story of that kid from class. I started to put them all together. This character of E.J. started to take shape, and he just became a very real person to me. So I developed the story over a couple weeks, and edited over a month or two, and I got very attached to it. At the end of the story, I think E.J.’s fate is pretty tragic, and I wrestled with it, because I think what I really wanted to do was to give a really happy ending to this kid, and I knew that wouldn't be honest to the story—wouldn't be honest to what this character has seen in my mind. You get the fast forward of what happens to E.J., but what I wanted to leave the reader with is the feeling of what anyone is capable of doing—to be gentle enough to hold a bee.NC: It’s one of those things that has no explanation. I feel it’s more realistic that this character didn't have a happy ending. You said E.J. was a culmination of people's stories of this kind of kid in school. Is that the same for most of your characters?KS: Several real anecdotes braided together to form some of the characters in the stories. There's a story [called “I Suppose You’ll Want To Know About My Life Now”] that is about a guy who, on the day his grandma dies, goes for a run along the beach and almost gets hit by a car, gets a boner, and then gets stopped by the police...so that story is several stories kind of all rolled into one. I think what it ultimately becomes is a love letter to this guy's wife, and I think I use part of it in my vows. So part of my vows are enshrined in that story. There's some language that's pulled from that. And then my last grandma died. I was on a bike ride in Santa Barbara. I don't run, so the running part was fiction, but I almost got hit on my bike by this woman in a car. This was years before I even wrote the story. It was kind of funny that it was not written in the moment it happened—it was only in reflection, years after. The first line of the story came to me and the rest wrote itself. I mean, the first line of the story is the title of it. Then I would realize that I was writing about my grandma. Then I realized I was writing to this woman that I dated in the Navy who had died. And then I realized that was all to my wife, Ali. So it was just a bunch of different things. That was how I drafted it. Then as I edited it down and made it more digestible, it became what it is now, which is a little bit tighter of a narrative. But yeah, that's how it starts: taking from anecdotes or these shreds of memory or something that sticks in my mind, or I've written down for whatever reason, and then just kind of slamming them together on the page and seeing if anything jumps out. I think that's...a chaotic approach. Maybe other people will have something more intentional, but that's how I've been doing it.NC: Something I appreciate about your writing is that it’s complex, but not flowery. I feel everyone can read your stories. How have you developed your distinct voice, and how do you edit to ensure it comes across how you intend it to?KS: I think a lot of the stories in this collection are representative of this style. Stories that feel like they're being told to someone. I feel that makes it feel so intimate. So an occasional second person is addressing the reader. I think that it can be effective. And feeling like a story is being told to you personally is a big part of the guiding style of the voice. There’s a lot of first-person stories in this collection. They are not all me, thinly veiled, at all. I try to let the characters speak in their voice in the stories. In doing so, you're understanding a character, but also why they're telling their story. It gives a sense of urgency, and I think that makes them feel readable. I think sometimes you can be reading a story for five or six pages and think this is beautiful, technically proficient, but why is this story being told to me? What's so important about this story? That's something I really try to center on. Is there a reason this person is telling you this story? It’s because they can't help themselves but tell it. This is this person's one story to tell, they're telling it to you right now. Hopefully, that's the kind of energy some of these stories bring.NC: I do think that is the energy they bring. I don't know what's been up with people hating first-person stories lately.KS: I thought people were mad at third-person stories.NC: Whichever number story perspective they hate this week, I don't know. But I feel how you do it is very effective. I think it makes it more intimate. Like a story that you hear when you're grabbing a drink and you meet a friend of a friend, and they start telling you a story. I will admit that your book was my plane read. I've been traveling a lot lately. So it's what I read when I'm on a plane to stay up. Your stories feel like meeting someone while traveling and they start telling you a story. Another thing that makes it feel that way is the rhythm of how you write your stories. The character always has a goal, they're on their way to do something, then there's these characters that are just so fucking stupid. I could imagine these being my friends because of their decisions and personalities.KS: “Newlyweds” is definitely a story. Those guys are boneheads. They just can't help themselves.NC: That’s one of those rules in writing: make your characters do something that when you're reading it, you go “God, no, why are you doing this?” Again, a lot of the rhythm is because there is a goal. How do you maintain rhythm when you're writing a short story?KS: I hate to shout out my experience as a copywriter at an ad agency, but I'm gonna have to. I'm gonna have to give it up to the absolute boot camp of writing that being a junior copywriter is. You have so little time. Not just in an ad, but of your creative director's time and of the client's time and attention. There's something about being a copywriter that you innately understand how media — regardless of whether it's art or just dog shit — is a competition. It is a competition for your attention. Knowing that as a copywriter, and being able to bring that sense of attention and competition is just something that is very useful. You understand about attention span. You're just not gonna keep people around forever if you don't hook them immediately. So that's always on my mind when I'm revising things and tightening things and going back and rewriting. I ask how big is the hook of this story? What is the sentence that someone will read and have to read the second one? Those are the stakes really, especially when a lot of this book was previously published online. The rule of digital media is they must be hooked immediately. Obviously, it's different for literature, and I think that the immediacy applies. I think that ended up giving my voice a real distinctive quality, especially in these couple stories.NC: Yeah, I will agree. That feeling of I need to get to the point quickly, or something else needs to loop around to almost give the reader whiplash from what's going on in the story...I do feel it is great training. I'm not saying that most writers should be copywriters at all, but it is an exercise in brevity. My background in journalism is another thing. So much of my writing is about getting to the point. How do you get this information across quickly? But bringing in that creative, surreal element that you bring feels like breaking the rules.KS: I will read some stories—of the kind you would read in The New Yorker or a big publication like The Paris Review—where the stories are almost mysteries to be solved. In some ways they're to be figured out, and their value is to be assessed by the complexity of the process in which you have to figure them out. I think there are exceptions to this rule. I'm generalizing, but when we were submitting Skylarking [novel] there was just no interest. We kind of had to let Skylarking go. I don't know what's happening with it now. So that was my big bummer this summer. I was waking up in the morning thinking “Do I want to do this anymore?” I feel all the stuff with the collection has been going really well, and all the stuff with the novel is just tedious, and I feel frustrated. I think there's just really strong headwinds in publishing right now in general. Publishers are tightening budgets and doing layoffs and stuff like that. So the tendency is towards safe bets. It’s not really a climate where people are taking huge swings on new voices.NC: Do you consider yourself a new voice? When do you think being a new voice and being an up-and-coming writer, or being someone deep in the literary world, starts?KS: Well, I think that you can have an infinite amount of debuts. I think everyone's a new voice until they've really broken out. That term, “breaking out”—I've heard a couple of writers recently use it without any hint of irony, and it’s just strange to me. I don't know if it exists anymore. I mean, I think it's rare that people talk about breaking out. It feels to me like a term of antiquity. It was just funny how we people can have three or four debuts—if the last one didn't reach that threshold of audience, or whatever. “Oh, it was just a chapbook. It was just a mixtape” kind of attitude. Does that make any sense?NC: It’s when you can start breaking rules in what you do. Although you consider yourself a writer, that's just breaking in. I do feel you break a lot of rules in your writing style and your grammar. I feel you've maybe gotten to a point where you can say “Fuck grammar.” For instance, your lack of quotations when characters are talking—what is the choice behind that?KS: I'm trying stuff in the collection. A lot of them are new, and then a lot of them are from when I first started writing fiction. I’ve had a change of heart about quotation marks. There is something about when I remove quotation marks from a particular story, I always tend to think that means the entire story is in quotation marks. They could almost be monologues. Maybe that’s how I've intended them to sound; as if they're all contained within one quotation mark. I think I was trying different things—to use voice, and use a point of view and perspective in a narrative way to frame it, as a deeper dimension of the story. Here it exists outside the text, or in the blank that you fill in. I don't know how effective it is or how much it’s working, but that's how I came at some of those stories.NC: I think it works really well. I feel this is a major goal for a lot of writers. If somebody were to show me your writing without your name or the title, after reading a body of your work, I can tell that it's you, because it creates a distinct writing voice. It kind of zooms out and becomes its own monologue. When you write a short story in particular, what is your goal?KS: I think that changes when I'm in different seasons of writing. Sometimes I will sit down to write a story that evokes a special or particular feeling, or a unique flavor of a broad feeling, whether that's loss or anxiety, or joy or horror. There are special kinds of nuanced feelings being explored. Something that feels rather broad, but bringing it down to its sinew, examining it and exploring it at that magnification. It makes it seem much more specific—much more personal and intimate. That's sometimes how I approach stories, and I think that's maybe a first draft kind of thing. Then the narrative takes over, and there's other craft things to consider the different components. That’s usually when I sit down to write a short piece, especially a flash piece. A piece under 1,000 words, I'll be out to explore the nuance of a particular feeling as a jumping-off point, using a personal anecdote as a way to explore it. And I think that's really as simple as those two things coming together, and then it becomes something else that evolves into other things. That's my goal...to bring those two things together.NC: How do you find a humorous voice and inject that in your writing?KS: It's tough and humor is hard. I'm not saying that I figured it out. It's so individual. What you might find funny, someone else might not find funny. It's so weird, having done a couple of readings this year and seeing what I think are funny jokes that just go nowhere. Then what I think are pretty, plaintive lines of narrative get big laughs. It is so strange getting that kind of immediate feedback on different parts of the language of a piece. The collection as a theme, it's kind of—that these are all assholes, right? On any day, everyone, anyone could be an asshole. And they could have a story too. There's something about the charming asshole that is a very, very funny and bewitching character. And I think it holds multitudes. There's an element of selfishness and cruelty and casual violence that some of these guys [in the collection] seem pretty accessible to. But then there's also a little humility and tenderness as well. And in the distance between those two there's humor. There's comedy. So I'm glad that people think it's funny and I'm okay if people don't think it's funny at all. I'm okay with both reactions.NC: Some of it is the situation that your characters find themselves in are realistic, yet they're absurd. Veterans or Navy guys. How much do you pull from your own experiences?KS: It's because those are the characters and settings that I'm familiar with. I think it just feels authentic. Some of these stories are stories that have been told to me third-hand, or things that have survived as memories that are probably not true, in the way that I remember them. Sometimes that can have its own kind of internal magic. The veteran stuff is interesting, because I definitely write about military veterans, but I don't think of myself as a veteran writer. I just don't think that I fall into that category neatly. I don't know if I have anything interesting or particularly meaningful to say on the subject of service. I think it’s almost besides the point that some of those guys are in the military. It just happens to be where their story is taking place.NC: That's your experience, so that's where you're coming from. Do you think it's important for writers to write at least some of what they know? Does that help your writing?KS: I think so...It lends to the authenticity of the story's construction. It gives credence to the more incredulous elements of the plot. So I think that in that way, it can be effective. I think it's important to pull from your own experience, but more than that, it's important to follow the story and have the story be at the center. To lose track of the story, or distract from the story, or to make a choice that deviates from where the story should go because it happened in real life, or because it was part of your real experience, doesn't impress me. That doesn't convince me of it. I think that there should be a point where the story takes over, and all the details and craft, and all the tools and elements and language, roll up to in service of the story that you're telling, and that should be preeminent. And if it happens, the story becomes centered around the factual narrative that you're pulling from. It's a simple question that I'm answering currently in my life.NC: So are there elements that you feel aren't your experience that you add that aren't from your life. How do you write something that you haven't experienced? For example, the “Fish Man” story.KS: This was a story that was told to me in the Navy over a cigarette. One guy grew up on a farm, and was telling us about how there was some sinkhole in this lake, and they couldn't figure out why they had to take all the fish out. What happened in the story is kind of what happens in real life. They did their best to save all the fish, and in the end, they went back the next day, and all the fish had jumped out and died, and they didn't know why. It was this big, crazy mystery. But then I was starting to think about it. I don't know how I came on this idea of a guy getting drunk and finding these fish in a municipal area. It was such a delicious premise for me. It unfolded as fable to me, with the boys finding him and helping, and it being this crusade. Then the idea that it was supposed to be this moment where everything changed and got better. Instead, it was the last breath of hope on a downward spiral. Very little in that story happened to me, except for the feelings of imminent failure. I think everyone feels, or has had the feeling of, nothing going right. Being one of those boys feels so real to me. Having written that story, I don't think it happened to me, but where I feel I show up in that story is not in the main character. It’s in one of the boys that comes across him. So I think that there are different perspectives in the story that I associate myself with, but it's not always the first-person perspective in the story.NC: I feel a lot of the stories, they're all trying—on a mission, a side quest—to do something that's right. As a writer, it's exciting because you don't have to be the main character or the narrator in the situation. You can even appear or identify with a side character in a story. It makes it feel like a lot less pressure to tell a story from another perspective.KS: A lot of times the narrator is the least interesting person in some of these stories. I'm thinking specifically of “cullen”. The main character in that story is having a nervous breakdown and a complete manic event. If you really wanted to make the wildest story Cullen would be the first person, and you would see it from his perspective. You would get a front-row view of his paranoia. But you don't get that. You get this. You get states removed. You get countries removed. This friend that he calls and who's going through his own kind of crisis and you see the real main human crisis is being viewed through a telescope in the story,NC: Right. These things are happening at the same time, but also in retrospect. Then there’s this idea of making it out alive. Something I really respect about your writing is that the endings aren’t always in a neat bow. How do you approach writing the ending of a short story?KS: The endings are truly mysteries. One of my friends, Mike Nagel, has always said“A good short story ends on a sharp intake of breath.” You're just coming to. You're being removed from the moment where the next thing happens. Which I think is interesting. I don't think this is the case for everything, but it can lead to some interesting results. The endings, I mess with so, so much. I'm rarely happy with it. I think sometimes the stories just exhaust themselves. Maybe that’s not being fair to the stories that are a little bit more tightly scripted.NC: Endings are hard, but you do them really well. You trust that the reader is intelligent enough to take from it what they want. They’re not neat, but they’re perfect.KS: I think the endings kind of revealed themselves. It was one of those things where I gave them to a couple early readers, and they had a bunch of notes about how to fix the rest of the story. But there was this unanimous consensus that the endings should be as is. And I think that was the same thing with “A New Kind of Dan” as well. I worked on that story for a long time, and got a lot of feedback on that story specifically. But then again, the unanimous consensus was that the ending, and the content that that bookends, is something solid and to be retained.NC: Thank you so much for this conversation.KS: I sounded insane 85% of the time. You got a good 15%.NC: It’s totally workable. I'll talk to you soon. Bye.
March 26, 2025
Creative Nonfiction
HIDE-AND-SEEK by Nathaniel Lachenmeyer
It’s my favorite game I was so happy when you rang my doorbell and asked my mother if I could play because I wasn’t always asked sometimes I would see you all playing running through yards or peeking around bushes looking for the person who was it and once I heard two of you under my window whispering about where someone was hiding and of course I could hear the laughter and the shouting whenever they were found and I would tell myself it didn’t mean anything that I wasn’t asked even though everybody knew it was supposed to be all the kids on the block no one ever said it but we knew it and no one had asked me in a while I didn’t know if it was because of my father or if it was something about me so of course I said yes when the doorbell rang and I had known for a long time where I was going to hide I had picked the perfect hiding spot if I was asked to play again it was behind the garage in my backyard the narrow space between the back garage wall and the fence separating our backyard from the people who live behind us who I didn’t know at all and had seen only once or twice through their windows so when it was my time to be it I ran as fast as I could and squeezed in between the wall and the fence and it’s been okay waiting although it is a tight squeeze and I don’t like thinking that the neighbors might be looking out their back windows and seeing me here doing what they would wonder but I can ignore that the thing is though I have been out here a really long time and no one has found me even though I remember I saw one of you run past and I thought he saw me but he didn’t say anything and that was forever ago and I haven’t heard any callouts or cries or laughing in so long I almost think the game is over but I could be wrong and about to win and I’ve never won before so I will stay out here until someone finds me or I hear them calling even though it’s been so many years now since my father officially went crazy and left me in this town and my mother sold the house and moved away and then died not literally but to me just after my father died really died she was the one who got the news and she decided not to tell me because we were about to go on a vacation together for the first time in years and she didn’t want me not to go so she waited until the vacation was over and pretended he was still alive each time I mentioned him so I haven’t had any family for a long time now and all of us on the block we have all grown up and I think most of you have moved away too but I will stay here until one of you finds me or until someone calls out to say I won and the game is finally over and then we can all shout and laugh together which has to happen sometime one or the other because every game has an end or it isn’t really a game at all and if it isn’t and if it wasn’t if it was a prank or maybe the doorbell never actually rang then I am and have been completely alone and hiding all this time with no one searching in a place where no one will ever find me
March 25, 2025
by Mike Topp
$25 | Perfect bound | 72 pages
Paperback | Die-cut matte cover | 7×7″
Mike Topp’s poems defy categorization. That’s why they are beloved by seamstresses, pathologists, blackmailers and art collectors.
–Sparrow
