Dominique Elliott

Through a Glass Darkly

My work begins in reverse: with a title. My interest in the interplays of words and image, in transpositions, translations, phenomenology, epistolary works, reverse ekphrastic practice, has crept into my artistic practice in many different guises. In Through a Glass Darkly, I explore the obscurity and fragmentation of the self through nostalgic references to vintage fabrics, shattered ceramics and other wistful references to childhood. It is concerned with a certain sense of “saudade” in the context of autobiographical memory.


Dominique Elliott is a multimedia artist and professor. She holds an M.F.A in visual design from UMass, Dartmouth and is a grant recipient from the Georgia Council for the Arts, and the National Association of Television Program Executives. Much of her work is concerned with various facets of memory, nostalgia and the interplays of word and image. She can be found @ElliottDominou.

Tanya E. Friedman

Parenting an Adolescent: A Primer

Adolescence. Remembering your own—how it seemed impossible that one day your feelings about yourself and everything else wouldn’t ricochet wildly between ecstatic and miserable—doesn’t help you shepherd your daughter through hers.

Brain development happens unevenly during adolescence. Unevenly is perhaps a euphemism.

Chemical changes target the amygdala and make powerful sensations compelling, like the feelings associated with risk, rebellion, and relationship rollercoasters.

Dopamine in the limbic system makes adolescents emotional, sensitive to stress, and unable to tolerate boredom (or what non-adolescents might experience as calm).

Emotional outbursts might include slamming doors, like the hallway door in the house designed with interior flush doors that direct eyes to double-heighted windows, framing the bucolic world outside.

Frontal lobes of the brain support impulse control, future planning, empathy. They develop after other parts of the brain, are seriously undeveloped in 12-year-olds. Still, you can’t help wishing she would, for even a few seconds, consider the impact of her actions on someone else, especially you.

Grace. Give yourself and your daughter as much as you can even, especially, when you can’t.

Hinges break with repeated slamming. The door no longer closes, fractures the architect’s vision, distracts from the winter light reflecting off the frozen lake, the trees weighted with snow, the stillest sky.

It’s okay to make her use her birthday money to have the door fixed.

Judicious. Sending her photos of her younger (easier! sweeter!) self may make her think you wish she were still that person. Acknowledge (to yourself) that sometimes you do.

Know that every few months, the phase will shift. Sometimes for the worse like when you realize it has been weeks since she said Hi when she got in the car after school. But sometimes for the better.

Like last night when she chatted happily at dinner, declared the Vietnamese rice noodle salad tasty, complimented your dress, laughed as she reported the funny thing her math teacher said.

Melatonin levels rise later for teens, making your daughter, already a night owl, prone to staying awake until 3 in the morning. Melatonin gummies might give you pause, but everything is better when she falls asleep at 9:15.

Notice every good moment, every glimmer of connection. Hold them lightly but hold them.

Outbursts. Recognize them as expressions of stress, anxiety, dysregulation, fear. Recognize the stress, anxiety, dysregulation, fear in yourself, too. Use your developed frontal lobes to jump off the cycle when you can.

Pandemic. Go ahead and blame everything on the virus and its disastrous timing. Exactly when she no longer wanted to spend time with you, you were the only people she could spend time with. But also, know that adolescence would have happened no matter what.

Questioning every parenting choice over the past 12 years isn’t helpful.

Resilience. Focus on yours. Take walks with friends. Read good books. Listen to affirming podcasts. Eat delicious food.

Snapchat is terrible but enjoy playing with the filters together anytime she wants to.

Take her phone at night even if all her friends have far better parents who let them keep their phones all night long and you clearly understand nothing about what she needs.

Understand that her phone is her connection to the world, that her connection to technology is different than yours. Take it anyway.

Vanilla milkshakes are almost never turned down. When you need an easy win, offer one.

Wondrous. Don’t forget to tell her that she is. Just keep the wonder out of your voice. When she performs seven new TikTok dances, when she brings home a 97 on her science test, when she cuddles up to the puppy and plucks the tick off his left hind leg that you’ve failed to remove for hours, just give her a half-smile, a nod, say nice.

eXacting as she becomes, mirror back ease.

Yes, And is your best tool but you have to mean the yes and the and. Yes she can stay up all night on Friday and she has to finish all her homework beforehand.

Zenith. Allow that the depths of her adolescence might drag you to the heights of your parenting. Allow that these heights might register as subtle shifts, the kind the adolescent brain barely recognizes, like understanding that you cannot know more than you know, that worrying can interfere with seeing what she needs. Allow that you are exactly what she needs and precisely what she does not need, both, at the same time, for a long while longer.


Tanya E. Friedman teaches, writes and mothers in Brooklyn. She's been published in the Atticus Review, Motherwell, Porcupine Literary among others. Her memoir about antiracist teaching is almost done. You can find her at tanyaefriedman.com

Alan Brickman

One Last Favor

"Stop right there and give me your wallet!" 

I turned toward the man yelling at me. I didn't see his face because all I saw was the gun pointed at my chest. I was unarmed, of course, and I couldn't run due to my injury. He probably picked me out because he saw my labored gait and figured I was an easy mark. Cornered, with no options, I smiled weakly and replayed the events that got me here. 

Not so long ago, things seemed so … normal. I had my job at the publishing firm. I was married to an artist, and we were happy together, or so I thought. We lived in a house we owned with a mortgage we could afford, and life was on cruise control. Not in a race car or a luxury car, just a comfortable sedan traveling safely within the speed limit.

Then the downturn in the economy, which hit publishing particularly hard, and I lost my job. Let go with two weeks' notice and no severance because I had only been at my current firm for about nine months. After a series of networking lunches and informational interviews over coffee, I became discouraged about my prospects. My career in this city and others had always been in publishing, and the industry was dying. I thought that because I was a well-spoken, well-read, hard-working generalist, I would glide into my next job at a firm where people appreciated such things. After a few weeks, I was disabused of that naïve fantasy.  

My wife, who had been perfectly self-sufficient before we were married, turned out to be worse than useless. She hadn't had a job since we moved here. She had been painting and, with my full-throated cheering from the sidelines, created a considerable body of new work. It was exciting, sure, but that was a lifetime ago. When I lost my job, she spent a lot of money framing her paintings in preparation for selling them, then spent more money to design and print promotional materials, then didn't sell a single painting. She decided she would look for a graphic design job – that's how she'd always made a living – and spent money we didn't have on creating a design portfolio and buying new clothes for the interviews that never materialized. It turns out you're not that marketable if you're a fifty-something with a two-year gap in your resume in a field that values youth and whatever the tastemakers declare to be the next fresh thing. Result: no income, large outflow. Result number two: staggering credit card debt.

She then had an affair with a gallery owner who seduced her with promises that he would show her work – he never did – and one day, the two of them jetted off to his other gallery in San Francisco, and I never saw her again. There was a "Dear John" postcard on the kitchen table and, a few months later, divorce papers in the mailbox. Since then, just like Murray and his sister in the movie A Thousand Clowns, we've communicated primarily through rumor. 

I called in several favors and was able to get some money from friends to pay the mortgage, but that lasted only a few months, and then after a few more, the bank took the house. I had stopped reading my mail because all the collection notices were too depressing, and I was depressed enough, and even though I saw it coming, I didn't see it coming. I came home one day to a foreclosure notice on the door, changed locks, and my stuff on the sidewalk. The neighbors and passersby must have picked through the heap and helped themselves because my laptop and leather easy chair were gone. Probably other stuff too. I held an impromptu yard sale, made a few bucks, stuffed a gym bag with some clothes and books, and walked away.

I imposed on the same friends who lent me money, this time to sleep on their couches. But soon enough, those favors dried up too, so I swallowed what was left of my pride and moved into a shelter. One afternoon I decided to walk around the neighborhood and was badly beaten up by a group of teenagers; when they asked me for money, I laughed because I didn't have any. I think they were just prowling the streets looking for someone to beat up for the fun of it. And a homeless down-and-outer like me? Even better. One of them smashed a two-by-four across my leg and broke it. My leg, not the two-by-four. I dragged myself to the nearby hospital emergency room. After an excruciating three-hour wait, a young resident who looked over-tired and might have been drunk set the leg badly and left me with a pronounced limp that makes me appear diminished and vulnerable when I go out, which invites predators like the one pointing his gun at me right now. 

"Stop right there and give me your wallet!" 

Cornered, out of options, I said, "Go ahead, asshole, shoot me if you want. You'd be doing me a favor. Thing is, I don't think you have the balls." I stepped forward so that the gun was an inch or two away. I looked directly into his face. It was a dead-eyed mask of sadness and rage. 

"What did you say?" 

"I said, I don't think you have the…"

An ear-shattering blast. A burning sensation and a burning smell. I fell to the ground in slow motion. I felt almost no pain, even as the sticky wet blood ran along the sidewalk and into my hair. I lifted my head to look up and saw the gunman's blank expression. Just another day at the office for another lost soul. In the moment before I surrendered to the dark void, I thought, At last, all my troubles are over.


This story captures the fragility of life (medically, financially) and the likelihood of despair in today's America.

Alan Brickman consults to nonprofits on strategy. Raised in New York, educated in Massachusetts, he now lives in New Orleans with his 17-year-old border collie Jasper and neither of them can imagine living anywhere else. Alan's work has appeared in Variety Pack, SPANK the CARP, Evening Street Press, and Sisyphus Magazine, among others. He can be reached at alanbrickman13@gmail.com.

GJ Gillespie

Forever on My Mind #3

This abstract landscape creates a sense of depth with layers of tissue, linen, cheesecloth, chalk, acrylic paint and gouache. Cryptic markings and crossword puzzle fragments evoke a sense of mystery. Placement of darks and lights create movement across the composition. The design is inspired by mid century abstract expressionist masters.  The image is one of a three part series intended to be paired with poems or stories in literary journals. 


GJ Gillespie is a collage artist living in a 1928 Tudor Revival farmhouse overlooking Oak Harbor on Whidbey Island (north of Seattle). In addition to natural beauty, he is inspired by art history — especially mid century abstract expressionism. Winner of 19 awards, his art has appeared in 56 shows and numerous publications. When he is not making art he runs his sketchbook company Leda Art Supply.

Andrew Hirss

The Curator of Family Regrets

I have accumulated objects of my family’s history that were given, or bequeathed to me, over the years by their previous owners. I pride myself in knowing the stories tied to each item and welcome any opportunity to recount them to visitors. I see myself as a custodian of my family’s past. A past which each object has bound to itself like a talisman.

My uncle Ivars’s oil painting Man Creates God hung on the living room wall of my childhood home. Over the years, I pieced together its history: how my mother came to possess the painting after my father left when I was three, how the rivulet patterns on my uncle’s interpretation of Michelangelo’s The Creation of Adam were caused years earlier by kerosene after his first exhibition (daddy no-show, artwork spite pyre); how my father had stopped Ivars before he could set his paintings ablaze, and how Ivars had then given him Man Creates God

I would often hear the frame of that painting rattle against the surface of the living room wall from my bedroom late at night as my mother’s third husband pounded his fist against the wall above the back of the sofa where he sat driving home a point at my mother who I imagined sat at the other end, silent and cowed, her eyes downcast with her hands folded in her lap, a facet of the painting’s history I do not recount to visitors. Man Creates God now hangs above my fireplace, a write-up of its history printed on a placard and affixed to the wall next to it.

Several of Uncle Ivars’s serigraphs also hang on my walls, created when he was an up-and-coming artist in San Francisco in the 1960s: his Four Elements series—Earth, Fire, Water, Air—with their swatches of bold, brooding colors; A Joyous Animal and A Serious Animal in bright, primary colors, gifted to me by my uncle on my twelfth birthday; The Hen Laid Two Eggs, given to my mother and father in 1959 as a housewarming present. 

A cobalt blue vase that originally belonged to Ivars from his days working at Gumps in San Francisco is on display in my curio cabinet. I had always been enamored of that vase when I visited Ivars and his partner Robert over the years and was pleasantly surprised when, in 1986, he presented it to me for my twenty-eighth birthday. Ivars frequently visited when I lived two blocks up Potrero Hill from his house on Rhode Island Street. He would arrive out of breath, pull his fifth of scotch out of his over-the-shoulder bag, pour himself a drink, light up a cigarette, and giggle. Uncle Ivars giggled at everything. I believe it was his way of pushing back against the grayness of life.

Ivars died of cirrhosis of the liver in 1989. Years of his artwork, unmounted and unframed, was left moldering in his basement.

After my mother’s death in 2008, I came into possession of several items of hers and her mother’s, which are now prominently displayed throughout my home.

My grandmother’s first book of poetry, Hárfa Lettem (I became a Harp), published in 1937, sits on top of the sideboard in my living room. Six framed watercolor paintings by a well-known Hungarian watercolorist, Oszvald Toroczkai, hang on the walls on either side of my living room windows. Each painting corresponds to a stanza from my grandmother’s poem A Párom (My Partner). When I look at each, I deduce that the artist was in love with my grandmother, each stanza so lovingly interpreted in its respective panel. 

The galleys of my grandmother’s second book of poetry went up in flames on her publisher’s desk during the Siege of Budapest in the winter of 1945.

I retrieved and framed several pieces of art from a folio of artwork my mother created in the early 1950s through a correspondence art class. My favorite is a colored pencil drawing she drew from memory of her family’s beloved Csobogó, their summer home in the mountains of what is now northwestern Romania. I was surprised to discover what a talented artist she was. Reading through the journals she left me, it became clear that her talent and flair for drawing were neither encouraged nor praised by her parents, which explains why I never saw any of her artwork until after her death when I found the folio she had hidden in the back of her bedroom closet.

In correspondence between them over the years, it’s plain that my mother had been strongly encouraged by her parents to pursue a career in the sciences, if not to become a doctor. When she gave birth to me in 1958, she dropped out of her Ph.D. candidacy in genetics at Johns Hopkins, never to complete her doctoral degree. She became a doting housewife, supporting her husband through his Master of Fine Arts degree in creative writing at the University of Michigan, convinced as his professors were that he was destined to become a great American novelist. After receiving a U of M Hopwood Award in 1960 for seven short stories he wrote, my father left my mother, moved to Seattle, and stopped writing altogether. Much as they were thrilled that she bore me as their first grandchild, letters she received from her parents over the years make it clear they were never able to hide their disappointment over what they perceived as my mother’s squandered potential.

My mother used to sign her letters with a heart, in the center of which would be two x-es for eyes, with a smile below them. I always found this little postscript drawing of hers endearing. Years later, when closing her estate, I found two small pillow covers she had made in Hungary when she was twelve years old, the top panels of which she had embroidered with representations of hearts and flowers. In the centers of the hearts were crosshatch patterns which I immediately recognized as the inspiration for her little heart drawings at the end of her letters. Having made that connection, the innocence in that simple drawing at the end of her letters pulls at my heart and causes my breath to catch. Those two pillows have found their place on either end of the camelback settee in my bedroom.

While they were on honeymoon at Cape Cod in 1957, my father found a piece of driftwood that resembled a semi-reclining woman. That driftwood was displayed on top of the bookshelves in our living room opposite my uncle’s Man Creates God painting through my mother’s first three marriages. It hung suspended in the middle of a triple-diamond frame crafted by my father. When she married her fourth husband, Ray, I created a triple diamond-shaped frame—three side-by-side diamonds, a large diamond flanked by two smaller diamonds, an homage to the original frame created by my father—in the center of which I hung the reclining woman driftwood. The completed objet d’art was suspended from the ceiling in front of the wall of the stairwell landing in their condominium in Ann Arbor. When my mother and Ray moved to Sarasota, Florida, they could not take the large frame with them. My mother removed the piece of driftwood and kept it on display in their small Sarasota condominium. That driftwood came home with me when I closed her estate in June 2008.

Layers of melancholic memories cling to that dusty piece of wood. Dust motes continue to settle on it where it rests on a shelf in a back room while I resist putting it on display.

In my self-appointed role as custodian of my family’s history, I have unwittingly become the curator of family regrets. Throughout my house, objects from my family’s history serve as constant reminders of their previous owners’ dashed dreams, failed attempts, broken hearts, and thwarted potential. They now serve as a bittersweet goldmine of my own history. I return to them, again and again, to help me make sense of my past as I glacially scribe a memoir I secretly fear I’ll never complete. Like barely perceptible background noise, the artifacts seem to whisper, “Your dreams, too, will be dashed, your attempts will fail, your heart will be broken, and you will never reach your potential.”

I rail against those imagined voices.

I remind myself that my family’s past is simply a prologue to my present, not some curse I am doomed to repeat. Though their creators’ lives may have ended tragically or unfulfilled, these heirlooms my family has left me are things of lasting beauty, born of a creative spirit that could not be held back.

My choices are not fated. Even if my life, too, ends tragically or unfulfilled, I will complete my memoir. However long it takes. The collective creative spirit of my family compels me.


Andrew’s poem "The Gift of Her Journals" won first prize in the 2020 Arizona Authors Association Literary Contest. His flash fiction piece "Camouflage" appears in Potato Soup Journal’s Best of 2020 Anthology.

Facebook: Missoula’s Artisan at Large business page. FB search handle @ArtisanInResidence.

Website: www.andrewhirss.com

IG: www.instagram.com/a1magyar

Twitter: www.twitter.com/AndrewHirss

Jamie Kay MacKenzie

Robyn

"Robyn" was painted in memory of the poet & writer Robyn Weiss .


Jamie Kay MacKenzie is a New York-based artist known for her ethereal figurative paintings. Jamie immerses herself in themes of childhood, loss and dreams through a process of building a scene, wiping away and working with what remains. Each piece serves as a kind of vessel for shared memories and experiences between people, combining the poignantly personal with an inclusive universality. She studied fine art at the Carver Center for Arts & Technology and the Maryland Institute College of Art.

Italo Ferrante

spiral

when we first met 

you called me / monstrous

onion-shine / a puffy

cat’s eye / too concentric 

for origami magic

i blamed my mum / she drew

me out / with a compass

& my dad / he fed me

pig’s milk / until i was six

i began to dream / of a straight-

edge / squaring the circle 

& squashing heaven / forever

i promised myself / i’d skip 

one meal / for each digit of pi

after a fracture / of days

my spine / doubled its axis

my shoulder blades / moved

tangent to your face / my stretch 

marks / bore your initials 

but you’d still / find a snowflake

more beautiful


Italo Ferrante (he/him) is a queer poet who earned a BA in English Literature and Creative Writing from the University of Warwick. To date, his work has been selected for publication by Poetry Salzburg, Impossible Archetype, Cardiff Review, Sage Cigarettes, Inflections Magazine, Lighthouse, and Orchard Lea Press. Recently, his poem "Ode to Abruzzo" has been shortlisted for the Oxford Brookes' International Poetry Competition (2022). Italo can be found on Instagram as @_literarture_.

Abby Alten Schwartz

Not Wrong

It has to be bad, for me to turn to him for assurance. He often both-sides me and I’m in no mood to have my words slammed back across the room with his own spin on them. He never very-fine-people-on-both-sides me, thank God, but he’s hair-trigger-ready with examples of both sides as hypocritical, corrupt, controlled by money.

The news today was too awful to deal with alone in my echo chamber. Acid tweets scorching holes in my feed, sizzling with outrage. They only amplify my anger and I need to temper it in order to breathe. 

I want his opinion on what this means. His position dead center (“I can’t stand either side”) holds the promise of impartiality.

Alarm bells are screaming in my head. I want to yell, “THIS! This is what we’ve been warning would happen! It’s no longer maybe—it’s so much worse!” 

Instead, I tell him, “I am extremely upset and need to talk about this. This is bad.”

“You’re not wrong,” he says. 

He doesn’t say, “You are right.” You’re not wrong is a concession, a nod. He is trying to do better at hearing me, at understanding what I need. I know he wants to be able to have discussions without me shutting him down. I’m trying, too.
“It’s not illegal everywhere,” he says. “But I agree with you. I’m with you. I get it.”

“You can’t possibly get it. This is about power and subordination and it won’t stop here,” I say, willing my voice to be calm. 

“I know. You’re not wrong.”

I figured out recently that tamping down my emotions helps prevent our talks from breaking down. If we can stay in conversation long enough, wade clumsily beyond the churning surf to deeper water, our bodies will eventually soften and float together. The last few times it happened, we emerged feeling closer, as if we’d survived something. 

Much more makes sense now that I understand our personality types. I took a quiz and recognized myself as someone whose behavior is motivated by a need for safety. I don’t like my worries dismissed, am undone by uncertainty and injustice. Hate being spoken down to. 

He, on the other hand, is driven by curiosity, a compulsive need to be knowledgeable. He hates assumptions, decisions based on emotions.

I feel sometimes like I am missing a layer, like I’m wearing my insides on the surface of my skin. I try to protect myself from exposure to harshness and conflict, while he finds these fascinating to explore—an armchair anthropologist.  

He dives into all kinds of pools: freshwater, salty, swampy. Holds his breath, looks around, comes up dripping with other people’s thoughts. Some slide away; others coat his skin with an oily film. 

“Is that your opinion or did you pick it up on Reddit?” I said one time, the edge of something sharp poking the inside of my throat.

“I learn from reading all kinds of comments,” he said. He isn’t wrong.

“Things will swing back,” he tells me now. “The media likes to focus only on the bad.” 

As he speaks, a piece of me snaps off, floats to the ceiling and hovers like a balloon, observing. Up here, I am untouchable. The quiet is a revelation. My alarm bells continue to shriek but are muted now, a vibration I sense in my belly as I wait and watch—detached, curious—to see what unfolds.

I think: Okay, then. Let’s see how bad it gets. Perversely, this comforts me.

I will either be overreacting and happy to be wrong, or this is the beginning of the end. I feel a smug satisfaction knowing one day he will no longer be able to ignore or explain away what’s happening in front of us. He will have to admit I was right.


Abby Alten Schwartz is a Philadelphia writer whose work has appeared in Many Nice Donkeys, HAD, Brevity Blog and elsewhere. She works in healthcare communications and is writing a memoir. Find her on Twitter @abbys480 or visit abbyaltenschwartz.com.

Ronald Walker

Another Day

My work, such as "Another Day," are combinations of both my conscious and subconscious mind. Some themes pop out to me, such as animal rights (anti-vivisection) or sayings such as "You can lead a horse to water but..." or rain, rain go away, come again "Another Day." Perhaps born from a desire for better times, past or future? In any case, there are also parts of each painting that I truly do not fully understand, but for whatever reason, it seems right. I feel that some communication cannot happen by words alone, which is why I paint.


Ronald is an artist living in the Sacramento area of California. He works in a style he calls "Suburban Primitive." This style combines Ronald’s interest in the origins and functions of art along with life in the suburbs. To him, the draw of art lies not in the depiction of physical reality but rather the representation of his emotional, psychological and intellectual reactions to the environment in which he lives.

Sara Gilbert

lá éigin

someday, autumn will stop 

reminding me of Dublin snow, 

your black fleece beanie, my 

faux fur boots. Buskers’ silk 

voices sing Ed Sheeran on street 

corners in Temple Bar: “I’ve 

found a love for me”; cobblestone 

slow dances as tourists rush by on 

slippery sidewalks, ready for dinner 

or overpriced drinks. Icy mist sprays

subtly on cheeks flushed pink while

Christmas lights glow yellow gold 

on Grafton street, casting shadows 

over faces on All Soul’s Day. Lilted 

Our Father’s mumbled under the thunder 

of angry church bells. My hands in your 

coat pockets, just to keep us warm. 

Squeeze fingers tightly, graduation 

doesn’t mean goodbye. But it does 

mean home. My home. Hamburgers 

and milkshakes in white hot southern 

sunshine. No shouts of slainté or 

shots of whiskey on dark wooden 

bar stools. I’m out of place among 

the stars and stripes, missing your 

home instead: craving stories of rural 

County Mayo and its cold, untouched 

sea. I see you in all shades of green grass 

and golden city lights, hear whispers of 

you in crisp winter winds, taste your 

flavors in thirsty gulps of guinness pints.


Sara Gilbert is a fifth year Ph. D. candidate in Fiction at Oklahoma State University. She has an MFA in long-form fiction and an MA in English Literature. Sara’s work has been featured in The Thing Itself, New Plains Review, the Santa Clara Review, and others.

TikTok: sara.gilbert.writes

Twitter: saraxelizabethxgilbert

Cynthia Yatchman

Covid Color Set 2F

I primarily use acrylic paint, latex paints, alcohol inks, paper, and charcoal. My images contain many diverse layers of meaning, from the universal to the specific and personal. Many of my works are abstract. I am frequently interested in patterns and/or creating a rich, sensual surface by making layer upon layer of marks. There is often an unseen history within these layers, as images are obscured and revealed.

During our Covid times, I worked on a series of abstract paintings using vibrant colors. My work frequently gives reference to my experience with nature. I was trying to bring nature indoors and found some comfort during covid times by using saturated rich colors of alcohol inks and floating them on a paper called Yupo, a very slick non-absorbent paper like vellum. The inks and paper react in sometimes very surprising and delightful ways.


Cynthia Yatchman is a Seattle-based artist and art instructor. She works primarily on paintings, prints, and collages. Her art is housed in numerous public and private collections. She has exhibited on both coasts, extensively in the Northwest.

Marshall Moore

Only Faintly (or: Anosmia)

1. 

I can’t smell shit.

2.

The previous sentence is accurate no matter how you stress the brown word. I can’t usually smell excrement. In fact, I can’t smell much at all. Does that make me nose-blind, or smell-deaf? Neither of these terms feels correct.

3.

Problematic ontologies: I actually can smell things, except for the things that I can’t, which is a rather long list.

4.

Organic laundry detergent with faint whiffs of lavender and magnolia and chamomile and gentle breezes on the moors in spring is all well and good, but I prefer the fake kind that smells like those tree-shaped deodorizers you hang from the rear-view mirror of your car. That, I can smell if I use enough of it, which I probably don’t.

5.

I don’t bother sniffing food to see if it’s gone off.

6.

An article I read a few days ago extolled the virtues of taking walks in winter weather. Rain, cold, mud, and wind are said to be good for the immune system. Ions and petrichor; fresh air and helpful microbes. But fresh air has a texture, not an odor—for me, anyway. What do ions even smell like?

7.

Speaking of wind, I can’t smell farts. This arrangement works out much better for me than for others.

8.

My grandmother had no sense of smell either, or not much of one. She used to collect Avon perfume bottles. I used to suspect the fumes scorched her sinuses. Now I wonder.

9.

I once had a crush on a guy who wanted to be a nose in the perfume industry. Articulate in the ways of scent, he spoke of layers, notes, and nuances I couldn’t detect. He’d daub himself with essential oils before leaving the house. A little neroli, a drop of cedar, some ylang-ylang. Sandalwood. Lavender. Verbena. Hanging out with him was like sitting next to a forest. I could smell him. I could smell then.

10.

I used to wear Grey Flannel. I thought it fit. He disagreed. It didn’t end well.

11.

My apartment, two floors up from the dumpster into which my fellow tenants tossed their trash, sometimes got a little pungent. I moved in, counting myself lucky to have found a place during the Bay Area’s dotcom craze. The first time I looked out the window, I should have looked down. But the plume of maritime fog that passes through the Golden Gate and disperses against Emeryville and Berkeley kept the place cool. Most days, I didn’t need air conditioning. Now and then, when the sun came out, and the dumpster filled up, the stench of baking garbage could be an issue—not overwhelming, but enough to notice. To cope, I’d burn Nag Champa incense. Those benignly cloying New Age fumes would fill the flat with mystical energies, chasing away the foulness wafting in from outside and almost convincing me (just for a moment) that I lived somewhere far away and keenly interesting. Then the flat flooded in a plumbing disaster, and I came home from a trip to find the floorboards warped and the carpets black. I had to move into a smaller unit upstairs.

12. 

I can smell incense. I can smell mildew.

13.

When I moved to Seattle a few years later, the fridge in the condo was older than the outgoing tenants. Things had frozen to the sides and top of the compartment. A gruesome, greyish intrusion of ice from the freezer section looked like an escapee from a John Carpenter film. The smell shocked me because I could smell it, and also because I could smell it. Like cabbage and ass, since you asked.

14.

Halfway through my first year in Korea, where I lived next, I caught a little infection I wish I’d had more fun catching. Antibiotics ensued.

15.

Korea is an olfactory bonanza: barbeque, autumn leaves on hillsides, gochujang, garlic, perfume counters in department stores, hot concrete in the cities, barbeque, seafood markets, skin-care products, cigarette smoke, barbeque. I noticed those scents less after the experience recounted above. I didn’t notice myself not noticing. Not right away.

16.

In late spring, prevailing seasonal winds dump dust from the Gobi Desert onto eastern China, the Koreas, and Japan. The air turns golden amber and gleams with heavy metals and exotic toxins. Everybody gets bronchitis. A few months after my earlier microbial adventure, my lungs filled up with phlegm and sparkly radioactive crap, and my throat felt like I’d swallowed a pine cone. My doctor took a look, blinked a couple of times, and asked Can you swallow? He gave me a shot of antibiotics in one buttock and an anti-inflammatory in the other. More pills, too. The same kind as before.

17.

Time passed.

18.

I got better, in a manner of speaking.

 

19.

My partner noticed it first. He asked, you can’t smell that? With a grimace, he pointed down: Hong Kong drains after a late-summer spell of no rain. It’s like piss and dead fish, he said, but with other nameless bad things mixed in. I said, not even a little bit. Later: low tide in Victoria Harbour on a windless, humid afternoon. Brackish, fishy rottenness, but sour. You can’t smell that?, he asked, and I couldn’t. Later: drains again. Nope. Wet market. Nope. Every now and then I’d catch whiffs of things, but with the volume turned all the way down. I’d feel the odor whispering against my sinuses, nothing more than a transient hint of existence. I’d ask, Is that sensation a smell? Am I smelling that? I knew about it now, so I noticed myself not noticing.

20.

There were always exceptions. Case in point: a few supermarkets there sold durians, those spiky fruits that look like the insides of iron maidens and are almost as harmful. They reek. The smell is a lethal sinus-tangle of sulfur, horror, roadkill, and unwashed butt. People say durians taste good. I wouldn’t know. I can smell them, though, and I’d steer well clear of that part of the produce section when they were in season. 

21. 

Exceptions, by definition, aren’t rules. I could only smell the exceptions. Paranoia set in. I started carrying mints everywhere in case I had corpse breath. Taking extra showers. Using more fabric softener and those colorful little odor spheres you toss into the wash to make it smell like pretty chemicals. 

22.

At Kew Gardens in London, I sniffed every flower I passed, not to see what it smelled like but to see if I could smell it. There were a few.

23. 

I would sniff-test the air in restaurants and restrooms. If I could detect any odor at all, that was both a good sign and a bad one.

24.

I still do that.

25.

On the list of exceptions: Bleach and ammonia. Onions. Cat pee, if there’s enough in the litter box. Wood smoke. Coffee. Roses.

26.

I can taste things. This is not the same as saying I have taste. I don’t know how much taste I still have. Some, evidently.

27.

According to a Google search, the antibiotic I took several times in the space of three years is known to cause olfactory damage, sometimes permanent. Quite a few doctors have looked up my nose.

28.

The testing continues. When I open a bottle of wine, I sniff the cork. A tanginess registers. This is new, and I think it’s a smell. I just don’t know what it is. There are scents in the air here: flowers, grass, trees. I notice them, only faintly; then they’re gone as soon as I realize I’ve smelled something. Cat food breath. Plants in garden centers. Lye fizzing in the drain in the kitchen sink. Certain brands of shower gel. Perhaps it’s not permanent. And if only one category, the one I’d rather not smell, has been wiped out for good, is that much of a loss?

29.

Loss, by definition, has parameters. My vision’s not quite what it used to be. All those years of looking at screens. Bifocals give me a migraine, so I have two pairs of reading glasses now, plus a few other pairs for driving and distance. My knees have never not been jangling twin shit-shows of broken glass and immobility. They just jangle louder now. It takes longer to make up lost time at the gym. Two-day hangovers, as it turns out, exist. Aging takes things away. 

30.

And every so often, time brings them back.


Marshall Moore is an American author, publisher, and academic based in Cornwall, England. For more information, please visit www.marshallmoore.com, or follow him on Twitter at @marshallsmoore.

Gary Duehr

Hot Spot

WTF! I'm about to lose my freaking mind! What made me think Sierra Mesa would be the perfect spot for my bachelorette party? Sierra. Mesa. It's in the middle of the freaking Mojave Desert! A desert! And not a romantic sunset-with-cactus-and-tequila desert, a 110-degree in-the-shade desert. With nothing but poisonous snakes and scorpions and things that want to kill you. Nothing! Like it's completely deserted. Duh. 

So when our Pink Party Bus—a mini-school bus with a cow skull on the hood and pink and silver balloons tied to the windshield wipers—broke down with 14 of my besties just as the sun fell behind the mountains, the temperature dropped like 30 degrees in two minutes to freeze our asses off in bedazzled white stetsons and beach coverups that said "Cowboy Up!," pretty soon we had a Donner Party-like situation on our hands. No cellphone service, and the blond-dreads driver, Rafael or Roberto, was clueless. All he could think was to pop the hood and play with the battery wires. Only two coolers of Coronas and some mini-pretzels in airplane-sized bags to survive on. Spoiler alert: none of us, pray Jesus, was forced to consume human flesh. But we got closer than we ever wanted to be. We could hear the growls of predators closing in. Everything pitch black, with pinwheels of stars overhead. Just in case, we drew curlicue straws to choose a victim. Though I think it would have been smarter to do it by weight.

I'd already been on bachelorettes in Nashville, Vegas, Austin, what have you. I didn't want to repeat them or do anything painfully obvious. So I told my mom, "Let's do Sierra Mesa in Arizona!" On Instagram, #bacheloretteparty was flooded with posts of its nightclubs and boutique shops, and 4-star restaurants. Everyone looked so happy there, clinging together in matching outfits, lips pursed for the group cellphone pose—that's what I want, to make instant memories.

And she said, "Skylar, you can go wherever you want. It's your big moment." I know she disapproves of Greg, he's too much like Daddy; they both hardly say a word. They're like two big dumb rocks. But at six feet, Greg balances my own gangly height; I look like a skinny ostrich. Mom and I are afraid to leave Greg and Daddy together for long; they might crumble from the sheer weight of their silence.

Good thing that Mom and I make up for that. Together we're like two firecrackers spitting out ideas. We found an Airbnb mansion with an infinity pool that's $7500 for three nights. Only five bedrooms, so we'd have to double up. In the photos online, there were king-size beds squeezed together in three of the bedrooms, and the others had bunk beds. Who cares, I thought, we'll be out and about the whole time. All we need is a place to crash.

The first night we got in late, piling out from the airport shuttle all sweaty, lugging our ginormous carry-ons up the marble steps. Thanks to God I'd booked the Cabana Boys ($250 an hour) to staff the pool. By the time we'd changed into our beach wear, a gleaming row of margaritas had been laid out by the lounge chairs, replenished every 15 minutes by the waxed and oiled waiters. With the patio heaters glowing and the turquoise pool bubbling under the big night sky, I felt like we'd landed in heaven. My bridesmaid Mia proposed a toast to the best friends ever, may nothing ever change, and may we forever stay blessed and joyful in our company. We clinked the salty rims of our glasses together as sprinklers hissed on the lawn. Through the sheer white curtains of the kitchen, we could make out the silhouettes of the Cabana Boys eyeing us.

Day 2 was a total blur. Nobody could even remember what happened even while it was happening. Mimosas by the pool first thing; for brunch, tequila palomas with jalapeno poppers at the Dead Donkey in the Old Town; then pulling on purple and green wigs while we cruised in the neon-lit pedal bar ($499 plus alcohol) doing whiskey shots chased with PBR, screaming our heads off to old Katy Perry songs, trailed by hoots and horn-blasts from the sticky, swirling mass of partiers like a big ice cream cone with sprinkles that someone had spewed onto the sidewalk. Too wasted for our boutique shopping tour to be chauffeured in Escalades, we slumped against boulders in the median with frozen daiquiris in Slurpee cups and waited for the Sunset Cruise on the Pink Party Bus. The primary destination was the cliff where Thelma and Louise sailed over in their Thunderbird. We figured we could crash early to be rested for the Hot Air Balloon Adventure at sunrise.  

The bus bumped out of town on a gravel road into the dusk. Shadowy cactuses loomed up like weird alien life forms. We clung for support to the coolers of Corona. Kaylee started to get sick, so we exiled her to the back and told her to focus on the horizon, a bright thread of gold. A tape recording was going on about ghost towns and the Mesozoic era when the desert was a seabed. Trish and Maddy had keeled over, half asleep, when the bus clanked to a stop. 

"That can't be good," I moaned to Mia beside me. 

She was flat on her back, staring up at the galaxies reflected in her sunglasses. "Wake me when it's over."

I started to panic, hyperventilating, and screamed at the driver. "For christ's sake, do something!"

He hopped out and threw open the hood. What seemed like an eternity passed. I could hear him swearing under his breath. I tried my iPhone; no service. Fuck me, I thought. We're going to die out here. 

Everything got real quiet. There was howling in the distance. The temperature dropped to like absolute zero. The girls all huddled together on the floor for warmth. I did a quick inventory. Coronas and tiny packets of pretzels. Nothing to make a fire with unless we ventured out of the bus. I knew that was a bad idea. Only Hailey had a lighter for cigarettes, but what could we burn, the seat cushions? 

The driver climbed back in and shrugged. "Sorry, ladies, there's nothing to do but wait." 

We could hear claws scratching at the underside of the bus. The stars looked more malevolent somehow, like hundreds of bleeding wounds. 

Sophia and Jayde were sobbing, half out of their minds. They wanted to go for help, walk out into the blackness to find a stream or railroad tracks to follow. A couple girls had to hold them down until they chilled the fuck out.

That's when I suggested we take a vote in case things got desperate. Capri had a pocket knife if it came to that. We locked arms around each other, prayed for rescue to our Heavenly Father, and shut our eyes tight. Though we were shivering, sleep came fast.

The next thing I knew, a stab of sunlight hit my face. I could hear a loud clatter like a rattlesnake. I opened one eye and saw a rainbow-colored hot air balloon setting down onto the sand, its big wicker basket rocking back and forth, flames jetting upward. At first I thought I was hallucinating. I knocked the heels of my Prada boots together to make sure I was awake.

"You girls need a ride?" shouted the pilot, an old dude with a droopy white cowboy mustache.

I shook the other girls awake. "Home! We're going home! Let's never go anywhere ever again!"


Gary Duehr has taught creative writing for Boston institutions. His MFA is from the University of Iowa Writers Workshop. In 2001 he received an NEA Fellowship, and he has also received grants and fellowships from the Massachusetts Cultural Council, the LEF Foundation, and the Rockefeller Foundation.

Jael Montellano

The Neighbor

He drew a cooing dove from a cage on the porch. He caressed her breast and stretched her out to me, only I was frightened and started away, which he liked. Her wings were clipped, and he let her roam on the grass while he watched me in the pool, budding into my bathing suit. In decades, he would be a MAGA supporter, all-capping online inanities, but then he made my mother promises and slipped into my bed at night, and I wondered the faraway places of which birds dream; somewhere the sun scorched them clean, even their bones.


Raised in Mexico City and the Midwest United States, Jael Montellano is a writer and editor based in Chicago. Her fiction, which explores horror and queer life, features in The Selkie, the Columbia Journal, Hypertext Magazine, Camera Obscura Journal, among others. She dabbles in photography, travel, and is currently learning Mandarin. Find her on Twitter @gathcreator.

Josh Price

Moving Vehicle

I could tell to you what it’s like, the bungee pull and snap, flinging you through the windshield and across the pavement, loss of gravity and the opposite of control, but it wouldn’t help; you’d have to experience it to know. 

I could talk about pain hiding in old bones, point at those little-kid-drawing faces at the doctor that gets sadder the closer you get to ten, and you wouldn’t believe me.

My parents paved the road we wrecked with broken glass of vodka bottles, both less than good at stacking the deck, Mom always drinking more on our family trips, Dad shooting fish dead in the water. 

What mom and dad got from that type of thinking was the family station wagon careening towards oblivion in the desert where families like mine went to die. 

It played out like a hopeless future, a drunk mom at the wheel, bald tires on the red station wagon couldn’t hack it. 

No more life for a while yet, little boy. Now is the time for you to lie in the bed of your trauma. 

Time is like this: young bones mend, becoming old bones that age faster than you do, what was still is, and just because you never dealt with it doesn’t mean it won’t still be waiting. What would matter to you most, if it all got taken away?

After the car accident, I wanted to go to the beach with my friends, but getting my cast wet would be a death sentence, the doctor said. Ten-year-olds die just as easily as grandmothers, wives, or fathers. I just wanted to be able to play like I used to. 

When the cast finally came off, my leg looked like bones wrapped in skin; I would have sworn it wasn’t mine.

After the crash, my mom drank full bottles of Popov vodka for more glass to cut out hearts with, and sometimes she took my baby sister on walks in front of cars at night. Eventually, mom was dead, and there wasn’t anything anyone could do about it.

I don’t know where things go from here; if I could find one sliver of something that keeps me hoping, even if just gossamer threads floating by in a dream, there could be an ending that ties all of this together, but really the only ending is the one where we don’t get to know what happens after. 


Josh Price enjoys walks with his patient wife. Scribble Magazine has published his short fiction; he has forthcoming flash with The Los Angeles Review. Prose Online, HASH Journal, F3LL Magazine and others have published his flash and CNF. Visit him at josh-price.com, on Twitter and Instagram:@timepinto.

Julie Benesh

Trippin’

My parents never took me to Chicago claiming their VW bug

would only ever get as far from Cedar Rapids, Iowa as Winneconne,

Wisconsin, on Lake Winnebago, near Oshkosh where my dad’s Uncle

lived, so the biggest city I ever visited before 1975 was Madison. We always left on a summer

Saturday before dawn, highway reflectors casting ghostly images.

I would lie on the hard gray backseat breathing second hand cigarette smoke

listening to my parents murmur and rattle road maps

One time the battery exploded right under my seat,

splattering my pinafore with acid.


(Now I know Chicago is closer, but they didn’t want to go there.

My dad thought only losers lived in cities.)


So I’d never been to Chicago before the ninth grade field trip

that took four hours and cost forty dollars. My mother was born in Chicago

but moved to Iowa as a baby and remembered nothing

and was likely fearing for my life, as when she thought Chicago

she thought crime and poverty and stranger danger

She had won $500 in a bingo game at St Pius

and spent it on two maxi dresses, one a gauzy cotton

in light green, the other ticked in blue and white, and platform sandals

for height. The music that month was all Philadelphia Freedom

and He Don’t Love You. My two best friends and I met the bus

in the parking lot of a strip mall on First Avenue. My mother

made me a Swiss cheese and peanut butter sandwich

though we also got a $2 voucher for McDonald’s along the way

We stayed at the Palmer House, boys on one floor and girls

two floors below. We went to the Ivanhoe Dinner Theater,

to the Shedd Aquarium, to the Adler Planetarium to Grant Park,

to Lincoln Park Zoo to Old Town and New Town.


The best part for me: Chicago kids in Lincoln Park yelling

are you from Iowa, you must be from Iowa, your pants are too short!

to the despair of my wannabe fashion maven classmates.

On the way back the chaperones asked for a vote: Who would rather

live here than Cedar Rapids? No one but one or two of us. The thing is,

at that very moment they asked we were riding past my future,

literally my current home high (23 stories) on LSD (Lake Shore Drive)

I not even noticing its unprepossessing cinder block façade–

like some kind of metaphor—blowing past my years-to-be in St. Louis,

Champaign, Naperville, the marriage that took up my 20s, getting closer,

closer to the shelter of a roofless sky, an endless horizon where at dusk

I cross the Drive with my ninth grade self to catch fireflies on our tongue.


Le temps passe. The Lake, big and old as the universe

will laugh and love us forever, and ever, outliving us all:

the Ivanhoe long turned into a Binnie’s Beverage Depot,

New Town reverted to mere East Lakeview, the Palmer House

in receivership, my parent’s VW sold for scrap,

mother gone since 1986, father since 2004, amen.


Julie Benesh, graduate of Warren Wilson College's MFA Program and recipient of an Illinois Arts Council Grant, has published work in Tin House, Crab Orchard Review, Florida Review, Another Chicago Magazine, JMWW, Maudlin House, and elsewhere, and her poetry chapbook ABOUT TIME is just out from Cathexis Northwest Press. More at juliebenesh.com.


Maddalena Beltrami

A Dublin Fall in Fall

In that brief moment of twilight where the thoughts are as random and as powerful as can be, I think I have to tell my mother what happened to me. The thought is so real that when I awaken a few seconds later to the realization that “you can’t, she’s dead,” the force of the sadness and longing takes my breath away. It’s happened on occasion during the 16-year interval of her missing, but I marvel at the magnitude of it this morning. These reckonings between the dusk and dawn of sleep have become stronger, not weaker, in the years gone by. I want to tell her about my falling. I want to tell her about the first trip I’ve taken alone in my six and half decades of travel. Five days in Dublin. The first post-pandemic tiptoeing out of the cocoon we all had to create for ourselves. What if I fall and I can’t get up? That old commercial for the button contraption they want us to buy when old and alone spun around my head for several days before my trip, half in jest, half in dread. My son, hearing of the fall, said I put it out in the universe, and that is why it happened. He is a firm believer in manifesting one’s fate.

On the other hand, I have always thought the universe was random, and it simply manifested it for you, with no real interaction required other than to recognize the signposts along the way. My son believes you create those signposts. In my newly created life, where I am alone but surrounded by too many people, I chose this solitary trip to test my mettle. Another girls’ trip was out of the question this time, both by logistics and desire. O, those trips! The bane of the single for their mandate, but O so relished by the coupled women for whom a choice it always is.

Four days were spent carefully walking for more hours than I imagined possible with my poor gait. The last night. The concert is in a beautiful, ornate Victorian building with uneven steps and no modern-day accouterments like an elevator. The tiny toilet is down an even more uneven set of steps, with odd-sized landings after each one. I navigate my treads with care upon the first attempt. I am in the mezzanine, and my seat is not the usual one on the aisle, as is required by my trapaphobia. It is two seats in. I eye it with trepidation and remain in the bar for the opening act, delaying the inevitable as long as possible. I can do it, I think, but first, one last trip down the tiny passage to the tiny toilette. The first elongated step escapes my mind completely this time, and I fall in two parts, the second requiring an usher and a medic to attend to me. And so they do, by carefully depositing me into one of the beautiful boxes that hang on the side of the stage in tiers, and my tears take me to the second level with a glorious view of the show. I share it with two young men; one a fan, one a curious new onlooker, both complete strangers.

I manage the return to my room and country with the question still unanswered. My sleep renders me with the deep desire to ask my mother. Is this life of created singular solitude truly what my heart desires, or is it simply the result of cowardliness? Do I truly not have the fortitude to enter into a long-term contract whereby there will always be someone to take my hand whenever I have “fallen and can’t get up,” or is the price too steep to pay now in my advanced years? Should I, instead, take my chances falling in foreign lands alone and thus continue my penchant for forging relationships of sumptuous, secretive sensuality devoid of the mundane menu of milk toast and mortgages. I am no closer to the answer, and my mother is no longer close enough to ask.


Maddalena is a former wife, Federal manager, PTA President and C-19 contact tracer, current mother, music reviewer at botheringtheband.com and fledgling writer. She has had her work published in The Grit and the Grace Project, Grand Dame Literary, ChangeSeven Literary Magazine, Inside Wink, Harness Magazine, The Monologue Podcasts, Sad Girls Club Literary and Fauxmoir. She was born in Italy, raised in New York and calls Los Angeles home along with her two sons.