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SNAPSHOT BEFORE THE INCIDENT by Brian Brunson

September 6, 2019

With no foreboding of the approaching cataclysm, an orange brown finch, pecking at fallen crumbs, is startled by a fat gray pigeon flying down; a nervous young man watches the barista behind the cart in the courtyard; the barista clears the moist used espresso grounds from the filter with two loud thwacks against the rubber bar as her phone chimes in a text message from that boy listed under her contacts as ‘tinydicpic’; the sun hits the four story glass building reflecting the five story concrete building opposite; a broad shouldered well-suited man holds the hand of his elderly father, slowly walking along the sidewalk; the air swirls ever slightly between the buildings, kicking up a napkin and a leaf; a bee flits between the flowers on the bush in the corner; a man, deep into middle age, his pot belly accentuated by his polo shirt tucked into his jeans, carries his mocha gingerly so as to not spill any; one lone nebulous cloud in the blue sky creeps toward the sun, but never quite covers it; a one-footed pigeon rests on the gravel landscape along the wall; the palo verde tree soaks up the spring sun; a teenager on the wooden bench pauses from his game app to trace with his eye the figure of a business woman rushing past, getting particularly stuck on the curve of her hips; a woman tells, with a tone of disapproval, her younger sister, “I understand, I understand”; the hazy daytime moon drifts towards the horizon; a woman stands in the sun outside her black sedan, searching through her pocketbook for any loose change to feed the meter.

A block away a man, naked, filthy, crawls out of the storm drain.

TO MY SON AND ONLY CHILD: YOUR MOTHER IS CLOSE TO FADING by Nathan Elias

August 7, 2019

This may come as a shock, but since my death I’ve spent copious hours (each hour a lifetime) relearning the laws of the living. I rediscovered what it means to mourn when you wept capriciously at the side of my casket. I’ve also reimagined gravity as the weight of my sorrows sifts through the sieve of time’s welcoming hands. But now, my boy, my final hour is upon me. The hourglass drains, and so I must transmit, as well as the dead are able, these lessons I’ve procured since the time we spoke last:

The dead’s days, too, are numbered. Upon entering death’s doors, all personal memories are stripped from the ghost-mind until only those of fleeting, trivial observations remain. When I was a girl in pigtails, I once watched from my bedroom window a mourning dove fly from its branch, only to hang in the air, flutter its wings, and return to its branch. After the dead have fully detached from their sorrows and hopes (I had so many for you), we are granted access to a lens through which we may temporarily view the lives of those we loved.

I was there, at your wedding, and you were right to tell your wife I would have loved her.

When the last grain of the dead’s days approaches the tunnel toward the bottom chamber of the hourglass, we begin to fade completely. We are sent back briefly to embody one of our trivial memories from a torn perspective outside of our bodies.

I’m flying from my branch, only to hang in the air and flutter my wings before returning to my branch.

AT NIGHT by Craig Rodgers

June 25, 2019

The clock reads 2:04. The bedroom door is closed. He stares. He closes his eyes.

He opens his eyes. The clock reads 2:09. The bedroom door is open. He closes his eyes. He opens them. He stands and reaches out and he closes the door. He gets back into bed. The clock reads 2:11. He closes his eyes.

He opens his eyes. The clock reads 2:36. The bedroom door is open. He stands and pads his slow way through blue dark to a bathroom at hall’s end. He urinates with eyes closed. He returns to the bedroom, one hand shutting the door behind him. He closes his eyes.

He opens his eyes. The clock reads 2:43. The bedroom door is open. He stares. Brow furrows. He leans and reaches and without getting up he pushes closed the door. He stares another moment. He closes his eyes.

He opens his eyes. The bedroom door is open. He sits up in bed, throws legs over the side. His feet touch cold floor. He stares. He pushes the door closed. He waits. The clock reads 2:49. The clock reads 2:50. The bedroom door is closed. He curls his form back into bed. He stares. The clock reads 2:53. His eyes fall closed.

He opens his eyes. The bedroom door is open. The clock reads 2:59. He stares. He stares. The clock reads 3:01. He pushes closed the door. He stares. The clock reads 3:05. The clock reads 3:08. He stares. The bedroom door is closed. He stares. The clock reads 3:15. He stares. The clock reads 3:30. The bedroom door is closed. He stares. He stares.

TO CUT A WIDE SWATH by Therese White

May 14, 2019

I smell ammonia. Old people. We visit Great Aunt Alma for no reason. It’s Sunday, reason enough. Her room: a single cell, a single window. The bed backs into a corner. Her white bedspread, a canvas. Little blocks, cut from her underwear, lay stacked: pastel patches. Her arthritic finger points to them. Her mouth opens; no words exit. Tan knee-highs choke her calves. Her strap slips off her shoulder. Her feet are firmly planted in sturdy, black loafers.

My grandparents are not surprised; they are blasé.

I stand mute, wondering what language Alma is forgetting: French or English. My plain face stares kindly, as I remember a recent verb conjugation in Madame Lessard’s class: couper...tu coupes...she cuts.

My grandmother wrests away Alma’s scissors. Arms outstretched, Alma breathes in quickly, cups my 14-year-old face, whispering, “Magnifique,” and I blink.

CONNECTICUT VAMPIRE by Adrian Belmes

February 19, 2019

This is what we burn. The dead. Our ghosts. And illness, like a brand, held long above the fire. Our misunderstandings do become our monsters we admire, for fear is nothing if not love of sorts, obsession. The village men below this home implore upon my grief and seek solution, save their wives, forgetting mine, your sister, and my dying son. You are not a killer, my unrested child, but these men do not know you as I did: a daughter and a weeping lung upon a bed that lies an empty tomb. What sins do we exhume for peace of strangers. Buried deep into the snow, your ruddy face is like you never died. This is the myth, so the liver they must take and wound you. Your brother takes into his mouth your heart, the viscid flakes, the frozen liquid in half-rot, abrasive on his tongue, and summons in his gut a nausea, an ancient violation. Old kings ate their fathers to sustain their lion hearts, but God does not abide by these pursuits. Not years before, these fathers burned such sins upon a witch-like pyre where now these desecrations are communion, Christ-like healers, tonic-waters. Your consumption kills. The men of the village sleep calm inside their homes that night and in two months when little Eddie dies, I bury, and they hold their wives in satisfaction of a prophecy foretold, an obsession that they laid to rest. But science will not know this for another many years. In five, you’re born again and offer up to man a devil we don’t know that you had written. Long buried in the heartless mire, your cold blood does sail a thousand tales. Our misunderstandings do become our monsters we admire.

TROUT by Kaye Gilhooley

February 17, 2019

I took up fishing late in life. My husband says I fish too much. The smooth length of the rod in my hand is powerful. Did you know my Daiwa carbon 9ft rod is rated to 15 kg? 15kg! That’s the weight of a small child.

I fish in the fast stream that borders the south of our farm. It’s the closest boundary to the house. It flows under the bridge and soon feeds into the river, wide and deep.

I took up fishing when my daughter went missing. Trout. My brother called her that because when she was a baby ready for feeding her little mouth opened and closed like a fish searching for flies.

And she loved the water. That hot summer I took her down to the stream every afternoon and dangled her feet in the cool rushing water. She giggled so much. “Again! Again!”

Never again.

Sometimes I stay all day, pacing up and down the solid bank, dragging the heavy line through the rippling water, the hook set low near the sinker to trace the bed. I’ve seen the odd strong fish in here.

We searched for her all around the farm, split up.

“Over here!” shouted one of the village boys.

Tiny silver shoes, scuffed on the toes, and Cat-in-the-Hat socks.

Abandoned on the bank.

They all came. Police in waders. Divers. The new Filipino priest.

I drag the hook along the stream bed. There are no rocks down there. No bumps or hollows. A smooth surface they said. Nothing to snag on.

I haven’t got time for fly-fishing. All that wasted back and forward motion. I need weight in my hand. Power. To get to the bottom.

ARMILUSTRIUM by Rebecca Otter

February 7, 2019

My dad plays chess like a mathematician. Each of his turns stretch on while he contemplates the board from every angle and I forget my grand strategy. To entertain myself in these gaps, I look where his gaze falls. When he mutters to himself, is he frustrated with my playing? Or is that another tactic meant to confuse me further?

When he finally chooses one lucky piece with a heavy sigh, how that piece gleams in the TV light as he lifts it—slowly, as he does most things. My dad is okay at defense. But he’s ruthless at offense, felling knights who once had no reason to doubt their security, distracting me with someone expendable, all without warning from his cold eyes. After years of losing, I still can’t learn to sacrifice a strong soldier for the good of the army.

After I lose, we sit on the couches for a bit, then the move I always see coming—he packs his computer, laces his shoes, and plants a kiss on my hair. He leaves me with a box of polished wood and returns home to his new queen, unapproachable Venus, the one he readily sacrificed his entire army for. I’ve been watching his strategy for a long time, and so much learning to sacrifice makes it hard to remember when our war should end.

HOLD YOUR BREATH by Spencer Litman

February 4, 2019

Meet your wife in the hallway. Do not make the door handle click by turning it with too much force. Avoid kicking the toys scattered like landmines on the carpet. You do not want to wake your daughter, but you need to see her breathing. Walk to the crib rail like a procession of two. Place your hands on your wife’s shoulders in case she melts like she did when she found your son cold-dead in the middle of the night. Repeat this ritual while your daughter sleeps every forty minutes for the first six months of her life.

Try not to blame yourself even though you heard him crying much earlier and rolled over thinking, he’ll go back to sleep. He always does this. Babies are resilient, and I am so tired.

No matter how many times you have gone back and forth reassuring each other that there is no blame to be had, there is a chasm of rumpled sheets on the bed. In this forty-minute reprieve you feel close to her. Maybe if you do this enough, it will be a habit, this closeness, something you both do without thinking.

Your little daughter sleeps on her stomach, face pressed into chevron patterned sheets, butt sticking up into the air, snoring just loud enough to hear it over the soft ocean roar from a white noise machine. Your wife rests her head on your shoulder. Feel her exhalation, her relief when she sees the shallow rise and fall of your daughter’s back, unlabored and steady.

Breathe to this fragile rhythm that only you and your wife know is fleeting, capable of slipping off while no one’s looking to somewhere implacable and permanent.

Leave the room. Close the door, still careful not to catch the mechanism in the handle. Lay in bed. Make your leg a bridge over the chasm and feel your wife’s cold toes against your shin. Hold your breath for thirty-four minutes.

THE WILHELM SCREAM by Gregg Williard

January 10, 2019

Before her senior year of high school she spent every day of the sweltering summer on the side porch of her parents’ house writing an essay on existentialism while her little brother, back to her and arms outstretched for balance, inched past the windows outside, wobbling on a ledge no deeper than his heels until he lost his balance and plunged, screaming, into a sea of lava five feet below, then climbed up the drain pipe and did it again, all morning, every morning: inch along the ledge to Kierkegaard, lose balance to Heidegger, wave arms to Hegel, scream piercing terror to Dostoevsky, plunge to lava sea with Sartre, climb up the drain pipe with Nietzsche, then inch along the ledge with Kierkegaard, again.

Years later in bed she reenacted the scene (and the sound that had haunted her for years) for her first husband Thomas (the man who showed her she was a writer, and later, that she was nothing at all). Thomas the Cinephile swore her brother’s movie scream actually had a name: “The Wilhelm Scream," a stock sound-effect used in more than 200 films, originating in an early ‘50’s western titled Distant Drums, wherein a Private Wilhelm, that first screamer, dives to his death clutching an arrow in his chest with that distinctive yelping shriek she thought belonged to her brother alone.

Thomas played the wiki sound file for her. He was right (always, in those days).

SCUFF MARKS by Alecz Yeager

December 21, 2018

The corner of a tortilla chip rested vigilantly against the surface-smooth chest of Ivan’s “School is overrated” t-shirt. Next to it pooled a puddle of drool that was escaping from the twelve-year old’s chapped lips. The remainder of chips lay hidden beneath his hand that limpishly slept inside a plastic cereal bowl. It was five o’clock in the afternoon, and after eight hours of middle school boredom, Ivan had come home, sat in his favorite chair, cracked open a root beer, and began eating chips and salsa: a perfect mirror to his father’s drunken habits.

When his mother woke him up to set the table, he unstuck his lashes from one another and wiped the sleep from his face. He wasn’t even hungry at this point, but Mother had cooked dinner, and Ivan knew that Father would be no such help.

He lifted his body from the pleather, sweat-drenched chair and placed the last bit of chips on the ground for later. He knew that Pepper would probably find her way to the bowl at some point, and he’d only have to refill it later, but for now, Ivan could see the Golden Doodle wagging her tail in the yard and deemed his snack safe.

The placemats that hid in the third drawer from the left of the stove were always used for everyday dinners. Mother only let Ivan pull out the fancy cloth mats if company was over. The plastic mats were plain except for a rooster pattern that bordered the edges, and they came in a pack of four. Ivan’s family only needed three, and that was a good thing because one of the mats was melted in the middle from when Ivan accidentally put it into the dishwasher. That was the same day that Father caused the scuff mark on the dining room table when he thought that Mother had been the one that made the mistake. The other three placemats covered the table’s mark nicely, though, just like Mother covered her own.