Issue01 Cover

Issue 01

Issue 01 of Truffle is the magazine I always wanted to read. A rollercoaster of emotions; irreverent, funny, moving.

Our brilliant contributors are based around the world, and their stories vary in content as much as they do in form; from delicious bites of escapism to intimate, poignant pieces. A huge thanks to each one of them for helping build something so dear to me.

I hope you, reader, enjoy the ride and come back for more.

Editor
Tina J. Bowman
@tinajbowman


Contributors

Wednesday’s Child by Lisa Ferranti
How to Make Dominoes Fall by Mandira Pattnaik
Birds We Had Become by Cathy Ulrich
Coffee with David Lynch by Thomas Morgan
Eighteen (More) Reasons to Dump Your Girlfriend by Dylan Brie Ducey
Mr Capone Was Our Milkman by Christopher P. Mooney
Evidently Lovestruck by JY Saville
Stakeout by Lori Cramer
Airport by Brian Coughlan
Lord of the Fly by Gale Acuff
MTA Missive by Jacqueline Brown
Firework Nights by Rebecca Harrison
Predicting Destruction by Yash Seyedbagheri

Design by Nadia Castro @nadiacastro.uk


WednesdayIllustration
 

Wednesday’s Child / Lisa Ferranti

It started with my days-of-the-week panties. I’m too old, I said, but you insisted we buy them. Said they were sexy. Striped beach ball Monday. Thursday’s American flag. Your favorite: Sunday’s over-sized sunglasses. Better to see you with, my dear, you said the day we moved in together, pulling them down with your teeth.

But now it’s a months-later Wednesday and I’m brushing my teeth before bed, and you say Where’s the camel? And at first I wonder what the hell you’re talking about but then I see you staring at the bumblebee on my crotch, the delicately embroidered Tuesday above it, and I roll my eyes, toothpaste dribbling down my chin.

When you first lost your job and took over the cooking and cleaning, it was fine, fun even, you joking you’d be my manservant until you found something. That first day I came home from work, you wearing my red apron with nothing beneath it, moo goo gai pan steaming on the stove. But then you had a bad interview, and another, and unemployment was ending, and you went ballistic last time I called for Chinese take-out, huffing and puffing about your food not being good enough. 

For your birthday I bought you a bamboo steamer that made the rice just-right sticky. It came in a box too big for it, wrapped in sheets of bubble wrap. We had cake and wine—too many pieces, too many glasses—and spread the wrap on the floor, jumped on it. Pop. Pop. POP. The neighbors pounded the walls.

Now, I rinse my mouth, wash my face, linger in the bathroom, feeling you waiting for me in bed. I climb in and before I can lay my head down, you say, So where are they? And I know you mean Wednesday’s camel undies, but I don’t answer, and you say maybe I left them somewhere, perhaps at Jack-from-work’s house after the supposed business dinner last week. I say maybe they got lost in the wash, but you say that only happens with socks. 

I stomp from the bedroom to the kitchen, noticing how dust has settled on the table, mail piled up, mostly bills, with a China Garden coupon on top, and I miss the times we ordered take-out together, joked with the sweet delivery man, whose row of tiny teeth resembled kernels on a dried ear of corn. I take the bubble wrap from the pantry closet, knowing now that we’re not going to make it over the hump. I call for you, wait for you to come to the kitchen. I wrap you in bubbles, turning you round and round, hugging your body tight with plastic—like a mummy, a cocoon—careful to leave an air hole. I try to cushion the blow, but it has to be done, before you eat me alive.


Lisa Ferranti's fiction has been a Top 25 finalist in a Glimmer Train Family Matters contest, twice short-listed for the Bath Flash Fiction Award, and a Reflex Fiction contest finalist (nominated for Best Small Fictions 2019). Her stories have appeared in Literary Mama, BFFA Anthologies Two and Three, Reflex Fiction, Spelk Fiction, New Flash Fiction Review and Lost Balloon (Wigleaf Top 100 2019). She lives near Akron, Ohio, with her husband and two children. Twitter: @lisaferranti

DominoesTest2.jpg
 

How to Make Dominoes Fall / Mandira Pattnaik

Okay donkey! You’re broke.

The dominoes are falling. But then they aren’t falling yet; unless you help the pieces --- nudge them, shove them, only slightly!

You are a--- a medium-built, middle-aged man. Emerge from your ten-year-old second-hand Ford, leave the engine running, climb the low railing of Colorado Street Bridge, and in the cover of darkness dive into the bone-chilling waters below. 

Now the following pieces, precisely arranged beforehand, cause the dominoes to fall!

You can skip steps except for #3, #6 and #8. Go to #13.

  1. Amanda loves silk. She has a fetish for everything oriental. She paces in her hallway in her burgundy silk kimono, snapping fingers. She dials Jennifer, her manager. They have a heated conversation. Jennifer can’t believe Amanda can be this irrational. But a human as rational being is way too overrated. In order to defy the seemingly immovable order of things, she argues ‘out of the box’. But there’s no box! Amanda hangs up on her. Later, she can imagine Jenny raging. Amanda knows she’ll order food delivery. Jenny always feels hungry when she’s upset.

  2. Jennifer tells her boyfriend Dennis, who’s waiting at the Newark airport, that she’d just been fired. Soon he’ll be on a flight to the Middle East. Jenny understands he should not be disturbed but she alternates between sobbing, howling, raging and abusing Amanda. Dennis can only listen and be careful not to sound inattentive. Jenny keeps the phone down. Her heart seems light. Then she waits at home after ordering food and drinks on a delivery app. 

  3. When she answers the doorbell expecting pizza, she finds a wet, dripping man. 

  4. Jennifer’s delivery man is the first person who discovers the car idling on the Colorado Street Bridge. He calls the cops and waits at the spot with hot pizza turning cold.

  5. Several hours of water down the river, a pale woman listens to Amanda’s ‘Cherry’ on her headphones, lazes on a picnic chair on a sunny morning and thrums her fingers on the lawn table. Her two children play with the dog on their grass abutting the river.

  6. The car is traced to belong to one Salume, who is a medium-built, middle-aged man. He hurriedly puts on his bathrobe when officers come calling. There’s no pause or confusion when he says his wife Sasha had gone to her mother in that car.

  7. The mother says she’s not seen Sasha for two months and that she thinks the couple is in Cyprus holidaying. She talks of their last conversation a week ago, when nothing seemed amiss. The lady, in dark mahogany tweed trousers, expresses surprise that her son-in-law was at home.

  8. The son-in-law nurses a drink at a bar while Amanda sings on TV. It’s the awards night that has the highest TV ratings. His wife is still untraceable. Salume blows a kiss towards Amanda. Upon receiving a text message shortly after, he leaves.

  9. Police recover a body, white and bloated, hopelessly disfigured, identified as Sasha’s by her mother. They close the case --- Sasha jumped from the bridge; killed herself.

  10. One of the boys playing with the dog claims it was a man who jumped when the family is watching news of the body being found. He was out round a bonfire at their lawn by the river that night. It was a man’s silhouette against the lights on the bridge, he keeps repeating.

  11. The boys’ mother calls the police. Constable Caesar visits them next morning, wearily takes down details. He knows he won’t reopen the case. He understands his department wouldn’t be interested in a thirteen-year-old’s farcical statement.

  12. Caesar is called again that morning. There’s a fire at Jennifer’s home and cops learn she’s been missing since her corporal boyfriend left for his deputation.

  13. Amanda fastens her seat belt, doesn’t keep the handbag in the overhead bin but between her legs and exhales deeply. You do likewise, seated next to Amanda.

  14. You two don’t share a glance though you’ve been checked into the flight as Mr. and Mrs. Salume. When you land at Colombo, the humid air makes you sweat.

  15. There’s Sasha, your wife, at the arrival gates; she pulls at your handbag stashed with the insurance money of her death. 

  16. Amanda whispers a quick thank you in your ears before she calls a cab, slides the bag with her unaccounted, tax-dodged cash and asks the driver to make it as fast as he can.


Mandira Pattnaik weaves stories drawing from the mundane which she stretches till the improbable. She's recently appeared on Cabinet of Heed, Commuterlit, DoorIsAJar, RuncibleSpoon, (Mac)ro(mic), Lunate and Eclectica. Fiction is forthcoming from Spelk, FictionBerlin, Brilliant Flash and Star 82. Just for the record, she doesn't intend to follow what she's framed! Tweets are @MandiraPattnaik

BirdsIllustration
 

Birds We Had Become / Cathy Ulrich

We were birds all that summer, and our sisters gathered in each other’s open-window bedrooms, painted their nails the color of ripe banana skins, said how much they missed us, said how quiet it had become. 

All we hear is birdsong, they said.

We were birds and our girl-faces on trash-can milk cartons that summer, and our mothers sad on the phone with the police, is there any word, is there any word, and we fluttered our wings near the kitchen windows, already we loved our wings, already we forgot our human voices.

We sat in the skinny branches of wind-sway trees and watched the slump-shouldered walks of our fathers to their cars, we watched the boys drive in their red rumbling cars up and down the street, and the silhouettes of our sisters at their windows, looking out at the world, the great wide world, and we tucked our heads under our feather wings to sleep.

And in the mornings, our families sitting at their breakfast tables, and how they didn’t speak, not to each other, quiet in their emptiest mornings, and we were perched under the roof eaves, called out to them: we’re here, we’re here in the flutter-sweet language of the birds we had become.


Cathy Ulrich hasn't painted her fingernails since junior high. Her work has been published in various journals, including Adroit, 100 Word Story and CutBank.

CoffeeIllustration
 

Coffee With David Lynch / Thomas Morgan

“Say I had the power to grant you one wish,” his wife said. “What would you wish for?”

“Hmm...” her husband said. “Can it be anything?”

“It can be anything you want,” his wife said. “Just name it.”

“Okay,” her husband said. Her husband thought long and hard about what he wanted. And then it came to him.

“I’ve got it!” her husband said. “I would wish to have coffee with David Lynch. God, that would be great. We’d go to a diner-like The Double R Diner from Twin Peaks – and we’d sit in a booth with red leather seats, and there would be one of those napkin dispensers on the table. Then the waitress would come over and pour two cups of hot black coffee. She’d ask us if we wanted anything to eat – a slice of cherry pie, perhaps. We’d order two pieces of hot cherry pie with a side of vanilla ice cream – and I mean real vanilla ice cream with those tiny black pods in it, not that cheap artificial crap you get from the supermarket. Then the waitress would go and get us our pies.

We’d both take a few generous sips of delicious black coffee while we sat there waiting for our pies. ‘This is good coffee,’ I’d say. ‘Damn fine coffee,’ he’d say. Then I’d take another sip of my coffee, and he’d say, ‘Wait until you try it with the pie and ice cream. That’ll be a fine experience.’ Then I’d say, ‘You ever put milk and sugar in your coffee?’ Then he’d stare at me for a second and say, ‘Do I ever put milk and sugar in my coffee? Get real!’ I’d laugh at this.

After a couple of minutes, the waitress would bring us our freshly-baked slices of cherry pie. We’d each cut into our pies and put a piece on the end of our respective forks – adding a bit of that smooth vanilla ice cream with those tiny black pods inside of it – and then we’d clink our forks together like they were pint glasses full of beer. ‘Cheers,’ we’d say. Then we wouldn’t talk for a while because we’d be concentrating on our pies, washing every delicious bite down with some of that damn fine black coffee.

Then David would light up a cigarette and offer me one. Even though I’ve never smoked in my life, I’d accept his offer and have a few puffs with my coffee. Coffee and cigarettes are supposed to go well together. That’s what I’ve been told.

Anyway, when we’d finished eating our pies, the waitress would come over with some more of that damn fine black coffee, and we’d probably talk about Twin Peaks and transcendental meditation and that yellow wristwatch he wore in David Lynch: The Art Life before it was time to pay for our coffee and pie. David would pay. ‘I’ve got this, champ,’ he’d say. ‘I insist.’ He’d get out his wallet and pay for the coffee and pie, leaving a very generous tip for our lovely waitress. And then I’d come home and tell you all about it.”

“Wow,” his wife said. “You’ve really thought about this, haven’t you?”

“Absolutely,” her husband said. “It’s important to me.”

Then his wife looked at him with a big smile on her face and said, “Guess what?”

“What?” her husband said.

“I knew that that’s what you would wish for,” his wife said.

“No, you didn’t,” her husband said.

“Oh yeah?” his wife said. 

There was a knock at the door.

Her husband looked at her and smiled. “What have you done?” her husband said.

“I don’t know what you’re talking about,” his wife said. “Just go and get the door.”

Her husband walked out into the hallway and looked over at the front door. He could see the outline of a figure with elevated hair through the blurred glass. Was he about to meet his hero?

Her husband took a deep breath. Then he opened the front door to find a pizza delivery man standing in front of him.

“Hello,” the man said. “Pizza delivery.” The man took the pizza out of his special pizza bag and handed it over. “Have a nice evening,” the pizza delivery man said. Then he got back in his tired old Ford Focus and drove off.

Her husband shut the front door, walked back into the kitchen, and stared at his wife for a second.

“What are you looking at me like that for?” his wife said.

“I don’t know,” her husband said. “It’s just, for some reason, I thought David Lynch would be standing on the other side of the door.”

“Why on earth would you think that?” his wife said.

“Well, you know,” her husband said. “You kind of made it seem like you had arranged it.”

“What? Don’t be ridiculous,” his wife said.

“Then how did you know that I would use my wish to have coffee with David Lynch?” her husband said.

“Because I know you,” his wife said. “We’ve been together for over twenty-five years.”

“Oh, right,” her husband said.

“It was just a hypothetical question,” his wife said. “Jesus, Darren, I’m your wife, not a fucking genie.”


Thomas Morgan is a writer from Worthing in West Sussex. His short story 'Promises' was published in the 2019 Leicester Writes Short Story Prize Anthology, and his flash fiction story 'Encounter' was published in the online anthology, Visual Verse. Twitter: @tommorgan97

18ReasonsIllustration
 

Eighteen (More) Reasons to Dump Your Girlfriend / Dylan Brie Ducey

  1. She’s a prude: She refused a three-way with you and your ex-girlfriend.

  2. She doesn’t know who Borges is. In a conversation, you referred to Borges, and she said, “Who is that? Who is Borges?”

  3. She published a poem in a journal that rejected you.

  4. She went to a state college.

  5. She went to a private college.

  6. She didn’t go to college at all.

  7. She criticized you for not having gone to college, which was actually a secret you were trying to keep.

  8. She suggested that the Situationist International was a fraud, a front set up by Guy Debord to help him get laid. You took this one personally. You found it insulting, especially considering how much time you spent as a Situationist yourself. After all, you know two people who actually met Guy Debord. 

  9. She showed you a photograph of Guy Debord and asked if you’d chosen your lavender-tinted glasses so that you could look like him.

  10. In a moment of weakness, she said she loved you. You pitied her, and that was sad.

  11. When you told her that the matching towels in her bathroom were a sign that she was hopelessly bourgeoise, she started crying.

  12. She said she was also from Dallas and asked you what neighborhood you grew up in and where you’d hidden your accent. But you never told her you were from Texas. How did she know?

  13. She reads Vogue.

  14. She ate veal once, and liked it.

  15. When you went to a café with her, she asked the barista, loudly, “What is a ristretto?” Really embarrassing.

  16. She’s too fat.

  17. She’s too thin.

  18. She’s promiscuous: She asked you to sleep with her and her ex-boyfriend. Yeah, the handsome one. You’d never measure up.


Dylan Brie Ducey's work appears in FEED, Sou'wester, Gargoyle, and other places. She lives in California with a dog, a cat, two daughters, and a husband. She's on the internet at https://www.dylanbrieducey.com

CaponeIllustration
 

Mr Capone Was Our Milkman / Christopher P. Mooney

‘You gotta have a product that everybody needs every day. We don't have it in booze. Except for the lushes, most people buy only a couple of fifths of gin or scotch when they're having a party. The working man laps up half a dozen bottles of beer on Saturday night, and that's it for the week. But with milk! Every family, every day, wants it on the table. The people on Lake Shore Drive want thick cream in their coffee. The big families out back of the yards have to buy a couple gallons of fresh milk every day for the kids. Do you guys know there's a bigger mark-up in fresh milk than there is in alcohol? Honest to God, we've been in the wrong racket right along.’ 

Almost twenty inches of snow had fallen in less than forty-eight hours and four-foot drifts had brought parts of the city to a near stand-still. The wind coming off Lake Michigan, they said, was enough to cut a man in half.

Alphonse Gabriel, as he was almost never known, was holed up, away from such externals, at The Four Deuces; unarmed, as always, but with a bodyguard at each elbow, loaded Thompsons by their sides.

‘A little late in the season, no?’ Adelard Cunin asked the room.

‘Unusual for such a thing east of the Mississippi, sure,’ Al said, the words muffled because his chin was tucked into his chest. This was a habit he’d started in order to hide the three-slash scar on his left cheek; a permanent reminder of a tussle in the early days outside a dive bar on Coney Island with Frank Gallucio, now deceased. ‘That’s how come nobody but us is prepared.’

‘I hear you,’ Cunin said, ‘but what you’ve suggested, I don’t get it. Surely we should be putting everything we have toward making money before they repeal Volstead? Business as usual, as much as we can while the going’s still good, you know. This sort of thing, slopping through the snow to put milk on strangers’ tables, in children’s mouths, wouldn’t get the green light if Torrio was still in charge.’

‘Johnny ain’t around the rackets no more. That big prick Colosimo, neither. You gotta deal with me now, capisce?’

No answer.

Al raised his head and fixed Cunin with a stare. That stare. ‘Capisce?’ he repeated, almost a whisper.

Si, Alphonse,’ Cunin said. ‘Si. I understand. Of course.’

‘I knew you would.’ Al paused, took a sip of his Templeton. It must have gone down the wrong way because he coughed, a reflex, and some of the drink dripped out of his perforated septum, a result of years of cocaine abuse. The room saw it but said nothing. ‘The newsmen are saying milk deliveries are down forty percent. It’s got so bad already there’s talk of a milk famine. You fuckin’ believe that? A famine, for Christ’s sake. In this day and age. Well, I refuse to stand still for such a thing. It ain’t goin’ to happen. Not in my city. And not on my watch. I came here from Brooklyn with no more than a handful of notes in my pocket, my folks off the boat from Angri with less than that even. Point is, I can’t stand to see people hungry or cold or helpless, because I know what it means to be poor, to go without. I don’t want that for nobody, especially kids from this here neighbourhood. There’s a lot of people got me pegged for one of those bloodthirsty mobsters you read about in storybooks. The kind that tortures his victims, cuts off their ears, puts out their eyes with a red-hot poker and grins while he’s doing it.’ Another pause. Another go at the Templeton, this time without the nasal discharge. ‘Now get me right. I’m not posing as a model for youth. I’ve had to do a lot of things I don’t like to do, but I’m human. And I’ve made plenty of money here, supplying a popular demand. So, before I end up in the gutter punctured by machine-gun slugs, I want to give a little something back, show people I’m not as black as I’m painted. This blizzard’s my chance.’

‘And after?’ Cunin again; direct, but less forceful.

‘I’ll tell you, when this thing’s over and done with, after we’ve mobilised our trucks and got them through the snow, me and Mae and the kid’ll go down to my place in Miami, get us some sun on our bones. In the meantime, once the snow’s melted, people’ll still want to get wet and my outfit’ll be there to give them what they want.’ He stopped talking long enough to drain his glass. ‘Right, I want some food with this rye before the Metropole closes for the night. We’ll see each other again tomorrow morning at Meadowmoor Dairies. Nine sharp.’

‘Sure thing, Al,’ Cunin said, nodding.

‘And one last thing.’

‘Yeah?’

‘You can see from all this I’ve got a heart, but don’t mistake my kindness for weakness. If you do, this kindness, me sorting out the city’s milk, it ain’t what you’ll remember about me.’

Alphonse Gabriel got up and left without so much as a backwards glance, the collar of his tailored coat pulled up against the cold; the only thing in Chicago impervious to his presence.


Christopher P. Mooney was born in Glasgow, Scotland, in 1978. At various times in his life he has been a paperboy, a supermarket cashier, a shelf stacker, a barman, a cinema usher, a carpet-fitter's labourer, a foreign-language assistant and a teacher. He currently lives and writes in someone else's small flat near London. He has had several stories and poems published in print and online and his debut collection of short stories - Whisky for Breakfast - is due to be published later this year.

EvidentlyIllustration
 

Evidently Lovestruck / JY Saville

"It's not evidence-based," Jim said. "You barely know me."

For the sake of diversity, I'd cultivated an interest in STEM post-grads this year. It was refreshing, fooling around with guys lacking the brashness and sense of entitlement I was used to. There were those in my own faculty who suggested I'd run out of easy targets at our end of campus, but I think that was jealousy talking.

"So I can't possibly be in love?"

He sighed, took his specs off and wiped the lenses. He looked so vulnerable without the glass shutters up; I felt a twinge that might not have been indigestion. There was a chance I was believing my own fairytale.

"Look, Steve," he said, restoring normality along with the black plastic frames, "I have to go." He gestured to the lab door, turned and left me in an empty corridor.

Another stab and I could feel my mouth turning down. Apparently I was jealous of transgender mice.

The next six essays I read got harsh marks, some with bonus sarcastic comments that would probably land me in front of the head of department later.

"Steve, will you quit slamming that drawer?" 

My office-mate slammed her own desk drawer for emphasis and I took the hint.

I'd been waiting outside the biomedical building half an hour when Jim left for the day.

"Four hours," I shouted, pointing at the building across the courtyard, "and I can't find a damned thing on scientifically identifying love."

"What?"

"I could measure my heart rate and pupil dilation but that's only evidence of lust, I gather."

A couple of undergraduates sniggered as they ambled past.

"You've been in the science library?" Jim said.

"For four hours."

"I'd say you've found your evidence," he said and reached for my hand.


JY Saville lives and writes in northern England. Her flash has featured in the 2018 National Flash Fiction Day anthology, the first Crossing the Tees anthology, and Ellipsis Zine, among other places. She blogs at http://thousandmonkeys.wordpress.com and tweets @JYSaville

StakeoutIllustration
 

Stakeout / Lori Cramer

Parked down the street from your house, baseball cap pulled low over my eyes, I check the view through the binoculars. I know you’re not alone in there. Who is she? You said it’d never work because I have trust issues. I still have no idea what you mean.


Lori Cramer’s short prose has appeared in The Cabinet of Heed, Flash: The International Short-Short Story Magazine, Funny Pearls, and Splonk, among others. Her story “Scars” (Fictive Dream, February 2018) was nominated for Best Microfiction 2019. Links to her writing can be found at https://loricramerfiction.wordpress.com Twitter: @LCramer29


AirportIllustration
 

Airport / Brian Coughlan

Here, waiting amongst steel grey tiles. Awaiting permission to leave this place and go to another. You need permission to move your body from one part of the planet to another. Everybody does. In the sky, it will be no different. You will have to sit your body in your seat and do what the air hostess says. Otherwise she will get cross and scold you. She might even call the captain if you’re very bold.  If you start to sing I believe I can fly the air hostess will tell you to stop and the other passengers will assume that you are either drunk or out of your mind on prescription medication. Unless you have a bunch of buddies to surround yourself with. Unless you are heading off on a stag weekend or a hen night and the drinking and the singing has started on the plane. That’s different. On this occasion, I’m on my own. 

The time spent in the lounge area is a microcosm of my entire life. I can say that now because I have hindsight. It’s a really marvellous thing. It makes a distinct pattern from random occurrences and convinces you that there really is a firm reason to your existence. A bag over my shoulder contains all of my rags. My unwashed rags and my washed rags. Some of them smell terrible because they have been smothered in testicles and armpits. Others smell terrible because they have absorbed sweat and microbial fungi. And yet others smell terrible because they were dried slowly when they came out of the washing machine and now they stink worse than the rags that were never washed in the first place.

Bodies everywhere in the airport. In all possible attitudes. I stop and look around at them. I want somewhere to stand. When the standing gets to be a bit of a bore I look for somewhere to sit. But sitting is not so great after a while either. It would be better to go lounge somewhere (like the lounge) or to eat something, or drink a pint of beer for an extortionate amount of money, or spray aftershave on myself, or take a piss on the seat of a toilet in some smelly cubicle, or worse still spread your cheeks and pray for something significant to happen. There is still forty-eight minutes until my gate opens. 

I could stay here indefinitely. There’s absolutely nothing I need that can’t be obtained in this airport. This small metropolis. This place of steel grey tiles. There’s nothing that can’t be assumed in this strange place, this strange place full of hideous light, and people strolling, running, still crying from their goodbyes, lounging, checking, worrying, shouting, reading, and ignoring everyone else around them. Screw the flight I’m going to stay here in this airport for the rest of my life – yes it’s here in this airport that I’ve been happiest. That’s the sound of my boarding pass tearing itself in two.


Brian Coughlan lives in Galway City, Ireland. His first collection of short stories Wattle & Daub was published by Etruscan Press in 2018. He has published work with Toasted Cheese; Litro NY; Storgy; Write Out Publishing; The Galway Review; Bohemyth; The Legendary; Litbreak Magazine; Thrice Publishing Anthology; Unthology 10; Lunaris Review; Fictive Dream; The Exceptional Writer; The Ham Free Press; ChangeSeven Magazine; Bitterzoet Magazine; Crack the Spine; and Sentinel Literary Quarterly.

FlyIllustration
 

Lord of the Fly / Gale Acuff

Soon I'll die though I'm only 10 and in pretty damn good health so I mean I'll die in maybe ninety more years but I mean that's not even a split-nano sec of Eternity so die at 90 or 11, there's not much difference if you look at life like I do, I'm ten years old but even sometimes 100 does seem very old and a housefly lives maybe a day or two but if it lived a month it would be the Methuselah of houseflies and maybe the other houseflies would build it a monument, just how I'm not sure because they've got no arms or hands or fingers, and I forgot, they have wings, too, and if I had half a dozen legs and super-vision and wings to boot I probably wouldn't build monuments neither, I'd fly around until I croaked with stops at corpses and rotting fruit and other dead flies for my nourishment 'til something catches me or swats me flat or I die of old age in the old-flies home then wake up dead in housefly-Heaven and since I'm made in God's image I'll ask Him how He could even think of sending me to Hell unless He plans to come along as well and then He'll say Wake up, Gale, and I do and I've fallen asleep in class and then a fly lights on my arm and I brush it away but it returns. My God.


Gale Acuff has had hundreds of poems published in several countries and is the author of three books of poetry. He has taught university English in the US, China, and Palestine.

MTAIllustration
 

MTA Missive / Jacqueline Brown

Marjorie,

A sandwich. Every day you bring a sandwich. It’s nice that you want me to have some sort of sustenance, but you know what would be great? Money. And not a lot, just a nickel. One measly nickel is all I need. Otherwise I will be riding this train forever. And you don’t want that, do you? Or do you? Wait a minute……Is that why you don’t bring me the fare? Are you-

You’re not also making sandwiches for someone else, are you? Damn it, Marjorie, I was only supposed to be gone a day! How was I supposed to know I may never return?! Not only that, but I’ve told you before I need the money, and yet. Turkey and cheese on rye every afternoon, like clockwork. And I don’t even like rye, you know this!

Oh, Marjorie, I’m not sure you’ll ever understand, but I am sure of one thing:

One day, I’ll get off this train, and when I do, I’m serving you with divorce papers.


Regards,

Charlie


Jacqueline Brown is a student at the University of Pennsylvania and reader at Helen: A Literary Magazine. Her work has previously been published or is forthcoming in Firefly Magazine, The Blake-Jones Review, The Sprout Club Journal, and the debut issue of The Initial Journal.

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Firework Nights / Rebecca Harrison

Every November, we gathered cooled firework sparkles. My father led us through the dark streets, his shadow longer in the lamplight, his footsteps as quiet as he could make them. Our breath was chimneys and dragons. Our hearts were all the colours we would collect. I held tight to my sisters’ hands and swallowed the night in gulps: it tasted of gunpowder. The silence was thick. I felt it slowing me down, making my boots heavier. The cold stung my face. The only other people I saw were our reflections in the windows. The city was larger in the moonlight, and I wondered if it grew when everybody was asleep and shrank back to its normal size when they woke. And I wondered if I was different in the night, too. 

My father climbed over gates and let us into gardens that smelled of bonfires and toadstools. We paused, breathed the damp air, felt Autumn through our coats and scarves. Then, Maggie and Cora dropped my hands and ran ahead of me, down paths, under trees. I couldn’t keep up with them, but I could squeeze under bushes. In the night, the firework sparkles were the only colours in the world. We gathered them in a hush that felt like adventure. I took off my gloves, stuffed them in my pockets, and plucked the sparkles from the grass. I held them close to my eyes and squinted to make them blur and look like stars. My fingers ached from the chill. My coat was wet from the bushes. My father held out his bag, and on Maggie’s whispered count of three, we dropped our handfuls. They didn’t make a sound, but I listened for it, anyway. Cora put her arm round me and we stared into the bag. The glow covered us in colours, and even though my feet hurt from the cold, I was warm. 

Maggie pushed purple ones into her hair until our father told her off and made her take them out. She walked in stamps, behind us, her hair shaken out all wild, her scarf loose and trailing on the ground. I reached for her, but she wouldn’t take my hand. When our father wasn’t looking, I grabbed a purple one from a gutter and held it to her. She hid it in her pocket. Then she smiled, and the darkness belonged to us again, and she whipped her scarf in the air like the night was an animal she was taming. Cora mumbled for us to be quiet, but the only noises in me were hunger and excitement. I looked up and there were so many glints on the rooftops it was like a second sky, only with jewels instead of stars. We stopped by a street lamp. In the amber gloaming, our father unwrapped ginger biscuits and gave us two each. I got crumbs in my scarf and couldn’t brush them out. 

Then, Maggie was on the rooftops. She looked thin with the moon behind her. My father lifted me high, and I felt Maggie’s hands around my wrists helping me heave myself up. I shuffled to the chimney and sat there, the night holding me, as I waited for Cora. The rooftops stretched out like strange fields, the tiles damp and starlit, the roads winding as dark and deep as rivers. It felt like waking and dreaming all at once. There was a hand on my shoulder. Cora’s mouth was in a stiff line like it always was when she was thinking of rules or dangers. Maggie was fast and ahead of us, and our father was, too: rooftop after rooftop, until they were just silhouettes. The winds were among the stars and in our coats. We moved slowly. Cora showed me how to place my feet on the ridge. I slipped, but I didn’t fall. We plucked sparkles from gutters and rested on chimney tops. The night was filled with sleep hush. There were stars as low as my boots. Cora had her arm round me, and I nestled into her to keep out of the wind. I stared into my handfuls of sparkles until my eyes blurred with the jewel colours. I hid the green ones in my pockets. 

We took them to the firework makers. I carried a bag with Cora. Maggie held one by herself, swinging it as she walked. The air was still, but we could hear the wind over the city. I felt very small, so I pressed against Cora. Our father knocked on a door. An old man peered out and nodded at us. We went inside. Lantern light swelled over us. The smell of gunpowder was so strong, it smarted my nose. We moved between piles of empty fireworks. I pushed my free hand into my pocket and touched the green sparkles I’d kept for myself. A group of aged men sat around a table. They were the oldest people I’d ever see. My father put the bags on the table and we watched as they opened them, the glow swimming over their faces. My legs wobbled, and they let me sit at the table because I was too tired to stand. I watched them weight the sparkles into piles and pour them into the fireworks. The same sparkles fell on ancient China, they said. 

We were the last firework gatherers. Now, there are no footsteps on the rooftops. My sisters and my father have gone. The November nights are silent. But when everyone’s asleep and even the winds are quiet, I trek those same streets and I look up at the rooftops where we walked. And I remember my father lifting me into that strange world above the city, and Maggie’s silhouette, and Cora’s hand in mine. And I can almost smell the gunpowder.


Rebecca Harrison sneezes like Donald Duck and her best friend is a dog who can count.

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Predicting Destruction / Yash Seyedbagheri

Betty loved predicting inclement weather. Then her husband Max was killed by a train.

She loved preparing for disasters. She knew every basement to take to, every corner to avoid.

Max lived on precipices, relishing danger. Now he lay mangled beneath the soil, due to a stalled car. She warned him not to take the Dodge Stratus. 

His last words: Lighten up.

Betty started predicting destruction on the air. A tornado will envelop a child. Lightning’s going to strike a girl. A train’s already mowed down a husband.

Chance of destruction: 100 percent. Betty had to laugh.

Max would have.


Yash Seyedbagheri is a graduate of Colorado State University's MFA program in fiction. Yash’s work is forthcoming or has been published in WestWard Quarterly, Café Lit, 50 Word Stories, (mac)ro (mic), and Ariel Chart.


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