Eucalyptus

A full moon turned the tops of the coastal dunes blue and shone silver off the Pacific. Alex sat next to Sophia, not touching, silent. They stared into the bonfire fueled by creosote bush and sage. Its smoke filled the air with a musky, earthy scent. Sophia’s shoulders shook. With her head bowed, her long blonde hair hid her face.

Alex turned, reached out and raised her chin. He leaned forward and lightly kissed each tear-filled eye, tasting the salt. Her trembling lips felt as soft as he remembered from months before.

“I’ve gotta go,” he said.

“Not yet.”

“It’ll get easier.”

“Easier for whom?”

Alex dropped her hand and struggled to his feet in the deep sand. “Goodbye, Sophia . . . sorry.”

He moved along the trail and into the nearby trees, using his cell phone light to guide the way. The eucalyptus rustled in the onshore breeze, their scimitar leaves rattling. Don’t look back. Whatever you do, don’t look back. Don’t look.

But he did.

Sophia sat cross-legged before the fire, still close enough for Alex to hear her sobs. She beat her legs with her fists and rocked back and forth. A night heron called. Alex stared at his cell phone screen.

With trembling fingers he texted, “Sophia, are you all right?”

Her cell buzzed and she dug into her purse and retrieved the phone. She stared at it for a long time before answering, “No.”

Alex’s cell buzzed when he received her reply. Sophia turned and stared toward the trees where he hid. She struggled to her feet, the curve of her belly mirroring the curve of the moon. She faced him across the darkness, a ghostly silhouette rimmed in soft blue. Alex felt that exquisite pain, that internal compression that can bend iron. He took a step back into the trees and breathed in their fragrance. The eucalyptus rattled even louder.

He moved forward, toward the fire and Sophia.

 

Terry Sanville

Terry Sanville lives in San Luis Obispo, California with his artist-poet wife (his in-house editor) and two plump cats (his in-house critics). He writes full-time, producing short stories, essays, and novels. His short stories have been accepted more than 440 times by journals, magazines, and anthologies including The Potomac Review, The Bryant Literary Review, and Shenandoah. He was nominated twice for Pushcart Prizes and once for inclusion in Best of the Net anthology. Terry is a retired urban planner and an accomplished jazz and blues guitarist – who once played with a symphony orchestra backing up jazz legend George Shearing.

Before Winter Exhales

Is death a seed born in us, growing unseen

ripening at some pre-determined moment

a heart stops, a car strikes, cancer takes a final bite

 

Is it possible to die a little slower or stretch time out

like a sleeping lion

or salt water taffy

 

Can you bargain with Time, haggling and hammering

out deals like a summit meeting

but holding hardly any chips, only a few memories

 

Like her first cry or moments of tidal love

that comfort you during the lean years

memories you are willing to exchange

 

For a minute, an hour, a day

can you wear Time down until, totally exhausted,

setting his scythe aside, consulting his ledger

 

fiddling with his abacus, doing the math

like your granddaughter struggling with algebra

making sure it adds up, nothing extra

 

Nothing left over

he looks at you with tunnel eyes, his brow

narrowed and gnarled

 

I am an old man he sighs, twirling

his white beard, scratching his ears

where rogue hairs have begun to sprout

 

He brushes away ash from a burned out star

before handing you a scrap of paper

three days

 

You write your lover’s name on it

postponing phantom pain

written in the black glyph of forever

 

Claire Scott

Claire Scott is an award-winning poet who has received multiple Pushcart Prize nominations. Her work has appeared in the Atlanta Review, Bellevue Literary Review, New Ohio Review, Enizagam and Healing Muse among others. Claire is the author of Waiting to be Called and Until I Couldn’t. She is the co-author of Unfolding in Light: A Sisters’ Journey in Photography and Poetry.

Political Theory

We track this slow animal in the snow

because it leaves a blood trail

 

and we think that makes it vulnerable

But then it circles back

 

breaks the trap and eats the bait

and suddenly disappears

 

Or comes up behind us

to prove its fangs are real

 

and at the same time

whispers to us in a soft voice

 

It lives in artefacts

among monuments and ruins

 

and at night drinks and carouses

and knocks on doors with its pommel

 

touting a swashbuckling history

But then finally grows old

 

and into a child again

was when it was first only a word

 

delicate as freedom or liberty

dried into a fragile antiquity

 

subtle as synapses in the brain

or the language of animals

 

Sing louder they say

and it will leave us alone

 

and when we dream of flight

it proves to us we have not

 

the wisdom of birds

 

George Moore

George Moore’s collections include Children’s Drawings of the Universe (Salmon Poetry 2015) and Saint Agnes Outside the Walls (FutureCycle 2016). He has published poetry in The Atlantic, Poetry, Arc, North American Review, Stand, and Orion. Nominated for seven Pushcart Prizes, and a finalist for The National Poetry Series, he presently lives on the south shore of Nova Scotia.

Under a White-Hot Sky

My plane descended from the white-hot sky as slowly as the soufflé I had baked for the dinner at which I planned to celebrate my engagement to Ross.  He canceled, calling to say we should date other people, and hung up without a goodbye, good luck, or farewell kiss.  After several hours, I stopped phoning and texting.  I had my pride.

I tried hanging myself, but the heating pipe did not support my weight.  My life savings went to my landlord and his thieving plumber and carpenter.  Drinking myself to death failed as I passed out before my blood alcohol achieved a fatal level.  I turned to jaywalking, first city streets, then Interstates, but survived every crossing.  God had chosen me to live long and suffer.

Now, under a white sun, my mouth filled with sucking candies to guarantee an ample supply of saliva, I prepared to spit on the white pine coffin mocking me from the bottom of Ross’s grave.  Mourners shunned me as if they knew I was one of the damned. I did not try to hide it.

“I’m Ross’s mom.”  A woman, veiled and wreathed in black, offered a gloved hand.

I steeled myself against syrupy reminiscences.  She would expect some in return and I had none to offer.

“You must be Tomãs,” she said.  “Ross found out the afternoon he called.  He did not want to ruin a second life.”  She lowered her eyes and returned to the arms of her surviving children.

The heat-sealed my tear ducts and cottoned my mouth.  The sun fired my hair.  Shame burned away my skin, exposing my soul to the solar wind.  I hurled myself onto Ross’s coffin, clinging to it with such ferocity it took all eight pallbearers to break my death grip and wrestle my lifeless body from his grave.

 

Frederic Liss

Liss’s first novel was published in July 2020 and second novel will be published in May 2022. He’s a multiple Pushcart Prize nominee, a finalist for the Flannery O’Connor Short Fiction Prize, the St. Lawrence Book Award, and the Bakeless Prize. He’s published over 55 short stories in, inter alia, The Saturday Evening Post, The South Dakota Review, The South Carolina Review, H.O.W. Literary Journal, Two Bridges Review, Hunger Mountain, The Florida Review, Carve Magazine, and Fifth Wednesday Journal. He earned an MFA from Emerson College, Boston, MA, and leads a fiction workshop at the St. Botolph Club, Boston, MA. Visit his website at www.sfredericliss.com for more information.

Tiffany Mi

Sonogram 3

 

Tiffany Mi

Sonograms use sound waves to show an image of the body’s internal worlds, but the possibilities don’t end there. The envelope, the trashcan, the glass jar – these too are bodies, if a body refers to a container of worlds. What then can serve as their sonogram, their mechanism for translating, displaying, opening up those worlds to us (or to themselves, assuming they had the desire)? Sound is neither stagnant nor singular by nature. It happens as a chain of events, from a source, which emits a vibration, to its propagation through solid, liquid or gas, to its reception by our ears and then our brains. For sound to happen, many things must happen; ears alone are not enough. For us to see beyond what is there, many things must happen; eyes alone are not enough. Yet we, and everything around us, produce the invisible, inaudible layered understandings we seek. Birth is legible: It is what it is. Sonograms, meanwhile, elude us: It is what it could be. Tiffany Mi is an emerging image-maker whose work has appeared in Split Lip Magazine and Chitro Magazine. She tweets @mi_tiff.