Creative Nonfiction

NOBODY’S DAUGHTER by Ryan-Ashley Anderson

I was almost five years old, it was Christmas day, and I knew something was wrong because I’d gotten everything I’d asked for: a blue and white-checked gingham romper with buttons up the front; black, mid-calf cowboy boots with red stitching; and, most surprisingly, a fluffy black puppy with a bright white chest whom I would come to call Kentucky.I had never been to Kentucky and am not even sure how I’d learned the name, but I’d tested out several words from my dog name list and determined this was the best one. 

A dog’s name should ring out when shouted. “Ken-tuck-yyyyyyyyyy!” I hollered from the back door, “Ken-tuck-yyyyyyyy!” I liked the way it sounded in the wind across the field. Yep, I thought, he would come to that.

 

***

 My mother, her boyfriend Sonny, and I had just moved into an old farmhouse. It sat in the middle of a field at the edge of a trailer park down the gravel road from a lake, just north of the invisible line separating North Carolina from Virginia. They chose Virginia because that’s where Sonny’s three best friends had decided to start a business together, and they were cutting him in. They were dental techs–the fancy word for people who make false teeth–and running your own studio was the only way to make actual money in that profession back then. We were poor, so we moved.As we drove out of North Carolina and into Virginia, my mom pointed out countless road signs that told us Virginia was for lovers. I whispered Virginia is for lovers over and over again like an incantation under my breath–all the way until we made it to the new house. Maybe if I said it enough times, it might actually come true, I thought. Maybe we could really love each other there. And we did. Our Kerr Lake year was the happiest of my life. The house was old. The roof was a rusty blue tin that sounded like needles when it rained. The downstairs floor was made of shellacked brick that stayed cool all year long. Mine was the only bedroom. It was downstairs next to the kitchen, and my mom and Sonny slept upstairs in a small loft. The kitchen was tiny, with a half-sized oven, two burners, and a built-in griddle top. There was a fireplace, but there was no insulation. It was perfect. 

***

 Me, Kentucky, the boots, and the romper were inseparable. So inseparable that, even after days of wear, my mom would have to wait until I was asleep to take the romper from me and put it in the wash. When I’d awaken and realize it was gone, I’d be totally inconsolable while waiting for it to dry. I’d end up wearing that thing for years, only abandoning it once it started giving me a permanent wedgie that no amount of slumping could disguise. Just a few days after Christmas I came home from school and my mom was acting weird–extra nice–when she greeted me at the door. I noticed a swing inside, hanging from the eaves. It was made from two long ropes and a flat piece of wood, shellacked just like the brick floor. I wondered where it came from and why it was inside.“Do you want to, maybe, swing on it?” my mom asked playfully as she gestured toward it.Of COURSE I wanted to swing on it! I was the only kid I knew to have a swing INSIDE the house, and I couldn’t wait to brag about it to everybody at school.“Where did it come from!?” I asked.“Sonny made this for you.”“Really? Why?” I was suspicious considering Christmas had already passed.“Because he loves you.” She pushed me on the swing, high into the air, in the middle of the house. I pumped my legs, but the whole thing felt strange. Like a trap. And I wondered if I’d get punished later even though the whole thing had been her idea.“Hey,” she continued, “What would you think about Sonny becoming your dad?”I stopped swinging my legs. “But I already have a dad.”“Well,” she pushed, “What if Sonny were your dad instead?”“How does that work?”“Sonny would sign some papers saying he wants to be your dad, and after, your birth certificate would show his name instead of Mark’s.” “Will he want me to call him ‘Dad?’” I asked. I had never even called my birth father ‘Dad.’ I called him by his first name, Mark. I wasn’t sure how I felt about the word.“I’m sure,” my mother responded.I thought back to the last time I’d seen Mark. It had been a few months—our final visit together before we moved to Virginia—and as my mom drove us away, he cried, “Ryan! Ryan! Don’t go!” His arms were outstretched, but he ran slowly. Even at that age, I could tell the difference between acting and sincerity, and he wasn’t trying hard enough to fool me. But it didn’t matter. Just hearing the words felt good. I didn’t care that they weren’t real. But then I remembered how my mom told me that when I was a baby and she had to leave for work, Mark would place me, screaming, in front of the window facing the driveway so she’d feel guilty as she pulled away. I didn’t know what to think. I felt the swing hard beneath me. I felt the boots snug on my feet. The gingham, scratching against my soft skin. I watched Kentucky, asleep on the sofa facing the back window. I liked this life–this house, this place, how we were together–and I wanted to keep it. So I said yes, and wondered when I was supposed to start calling Sonny "Dad." 

***

 My mom loved creative types but craved the stability of a solid career. The two didn’t usually go together but Sonny seemed to fit the bill. They were in their mid-twenties when they met at a houseparty. Sonny’s band was playing, and his stage presence caught her attention. Learning that he also had a career got her hooked. To earn a living, he’d found a trade where he could make use of his creativity–one where his skills in porcelain and carving and color theory set him apart. Back then in the early 90’s, before advanced computer software and 3D printers, dental techs had to be artisans–each tooth a tiny, nuanced sculpture that you had to get just right. It wasn’t the best job in the world but it was enough, and it was steady, and so was he. Once Sonny entered our lives, we were safe, we had a regular place to live, and for the first time, I felt a sense of belonging and possibility that dissolved the anxieties our former conditions had produced.  

***

 January was really cold. The grass crunched underfoot. ‘Tucky played in the snow. I had started visiting a neighbor when I got bored–the woman living in the house across the field from ours. She managed the trailer park down the gravel road and I’d stop by to help her move rocks around. Something about creating sections for her garden.One day she told me how, when mama birds were really desperate, they would build their nest right on top of another family’s. They were willing to kill, she explained, to give their babies a safe place to hatch. I didn’t believe it. But then she opened a birdhouse and showed me two nests, one stacked on top of the other. She lifted the top one so I could peek between the layers and, sure enough, the bottom nest was filled with brittle, unhatched, abandoned eggs. I thought about the mama bird. I wondered if she’d ever gotten over it.  

***

 Winter turned to Spring and all the conversations I overheard in the house centered around wedding planning. Late at night when I should have been sleeping, I’d press my ear to the crack at the bottom of my bedroom door and hope to hear my mom and Sonny talking about it. I’m not sure what I thought I’d learn but I distinctly remember wondering when the whole dad switch was going to happen and if it would coincide with the wedding. Maybe it had already happened. I didn’t know how these things worked. I was looking for clues.One night I heard them argue. Sonny’s business partners had decided to cut him out of the business, but they had already agreed to be his groomsmen. They could afford to keep him on as a part-time employee for a little while, but he would have to find a new job soon. How would they pay for the wedding? What would he do? Where would we live? My mom was furious and said he should uninvite them, but he said no. Spring turned to Summer, and Sonny married my mom in the backyard underneath the big oak tree. It was beautiful. My mother wore a faded rose silk antique dress she had found at a thrift store. The sleeves were puffy, the skirt was full, and it seemed to have a hundred pearl buttons going up the back. She couldn’t reach them herself, so she had to be buttoned in and unbuttoned by somebody else. It was probably a young girl’s cotillion dress at one time. I was the flower girl. I walked down the aisle first after Sonny, and stood beside him waiting for my mom. Sonny was fairly tall–about six feet–and stayed tan all year long. He was fit in a casual kind of way, with greenish hazel eyes, and had a tidy, permed, chestnut mullet. I’d never seen him this dressed up before and he looked funny in his tux, like he didn’t belong in there.My mom came down the aisle next and she looked like a goddamned angel. There had been a light drizzle that morning–a sign of good fortune, everyone said–and the whole world glowed. The sun streamed down softly from behind the clouds and created a halo behind her. I didn’t recognize either of them, looking so adult and dressed up and respectable. The couple said their vows, and Sonny gave my mother a gold wedding band that he had made. They kissed, everyone clapped, and then Sonny turned to me. He pulled another ring out of his jacket pocket and got down on my level. He took my little gloved hand, put a tiny gold ring on one of my little gloved fingers, and said something like, “I’m yours for life, too.” I cried. His groomsmen weeped. And the bridesmaids swooned. Sonny was a good, good man.  

***

 Sonny couldn’t find work after all, so not long after the wedding, we had to move back to North Carolina. My mom’s drinking picked up again and she began getting jealous of how much time Sonny and I spent together. One night when she was drinking and just the two of us were watching T.V. in the den, she looked over at me and said, “You know, the only way a new person can adopt you is if the other one agrees to give you up.”“Your father,” she said, “owed a lot of child support. So I told him that if he gave me a computer, and signed you over to Sonny, I’d agree not to sue.”She laughed, “Can you believe that!?” and then went to bed.I turned off the T.V. and walked to the guest room where we kept our IBM.  This room would become a nursery just two years later but, for now, the only person using it was Sonny. He’d get high and then spend hours alone with the door closed, creating portraits of Jerry Garcia in Microsoft Paint. I looked at the computer and wondered how much it weighed. How much it was worth. I called Mark to ask but he did not answer. I went into the garage where ‘Tucky lived and cuddled him for a while in his dog bed before going to my room. 

***

 A couple years passed, my mom was pregnant with my sister, and the guest room had become a nursery. It was a Friday and she unexpectedly picked me up early from school. We suddenly needed to go visit Sonny’s mom a few hours away in the mountains, but she didn’t say why. We’d need to stay a couple nights to make the trip worth it but, unlike previous trips, we couldn’t afford to pay someone to watch Kentucky. With a new child on the way, my mother was worried about money, so instead of boarding him or hiring someone to watch him, she put Kentucky on a chain behind the house. She filled bowls with food and water. I cried and begged her not to. The chain wasn’t very long and I was worried. Other neighbors let their dogs roam around and they weren’t very nice. What if they picked on him and he couldn’t get away? She laughed off my concern and promised that he would be fine.While my parents packed, I walked door to door begging neighbors, tearfully, to keep Kentucky while we were gone. I had a terrible feeling that something bad would happen while he was out there by himself and even asked people I’d never met before. I was desperate. But they all said no. I insisted my mom let me stay home alone with him that weekend, but I was eight and that wasn’t allowed. I refused to pack a bag, so my mom did it for me. She forced me into the car and promised to punish me for being insolent when we returned home from the trip. I didn’t care. I was devastated. I couldn’t stand the thought of ‘Tucky thinking I’d left him. My mom put the car in reverse and began backing away from the house. Everything around me went in slow motion, while everything inside me raced. My stomach churned, my heart beat out of my chest, and big, hot, tears flowed down my cheeks. I watched from the back window as we drove away and strained to see ‘Tucky from the road, but I couldn’t.When we returned home from the weekend, I ran out of the car as fast as I could. I didn’t understand what I was seeing at first. Bowls of food knocked over. A chain lying limp in the grass. Kentucky, nowhere to be seen. I made the same neighborhood loop, knocking on every door, asking all the neighbors if they’d seen him, but nobody had. I walked home slowly, then stood outside in the backyard until long after the sky had turned black and the lone street light had turned on. I looked toward the tree line and called, “Ken-tuck-yyyyyyyyyy! Ken-tuck-yyyyyyyyyy!” But he didn’t come.  

***

 I made flyers on the computer. I didn’t know how to get ‘Tucky’s photo on them, though, so I used clip art to search for a dog that looked something like him, then described him in detail. I added our phone number and said, “PLEASE CALL!” in really big, bold letters. I didn’t have any reward money to offer, so instead, I promised to do chores for anybody who could point to his whereabouts. I printed them out and put them in all the mailboxes around the neighborhood. When nobody was looking, I peered into windows and fenced-in backyards, hoping to see that Kentucky was stolen rather than lost. After getting the fliers, one of the neighborhood kids called to tell me they’d seen him floating in the pond across from my house. Another called to say her father had shot him while hunting in the woods. I was afraid to go into the woods after that. And afraid to look at the pond. I tried not to fall asleep because I had started having a nightmare.In this recurring dream, I’d be lying in the bathtub with my eyes closed and the water would feel, suddenly, full of fur. I’d open my eyes and ‘Tucky’s skin would be on top of me in the tub, empty and flat as a bearskin rug. I’d try to scream, but when I opened my mouth, the fur pushed inside me and no sound came out. I had insomnia at night and was riddled with anxiety during the day. I was a wreck and eventually, had to move on. I stopped looking, but sometimes I’d still go into the yard late at night and call his name, just in case–“Ken-tuck-yyyyyyyyyy! Ken-tuck-yyyyyyyyyy!”–but he didn’t come. And he never came again.  

***

  Time wore on. My sister was born, we moved again, and I, eventually, moved out. Then, in my early twenties, my mom and Sonny got divorced. Nobody told me at first, but I had stopped hearing from him and his family and I started to wonder. My little sister eventually broke the news, right before Christmas. I guess everybody just thought I wouldn’t notice and they could avoid the subject altogether. My sister–his biological daughter–still got presents from Sonny’s parents that year. I did not. And, just like that, I heard Sonny had a new girlfriend with two boys, and I got this sinking feeling that he had decided not to be my father anymore. 

***

 By the time I was in my mid-twenties, I hadn’t spoken to Mark, my biological father, in over twenty years. My sister was a teenaged heroin addict, I was an alcoholic, and I had dropped out of school. I was estranged from my mother and hadn’t heard from Sonny for the better part of a year. I wanted to preserve the relationship with him–I needed to preserve the relationship–so I called him, crying, drunk, and begged him to keep being my dad. “You’re the only dad I’ll ever have!” I argued, “You are my one shot at this! I don’t get another chance to be a daughter! Can’t you just pretend that I come to mind, even if I don’t? Can’t you just lie to me?” I bargained, “All you have to do is put a monthly repeating call reminder in your calendar and then you don’t even have to remember! Just pretend, for like ten minutes once a month to care about what’s happening in my life.”He said he would.But I didn’t hear from him. Another year passed and Christmas, once again, was just a couple months away. I reached out and reminded him that if he couldn’t manage a monthly call, not to bother sending me an obligatory holiday text. He said OK, but nothing changed, and then my phone pinged on Christmas. “Merry Christmas to the best daughter!” the text read.The words were like stones in my stomach. I took a swig of wine and wrote back, “I told you what the deal was. You don’t get to reach out to me at the holidays if you don’t talk to me the rest of the year. It’s just too painful a reminder of what’s missing from my life.” He didn’t respond, and I didn’t hear from him again.But I did hear that he’d decided to marry the woman with the two boys. I wondered if he would promise anything to his new sons at the altar, and wondered if he would mean it.I erased Sonny’s number from my phone, Googled How to get parents removed from my birth certificate, and drank down the last of a bottle of wine. I thought about enrolling in cosmetology school, but decided to go to AA instead. I wanted to tell somebody, to ask for help, to cry, but didn’t know who to call. I was nobody’s daughter now. 
January 15, 2025
Interviews & Reviews

THE HAUNTED MEMORY OF A DEAD PLACE: An Interview with Derek Fisher by Rebecca Gransden

Is there something up with modern dread? Derek Fisher’s enigmatic collection Container (With an X Books, 2024) strokes the lid of contemporary malaise, and teases the release on stories that simmer like a broiling pressure cooker. This is writing cast adrift on strange currents, Fisher’s domain that of diseased architecture, where dark impulses meet bad vibes. I talked to Derek about this unsettling and dynamic collection. Rebecca Gransden: When did you write your first short story? Has your approach to the short story form evolved over time?Derek Fisher: Yooo. Hi Rebecca, my fellow Lizard Brain!My first short story, like ever? Uhhhh, I think I was in high school. I remember submitting little weird things to my high school’s annual short story publication. A couple of them got in. Then I was supposed to join everyone that got tapped and do a reading at a nearby bookstore and I most definitely did not show up. No way I was reading in front of people back then.For a while I wrote stories based on what I thought readers might want, based on what kind of style and voice trends you’d see in literature. Don’t do this. It’s the ultimate bad move. Over time I think I stopped caring about what the work would look like to others, and just wrote the stories I wanted to write. I found myself writing in a handful of approaches to voice and style that started to feel like my own. There are a few stories in here where the paragraphs are all blocks of text, no indentation. I write with this format more and more, as I find it tends to drive this ominous tone that I’m usually gunning for. Something about the fragmentation helps conjure the spooky vibe. I also think nowadays my stories are getting shorter. Soon they’ll just be two sentences long. “Jim went to the store to buy a bag of Milk. The severed fist was still in his ass. The end.”   RG: The collection shares its title with one of the stories included in the book. What led you to select Container as the title for the collection as a whole?DF: For the longest time I wanted to name the collection I’ll Only be Happy Once Everything is Gone, and had submitted previous versions of it with that title to other presses. But I hadn’t written the story “Container” at that point. Then one day that story spewed out and it was obvious that it would be the title track. I love that goddamn story. The way it grips tight like having your whole body wrapped violently in duct tape. That’s the feeling I get when I think of that story, so it seemed like alright why not just call the book that and hope the whole collection feels that way? Try to convince the reader that the whole thing carries that same tightness through the title, haha. Gotcha.   That story deals with desire on the verge of rupture. It takes place in constricted spaces. Cars, elevators, storage rooms. And maybe more than anywhere else, inside the obsessed brains of these two characters. Their thing threatens to rip open at the seams. I think the story itself feels that way, like it’s just barely contained. I really like this story. I think it constricts us into these spaces. Confronts us with the lust or obsession or self-erasure or whatever flood these characters find themselves in. RG: How old is the oldest story you’ve included in Container, and how new is the newest?DF: The oldest is “Scorch Earth.” I probably wrote that in late 2019, early 2020. The newest is “Rhino.” I wrote that like two seconds before I sent the collection to Jon at With an X. It came out in La Piccioletta Barca after the collection had been accepted. RG: The stories featured in the collection have appeared at a wide variety of literary venues. How did you go about selecting which pieces to include?DF: I went back and forth forever on what to include and where to stick ’em. The stories “David Lunch” and “Rhino” were last minute additions. The title story came fairly late in the game too. “Scorch Earth” and “Bird Eating Glass” and “I’ll Only be Happy…” had been around in the hard drive’s basement for a little while but I always knew those stories would be part of the deal. Whether or not they had been previously published didn’t factor in too much. It took me a while to figure out the order. That’s a fun exercise. Rearranging the pieces until they feel right, or as right as they’re gonna feel. I wasn’t sure about including the flash pieces at first. But then I figured who doesn’t love a one-pager? Easy work. Throw them in! I’m always interested in how writers arrange a story collection. Feels similar to how the tracks come together on an album. Or a set list at a show. Sometimes you read a collection and you just know why the final track was picked to close the show. Two of my favorite collections in recent years are Maggie Siebert’s Bonding and Sara Lippmann’s Jerks. Two entirely different gems. In both cases, you get excellent collections all the way through. But then they both end on such strong notes that it changes the complexion of the whole thing. In both cases, these final stories (Siebert’s “Every Day for the Rest of Your Life” and Lippmann’s “The Polish Girl”) imprinted the joyous experience of reading the collection with a perfect, final sledgehammer to my ribs. You don’t forget a thing like that. Good curation can sew the feeling of a story collection to your skin. That’s what I want to feel when I’m done reading a book. That, or a feeling of “What the fuck did I just read?”RG: In “Bird Eating Glass” you present a character named Mantle, who is a musician swept up in the modern fame game. For them, sound brings renown, brings the noise, brings powerful recollections and associations. Are there particular sounds that flood you with memory?DF: I constantly hear the sounds of trains in my head; that braking screech, of the train pulling into a station, or possibly derailing. I don’t know what that’s about. Like I have a subway stop full of dead people living in my skull or maybe in my house behind the wall like in that Robert Munsch book Jonathan Cleaned Up and Then he Heard a Sound.At all times I feel like I am hearing dead static, or electric feedback. Should probably get that checked out, right? Like someone is holding a microphone to an amp. I don’t know if I literally hear this, but it’s there in my head. Probably just been to too many shows. I enjoy it. It tunes out the world for me, which I don’t mind at all. I have what I think is a problematic compulsion to repeat songs in my head all day long. But not necessarily because they are catchy. Lesser Care’s “Finally Bare” has been on constant repeat in my brain for three or four weeks. I’m totally haunted by this song and I am losing my mind. It’s a good song! I enjoy it very much. But sounds and music often turn compulsive as they repeat for me. Every song I’ve ever heard just gets added to the jumble of infinite repetition. When I stop to think about all this constant music in my head I think I must have a tumor or a serious neurological problem. It hasn’t killed me yet so I guess it’s probably fine but who knows.  I always write with music on. Silence drives me crazy. Unless I’m beside someone I love. Then I can be ok with quiet. Their breathing is enough. Otherwise, I need sound. Mantle, in “Bird Eating Glass,” is the manifestation of this part of me. I’ve never played music, but I can’t live without it. Sound informs my ability to make stories. Mantle is what a character would look like if they were stripped of everything but sound-driven compulsions. An expression of pure noise, otherwise locked into the body and mind of a human. I think people can relate to the idea that our internalized noise not only has value to us, but is a reflection of all the sensory mania we absorb, and can be filtered into something quite lovely. The world is a fucked up place, right? Mantle’s noise is the meeting point between the world, and total sonic isolation forced outward. The conceit of the story is that harsh noise can become the world’s most popular art form. I am 100% confident that this is true. It’ll just take the right artist to deliver us.  RG: The story “Scorch Earth” makes repeated reference to a purpose-driven life. What does a purpose-driven life look like to you, and how does that manifest in your writing life?DF: If you asked me this question four years ago I would have had a whole spiel about how writing is my purpose and how my life is driven by it and as long as I have writing goals I’ll be fulfilled or some blah blah blah like that. But I’ve calmed down a lot with that shit. I don’t know if life (mine or anyone else’s) is purpose driven. I just do things I guess. Write, eat, work. I really like eating. Sometimes I watch these competitive eater YouTubers and think I should do that. That can be my purpose. To eat. Consuuuuume. Lily in “Scorch Earth” is a smart cookie but at the start of that story she’s still too young to understand what life means as something separate from her parents. She believes in a “purpose-driven life” but doesn’t fully appreciate the fact that this idea has been dictated to her from birth. I think there’s an undercurrent of spirituality in that story, where her parents probably believe that by killing, by devoting their lives to the pursuit of taking life, they are somehow closer to god, or the devil, or whatever nasty thing they worship. We don’t see this translate into Lily. She does not show signs of spiritual belief in pursuing her victim. She lives this purpose-driven life because that’s what she’s been taught to do. Sometimes this is how I feel about the rhetoric around this idea of purpose, that we are being fed a pseudo-spiritual concept and that if we live with purpose, we will be complete. But the more I think about this as something dictated to me, in YouTube videos or podcasts or whatever, the more it feels like snake oil, and just fodder for boot-strap narratives that exist only to feed the machine of capital. My true belief is that people just do things. We just do things. We will always do those things. Whether we like it or not. They are coded into us, and/or the influences around us lead us to do things. Eat, drink, lie, steal, kill, love, donate, write, play, serve, worship, make annoying sounds for no reason, travel, do drugs, smash our teeth out with a hammer, whatever. RG: I found many of your stories to be governed by strong undercurrents, as if the crux is brimming beneath the surface. This gives the pieces an enigmatic quality. Is this element one of conscious intent?DF: Oh, thank you! I like hearing this. It is conscious yes, but I never know if I’m doing it well. I am a giant fan of subtext in fiction, and so I prefer to try to work with undercurrents as opposed to surfaces, but I also like to write stories that are more vibe-driven than plot-driven, so I think these undercurrents you identify are part of my attempt to encourage certain vibes more than anything else. I’m a big fan of dread. Apocalyptic nothingness and the haunted memory of a dead place. Memory is the motif I’m obsessed with most. Almost all my stories are about memory. Humans are made of memory. I think these undercurrents are all attempts to explore the memory of a place, relationship, moment, etc. Often memories are haunted and uncanny. I like to try to get at these feelings in the subtext.I think about how this applies in the story “Progress.” The meat of the story is the dialogue between TurtlePhone and Positively Pete! It seems like such goofy shit. A smart-ass talking toy turtle with the mind of an up-his-own-ass PhD student and who also believes he’s a special ops super-killer. It’s probably obvious that I had a lot of fun writing this. But the part of the story I’m most drawn to is the abandoned, scorched shell of the town of Baker, California at the end. What happened here? Why this apocalyptic graffiti? What haunted hell is this? In some ways I see all the dialogue and silliness of the story as a colorful vehicle to get us to this apocalyptic end, this haunted memory of a place that existed until recently. As a reader I just love seeing and thinking about undercurrents. Kazuo Ishiguro’s The Remains of the Day is one of my absolute favorite books, because of how it tells a rich story entirely in the subtext. Laura Van Den Berg’s collection What the World Will Look Like When All the Water Leaves us (I just typed that whole thing without Googling it) is a goddamn masterclass on subtext. Both of these books deal with subject matter that isn’t of high interest to me; both are books I stumbled on, but quickly came to love because of how strikingly they channel what’s below the surface. I don’t care so much about craft. Sure I like to see talented writers throwing down some nice moves, like watching elite athletes do their thing, but that’s relatively low on the list of things I look for in writing. But with subtext, different story. When I see a writer do subtext well, I get the full body shiver. I think Hemingway said a good writer doesn’t say what’s happening on the surface, but they have to know those details, and like, by knowing, the reader will get some kind of a sense of truth, a conveyance, even if they aren’t made explicitly aware of the details. I say, fuck off Hemingway. Don’t tell me what I have to know. I don’t know what TurtlePhone is up to when he’s sitting on the can. That’s his business.     RG: “Does Anyone Care How the Vegetable Oil Feels?” describes a technique you call method writing. Any examples of this in your own writing life?DF: Haha, no way. I used to think this idea was attractive as hell. To live the shit hard, as the narrator in the story says. But that sounds like a goddamn nightmare to me to be honest. I guess some nightmares produce some good writing. But it’s never been that way for me. I just have ideas and write them down and hope they work well enough. I think the idea of the artist living their art as authentically as possible is sexy to us, but it has problems. If we exoticize and romanticize all the violence, addiction, desperation, and evil that we see in our literary heroes, that forces us into a confrontation with our own values that I don’t think we particularly want to have. As someone who loves wretched characters, it’s a place I hesitate to go. I think of Al Swearingen in Deadwood, a magnificent TV character. To come up with a character like that I might have to become a murdering, deceiving, totally self-interested pimp? Well, shit. That sounds like a lot of work. I remember reading Knut Hamsun’s Hunger, about a literal starving artist, a favorite book of mine, thinking God damn! this poor bastard. Someone shoot his ass and put him out of his misery. Hamsun really lived off fumes, nearly starving to death in his early days. I guess Norway wasn’t so rich back then. Then he got big and famous and won a Nobel Prize and eventually became a Nazi sympathizing maniac. A bunch of them went this way. Celine. Eliot. I just want to write stories.I will say, I do gush at some examples I hear about of writers doing insane shit in order to conjure their art. Like Gary Shipley watching Begotten on repeat in a dark room for two straight weeks to write You With Your Memory Are Dead. That is the most batshit thing I’ve ever heard. Or, sticking with Inside the Castle books, their Castle Freak projects, where the writer has five days to write 100,000 words. These feel like experiments in what we might call method writing, putting our minds and bodies through extreme ordeals in order to test our creative limits and access the most unhinged, terrifying depths we got. I wish I had the discipline to attempt maniac stuff like this. I’d probably produce 75 words about stoned beavers wandering around the forest looking for wood.    RG: The office building is the tallest, thinnest in the city’s history. A man plummets to his death on the first day it is occupied, the day after completion. The sounds of children screaming are heard in the elevators, in the stairwells. On several of the floors. Throughout meetings. It’s much worse when the wind hits the building. A feeling of nonstop vertigo defines daily office life. The above quote from “Rhino” is a prime example of the ominous quality you can inject into environments. How do you use location when it comes to building atmosphere?DF: I think I’m obsessed with the haunted potential of a space, interior or exterior. I want to feel the imprint of a place, I want others to feel it. We might not know what happened in an empty room. Maybe nothing. Maybe somebody was tortured. Maybe a plot to commit a mass atrocity was concocted in that space, in a basement, over tuna sandwiches and old moldy coffee. Maybe all kinds of unthinkable things happened in this little desert town that used to function well enough, but is now burnt to the ground. I like trying to think about what a place feels like to someone stepping into it, and they know bad things have happened there, but they don’t necessarily know what or how or why.  I think “Rhino” is about the design of haunted places, as if their hauntedness was intentional, built into the space, rather than the space becoming haunted after the fact. The story seems to connect this spooky business to Lorna, the architect who designs them, as if she is the haunted one, and everything she touches turns to death. But we don’t know why. Is she plagued by this herself, or is she some kind of a demonic figure sewing chaos, getting off on diabolic design? I enjoy trading in uncertainty with these kinds of questions, and letting the reader decide. My first job outta undergrad I worked in a big ad agency. Way up on the 32nd floor. Could see the whole city. I had a meeting with one of my bosses and I can’t remember why but I started spouting off the heights of all the tallest buildings in Toronto. She said, “Uh, Are you… into buildings?” I said no, all embarrassed. But the truth was hell yes, I am. I am into buildings. All their vertical pathways and tunnels, elevator shafts, unseen dark corners, crawl spaces. I’m afraid of heights. But I lived on the 25th floor for years. All tall buildings are haunted spaces to me. The wind sounds like a screaming animal up there. All day, life accented by constant screaming.     RG: Your exploration of unconventional romance, featured in “Container” and “For Whom I Bare My Teeth”, presents an intense and, I found, cinematic take on sensuality. What is your approach to erotism in your work?DF: Hmmm, I don’t think I have an approach exactly. These stories are about desire. I think desire is dark, by its nature. I wanted to find ways to show that, but without being too on the nose. “For Whom I Bare My Teeth” is a bit more straightforward about it, but I do find that story to be funny, and maybe less serious about the darkness of desire. At least that’s how I felt writing it. I suppose cannibalism stories will always be funny to me. I really enjoyed writing both these stories, but they came from very different places. “Container” feels more serious, like it’s reflecting on something where for the characters the stakes are sky high. I don’t know if in other stories dealing with erotism I would use similar approaches. I just recently finished writing something about a couple so obsessed with each other that they begin to literally eat each other. There I go with the cannibals again. But the approach there is different from these other ones. I guess I just try to channel a question about what these characters’ desires look like, and what would happen if they took those desires to extreme, unreasonable places. I’m interested in making the unreasonable feel real, necessary. Unreasonable but necessary. Unavoidable. Impossible for them to avoid going there. Maybe that’s the approach.   RG: I remember when the terminally ill artist Anastasia Pelon brought her whole family to Neon for one last dinner together. We had been expecting a room full of eccentricity, full of chaos, full of the infusions that such a prominent artist would have inevitably left on her closest family members, especially in the shadow of her imminent death. But what we got was something much different; a room full of working-class, down-to-earth, polite people, who all happened to be this woman’s family. There was never an unsmiling face around the room. These parents, siblings, and cousins were so happy to be together. Anastasia’s sister helped her whenever she needed to use the bathroom or stretch her legs. Her sister would carry her oxygen tank as they walked together, holding each other’s arm. I remember the expectation that the whimsical and ferocious aesthetic that imbued her art would reveal itself in the room, but no. The bloody, bodily, confrontational, qualities of her work had no role here.The above quote is lifted from your story “Neon”. What has surprised you about the collection, either in the writing of it or in the process of releasing it to the world?DF: The fact that I have ever published one word of writing surprises me every day, let alone a whole collection.  RG: The elevator appears as a recurring motif in the collection, frequently as an uncanny space. Do you have any insights into why the elevator is attractive to you?DF: You caught that eh? I hadn’t anticipated a question about elevators, but I am happy to see this. I do think about them a lot. These steel boxes in which we spend a significant amount of cumulative time, those of us that live or work in tall buildings. The elevator is removed from the rest of the world. Such uncomfortable little moments can happen there. Yet such significant moments too. They test our humanity. Small talk. Claustrophobia. Fantasizing about the terror of being stuck in one. I’ve met people in elevators that became significant in my life. I’ve watched dogs piss and shit in them. In the height of the pandemic, the elevator became this place of mania, paranoia, and uncertainty. And total crushing awkwardness. Infection. All of these things factor into how I think about the floating steel box that hides us from the world for a couple minutes.I think elevators are crazy places. Intense, crazy places. Have you ever ridden in an elevator and had someone you don’t know stare at you the whole time? I picture the cables being cut, and the box plummeting. Everyone crushed inside. Impaled with shards of splintered steel the size of swords. I don’t think about this kind of thing when I’m in cars or trains. Something about this closed box brings these thoughts. No windows. Closed off from the world. I picture people in the elevator unable to control themselves. Strangers so attracted to each other at first sight that they tear each other apart. They know they are on camera but they don’t care. They know they only have a minute. That others might enter. But they don’t care. Elevators are crazy places. We can think these thoughts, for a minute or two, and then we get off on our floor and it’s over. The thoughts are gone.  RG: An undertow of dread and unease permeates your fiction. What attracts you to exploring this area with your writing? What do you dread?DF: I always think back on that Clive Barker story “Dread”, from Books of Blood. The character Quaid is obsessed with dread and experiments on people, forcing them to confront their worst fears. Great story. He leaves that poor vegetarian girl starving in a room with only rotten beef until she’s forced to eat it.There are some great vibes to be mined from dread. The well of dread is endless. The world is a dreadful place. We all are forced to confront dread in our own ways. I don’t always plan to write with dread in mind, but some stories just take on this tone. The undercurrents we spoke of earlier, the feeling of spaces being haunted with memory, this can be a dreadful feeling. Sometimes I do dread by accident because I write a character that is too flat or one-dimensional and in their flat silences there can appear to be things dreadful about them. Whoops, haha. I think the dread in my work tends to come from feelings of insularity, containment. Some of these characters are so locked in their own heads. We only see what they think. The rest is a mystery. I think this can be dread-inducing. They are containers; all we know of them is how they perceive a dying world, experience a violent sexual relationship, look down at the gun in their hand. Sometimes I think of dread as a feeling elicited by the knowledge that the world is filled with monsters that we don’t see. We know they’re there, but they live in the shadows. It’s the knowledge that they exist that breeds dread in us. We know terrible things happen. Murder, torture, human trafficking, genocide. And sure, we see these things on the news. But most of us don’t confront them for real. Most of us. This is of course a good thing, not to have to know these horrible realities first hand. The dread lives in the space between us and the shadow. I sometimes try to write as if considering the monstrous, even if I’m not describing it or writing about it directly. The writing is the empty space between us and the horrible thing. What’s uncanny about it is that we all recognize the smell, the sound of the empty space. We see a recognizable horror in it despite it being empty. That’s why that “Backrooms” picture is so scary. I think this is the driving force behind stories like “Bird Eating Glass.” A character who is plagued by the unfathomable knowledge of the world. This character is a mystery to us. We don’t know what they’ve seen. We just see some whisp of it reflected in their intolerable music, in the scars on their face, in their severed voice. The fact that their music happens to be popular in spite of itself is the signal that we all recognize the terror in this empty space. You ever read Grace Krilanovich’s The Orange Eats Creeps? I think that is the best book ever written about dread. RG: “Reasons to Stay” addresses the vagaries and vacillating tensions of a relationship forced to factor terminal illness. How did you decide upon the approach to structure for this story?DF: This story is pretty much entirely based on a true story. I don’t love to admit this, because doing so interferes with the pretense of fiction from which I feel we must always approach books billed as such, but in this case I make an exception. I’d been trying for a couple years to find a way to write about the person that “Reasons” is about and I kept coming up flat. I tried much longer works that were more formally conventional, but hated all of them. Then one day I sat down and wrote this and it just felt true. I like to think of this story as being pretty good at expressing what memory feels like – all broken up and fragmentary and mixed up between the good and the painful. I didn’t exactly set out to write the story in this fractured way, it just came out like this, and I knew that it was the real story as it was coming out. It ended up being much shorter than any of the previous versions, which also felt correct. My memory of this relationship feels compressed and frenetic, hard to pin down yet clear as day in some parts. My memory is engraved with ambivalence and longing, but as time goes by, those elements are further compressed and reordered, slotted into this larger chaos that is the sum of all memories. I wasn’t thinking any of this as I wrote it, I just wrote. And then after the fact, it just made sense that my mind was processing these feelings and memories through this fragmented ambivalence. I don’t know if any of that shit makes any sense but I think it makes sense to me.  RG: Container is released by With an X Books. Why have you chosen to work with them for this collection? In a wider sense, how do you view the small press scene?DF: It has been a total pleasure to work with Jon and Traci at With an X. They are so diligent, generous, and professional, I could not have asked for a better experience. I had an intuitive sense that With an X might be a good fit for a couple reasons. I felt that the vibe of some of their books of photography connected with the tone of the title story “Container,” in an abstract but not insignificant way. As it happened Jon had read that story previously when it was first published in Maudlin House, and said he was taken by it, so I think there was already a seed planted there, unbeknownst to me at first. I also felt that a previous collection they’d published, Drew Buxton’s So Much Heart, had some similar sensibilities to my work, the mixing of the real and the hyperreal, some darker stuff but not lacking in heart, that the vibe felt right. Far as I’m concerned, small presses drive literature. A few weeks ago I drove to Portland from Vancouver just to go to Powell’s. I spent like three hours in the small press section, examining every single book. Anyone watching me woulda thought I was a lunatic. Dennis Cooper always says that all the best writing in the world comes from small presses and he’s ten thousand percent right. I love the small press scene. I couldn’t live without it. I do have favorite books that were published by big publishers, we all do. But the vast majority of the work that interests me as I grow as a reader is from small presses. I get an explosion of joy every time I think about some small presses, just knowing they exist. It’s like, I know that the true, raw, unfiltered voices will find their place in the world. The most uncompromising writing is available to us because some of these small presses exist. I am eternally grateful.RG: “Do I fear for the future? Hell fucking no I don’t. Hell no. You know why? Because fear is dumb wasted pussy shit that serves no purpose. That’s why. We’ll figure this out like we figure everything.”Do you think about the future? If so, what does the future look like to you, with regard to your writing, or anything else?DF: Oh ya, I think about the future. I think about it all the time. I think about burnt buildings penetrated by hollow winds. I think about cities washed away by floods. I think about vast landscapes marked by emptiness, with little fossilized remnants buried beneath the surface, hidden signs that we were once here. I love thinking about the time beyond the end of us. It gives me a blissful chill. I don’t care if that’s a cliché. I don’t like being told not to be cynical. I embrace feelings of cynicism and nihilism. I don’t care if they absolve me of having to work for a better future or not. I don’t care if it is a privileged position to think like this. It’s just the way it is for me. I get creative fuel from thinking about what the world looks like when we’re gone. I also think about all kinds of nice things, future-wise. But I keep that shit to myself.   
January 14, 2025
Fiction

NUNS & ROSES by Ana Carrete

A nun was cloistered in a convent near me. I knew her. She was the Mother Superior. She was the main bitch. Top energy. She left that cloistered convent and moved to the Midwest. I was visiting the Midwest for poetry and to fuck a writer I’d been sexting with for months. I waxed my pussy right before I went on that trip and that was a mistake. My boyfriend dropped me off at the airport. I took a pill to fall asleep on the plane. When the plane landed, my head was resting on the stranger next to me. My head was on his shoulder but he never tried to wake me up. I was embarrassed but he was polite about it. I am no longer embarrassed and it's kind of a brag. I had my head on a random man’s shoulder on a plane and I was so comfortable and he probably wasn't but he was cool with it. I wonder if he enjoyed it.When the plane landed, the writer I was going to fuck was waiting for me. He rolled my luggage to a restaurant. We had sushi. We had beers and sex. I texted the nun. She texted me her address. I didn't know nuns could live alone. The writer took the L with me to the nun’s neighborhood. The writer made a racist comment about the neighborhood and walked me near her apartment. I asked him to leave. I called the nun. She came out. She asked me to come up to her place. We went up and down a very tight staircase. Her apartment looked exactly like all the memes about the coziest lesbian homes with green walls and mismatched furniture. This was the first time I saw the nun’s hair. I had imagined it when she wore her habit. Her current congregation allowed her to wear regular but modest clothing. She could show me her hair and I liked it. Her outfit was highly nun-coded. As expected. As it should be. And I loved it. I put on a black, velvet bodysuit and jeans to my date with the nun. I had my hair down. She drove me to an area the writer hadn't taken me to yet. It was a tourist spot by the water and it was beautiful. We walked on the boardwalk but didn't hold hands. We ate Italian food. She talked about how much she loved to go camping. We got ice cream cones. We licked the ice cream cones. I had never seen her licking anything before. Her licks were meticulous. When we got done licking, we got on the wrong elevator and got lost in the parking structure. Neither of us had paid attention to where she’d parked. We were too excited. We were on a date. We kept getting back on the elevator and coming out on different levels. I was getting sweaty. She said it was the priests’ fault. I thought about giving up and getting on our knees. Asking god for help so we could find her car.I imagined her having a sexy amount of authority as Mother Superior. Making sure a sexy amount of suffering happened at all times. An hour later, we found her car. I told her I would take the L back to where I was staying but she insisted on driving. When she dropped me off, she waited for me to go inside. As you should. When you go on a date with someone you care about, you wait to make sure they're safe. I went back into the writer’s apartment. He woke me up with his dick the next morning. It was similar to the ending of Kids (1995). A drunk Casper rapes Jennie as she sleeps. He was sober and we were in bed.I forgot to reply to my boyfriend for most of my trip, so when I got back home, we broke up in his parents’ living room. 
January 13, 2025
Micros

NOT HANDLED WITH CARE by M.A. Boswell

After Olivia tore out of the parking lot, Hyundai stuffed with all the nice shit from their place, Josh mixed batter and slammed it into a bruised Teflon pan. He’d survived on easy food before, when other exes ruined his life. Josh flipped the pancake, watched it coil into a lopsided heap. Earlier, Olivia changed the title of their shared playlist from Babe to You’re a literal adult child, deleted everything except one Taylor Swift breakup song. Josh rammed his spatula under the wreckage, realizing how bad this would be. The pancake grinned from the plate, torn and ugly, but never judging.
January 11, 2025
Fiction

PEGGY by Daisy Alioto

Peggy got down on her knees and asked God to send her a good man. She thought she had one in Jack but her friends told her that he wasn’t a good man, or if he was, he was good in the way that men are good which is different from the way that women are good. Something about the difference between a deal and a contract. Peggy thought all goodness was the same and maybe the goodness in Jack was hiding. For six months Peggy and Jack had dinner once a week until one day he stopped answering her calls. “He’s just not that into you,” her friends said. But wouldn’t he have said that around the time they promised that they would always be honest with each other? And couldn’t he have said that before or after he told her, I feel like I can tell you anything?She called his house at doubling intervals — one day, every two days, every four days, every eight days, every sixteen. “Stop calling,” her friends said. “He’s going to think you’re crazy.” But just in the way Peggy knew Jack was good, she knew she wasn’t crazy, so why should it matter. “What if he’s dead?” she asked. “What if he’s hurt?” Then one or another friend would say they just ran into him in the supermarket. So Peggy got back down on her knees. “Kind and capable,” she thought, that’s all I want God. Then she spoke it out loud in case God wasn’t listening with his brain-ears. “Kind and capable, please.”She had three recurring dreams about Jack. In the first one he was smothering her with a pillow. In the second he was holding her under the waves while she drowned. In the third, which was the most violent, he was stabbing her in the bony place between her breasts while she held her hands up and tried to take the knives in the smooth basket of her palms instead. The dreams were eerily silent, like the moment before Jack’s automated voicemail kicked in. The only voice in the dream was Peggy’s, always asking the same question: “Why are you doing this?” Years passed and God sent Peggy several ok men. Jack died, not from suffocation or drowning or stabbing, but prostate cancer. For months after his funeral Peggy told anyone who would listen that she was disappointed in the catering. “Jack hated horseradish,” she told her friends. “Jack hated cold cuts. Anyone who knew him would know that.” 
January 10, 2025
Interviews & Reviews

David Simmons Recommends: Brian Evenson, Charlene Elsby, Kelby Losack & J David Osborne

Brian Evenson, Good Night, Sleep Tight (Coffee House Press, 2024)Brian Evenson is my favorite author of all time so I make it a policy to read whatever he writes.Some of you may already know Evenson as the innovator and pioneer of the this-house-we-just-moved-into-has-more-windows-on-the-outside-than-on-the-inside-so-now-I’m-going-to-burn-it-down-with-my-family-still-inside horror genre. Whether it’s the crime noir-religious cult-horror-mystery Last Days or the schizophrenic-Mormon-fever dream of The Open Curtain, all he drops are bangers. His short story collections are my favorite though. Fugue State and Windeye are two of the best collections I have ever read. So you already know I was too hype to get Brian’s latest collection, Good Night, Sleep Tight.One time, I heard Brian described as “too literary for horror” and “too horror for literary” and at the time, I remember thinking to myself, damn, that’s lame as fuck, so I stopped listening to whatever podcast it was and just drove in silence for a minute. What does that even mean? He can write really well so he’s too good for horror? TF? That’s disrespectful.And yet, I understood what they meant in a way. Brian’s command of language is uncanny, and I imagine it has to do with his time growing up in the Mormon church and then his position in the church itself before he left/got kicked out. (You can read about the Brian Evenson origin story in like every article about Brian ever, and other people have done a way better job of breaking it down than me, but TL/DR, back in the day he got kicked out (?) of BYU and like, excommunicated (?) from Mormonism (?) because his first collection Altmann’s Tongue was way too gangster (not sure if this part is 100% correct but it’s how I imagine it happened) and some lame-ass student filed a complaint. I think. What I’m saying is that he uses language and pacing in a way that makes it read like a reverend from a strange religion in a different time and different universe wrote it. He will use unfamiliar words, or familiar words in strange ways. It’s something to do with the rhythm. And you’re never quite sure where you are exactly, as far as setting. You could be anywhere or nowhere.Take this for example. There is a story in the collection called “Vigil in the Inner Room” and it opens with: By midday father had sickened again, and by nightfall he was dead.This is already a crazy opening line, typical of Evenson. We know that the father has been getting sick and this time his ass died. But it’s the use of the words midday and sickened and nightfall that makes this line hit so hard. He could have used afternoon and got sick and night and the line just wouldn’t have hit as hard. But he didn’t, and because of this, his writing takes you to a different world, a different time. His specific combination of words is like a password that unlocks something inside of you that makes you feel like an early-9th century Chaldean peasant when you read it, eating a hard loaf of bread and sipping wine you made yourself. Maybe I’m not explaining it right. Hold up, let me try again. Brian Evenson’s writing is like the first time you try PCP. That empty feeling where you don’t know who you are, that liminal space where suddenly your clothes begin to seem too small for you, so you wonder if your clothing has actually gotten smaller or if you have gotten bigger, and then you have crazy cotton mouth so you attempt to spit but you can’t spit that far so your spit lands on your North Face sleeve, and then you try to wipe the spit away with your bare hand, and you realize that you have lost the ability to sense things using touch, because you can no longer tell the difference between a spit-covered sleeve or the bare, dry material of the spit-less sleeve, and this makes you wonder if you will still be able to do your job when you clock in at work on Monday, and the whole time you have been thinking this you have been curled up in fetal position in front of a Panera Bread, so now you have to burn your house down with your family still inside it. This is how all of his short stories make you feel. Like you are trapped in a dissociative nightmare that never ends.OK, but whole time, everybody writes book reviews about Brian’s shit. I want to do something a little different. I want to talk about just the opening lines to his stories and how he is the straight up GOAT of openers. In rap music, this is called an opening bar. The opening bar makes the whole song to me. If you don’t come with something so hard that it immediately makes me run around the room in concentric circles screaming “OH SHITTTTTTT” then your music ain’t for me. I feel this way about books too.An example of a great opening bar can be found in the classic motivational record “Cheese and Dope” by Project Pat. In “Cheese and Dope”, Project Pat begins the song with:Out here slangin on this blade prayin that I don't get cutBy these police makin raids, jumpin out and checkin nutsImmediately we are transported to North Memphis, in the summer of 2001, where we have sequestered dope under our ballsack, praying that the police do not throw us up against a wall and frisk us, and we must know what is going to happen next to our hero, Project Pat. Will the nefarious MPD catch up to our hero? Will he make it off the blade in one piece? We have to know.I feel the same way when I read Brian’s work. Take any story from Good Night, Sleep Tight. In “A True Friend”, the first line is: There are times when it hurts to be alive.GYAT! That is a crazy opening bar. The reader has to know more. ISTG if somebody interrupts me before I find out what happens to the narrator I am going to CRASH OUT. Hold up, I’mma quickly flip to another story in the collection. OK, this one is called “The Other Floor”. Sometimes at night–not every night, only rarely–the transition between being awake and dreaming would stretch long enough to become its own sort of time, a time in which it was impossible to know whether he was awake or asleep, a time in which, in the end, it didn’t really matter.WHAT THE FUCK! That is nasty work. First of all, in anybody else’s hands that shit would have been a run-on sentence, but not Brian. That shit is CRAZY. We have to find out what’s gonna happen! We have no choice. This time-shifting weird almost-sleep-purgatory thing he is talking about sounds very interesting, but also, in the end it didn’t really matter. Why didn’t it really matter? Does somebody get killed or some shit? So it doesn’t really matter that this person experiences a dream-like state since they are gonna get bodied anyway? We have to know.In conclusion, Brian Evenson’s Good Night, Sleep Tight is a healthy, homeopathic, all-natural alternative to smoking PCP and I implore you to get trapped in that dissociative nightmare as soon as you finish reading this. Charlene Elsby, The Devil Thinks I’m Pretty (Apocalypse Party, 2023)We define people according to what’s been done to them, not what they have done.I have read this book a couple of times and this quote always stands out to me. Because I agree with it. At first, it sounds brutal, unforgiving. Unfortunate, even. That this is the way we are. And perhaps it is. But that doesn’t make it untrue.In The Devil Thinks I’m Pretty, Elsby asks the question: which is worse: working in the food industry or getting fucked to death/giving birth to millipedes? Just kidding. But not really. The part I found the most horrifying is the abuse the unnamed narrator—living below the poverty line with a dead-ass mom—takes regularly from the people she encounters at school, in the trailer park she lives in, and in the terrible diner she works at. She links up with a few other troubled youths and they explore the psychosexual. And then some REAL serious shit goes down and she embraces her true nature and becomes what she was always meant to be. And all along she is keeping track of the people who wrong her, this poor girl on the margins of society. But where Elsby truly shines, is how we find ourselves really rooting for our narrator, cheering her on, even (ESPECIALLY) when she is burning down her trailer park with everyone in it.   Kelby Losack & J David Osborne, Dead Boy (Broken River Books)Brian Schuck’s girlfriend has just committed suicide and Brian is a mess. He has no job and owes money to a perverted gangster with an affinity for dog fighting and sexual violence. And then Brian’s dog—who is devastated from the girlfriend’s suicide—decides to stop eating. When Brian’s dog dies from self-inflicted sadness starvation, his buddy Handle has a brilliant idea, a way to bring the dog back to life. All they need is a bathtub of Monster energy drinks (for the electrolytes, flavor doesn’t matter) and some electricity and our boy can have his best friend back. Unfortunately, it’s too late for the girlfriend.I’m a fan of Osborne and Losack’s solo writing, but when they get together it’s like Bun B and Pimp C. Eightball and MJG. Westside Gunn and Conway the Machine. It’s a classic out the gate.  In Dead Boy, you learn a lot about dog fighting while getting hit with the darkest punchlines. I love how all the characters just acknowledge the craziness, the zombie dog, and agree to never speak of it. And all of it gets recorded for Brian’s TikTok. Because that’s the only thing that really fills the empty hole inside Brian. The attention. The engagements. The likes. It’s also very touchy subject matter, suicide, dog fighting, dogs dying and all that. Reading it makes you feel like Osborne and Losack were trying to outdo each other with every line. I asked them about that and Kelby texted me back: when you’re tryna make your homie go “broooooo that’s fucked up” you write crazy shit lol Also, the dog’s name is Mike Jones.
January 9, 2025

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American Air

by Mike Topp

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Mike Topp’s poems defy categorization. That’s why they are beloved by seamstresses, pathologists, blackmailers and art collectors.

–Sparrow

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