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He’s chewing on my ankle bones. They split his teeth down to the narrow of it, sharp things that now have jagged edges. He curses me, I think, as the pain shoots through the roots of his jaw. It’s his fault for gnawing on things that he doesn’t own- you never know how tough somebody is until you cut them open. I think of that as a universal truth. Someday I’ll be going into med school, or just college in general. I want to see how tough everybody is. My job is to cut them open. My job will someday be to see exactly where they split. He’s carving up my rotator cuff. He says that it’ll be pretty one day. Swirls and stars, hollowing it out until the light shines through. He never really was a sculptor. Never really was much of anything. He thinks that his point in life is to cut people open. He still doesn’t understand how tough they are, he never bothers looking. I hope that in being split the dead can finally be known. He has no hopes. When the dead fall apart under his thumb, he lets himself feel nothing for a while. He’s going after my scapula with a hammer. There’s a certain point where everything falls apart. You just have to find it. Everything can fracture with enough force and the correct placement. My sibling knows that better than I do. I drop glasses and they break, lying in wait when I’m too tired to pick up all the shards. Later I wonder where the nicks in my soles come from. Does he wonder what happened to cause that sluggishly bleeding cut? Or has he stopped seeing me at all? Riley Renwick is a young queer author based out of California. This piece is based on their hopes of becoming a medical examiner, and on their fears of what it means when someone kills you.

Lily is a flower and a girl’s name, but my Lily was a water moccasin and a grizzly bear sniffing for fresh meat. When I bragged about my outdoorsmanship, Lily saw me for who I was—a city boy playing at hiking in a busted pair of sneakers, bumbling unprepared into the wilderness without food or water, not even something obvious like a PowerBar. Lily said I shouldn’t be alive. She took me camping but first took me to REI. Made me buy a grownup backpack, boots and a jacket rated to withstand blizzards in the alpine tundra. When the clerk rang it up, I wondered how anybody could even afford to go outside. Lily took me up North Bird Mountain. A cold day, and damp, and my legs ached from switchbacks, and I sweated under my expensive jacket and soon was shivering and miserable. Meanwhile Lily radiated delight. Isn’t everything beautiful? She told me she was a red-tailed hawk. She told me she was a mouse in a field, scampering among stalks of dry grass. I’d planned on bringing beer, but Lily advised it was too heavy. Instead of drinking we made conversation. She asked if I had any useful skills for after the collapse of civilization. I told her I could catch fish. With your hands? she asked. No, I said. With a pole. Lily said I was useless. Well, right about then I was kicking myself for leaving behind that six-pack, weight allowance be damned. Lily said she was a rainbow trout spawned in the Hiwassee River. She was a diamondback rattler sleeping in the sun, and one day she bit a man and didn’t feel sorry, even after he died. We passed a clear creek where she had been a salamander and happy and would have remained one forever except she burned so hot she feared she’d become a wildfire. In the afternoon before making camp, I followed her to a waterfall in a grotto that smelled damp like mud and watercress. She stuck her hand in the water despite the cold. Lily was wind and ice. She invited me to touch the water, and when I hesitated she grabbed my hand and held it under. Coldest thing I ever felt. It set my knees buckling and my pale hand aching down in the bones. I guess it’s no surprise me and Lily didn’t last. Irreconcilable differences, and all that. But on chilly evenings I sometimes find myself lingering on the porch, where I’ll light a joint and remember the good times—which I guess was just that night in the tent. Lily was a wildcat and she-wolf and I swear at least part octopus. Whiskers of smoke swoop and twist, and I’ll wonder what Lily is now, wonder if she is the smoke—roiling, drifting higher, out of reach, out of sight, eager to become whatever she will be. Alex Miller is the author of the novel "White People on Vacation" (Malarkey Books, 2022). His fiction has appeared in Pidgeonholes, Maudlin House and Back Patio. He lives in Denver.

Findley Lake I have lived long enough to know to stay out of the water. Bug guts a crushed red berry beside me. If there’s poison off the dock– weeds in everlasting web, I have a lot of gnats to catch along the muddy path around the pond of singing birds and bullfrogs leading the way to Destiny’s house. Khruangbin Concert, 2022 In the inner sanctum of throbbing bodies, I groove hard beyond slow walk of long-haired superstars, headlight-eyed, mumbling inside microphones amplified starward. Diving deep into this band the first time– an alien soundscape of guitar echo and half-familiar nostalgia for when we could live forever, tapping wine bottles with drumsticks to the rhythmic thrum of how our lives were going, no interruptions, propellor hats attached and forever flying, no batteries included, unnecessary. My Mind’s Forbidden Animals I am feeling dictatoresque having already killed a spider tonight inching down my bedroom wall I crushed him with a white paper towel as I barked praise for keeping more insects out of my house but you can’t show your face around here James Croal Jackson is a Filipino-American poet who works in film production. He has three chapbooks: Count Seeds With Me (Ethel Zine & Micro-Press, 2022), Our Past Leaves (Kelsay Books, 2021), and The Frayed Edge of Memory (Writing Knights, 2017). He edits The Mantle Poetry from Pittsburgh, PA. (jamescroaljackson.com)

Anna exhaled her ten-hour day and reached for the doorknob. The wobbly chair she expected to encounter, the one Papa Sol insisted Ettie prop up against the inside of the door when he worked late, was not there. Instead, the slat-backed barrier between his only child and the evil eye was tucked under the table at the other end of the tiny tenement apartment. Without warning, Anna’s easy step over the threshold turned into a clumsy leap forward. Anna used her arms and the protruding black belly of the stove in front of her to break the fall. Anna jerked her arms back and braced herself for another blow. Her fingertips tingled. She searched her hands for what she was sure would be a new crop of blisters and burns. Nothing. Only the old blisters and burns. Anna tapped her index finger against the lip of the rusting stove. It was cold with hunger, same as everyone else she knew. The sting of ice and the burn of heat must know each other. “I’m home,” Anna called out. Home. She swirled the word around in her mouth. It still tasted funny. “Anna,” Ettie responded from behind the clothes that dangled from the rope strung above the sink. Ettie’s almost translucent complexion framed by her red hair glowed behind the threadbare fabric on the line. It reminded Anna of the vast nighttime skies she stood below a long time ago. She thought about crisp air and falling stars. “Door,” Anna gestured behind Ettie. “Door, er, rrrr,” Ettie repeated like the babushkas in Anna’s English classes at the Union Hall. The long drawn-out emphasis on the R sound did to Anna’s ears what the cold metal did to her sallow, sun-starved hands. Anna wondered if her friend placed the accent on the wrong syllable on purpose but pushed away the thought. Anna promised herself that she would not argue about the importance of learning English with the kind people who took her in. She understood Papa Sol’s desire to keep his daughter away from the grief that roamed the streets of the Lower East Side. If only Papa Sol could also see that life behind a closed door, especially one protected by decaying furniture, was hardly a life at all. But it didn’t matter anymore. Ettie’s time inside the apartment was coming to an end. Anna and Papa Sol’s wages were not enough to maintain the trio’s barely fed and sometimes warm status. Next week Ettie becomes a factory girl. Back pain, propositions, unpaid overtime, foremen, and English would become part of her life whether her father wanted it to or not. “Door,” Anna again declared, this time with a deliberate monosyllabic thump. With their shoulders pressed up against the door, the pair pushed until it clicked into place, or at least a more secure place. “Chair, er,” Ettie declared with the same hideous pronunciation. Anna’s clenched jaw throbbed as she dragged the old chair from the table and placed it in front of the door. She knew Ettie hated the screech of the legs against the floorboards. But ten straight hours at the pressing machine meant lifting the chair was as much a fantasy as getting paid for the 12 extra hours she worked this week or, for that matter, having tea and poppy seed rolls with the man on the moon. The noise also was part protest against the fact that her 15-year-old sister-like friend and roommate had turned door and chair into a three-syllable word before Anna even had the chance to sit down. If Anna held her tongue she surely didn’t need to hold the chair. “Annala, fix my shoulders?” Ettie asked before Anna even sat down. The young widow shook her head at the request and at the fact that Ettie had switched back to Yiddish. Ettie and Sol clung to the foolish language like a ragdoll they should have outgrown a long time ago. Anna untied the scarf from under her chin and glared at the cold stove. Yes, a cup of tea on the moon sounded appealing. Two sugar cubes, please. Alas, with no money in her pocket and no streetcar to ride to the heavens, Anna turned her attention to a destination she could reach: the cot wedged between the stove and wall. Anna rolled toward the wall to avoid her friend’s green eyes. The glint was too much for her to absorb at this hour of the day. She took her pinky and traced the cracks in the wall the way she did at night when sleep taunted her. Every touch morphed into a thread. Blue, black, brown, white, and rose red filled the plaster wrinkles. And with each thread she felt her heartbeat steady, her fists unfurl. When one line ended she knotted the thread and began a new one, putting down perfectly spaced invisible stitches one after another. Lines, half-circles, swirls, shapes, and sharp angles appeared through the simple action of her touch. The motion of her finger calmed her eyes and her brain. It stopped her tears. It stopped the loop in her head. It stopped the pain. This was the only kind of sewing she did not hate. “Get up,” Ettie hovered above the cot where she slept head-to-toe with Anna. Anna ignored the request and continued to patch the wall back together. Paint particles rained on her face with each loop. Anna wondered what it would be like to live a life without cracks to fill. “Please, fix my shoulders,” Ettie pleaded. Before Anna finished the seam with her fingertip, Ettie swooped down on top of her like a feral cat. The weight of her hands and knees landing on the thin mattress collapsed the rusted back legs to the ground. Anna’s head lurched back offering a new view of the water stains on the ceiling. Anna wanted to say something stern but before any phrases, Yiddish, English, or otherwise came to her, the rest of the frame gave out. Anna sneezed twice as she hit the ground. Ettie was tickling the bottom of her nose with the braid. Then she felt her shove the ends of her braid into Anna’s nostrils. Anna had no choice this time. She laughed. Hard. She laughed and laughed and laughed some more. From the broken cot on the floor, Anna listened to the happy noise she offered up. She was relieved she still could produce such sounds. “Please, do my shoulders, Annala,” Anna looked up at Ettie still on all fours above her. Her hair still in her nose. “If you fix my shoulders now, I promise I’ll fix the cot in time for bed. Come on, I want to wear it next week.” “You and your shoulders,” Anna kept giggling as she used her bent knees to move Ettie off and away. “Get me your father’s shears, you crazy bird cat of a girl.” Anna wouldn’t dare handle Papa Sol’s tailor shears with giggles in her mouth. She savored a final guffaw and sat down at the table with her factory face on. Eyes down, mouth closed, thoughts gone. Then, and only then, could the velvet-lined leather box be opened. The weight of the metal tool made her want to crawl back to the cot. It felt heavier than the chair and holier than the press iron. She squinted and searched for the first stitch she knew an anonymous seamstress hid below the collar and above the neckline. “There you are,” Anna smiled and snipped the prize with the sharp point of the tailor’s tool. After that, it was just a matter of using her pinky finger to pull out the stitches before she folded fabric and sewed it closed. A simple trick that gave Ettie the illusion of being even when in reality it made the garment uneven. “All done,” Anna lifted her head and tossed Ettie the remade garment. Ettie immediately tried on the blouse. Anna heard the single pane of glass in the window rattle as her friend leapt up and down with joy. Ettie’s dead mother’s candlesticks clinked together every time the daughter whose birth killed her landed on the ground. “Thank you, thank you, thank you,” Ettie sang. “Keep jumping in here and you’ll drop clear through the floor into horrible Mr. Rubinstein’s apartment,” Anna stood up and grabbed the candlesticks before they tumbled to the ground. “Then he’ll make you pick the crumbs out of his beard and sleep next to him every night.” Ettie’s eyes, the color of the sea the morning after a violent storm, zeroed in on Anna. Anna stared back making her mouth as straight as a yardstick. Ettie smiled mischievously as she held her end of Anna’s gaze. The corners of her mouth climbed up toward her eyes and her smile widened until it hit the perimeter of her round face. “Oh, Mr. Rubinstein,” Anna bent down and knocked on the floor. “My friend Ettie wants to pickle your herring and have your babies.” Ettie stopped jumping. She walked over to Anna and pushed her to the ground. “Not without you,” Ettie cackled. “Oh, Smelly Mr. Rubinstein I have a present for you. Come get my friend Anna. She wants to be your wife.” Ettie froze before her words reached her friend. “I’m sorry, Anna, didn’t mean…” Her voice trailed off. Anna wanted to go back to drawing on the wall with her finger, she wanted to go back to the night her husband stopped breathing on the boat, she wanted to go back to being a child. But there was no going back. Her passage was always one way. Anna looked her friend right in her eyes and started stomping her feet. She grabbed Ettie’s hand and soon the two were jumping up and down. The ground vibrated with such intensity that Anna thought the two of them might actually fall through the floor into Mr. Rubinstein’s apartment. And, Anna didn’t care. The two young women giggled like safe little girls. Anna felt something different yet familiar. Had she laughed like this before? She was almost certain she had. Perhaps it was when she was fifteen. Anna wasn’t ready to give up the moment, the feeling, but Ettie stilled her body. “Oh, Annala, I love you,” Ettie took her circle of a face and brought her lips to Anna’s forehead. Anna then watched as Ettie stood up, dusted off her newly fixed shoulders, and walked past Anna who still was sitting on the ground. Anna watched as she once more became a silhouette behind the clothes hanging from the line above the sink. Then on the perpetually dirty but regularly scrubbed floor, Anna thought about shoulders and seams and Ettie. She wondered what it would be like to be an uneven 15-year-old with rooster-colored hair and not a 22-year-old garment worker with dulled eyes. For the first time in her life, Anna wondered what other things around her could be fixed. And, she wondered if she might be the one to fix them. Then she put her head on the ground, stretched her tired body out on the floor, and laughed. *************************************** Beth Kanter’s fiction and creative non-fiction have appeared in a variety of publications including McSweeney’s Internet Tendency, Bright Flash Literary Review, Idle Ink, The Writer, the Chicago Tribune, and This Is What America Looks Like: The Washington Writers Publishing House Anthology. Beth won a James Kirkwood Literary Prize for her novel-in-progress, Paved With Gold, and was the winner of the 2020 Lilith magazine fiction contest. You can read more of her work at bethkanter.com.

We journeyed for three days and nights, o’er land and sea to the distant island of Crete, ignoring our parents’ concerns. We could have flown directly from Dublin but it was the ‘90s and we had more time than money and more money than sense. Crete, home of Knossos Palace, where legend says King Minos kept his minotaur son, half-bull, half-human, in a labyrinth and where loud-shirted tourists now snap up china bulls and ornate pots of knock-off perfume from the gift shop. As students, more interested in the living than the dead and thirstier for Ouzo than knowledge, it took us months more to reach the 7,000-year-old palace ruins. We followed the thread of the honey-sweet tour guide and her paying customers through the maze, where we walked in the footsteps of Daedalus, a master inventor and the creator of the labyrinth. Imprisoned by the King with his hapless son Icarus when the maze was complete, the father and son escaped using wax wings of Daedalus’ design. The tour guide spotted us and shooed us away before she finished the story. I assume they escaped successfully. Without her words, the palace was just a pile of old rubble. That Autumn we flew home on scorched, but fully formed wings, to a hero’s welcome.

prissing quietly mother's hair frizzing around own jawline—curse your nose unhooked as glasses slip down. you have been asked to watch your roommate's candle and heart. bat skulls down your drain and the second child goes with them. moving in the first thing hung is the straw cross above the doorway. you make potato soup for two and eat it alone. this lonely place your grandsomethings despised is your six week home & you feel strange sporting their flag at your only graduation, remembering them bullet-bled & constellation covered at the post office. are you what they remember? are you what you remember? things would be easier in two-tone, you think; green and yellow, or green and rust. it is tattooed on your forearm and your genome. maybe GABC doesn’t make you hate black and tan but you curse the name and drink still. anyways, you’re coming to terms with your genetics, that you burn and freckle instead of tan & need to be a little buzzed to like your family, and that you feel incurably out of place here, alone, reviled. you work in a factory like your ancestors post-famine. and as you trip through cobbled streets, cursing the name of every aristocrat and crowned conqueror of this ill-gotten place, you still feel guilty because you don’t want to go home. i live alone in a first-floor flat in kensington. the construction workers work twelve-hour shifts outside and yell at each other in a brogue so deep it doesn’t seem like my language at all. i am afraid of being caught so I am from cork now and struggle not to say it to people who know me. i am a perfect loner packaged overflowing in a pair of stockings. i didn’t bring my overcoat on the plane so now I am naked and alone. I hurt in a deep secret place and I swelter on the sidewalk. I am afraid to show my mother my camera roll. I do not want to leave this place with rushing trains and buses and the sea an hour away. i cannot write. the art museum is blurry. i wish i could read braille. the cane sticks out and people make way on the thoroughfare. i miss marx’s tomb and didn’t piss on margaret thatcher’s. i fear i am fake. i spend my money and sometimes my father’s. i am alone at a gay bar reading a book about the IRA. i wonder if I actually like whiskey or if I’m just used to it. I am too cowardly to be a vegetarian. i miss my cereal. I wonder half-nothings waiting for the subway delayed too long. the only time i feel anything is at a tattoo parlor. i don’t know if my mother loves me anymore. Shelby Rice is trying to contact you regarding your car's extended warranty. They read for Oxford University Press and won the Montaine Award for Creative Nonfiction in 2020. They have been published or have work forthcoming in The Foundationalist, American Literary Review, Rejection Letters, Longleaf Review, Okay Donkey and more. Originally from Dayton, Ohio and legally blind (two things unrelated, they think), they recently acquired a cane with a sword inside, and will tell anyone who will listen. You can follow them on twitter at @orcmischief (if you dare).

I. Fill my belly with the arsenic and old lace. Let me carry you down the lane To the field where the flowers fled After the warm spring rain. I'll put my head against the old rocks And whisper an old song to you Lay we still all through this night And awaken fresh with golden dew. Tops and toys spin round marbles in dirt - In circles drawn with brittle sticks Against the meridian we tried to find But what is left to build with crumbled bricks? Find me - I beg you - tomorrow's morning Before you've boarded that creeping train And read me sweet words from magazines That soak down deep in sleeping veins. II. Raise high the tumblers until we tumble down From our waterbeds of barley and of rye. Those glass keys shall unlock the world And tumble it smooth as silken skin Of the arms and elbows that touch the table. Raise the cherry blossom to my lips - That they may find the sunken gold Beneath the waves and lace that try to hide My never ending want of you. III. All of the old ways are gone now Buried six feet down In an old apple crate and wrapped in muslin With the dead dog I put there last year. Don't cry, not now nor ever again Open your nostrils thick And breathe in the smell of the dirt Held by the chicken scratch that took root. Burn the old clothes now And bed sheets soaked in sweat and vacancy And send the plague beyond Near where we both know I belong. Near enough still is want Just beyond thickets of need And let the rain water the crops That in time will be cut and dried. Drive on in that phaeton Let it be pulled by the geldings Who wrap us in the twine that captures Everything we wish would fall away.

Sylvia Santiago's work has appeared/will appear in Bureau of Complaint, Crow & Cross Keys, Cutbow Quarterly, Honey Literary, and elsewhere. She lives in western Canada where she writes sporadically, worries frequently, and wishes upon stars almost never. Find her on Twitter @sylviasays2

Content Warning: this poem references mental disorders, disordered eating, and sexual assault. that afternoon the therapist said two words body dysmorphia that was all my ears could hear so I examined my thighs and I criticized the shape of my knees and I ignored her as she laid it all out there her words fell out of her mouth and into my lap a lap that always felt too much because the way that I feel when I sit bare-legged the vitamin deficiency that made little dots form the dry winter skin that made me grow scales the divots left from weight gain and loss because of course I never learned what health felt like body dysmorphia she went on for a few minutes and I imagined a swift 34 scenarios maybe if I didn't see my body the way it was maybe that means I can't hear the way someone says it maybe of course I can't trust my instincts on living maybe of course this was how my heart so often betrayed me maybe the body dysmorphia was how I didn't see anything how it was every single I love you every single compliment every single criticism that afternoon she gave me words for the part of me that explained all the other parts of me that were always at war with each other and every well-meaning person that had felt the need to make a comment of my changing body over the years like the year I only consumed peach iced tea and white cheddar popcorn until my shoulder blades became razor-sharp like the year I was assaulted in a bar and gained as much weight as I could so that men would stop addressing me with their hands and eyes like the year I surrendered the war and let my thighs breathe free because he said he loved every part of me before he could touch me body dysmorphia two words for all the ways we fuck ourselves in the name of control in the name of protection body dysmorphia for how we live in a body that carries more shame than cells for how my brain tells me lies about my thighs when really my thighs just hold the rest of me up all the trauma so I can stand so I can live so I can be loved so I can be here even on the days when I can't stand in front of the mirror especially on the days when I can't trust myself to see myself body dysmorphia two words for war and lies Margot Stillings is a storyteller, photographer and cocktail napkin poet. She resembles a housecat most days: paws bare on hardwood floors and lounging in sunbeams.

A small crowd of England soccer fans nursed plastic cups of local German beer while singing God Save the Queen. A couple of hours before kick-off the Munich riot police kettled the fans into a small patch of tarmac outside the Olympic stadium, and eventually the supporters became weary, falling into hopeless chants. Behind the armoured foot police were officers on horseback, looking formidable with vacant eyes masked by visors. “Keep singing, we’ve done nothing wrong,” Simon said to his sixteen-year-old son, Jonathan, who was smoking his fifth cigarette of the day. Both wore sweat-soaked England replica shirts, long shorts and sneakers. The sun beat down hard, singeing their exposed skin, turning it a deep shade of red. Simon had seen it all. He’d sunk pints in stadiums all across the globe and had followed his team to San Marino — the minnows of international soccer— to the Mecca of football in Brazil; the Maracanã. Now Jonathan was old enough, he could join his father on his soccer odyssey. “One World Cup and two world wars!” Simon yelled, but the police remained calm — a balmy breeze swirling around the captive fans, raising a flurry of dust. Simon got to his feet and took a few steps towards a mounted police officer. “Dad,” Jonathan warned. “Go easy.” Simon placed his head near to the horse’s nostrils and yelled, “No love for the other side. Die fuckers!” The horse twitched, whinnied and then reared up violently. The police responded by spraying tear gas from canisters, sending fans scrambling over one another, howling in pain. Simon and Jonathan’s eyes burned and streamed with tears and it wasn’t long before they couldn’t open their eyelids at all. Screams continued to erupt from fans all around but then suddenly everything became quiet — no noise from the England supporters, no ruckus from the advancing police. Simon yelled, “Johnny, reach out for my hand, I’m here!” But in the pitch black, there was no sign of Jonathan and for a split-second Simon had the strange fear he would never see his son again. Then there was light. Simon and Jonathan found themselves in an empty soccer arena, dressed in waiter’s outfits replete with serving cloths and platters of food. Before them were two football teams — the English and the Germans — seated at tables by the halfway line, wearing tracksuits, sipping orange squash from plastic bottles. Without being prompted, father and son served sushi to the footballers who tucked in with their hands, smearing soya sauce and wasabi paste across their faces. The footballers ate until they were stuffed and clutched their bellies from indigestion. A voice from the tannoy addressed the father and son, saying, “You must have valid tickets to be allowed in the stadium. Please show them or you shall be ejected.” “Oh, it’s like that is it you fuckers?!” Simon yelled, pulling out his tickets from his back pocket, waving them at the sky. “Here you go. But we won’t take this lying down. I’ll tell the British embassy! Don’t worry kiddo,” said Simon turning to his son, “We’ll get out of this somehow.” “Doesn’t matter,” sniffled Jonathan. “I’ve had enough.” “I know, I totally get it,” said Simon. “Clearly you don’t,” the announcer said, as the players crawled off the pitch and proceeded to vomit into the dugouts. “Jonathan hates the so-called beautiful game and everything to do with it. Why can’t you see that?” “Bullshit! Tell him that’s rubbish Jonathan.” “You wanna know the truth? Ok, I’ll tell you the truth. Ever since I was born, I’ve been forced to choose — the team over my girl, the team over my music, the team over my mates. The truth is I want to kill myself with cigarettes and booze because I hate you, the queen, and everything to do with bloody football!” As if waking from a lucid dream, father and son slowly prised their eyelids open, the crusty sleep in their lashes feeling like concrete. They were on a train shooting through the mountainous region of the Bavarian countryside with hundreds of other sulking England fans. They’d lost — defeated by the Germans. Simon gave a muffled and dispirited rendition of God Save the Queen while his nose was jammed up against an old man’s flabby armpit. Back at the hotel, Simon splashed some water on his face in the bar toilet, then got blasted on fourteen pints of English draught beer. Sitting on a stool he felt a lump in his back pocket. He reached inside and found a squished salmon and avocado maki roll. As he played with the chunk of sticky rice between his fingers, his mind was ignited with memories of gluttonous footballers staining their football kit with puke and his son crying while dressed in a waiter’s outfit, and although none of it made any sense, he thought maybe he owed his boy an apology, or a tearful hug. After one last pint, that is. Tim Frank’s short stories have been published in Bourbon Penn, Eunoia Review, The Metaworker, Brilliant Flash Fiction, Menacing Hedge, Maudlin House and elsewhere. He is the associate fiction editor for Able Muse Literary Journal and lives in North London, England. Twitter: @TimFrankquill

We didn’t think anything of it when the chickens started dying. There were always problems with animals hunting our birds. We lived on a farm in the middle of woodlands- there were coyotes, foxes, feral cats, other farm dogs, all kinds of creatures that would like to sink their teeth into our little egg factories. There was even the occasional weasel. It didn’t bother us too much- despite the fact that nothing had ever gotten them before, we started closing up the feathery nuisances a little more securely each night. We double-locked the door, added a piece of wood here or there, and made sure that every single chicken was accounted for and safely roosting in the pen before we went to bed ourselves. Nevertheless, we woke up to feathers and blood every morning for a week, and our flock was starting to look dangerously small. We would go out and the door would be listing to one side, a board would be wiggled aside or pried up, the lock would be twisted in on itself from the force with which it had been hit, a hole would be dug. Always something, every time. I noted the uneasiness of my grandparents at this reality every morning as whatever was killing our chickens was not in the slightest bit deterred by our locks and nails, but I thought little of it and assumed that they were upset about the loss of stock and good egg-laying chickens. It wasn’t until two of our bantam silkies were killed that my grandmother started to really get angry. The deaths of Fancy and Bilbo (the first her favorite, the second my own beloved dark-feathered hen) were too much for her to take lying down, and so she commissioned my grandfather to sit vigil in the truck outside one night, his shotgun in his hands. At the age of eight, I went along. I was too young, really, to understand what we were there to do. I understood that we were going to catch something that had eaten my sweet Bilbo, but it never occurred to me what the shotgun was for, the amount of blood that would be shed. Luckily, I was too young to make it long and fell asleep curled up beside my grandfather in the truck as he smoked and watched for whatever had been hunting to show up. I was never woken by a blast from his gun because the animal didn’t come that night, or the next night when he sat out there again. He ignored my grandmother’s wishes and slept in ‘his own damn bed’ the night after that, and we woke to find feathers and gore splattered across our doorstep, as if to say, look what I can do. My grandmother cleaned it, sour-faced and cold as my grandfather puttered around the yard, cursing. He replaced the hinges, put out live traps, poisoned food (and accidentally one of the feral cats that sometimes got into our trash), and still no wily coyote or clever weasel appeared and our flock decreased by the day. If he or my grandmother sat in the truck and watched, nothing was killed, but they had to work for a living and my grandmother was afraid of the darkness that crowded around the truck in the vigil she would have to keep alone. And so our chickens kept dying. My grandmother, in a fit of rage, stormed into my room early one morning, feathers in her hair and blood staining the sleeves of her blue shirt. We are going to move these damn chickens, she snapped at me. Get your clothes on. That day, we moved all of the chickens into my grandmother’s closet. We lined the floor and walls with plastic and made nests with newspaper on the shelves, and the birds clucked and fussed and tore the paper and some of the plastic to shreds, but would be safely ensconced in my grandparents’ bedroom during the dark hours where they would normally be killed. Satisfied, my grandmother sang and whistled for the rest of the day while my grandfather grumped that it was ridiculous and he wasn’t going to get any sleep with those goddamn birds clucking and scratching at the door all night. There was no whistling or grumping the next morning, though, when we went outside to find the chicken coop destroyed. Wire and boards were thrown across the yard, straw almost like snow across the ground and the few eggs that had been left in the nests by accident shattered and smeared on the stones. Forty-pound cinderblocks were tossed into the long grass like they’d weighed nothing. I went to look at one of the blocks and the scratches carved into the concrete were deep enough that my eight-year-old fingers could almost entirely disappear into the hollows. I followed the shapes with my nails and felt cold in the early-morning air. My grandfather was a quiet and grumpy man, my grandmother a sweet and slightly nervous woman, but both were struck dumb as I wandered through the destruction and walked along what had once been the roof but was now a crumpled piece of tin. They stood and stared at what was left of the coop that had stood for the better part of twenty years in the same spot, outlasting storms and hail, even a tree falling in the mid-eighties, and every predator that it had encountered until this moment. That night, my grandmother released the chickens to the darkness. She cleaned up the carnage the next morning without saying a word, and they never kept chickens again. Emmy is a bisexual disaster who is probably reading comic books and eating leftover challah instead of writing or working on grad school. She lives in Cincinnati, OH with her partner and way too many cats.

I’d like to gather my children and their children’s children and we’d meet by the shore at dawn. We would watch the horizon burn as the sun makes her climb. Out of the water, our ancestors would rise up, from the jungles behind us, they would come, until we are surrounded by our lineage of warriors, of rebels and resistors; of queens and kings of a forgotten lineage; of gods and goddess, along with several deities we know as heroes in our fables. I would look at each of them in turn, In reverence and in hope, that one day, my children And my children’s children would keep their legends by heart. “This is the story,” I would begin, “of my life and it begins with you all.” I look to find the one face I have wanted to see: my Lolo – story teller, grandfather – and I would hold his hand with pride and gratitude. “It began with you: your love, your lumpia and your words.” Leila Tualla is a Filipino-American poet and author based in Houston, Tx. Leila’s books include a YA contemporary romance called Letters to Lenora and a memoir/poetry collection called Storm of Hope: God, Preeclampsia, Depression and me. Her poetry is featured in several mental health anthologies and she is currently working on a poetry collection based on Asian American stereotypes and identifies. Her chapbook “PMDD & me,” is out now.