Not earbuds but headphones so big the phones cut out any unwanted sound. That was the way Jeffrey wanted it. He wanted to stay in his inner world with his music and his basketball. He had no need to nod or say hello or anything to the vague inhabitants of the gym, people he saw everyday but didn’t see, didn’t want to see, particularly women who seemed to be drawn to him for some unknown reason. God knows he wasn’t particularly attractive, gray hair, kinda short but decent muscles from years at the gym. Maybe it was his indifference that attracted them. Ever since Covid he wore a mask even when he didn’t need to like when he was working out hard on the rowing machine, building a sweat. He liked the mask, extra protection against anyone who tried to enter his space.
He used to be friendly. “Hi,” he’d say to the guys shooting baskets. (When he was a kid, he dreamed of being a professional). “What’s up?”
They’d shake hands maybe or bump knuckles and tell stories about how many baskets they used to make or which team they were sure would win the championship. It was nice the way it used to be, warm, the sun blasting through the gym window on summer days, so you were grateful for air conditioning, you were happy to be alive.
Alive was what it was all about. And Olivia was hardly that anymore, her slow decline, the headaches, the weakness, the insomnia until they diagnosed Covid. Olivia protested, “I wore a mask, I washed my hands, avoided crowds…” She was certain she’d never be infected, that they’d never be infected, but she was.
“How’s your wife?” George asked the other day. George was a trainer but out of work since the pandemic hit and the gym closed for several months. Now he was hoping to get back at it like so many others.
“How’s your wife?” Carl asked yesterday climbing the stair stepper.
“How’s your wife?” Don inquired adjusting the weights on the arm extension.
“How’s your wife?” “Your wife?” “Your wife?”
Jeffrey wished he could answer. Wished he could say she was better, she was fine, they were leaving on vacation next week, flying to Paris, or Hawaii or Madrid…
Instead, he turned up the volume on his headphones and pressed them closer to his ears.
Elaine Barnard’s collection of stories, The Emperor of Nuts: Intersections Across Cultures was published by New Meridian Arts and noted as a unique book on the Snowflakes in a Blizzard website. She won first place in Strands international flash fiction competition and was featured on their webinar. Her work has been included in numerous literary journals. She has been nominated for the Pushcart Prize and Best Small Fiction. She was a finalist for Best of the Net. She received her MFA from the University of California, Irvine, and her BA from the University of Washington, Seattle.
Ellen Stone advises a poetry club at Community High School and co-hosts a monthly poetry series, Skazat! in Ann Arbor, Michigan where she raised three daughters with her husband. She is the author of What Is in the Blood (Mayapple Press, 2020) and The Solid Living World (Michigan Writers’ Cooperative Press, 2013). Ellen’s poetry has been nominated for the Pushcart Prize and Best of the Net. Reach Ellen at ellenstone.org.
Ruth Bavetta’s poems have appeared in Rattle, Nimrod, North American Review, Tar River Poetry, Slant, American Journal of Poetry, and many other journals and anthologies. Her fifth book will be published in 2022. She has been an Associate Editor for Good Works Review and has been nominated for Best of the Net and the Pushcart Prize.
Jim Ross jumped into creative pursuits in 2015 after a rewarding career in public health research. With a graduate degree from Howard University, in six years he’s published nonfiction, poetry, and photography in over 150 journals and anthologies on four continents. Publications include 580 Split, Bombay Gin, Burningword, Columbia Journal, Hippocampus, Ilanot Review, Lunch Ticket, The Atlantic, The Manchester Review, and Typehouse. Recent photo essays include Barren, Kestrel, Litro, New World Writing, So It Goes, and Wordpeace. A nonfiction piece led to a role in a documentary limited series. Jim and his wife—parents of two health professionals on the front line and grandparents of five preschoolers—split their time between city and mountains.
Jean Wolff has had group and solo exhibits in various galleries in New York City and internationally. In addition, she has published 111 works in 77 issues of 52 different magazines. Born in Detroit, Michigan, she studied fine arts at the Center for Creative Studies in Detroit and at the University of Michigan in Ann Arbor, receiving a BFA in studio arts. She then attended Hunter College, CUNY in New York, graduating with an MFA in painting and printmaking. She is now part of the artistic community of Westbeth in Manhattan.
Featuring:
Issue 115, published July 2025, features works of poetry, flash fiction, short nonfiction, and visual art by Christina Borgoyn, Cyrus Carlson, Laurence Carr, Marina Carreira, Kimmy Chang, Lisa Delan, Todd J. Donery, J.M. Emery, Louis Faber, Mathieu Fournier, Veronica Scharf Garcia, Alaina Hammond, Marcy Rae Henry, Bethany Jarmul, Joseph Landi, Mary Dean Lee, Madeline Eunji Lee, Zoé Mahfouz, Juan Pablo Mobili, Arthur Pitchenik, Timothy L. Rodriguez, Jim Ross, Susan Shea, Dave Sims, Rome Smaoui , Lisa Lopez Smith, VA Smith, Dana Stamps, II, Angela Townsend, Lucinda Trew, Thomas Vogt, Holly Willis, Dylan Willoughby, Stephen Curtis Wilson, Jessie Wingate, and Jean Wolff.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent may adversely affect certain features and functions (bookstore, announcements, submissions, etc).
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to send newsletters, calls for submissions, and for similar publishing purposes.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to send newsletters, calls for submissions, and for similar publishing purposes.