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SPAWN by Isabelle Correa

June 6, 2020

I was a thing among other things in the hazy scene of his bedroom after shotgunning a beer for the first time. I remember the red pocket knife and the aluminum bending into itself to make room for the blade so that the hole I pressed my mouth to was an inverted flower. I remember finishing first. I remember finding his room and collapsing on the bed in the wrong direction, my legs where his head would go, my bare feet propped against the wall on the bottom of a poster for an alien movie I’d never seen, my toes covering the names of producers and directors. I thought of the game we had played earlier that night of Never Have I Ever. Never have I ever sucked someone off. Never have I ever seen this alien movie. Never have I ever been so dizzy. I closed my eyes and went elsewhere, to the last time it felt good to be wild.

***

In creek water up to our knees, she lifted a two and a half foot carp with her hands. She scooped it into the bed of her forearms, held it like a baby in a tantrum, then tossed it onto land where it flopped convulsively to death. Usually, every spawning season, we killed them with pitchforks our dad provided (invasive mud-suckers, he muttered), but that year there were so many of them you could practically cross from one side to the next walking on the slimy brown backs of them, so we rested our bloodied tools on the rocky bank and went straight in. I tried to follow her lead, as little sisters often do, but I kept lunging at the water and coming up holding air. She mocked me, as big sisters often do, saying I looked like I was trying to make out with myself. She turned her back to me, wrapped her wet arms all the way around her torso, becoming two people suddenly instead of one, moaning, mmmm, yes, mmm. She grabbed a fistful of her own hair, the other hand reaching hopefully for the pocket of her jeans.

Disgusting, I told her.

Like you would know, she said.

Like I’d want to, I shot back, as again I thrust myself into the water and came up with nothing.

Then we went back to spearing them. You had to get one at an angle in the gut, and when you did, they lashed out in every direction. The wooden handle became alive with the fight of them. It was a deep vibration, like the time the boy down the road dared me to touch the electric fence, but a reversed feeling, like this time I was the fence.

Then we sat on the rocks taking count. Eight mud-suckers scattered about us.

I asked her, what was it like?

She said, kissing is like swimming forever but never getting tired.

I said, gross. I meant how did it feel to catch one like that? To hold it?

She shrugged. I guess it felt good? Or whatever? And why do you care? She cupped her face in her hands with one scale the size of a penny stuck fluttering on a knuckle, a translucent white flag.

Looking dreamily across the creek to the pasture of dairy cows she said, last night, Jeremy kissed me with tongue. It was weird and wet but good, like the movies.

I rolled my eyes then watched one carp still gasping at my feet, the circle of its mouth shrinking and growing and shrinking and growing.

I told her, I can imagine.

***

Years after the creek day, weeks after the shotgun night, our dad kicked me out at the age of not even old enough to drive for the crime of useless slut what were you thinking. My sister stopped me mid-manic-bag-packing as I was wondering what does a girl even need, really need, to leave and keep going (a jacket, a bus ticket, a reason), held my bruised cheek in her palm and said, he’s dead to us, then followed me down the long dirt driveway.

YOUR ATTENTION PLEASE by J. Bradley

June 5, 2020

You never listen ~~to what I say when it matters. You’re treating this as a ticket to~~ be with other people. I should have seen ~~the symptoms when you stayed on your side of the bed, your body sleeping on~~ the edge, ~~rather than close to me, our feet touching.~~ The last straw ~~was when you came home, your body reeking of musk, the way it used to when we made every space we touched burn. You were never mine and I was never yours.~~

EXPANSE by Tyler Dillow

June 4, 2020

She talks to me at the bar. She talks about him. Him, the fucking bastard. How could you not fall in love with him and how could you not hate him? She talks back at me.

On the front patio of the bar, she lies next to me and the inner mass of a star collapses inside her. The star collapses inside her earthly body. The star collapses the lives of crumpled people—people shrinking, people expanding.

Have you seen that Lars Von Trier film—fuck—what’s it called? You know the one where the leading actress is blonde and white and she lays in the river or whatever in her wedding dress. You know like Ophelia.

I don’t know her name.

I say to her, Do you remember when this state was asleep? Heavy air surrounds us, but we are just sitting. Am I him? Am I the him she talks about, that fucking bastard. I hope not, but I hope. She says, We were always asleep, we were aware of what surrounds us.

Maybe, I’m this man. Do you believe in heaven?

You’re talking about Melancholia. What about it? That Ophelia metaphor was always a little too much for me, I say.

She’s always collapsing, always frantic, always calm—these are the signs of my favorite people. The kind of people I fall in love with, the kind of people dipping spoons into the universe.

I leave her. I go home.

She calls me. She is at some truck stop. Her car got a flat. She breathes through the phone. She breathes like the flints hills—this is the sound of her crashing. Can you come? Will you help me?

I do not care. I drive to get her. I breathe and she breathes. We are at a truck stop—inflating and deflating.

She holds my hand. She feels like every shock of wheat—dirty, holy, filthy.

She eats M&Ms, one at a time, and sips Coke in-between bites. She laughs. The creamy pastels from the sun in the skyline melt into her. When she looks at me, I see her. She looks at me as if she is alone. And she is.

When you hold my hand, I’m connected. I’m running through a wire and you’re the transmission signal, I say.

Water drops and fog stick to her apartment. I kiss her. She tastes like sweet grain.

Do you believe in heaven? Like a heaven you can touch?

I stretch across her. She talks about that man again. She talks about how he understands her. How he believes in her without a word. It all sounds made up. It’s all sounds made for hate. I hate him. She exhales and constellations beat my chest and he beats me. He beats my chest. I collapse. I collapse and come together through her body.

Thick grassland and hedgerows roll by the window as we drive. You shake just like the trees. The trees stop shaking and her hair is frizzy. Her hairy is frizzy and moves like the light of a star. I’m as real as everything. I breathe like she did. The car stops and I breathe like I did before.

She leans on my car. Smoke billows out of the hood. The wind picks up. She walks to the ditch and picks a wild flower. I used to put these in mason jars when I was little. My grandma and I would add food coloring to the water and in a few hours the petals wouldn’t be white anymore. I think about her as a child. I am convinced she is real.

She walks into the field. Grass and weeds up to her knees. She spins and spins. She spins, until I want to spin, but I don’t. I stay next to the car. A weight presses down on me, the soil quakes, I feel her breath. I take from the world. I take and I want to give, but I can’t. My feet drag forward.

She collapses.

I know the answer now. This is as close as I will get to believing.

She hasn’t gotten up yet.

TWO TIMES BELOW by Ben Segal

June 3, 2020

For once I was leaving well enough alone. The rain was harder than average. My sweater was coming apart at the sleeves. This was when I was officed by the Pacific and could walk in the waves during lunch. This was when my colleagues wondered at the afternoon damp at my ankles, at the slight briny scent that came from below my desk.

I placed a huge jellyfish over my head. It slipped on wet against my scalp and face and dangled plant-like to the edge of my collarbone.

I thought of words like tendril and vine. My bald patch soothed beneath the creature’s moist insides.

When I walked back to work, I was thoroughly soaked from the rain. The jellyfish gave everything a cloudy look. The world appeared viscous, smudged. My office was cold, as always, so I wrapped my body in the patterned wool blanket I stored in the filing cabinet and poked my hands out to reach my keyboard. There were reports to complete.

No one saw or spoke to me. I drafted a report and then another. The sun sank and an electric light turned on automatically above my head. The jellyfish had started to flow downward. It was thinning at the top and gathering mass at its lower points, like glass sped up a thousand times. I removed it with care so it flipped inside-out but remained intact. Then I took the inverted invertebrate and left it spilling out of the small wicker basket in which our snacks were stocked.

I drafted and sent another report. I drove an old car the long way home.

In my troubling younger years, I’d have danced jelly-headed in the reception area. I’d have sung loudly and flung its body at a slim and gym-toned client. Mine was a history of soft assaults and early dismissals.

These days the seas are overfilled with jellyfish. They breed well in the warmer water and have started to crowd out most other kinds of life. A whale stores the carbon of a whole small forest, I heard, but a jellyfish? They bob and refract the light. They mass on the water surface and are nearly as wet - an uncanny colony, a shifting almost-film.

The one I grabbed discorporated over Cheezit bags.

The work I did was likewise vaguely disgusting. It was difficult to discern its purpose. What I mean has something to do with rot and discarding.

Two years later, I removed myself to a prairie suburb. The city it helped ring was industrial, fading. I took on another job there, a mortgage. I purchased a membership to the community pool and wore no creatures. Kids in the drought year danced in terrible parody. My soft spot for the grotesque had firmed into a tight knot of self-contempt. I held a broken stick in their direction. Another couple of years passed far from waves and salted pleats. I carved divining rods on weekends.

I had learned, that is, to look for enchantment in folkways and ridiculed rituals. I had abandoned rupture, or at least novelty. I followed my gnarled rods over gentle glacier-carved hills that were dewy when the sun rose. I used phrases like “dewy when the sun rose” and stalked between the moraines with my old wool blanket around my shoulders.

This was not better or worse than any other choice, for me or in general, except the obvious advantages of exercise and fresh air. My legs grew strong and I smelled often of sweat. A neighbor built a house of concentric circles with rooves of wavering heights. Another neighbor died and was replaced by his sullen adult child. My job permitted me to work remotely, and I performed a task that remotely resembled work.

I carved a rod and followed it to water.

Miracles are easy in a region of lakes.

Freshwater jellyfish are tiny and translucent and beautiful. I scooped them with my hand from the pond bottom, lay down half in the water, and released them over my closed eyes. I felt them wash and trail against me. Some died, no doubt, from the trauma. I am so often both ambivalent and wet.

MEMORY PALACE AS MAZE by Kate Tooley

June 3, 2020

“Words fail…” No one says that anymore, but sometimes she still thinks it. She hears it in her mother’s squeaky, horsehair voice, the one that meant sarcasm: when her father put all the pots and pans in the oven to “clean them,” when the neighbor dressed her Persian cat in a tutu…But that’s not the only time words fail—quick footsteps behind her at two a.m., Ginny waving from airport pick-up after two months in Tucson, her dog’s muscles going slack before the vet has finished emptying the syringe—these are also things that cause a blank space, a lapse in words. And sometimes the words are simply too big. They’re too much the wrong shape, and she can see that trying to get them into someone’s ears will be a square-peg-round-hole kind of situation. She learned about that when she was nine years old.

Her memory also lapses, almost constantly. She pulls a photograph of her ten-year-old self from a disintegrating paper Eckerd’s photo bag. (Until that moment she thought it was “Eckerds” with a built in “s.” There are as many kinks in her memory as there are in her DNA.) She tries to make eye contact with the girl in the photo, thinks: “I don’t remember this day, don’t remember that shirt, or why I look like I’m being eaten alive by army ants.” She knows she should remember pain like that, but at first, she doesn’t.

Every place she lived is a part of her memory palace, each room a discrete snapshot, a roll of film exposed by dented drywall or juice-spill-stiff carpeting. In between rooms, though, her memory lapses: In the living room she remembers building forts out of sofa cushions or bringing someone home at two-fifteen a.m. and doing things you should never do on a couch you share with roommates. These do not happen in the same house, but both happen in living rooms. But between that room and the kitchen, she sometimes loses years, months. The time the chocolate cake exploded in the oven happened ten years after she last built a castle out of pillows. And in the other kitchen, they drank the cheap rum punch on her twenty-third birthday, a long time after she stained the couch.

She’s said careful goodbyes to all the rooms she’s ever lived in. She is haunted enough by people. Sometimes the goodbye was a hard look and a slamming door: Bette Davis in her head. “What a dump.” Sometimes it was fixing the protruding head of a nail in her memory, because she knew that if she remembered that nail, she would remember the moment before she learned what it was to feel irreparably helpless. Sometimes these were the same goodbyes.

Time does not respect pain. It tears months out of your memory and then subjects you to minute-by-minute replays. It does not wait for you to feel safe and happy to bring back days you’ve tried to banish.

Time and mothers. Her mother has sent this box of things: stuffed animals, mugs, photos, T-shirts. They are “downsizing.” She calls her parents dutifully but does not go home to visit. Her mother has resorted to the mail to bring up the past.

The package arrived on Tuesday, so today at six forty-five, four days after seeing the photo, after finding out there is no “s” in Eckerd, she drinks a sour beer and gets ready for a Halloween party. She shoves a pin in her hair and remembers, in color, about the army ants, the invisible ones that were biting her in the photo. She wishes she’d let the photo stick to the paper and fade in a back drawer, where someday some cousin’s child, after a funeral, would dump everything into a garbage bag because they have kids to pick up from school and only so much time to clear out drawers crammed with memories.

Just as she got the too-small pair of purple stockings above her knees, she remembered—in spite of herself—in spite of closing the door to that room firmly. It was the day they’d moved into the apartment, and the downstairs neighbor introduced himself, warned her parents about keeping the windows closed in the summer because of the smell from the dumpster. It was the first time she felt like a cat with its fur on end, immediately and irrationally afraid. She knew it was “irrational” because her mother said what a nice man he was, and her father invited the man over for dinner. Afterward, her mother made her pose in front of the building. She stood off balance in the itchy, pine straw-covered flower plantings and tried to make a place inside herself for a feeling no one wanted her to have.

He earned a standing invitation, so every Wednesday, she pretended to have a stomach ache. It was better not to eat than to sit by him through meatloaf or chicken n dumplings. Once her mom figured out the game, she got either switched or grounded; she preferred the switch. She never went into the downstairs neighbor’s apartment, no matter how many times he invited her to come play with his Pomeranian, Vlad, who carried a stuffed squeaker lamb everywhere. The kind of dream-fear that roots your feet to railroad tracks kept her on the other side of his sun-heated tin doorsill. She couldn’t remember when she learned that doors had sills. Had she known then what it was called, that thin strip of metal that marked the boundary between marginally safe and unsafe? She’d forgotten until now. Isn’t it funny that it sounds like dorsal? Like the back fin on a dolphin, which was her best friend Robyn’s favorite animal.

It was Robyn she was supposed to meet that day. Robyn walked Vlad as a summer job and insisted they meet in front of the downstairs neighbor’s apartment. They planned to stake out the pool and wait for the ice cream truck; Robyn owed her a rocket pop. It was Robyn’s voice, a voice she knew like music, that went off-pitch with fear, and made her hand shoot to the door that should have been locked. It was Robyn who she saw at his feet. She didn’t do anything. She didn't say anything. There weren’t words in her mouth.

She knew, without the downstairs neighbor saying, that no one would believe her. He grilled out with her dad, and her mom always said what nice manners he had. She did not have to be told: Iwillkillyou, Iwillkillyourparents, Iwillkillrobyn. She knew these things were true, and so she begged for a bunk bed that felt like a castle and told her parents that she and Robyn had a fight about school. Eventually her mom gave up on switching her, and she would hide in her bunk bed and listen to his voice rattling on and on about WWII history, big government, and “kids these days” from behind the closed door.

When she was sixteen, she slammed that front door for the last time and got caught inside the past for a full minute. The nail still sticks up from the handrail at a right angle, and she can still feel the thick laces of her light-up, princess sneakers. The nail is the last thing she remembers before she went to meet Robyn downstairs, will be the last thing she remembers about leaving home. She wonders if finding the picture is the end of the story, remembering she knew before she knew and making that somehow the moral of the story. She wonders if she could find Robyn on Facebook, if she wanted to, and what would be the point anyway. She wonders if she should tell her parents, crack open their memories like eggs and beat them to a froth.

She leaves the photo on top of her bedside table. Later, at the party, dressed as a fortune teller, she starts conversations by asking people if they know it’s called a “doorsill.”

Words fail.

DEER by Jack Wildern

June 1, 2020

The petrol station has a toilet but no window. Behind the door, a song that she has heard before plays. Or maybe she hasn't. It's muffled. The speakers' range only extends to the shop with its packet sandwiches and cheap mobile phone accessories.

She exits and catches a glimpse of him in the convex mirror above the window. His body morphs into a giant insect. A bloated beetle in jeans.

"Are you listening?" He taps a finger on the counter. "I said pass me one of those cans...no not that one, that one." He snatches the drink and fumbles a note from his pocket. "You're useless, you know that? Go and wait outside."

She looks down at her shoes, swilling them gently in a shallow puddle of water and petrol. A tiny rainbow soaking her laces black. When she looks up, a deer is standing motionless next to the car, its nose twitching, sniffing at the air. Its head swings toward the sound of the glass door.

"The next time I ask you, get out of here!"

The deer springs toward the road. Brakes scream as it misses the bumper of a hatchback. It bounds into the field beyond, disappearing into the grass, turning a muddy brown in the afternoon light.

"Fucking things are everywhere. I hate this place. Why didn't you scare it off?"

"I—"

"Just get in the car. We're late."

She measures time by the motorway floodlights. Counting them in her head as he listens to whatever he wants on the radio. Carole King sings, as day and night melts into a gray pattern of sleep.

In her dream, Mummy tells her that Daddy was moving furniture. That's how the cardboard wall of her dollhouse got ripped. That's how Mummy's face got the scratch. But it's okay because Daddy fixed the wall with tape, and Mummy used ice. And for a while there is silence. Silence until the tape on the wall turns yellow and the furniture scrapes across the floor.

She wakes with a start. Now her father sits next to her. Her father, in a cheap leather jacket and receding hair, taking her to places she does not want to go. His hands choke the steering wheel. The skin is dry and red. A flake breaks away from a tight knuckle. It floats gently, like a tiny snowflake, toward the recess of the gear stick, where it settles on a landscape of cracked black leather.

He speaks through a mouthful of drink. "See, that's the problem with you right there, you don't listen. You—"

She switches off and looks at the oncoming cars, their headlamps sinking into the gloom. A light rain starts to fall. He flicks the windscreen wipers on, and they smear a film of grease across the glass.

"And that's just the start of it, you wait until—"

The can, half crushed by his grip, vibrates its way toward the edge of the dashboard. It falls into his lap.

"Fuck!"

The car starts to veer as he brushes at his crotch. Ahead, two glassy eyes walk out into the road. She checks her seat belt and doesn't bother to warn him.

FACT: HANNAH AND HER HUSBAND USED TO BE HAPPY by Jennifer Todhunter

May 31, 2020

Hannah passes out with the lights on again, the room as bright as day. Her phone is almost dead from staying up late sexting, slipped underneath the pillow on a bed that’s not hers—a bed she borrowed so she can sort her life, a bed too short for long legs, bent like figure fours on unfamiliar sheets. Hannah preset an alarm (and a backup and a backup for the backup), but she wakes when the alcohol abandons her system instead, her stomach pinched with unease, her brain brimming with a laundry list of what-ifs, always landing on the worst-case:

What if we divorce?

or:

What if we stay together?

On Hannah’s way to work, the train and bus are filled with people wearing face masks, the hysteria surrounding the epidemic-almost-pandemic a fever pitch. The thought of putting something over her nose and/or mouth, the thought of breathing in her own breath despite having brushed her teeth three times since rising, recycling the fumes from last night, the wine and clams and fries and garlic, makes her want to barf.

Hannah and her husband married on the edge of a river, fifty feet from the spot they’d chosen, and neither one of them noticed they were in the wrong place.

Hannah and her husband honeymooned on Tenerife, the largest of Spain’s Canary Islands, and spent the whole time shitfaced.

Hannah and her husband both know the Spanish flu is the worst pandemic to-date, killing over 100 million people, yet they’re planning a return trip despite this other flu taking hold—a trip with their kids, so their kids can swim in turquoise water and gorge on calamares a la romana and patatas bravas, while Hannah and her husband revisit the place they first fucked when married to see if it jolts something inside.

Fact: The odds of being struck by lightning are 1 in 3000.

Fact: The odds of being struck by lightning twice are 1 in 9 million.

Hannah knows in the base of her being, the crunch of her heart—she’s not going to be struck back into anything.

Fact: Hannah’s husband hasn't struck her, but he's struck the wall next to her head and that was close enough.

Hannah stands outside her office building in an inappropriate jacket and casual shoes because living between two places is a bitch and one rarely has what one wants. She watches rain run off the bridge overhead, opens her mouth and feels it fall against the scum on her teeth. She wishes the rain were mucus slipping inside her, pandemic-flavored mucus, the slip more of a twist and a thrust like she told the guy she was sexting last night, and maybe she’ll get infected after all and Spain will be off the table.

Fact: Hannah’s husband is sober but wasn’t always sober.

Fact: Hannah drinks now but didn’t always drink drink.

Every Tuesday, Hannah and her husband carpool home from work so they can both watch their son play hockey, and they always pre-agree not to talk about anything meaningful or difficult in terms of their relationship on this weekly ride. (Fact: Months pass quickly when counted by weeks.) Hannah always buys each of them a coffee—espresso, milk, honey—before they start on the long drive to different homes in the same community, veering in and out of gridlocked traffic.

Fact: Hannah would prefer to be on the bus or train, but there’s the damned epidemic-almost-pandemic, and she can’t bear to bring sickness home to the kids she sees only three-and-a-half-days-a-week, so here she is, in a car with her sort-of-husband. Again.

Fact: Kids under five are more susceptible to the flu.

Fact: Only 30% of women have more than two children.

Fact: Hannah had two back-to-back babies and was done forever.

Before Hannah’s husband stopped drinking, he liked to explode her friendships. To this day, Hannah isn’t sure whether this was something he did on purpose, a control mechanism, or the booze telling him to act like an asshole.

This is what keeps Hannah up at night when the booze isn’t.

Fact: Hannah is aware of the irony.

After this week’s hockey game, Hannah and her husband will sit at the dining room table, listening to their kids talk excitedly about Spain, about its sunshine and seafood, about the novelty of going together. Hannah will sip a glass of wine, consider what it means to move on, how moving on is just taking up space in a different moment, moment after moment, and how all these moments equate to a lifetime.

Fact: Hannah and her husband have one life each of indeterminate length.

Fact: A life has a start and an end.

Fact: Marriages, however joyful, have a start and an end, too.

DISPATCHES…FROM THE NALTREX-ZONE by James McAdams

May 30, 2020

Sadonna was always my last visit that summer before she died.

At Derek Jeter Rehab Center-Delray, we dispensed meds between 1900 and 2100. I’d start with the early sleepers at the sober house on 999 Swinton, then swoosh on Freaky Fred’s moped through the back alleys and garbage docks behind the strip mall to the sober houses on 9th and 10th streets, between the head shops and the Amscot. I dispensed Suboxone, SSRIs, SNRIs, B-Vitamins, and retrovirals for the former needle users. On a PRN basis, I distributed: hemorrhoid cream, Midol, hydrocortisone, aloe vera for suntan relief, dimethicone for chapped lips, and Immodium A-D.

We didn’t all take this route. Abdaliz drove the facility Astrovan the other way on Swinton to her complex, Sea Oak, on the fake lake with the sad ducks. She’d put her babygirl to bed and then get high and grub McDonald’s with her cousins.

Freaky Fred hit the NA/AA circuits in Delray to recruit new clients. He had business cards with QR codes, fake sobriety chips, addiction stories stolen from Reddit or Discord. He gushed about finding sobriety at Derek Jeter-Delray. He’d normally return with one or two new clients a week. We secretly called them “Coins,” as in cryptocurrency, untraceable cash. We split $5,000 between us for each client, Abdaliz, me, and Freaky Fred; the rest went to our employer, a Big Pharma consortium that owned hundreds of sober houses across Florida and Arizona and got rich on unregulated urine tests, patient brokering, and what one Florida congressman called the “lethal cycle of intentional failure.”

Those were the good days. They’d chain-smoke under the carport where everyone watched COPS while we verified their insurance. Whenever we brought in someone new, we had to kick out someone old. That’s math. When he recruited Sadonna, it was my responsibility to get rid of Tara.

Sadonna sat lotus-positioned on a deflated air mattress stricken with claw marks when I finally came in at 2105, finished for the day. Always. It was her time to meditate, which involved listening to old Howard Stern in the background. She’d moved into the vacant room after Tara’s overdose.

“Best thing about the air mattress is you can balance your phone on the creases to watch stuff,” she explained, blinking her eyes and flinging her wrists around. She was trying to be positive.

We sat on the mattress together as I got out her EZ-pack and whatever fast food I’d picked up on the way. She identified her meds and signed her initials, a forensic S K, and then we made out for a while until our hips and elbows speared the floor through the flat mattress. We always just fooled around like middle school, even though we were both almost 40.

I balanced a plastic table over the deflated mattress as she separated the burritos, rice, and Mountain Dew from plastic containers into two bowls, two plates, and two glasses, which she called her “good China.” We gripped plastic utensils stolen from Taco Hell. I closed the windows against the sound of people kicking vending machines and ravaged calls for Naltrexone! Naltrexone!

“What did you learn about yourself today?” I asked. I was joking, she knew, but it was also a part of the script, which I later figured out she knew as well. The routine was an important part of our relationship.

“I learned what you did to the girl here before me.”

Sadonna and I still talk even in here, the private prison operated by the GEO group. They busted me as the first violator of Florida Bill 807, which criminalizes patient brokering, in addition to more obvious charges like manslaughter, pharmaceutical fraud, and online solicitation. Body Brokers, Zombie Hunters, Junkie Flunkies, Naltrex-Heads: whatever you call us, the other inmates despise us. Therefore, I stay inside my cell 24/7 reading memoirs Sadonna scans into my brain—Herr’s Dispatches, Agee’s Let Us Now Praise Famous Men, Karr’s The Art of Memoir—to prepare me to write my confessions about The Florida Shuffle, so her death will have meaning, she says.

She hovers in the corner of my cell, still wearing the It’s Always Sunny in Philly hoodie she overdosed in. Just like old times, she asks: “What did you learn today, honey?”

“Mary Karr says good memoirs are vivid and detail-driven.” I notice I project my voice toward her hovering form.

“I miss details, everything’s so blurry when you’re dead,” she rues, looking down at me not with love but something like a new emotion.

We just look at each other until I ask what’s the matter.

“You still haven’t confessed,” she reminds me.

And I say, like I always do: “I’m afraid if I do you’ll never come back.”

BOLD NEW ‘DO by James R. Gapinski

May 29, 2020

The hairdresser takes too much off the top. Whoops, sorry! she says, holding out a piece of scalp for me to see. I take the little hand-mirror and inspect the damage. A swath of skin pulls away from my brow and wraps around, like a halo. I take the scissors and plunge it into the hairdresser’s leg. Whoops, sorry! I say. She laughs and smears the blood around her leg. It’s red and vibrant. She is liquid inside. There is a glossy sheen brighter than the brightest no-smudge, stay-on, fire-engine-red lipstick. The hairdresser smiles and says I think we should go for it. Just take the rest off. Make a statement. Be bold. Bold. Bold! She keeps repeating her mantra, ripped off the cover of those magazines in the lounge area—everything is billed as bold and new, but I think this is the first time a stylist has meant it. Bold!

She slices away more scalp, and she pulls on my earlobes like she’s popping open an aluminum can. She peels and yanks downward. Between cuts, she works on herself. She plunges the scissors deeper into her leg and draws the blade away from its origin point. She goes back to work on my neck. Then she uses the electric trimmer, whittling down my shoulders. She turns the trimmers on herself, chipping into her clavicles. She takes away a piece of my lip. What do you think? she asks. In the little hand-mirror, I see my teeth through translucent bits of leftover skin. I smile, and I’m amazed how white they look in this lighting, like I’ve just returned from the dentist. More! I say. Be bold!

The hairdresser retrieves a paper slicer from the back office for more expeditious work. She chops off anything that has the slightest elasticity to it. She chops and chops until there is nothing but the hardest muscles and cartilage. I think I see bone. A woman sitting across the room says I’ll have what she’s having and thinks its clever.

The hairdresser sits me in front of the salon’s largest mirror for last-looks. The hairdresser takes pictures for her style-portfolio-thingy. She says this will become a hot new craze, and she wants photographic evidence that she thought of it first. She Tweets and posts on Facebook. My phone lights up. I think we’re already trending.

I inspect the polish on my reddened insides, the fullness of the color. I look at the hairdresser as she continues to snap photos. She is the same. She is slick with blood too. Her bones ache between the barely visible layers of flesh that remain. I feel like I’ve seen her before. I think she is my sister, though I cannot be sure.

AN ALLEGORY by Dan Crawley

May 28, 2020

Take your brother to the orange grove, and do not let your friends throw rotten fruit at his head, or any other part of his body. Take your brother to Stop-N-Go, and do not spend these dimes on anything else but candy bars for you and him. Take your brother up to bed, and do not hide in the closet and scare him. Take your brother outside to play street football, and do not let your friends tackle him on the asphalt. Take your brother to school, and do not let him gawk and gag at all the dog poop on the lawns. And if he does, please, please, this time do not let him go into his classroom with the front of his shirt covered in his own spew.