Issue 145 October 2025

Table of Contents

Editorial: Mother Nature Can Be a Bitch

by C.R. Langille

October 1, 2025

Editorial

“The woods are lovely, dark and deep,

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.” –Robert Frost

Since the beginning of time, the deep dark woods have always been a place of breathtaking beauty, mystery, and horror. From spooky stories told around the campfire, to Grimm’s classic warnings, the message was clear: Don’t go into the forest.

The reasoning behind the spooky stories and warnings was simple enough; it’s dangerous out there, too easy to get lost and disappear forever. Sometimes, the scariest thing isn’t even a monster or the fickle fae; sometimes, the scariest thing can be nature itself.

As an avid outdoorswoman, I’ve spent many days in the woods. The wilderness can be one of the most beautiful and serene places ever. At night though, things shift. It’s harder to navigate if you don’t know what you’re doing. Even if you do know, one wrong move could turn a fun outing into a life-or-death situation in a matter of an instant. The next thing you know, you’re moving at a snail’s pace through nasty terrain and thick vegetation, fighting exhaustion, hypothermia, and despair to make it out safely. Battling not only the elements, which don’t care if you survive, but also your mind screaming for you to stop because it’s so hard to go forward.

Mother Nature has a unique way of humbling us.

Mother Nature at her wildest can be deceptive, however. The uncertain footing, the way the shadows dance and cavort when the wind rustles the leaves, how the sound bounces through the forest… All of these things invite us to imagine something else in the trees…. Something unnatural and predatory. There are millions of square miles of rugged wilderness across the globe, and who knows what really dwells in the dark corners of the earth?

These flash fiction stories, told by a diverse cast of authors, offer a glimpse behind the wooden curtain. You’ll find tales of madness, mystery, and monstrous mycelium. This is survival, no matter the cost. These stories all share one thing in common—the woods will own you. Even if you make it out, you’ll never be the same.

* * *

C.R. Langille

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To Breach a Citadel

by Jeannie Marschall

October 3, 2025

Horror

The camera was in remarkably good shape. When they nudged the power button, the display sprang to life and the first clip ran without waiting for permission. Amidst the carnage of splintered branches and sap-scented screams, six outlines huddled together around a tiny, shining rectangle in the swelling twilight.

“Hello everyone! So good to have you with me for this round of Discovery—it’s unreal already. So, just as promised, I’ve gone and made my way to a place that has rebuffed all attempts at taming it or diminishing it.”

A quick jiggle of the camera. “Gosh, I’m so excited, I can’t—it’s a good thing I brought my notebook. This is pure poetry. This is art—wild, wild art. I wish I had better equipment to show you, but, guys …welcome to Ubiet Downs.”

The camera panned out over the trees—trees that lay broken around the six men now, but which, in the video, still stood tall and majestic, lush green, with crowns swaying, mumbling in the wind.

“Giants. Look at them. There’s not even a path. Oh, I’m looking forward to this.” Footsteps, crunching. “Hold up, the edges of that gorge are too steep, I’ll need both hands.

“Right, I’m down the first slope. You’ve never seen a plunge like that, straight down into this axe wound of a valley, unbelievable. And look, just look.”

The light barely illuminated their faces now as the image crawled over emerald-black moss and rutted trunks, standing so close, fat roots so clenched around one another that nothing else grew in this dark cathedral but the trees, gripping the mountainsides and holding fast to one another.

“There’s no wind here, nothing at all.” A soft, breathy laugh. “I can hear them shift and bend up there, but down here, it’s …” Light dappled, flashing secret code over the forest floor with the dance of the branches. “No birds. No animals at all. Makes you kind of …not want to speak. Don’t want to intrude, like. Or be …you know that feeling in a church, the ones with those grim martyrs and their dead rock eyes, judging your soft, licentious little life?” Footsteps, thudding downwards on deep centuries of soil. “Like that. I’ll be quiet and just let you soak it all in for a bit, okay?”

Birds, chirping an erratic soundtrack for the unsteady blur smeared over the screen; wordless, slow sweeps across ancient columns and boulder-pews to both sides; breaths whooshing out with the occasional jump down a bigger rock.

“Did you see all this moss? It’s like a lake, flooding higher the deeper in I go.” A waver in the camera’s frame, an arm faltering. “And it’s warm down here, phew. Let me take off this jacket real quick.

“Now. So. Ubiet Downs, records say, is located in a spot so remote that even modern harvesters cannot breach it. I mean, you saw those cliffs I scrambled down. Let’s hear it for good shoes, eh? And every time they tried, stuff just …broke down. Tumbled into the valley. Lost transmission fluid, ran out of fuel, broke a blade. Like, it cost just so much that people eventually gave up. Guess this place just didn’t want to leave. The forest crawls back out of the ditch every few decades of course, and those trees get cut down because, well, but no one wants to go past the edges anymore. Maybe there’s just no insurance company left that’ll cover for it.”

The image tilted towards the forest floor and two hands untied the laces of a sturdy boot before the journey was jolted back upright.

“There are so many stories, but almost no actual footage of this place? I thought I’d have to crawl over bodies in here. Find single shots without people, you know? But look: it’s all beech husks and crumbly oak leaves, not a single cigarette butt or bottle or …what’s the word, pristine. You still kinda expect those little painted hiking signs on the trunks though. The path is really …I mean, these roots.” A bare foot landed on a swell of wood rolling like a thick snake from the litter-strewn ground. “You can just …like a stairwell. Right this way.” The angling, rattling camera caught the second boot as it tumbled ahead down the steepening slope, bouncing sluggishly from root to trunk to jagged boulder. Something else hit the floor with a heavy thump somewhere in the background.

“I love the taste of this place. Damp rot, stone, bark. They say there’s a river at the bottom. I’m so glad you get to see this. Ethereal. Look how dense those trunks are getting down here, tall and straight, not a one broken. Like a black cathedral; soot of a million lonely, guttering candles. Those fireflies. My notebook. I will get …” The image tumbled, rolling over and over, coming to a jarring stop a few seconds later.

A voice could still be heard in the swallowing silence of the video, far off, shambling closer over three or four agonising minutes while the camera tried to focus on a tree-trunk, a hunchbacked rock, a trunk, a rock. Then two feet passed through the frame, two naked legs shifting in the gloom. The voice moved on down the dizzying slope, weakening, fragmenting, silent. The image kept wavering from trunk to stone to the deep shadows between, making the lifeless things on screen shift softly down, down, down into the gorge. After several silent, grainy minutes, the display winked out.

The six foresters—much further up the slope than that trunk or that last, blurry rock—lifted their gazes from the screen to one another. They had forgotten time, and space, and place.  In the sepulchral silence that surrounded them, they knew they’d cut down every single whispering, swaying tree in a wide radius around the spot where they stood, covering the churned-up ground in splintered wood and dying leaves. And yet, as they watched, dappled shadows shifted gently across each man’s petrified eyes.

* * *

Jeannie Marschall

Comments

  1. Yannabanana says:
    Oh wow so creepy???? though i have some questions: what happened to the person? Is he/she still alive? Maybe some creatures took him/her. The forest is haunted! ????????????
    1. Jeannie says:
      You can come in any time you like …
      But you will never leave ????????????????????
    2. Jeannie says:
      You can come in any time you like …
      But you will never leave
  2. Metania says:
    That is so good! Especially how you show what goes on in the video. I wish I hadn’t read this just before turning the lights out to go to sleep. May be I better stay up until the dread passes from my system! Hope to read more of your work!
    1. Jeannie says:
      Oh thank you!! Though I do hope you got to catch up on your sleep, I can’t honestly say I regret you enjoying this lil field trip 😀
      See you around!
    2. Jeannie says:
      Oh thank you!! Though I do hope you got to catch up on your sleep, I can’t honestly say I regret you enjoying this lil field trip 😀
      See you around!
  3. Yannabanana says:
    Oh wow so creepy though i have some questions: what happened to the person? Is he/she still alive? Maybe some creatures took him/her. The forest is haunted!
  4. Metania says:
    That is so good! Especially how you show what goes on in the video. I wish I hadn’t read this just before turning the lights out to go to sleep. May be I better stay up until the dread passes from my system! Hope to read more of your work!

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A Touch of the Wild

by Anne Wilkins

October 10, 2025

Horror

Sometimes we hear him howling, other times it’s a scream to pierce the night, but more often it’s a low keening wail. Tonight the noise is a cat’s yowl; it rises from the woods, creeps under our door, pounces onto our dining room table, and serves itself on our plates. I push the mashed potato around in circles, mixing it with the sound. The four of us huddle with our uneaten meals, sliding the potato anywhere but our mouths.

“I’ll see to it,” says Mum, and she rises from the table.

“No. It’s my father. I’ll go,” says Dad, and he takes his shotgun, a hammer, and an axe. He leaves us with the slam of the cabin door.

“It won’t be for much longer,” says Mum, looking at me and my brother, wringing her hands in her lap. “It’ll pass.”

She’s been saying that for seven days now. Seven days of madness banging at our front door, demanding to be let in.

“I don’t feel like eatin’,” says my brother, speaking the obvious.

The sound of the shotgun rings out, a warning shot, and the yowling stops, before it’s replaced by a terrible cackling.

“Make it stop,” I whisper, putting my hands to my ears. “Please.”

Mum puts her arms around me. “It’ll be okay, Kathy,” she says. I feel the wetness of her tears against my hair as she spreads her lies.

* * *

I always wanted a Poppa, a Grandpa, a Grandaddy. Someone to take to school on Grandparents’ Day, someone to come along on school trips when Mum and Dad were too busy, someone to tell me about the good ol’ days. Mum’s parents were all dead, and Dad said his widowed father kept to himself, lived in the woods somewhere, out of sight, out of mind. But every so often, he sent a card or a letter reminding us that he was still alive and kicking.

“Will we ever get to meet him?” I asked plenty of times, but the answer was always no.

And then one day, a little more than a week ago, he showed up on our doorstep, even though we live in the middle of nowhere. A withered old man with whitened hair past his shoulders and the bluest eyes I ever saw.

“Your father ‘round?” he asked, casting nervous glances.

“Are you my… Poppa?” I asked instead.

He smiled, exposing yellow rotten teeth. “That I am.”

Not so long after that, Dad chained Poppa up in our basement. “It’s for his own good,” he tried to explain to us. “The wild… it comes for him. Every so often. He can’t help himself. He does things… becomes…”

I saw for myself creeping down to the basement one night. He called for me: “Kathy. Come and talk to Poppa.”

I turned on the light, and there he was, sitting chained and naked, perched on a barrel, eight long spider legs protruding from his torso. His eyes no longer blue, but jet black.  “I’ve always wanted a granddaughter,” he said. “Your father was so mean keeping you away. Keeping all of you away. Come closer so I can see you better.”

“I—”

Dad pounded into the basement, armed with a baseball bat. “You stay away from her! You monster!”

And he whacked Poppa until he bled yellow.

It was after that night that Dad moved Poppa to the woods.

“It’s for the best,” he told us. “He can’t help who he is, what he is. He just needs to get through this bout, and then he’ll be alright. We can send him away after.”

“Isn’t there someone else who can help, who can—”

But Mum never got to finish her words. “There’s no one. Not anymore,” said Dad and he looked away so he didn’t have to meet our eyes as those words, not anymore, pushed and slid within us, like mashed potato gone cold.

* * *

Dad doesn’t like us going down into the forest. Not since he chained Poppa up there. My brother and I used to climb Pohutukawa trees to play peek-a-boo with the sky, we used to build forts and fish, we even had slug guns to hunt the possums with, but that’s all stopped. Dad says we’ve gotta wait till the wild has finished having its fun with Poppa. Sometimes it might come once a year, other times monthly, but Dad says it never usually lasts more than seven days.

On the tenth day, a storm kicks in. Winds rage against our cabin, threatening to blow off our roof, and rain slashes the windows. “It’ll be okay, kids,” repeats Mum, words worn thin from overuse.

“What about Poppa?” I ask.

“He’ll be fine,” says Mum. “He’s hardy.”

But the withered old man with the white hair had never seemed hardy to me. I listen for his howling above the wind, but for once I can’t hear anything.

In the morning, before the others are up, I pack some blankets, a coffee flask, and a picnic basket of food.

Poppa’s black eyes light up when he sees me. “You came,” he says, smiling and shivering. Still naked, still chained. His skin bone-white. “Food,” he whispers.

“I… I thought you’d be cold,” I say. “I brought blankets.”

“Good girl. Come closer.”

I hesitate.

His spider legs are twisting, tasting the air.

“No. I’ll leave everything here. Dad will be—”

The web shoots out of nowhere, attaching on my ankle.

His face lights up. “Food,” he whispers again. He smiles with yellow rottenness.

There’s a pull at my foot at the same time as I hear the fire of a shotgun. This time it’s not a warning shot.

Poppa’s black eyes fade to blue as yellow bleeds out.

Dad just holds me close, both of us shivering against the madness. He holds me so tight I can just feel his own spider legs beneath his shirt, itching to get out.

* * *

Anne Wilkins

Comments

  1. Frances says:
    I had goosebumps from start to finish. I really liked the choice of words, the repetition of certain images, and the ending that gives us both answers and questions. Great story.
    1. Anne Wilkins says:
      Thank you, Frances! This story originally was much longer, but I chopped it down to its bones and I think it worked much better.
    2. Anne Wilkins says:
      Thank you, Frances! This story originally was much longer, but I chopped it down to its bones and I think it worked much better.
  2. Great story! I love the imagery of the mashed potatoes, and the ending is very good!
  3. Anne Welborn says:
    That was just so darn shockingly creepy. I will never be able to look at mashed potatoes the same way again.
    1. Anne Wilkins says:
      Thanks Anne, glad you liked it!
    2. Anne Wilkins says:
      Thanks Anne, glad you liked it!
  4. Landon says:
    Amazing story! I had a great time reading it. The imagery of the story is just perfect, yet now I wonder if the kids also have spider legs or not.
    1. Anne Wilkins says:
      Thank you! I appreciate you taking the time to comment. So glad you enjoyed it. This was written during my “spider phase” when I was obsessed with spiders.
    2. Anne Wilkins says:
      Thank you! I appreciate you taking the time to comment. So glad you enjoyed it. This was written during my “spider phase” when I was obsessed with spiders.
  5. Yannabanana says:
    Maybe the father is also a spider.. But are the children and the mother spiders too? ????️????️ Maybe the author is afraid of spiders.
    1. Anne Wilkins says:
      Well, I don’t like the big, scary looking spiders, but I love the jumping spiders, the Portia ones.
    2. Anne Wilkins says:
      Well, I don’t like the big, scary looking spiders, but I love the jumping spiders, the Portia ones.
  6. Small Infinity says:
    Wow, this was a wonderful read. It was suspenseful from start to finish. Although the MCs kinda dumb. My arachnophobia will never let me be in the same 10 square miles as that creature.
    1. Anne Wilkins says:
      Thank you for taking the time to read and comment. I really appreciate it. I’m so glad that you enjoyed my story, and yes the MC is kinda dumb, but kind-hearted.
    2. Anne Wilkins says:
      Thank you for taking the time to read and comment. I really appreciate it. I’m so glad that you enjoyed my story, and yes the MC is kinda dumb, but kind-hearted.
  7. Brilliant! well written, creative, deliciously horrific. Nice one
  8. Frances says:
    I had goosebumps from start to finish. I really liked the choice of words, the repetition of certain images, and the ending that gives us both answers and questions. Great story.
  9. Great story! I love the imagery of the mashed potatoes, and the ending is very good!
  10. Anne Welborn says:
    That was just so darn shockingly creepy. I will never be able to look at mashed potatoes the same way again.
  11. Landon says:
    Amazing story! I had a great time reading it. The imagery of the story is just perfect, yet now I wonder if the kids also have spider legs or not.
  12. Yannabanana says:
    Maybe the father is also a spider.. But are the children and the mother spiders too? ️ ️ Maybe the author is afraid of spiders.
  13. Small Infinity says:
    Wow, this was a wonderful read. It was suspenseful from start to finish. Although the MCs kinda dumb. My arachnophobia will never let me be in the same 10 square miles as that creature.
  14. Brilliant! well written, creative, deliciously horrific. Nice one

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Mushroom Aesthetic

by Aggie Novak

October 17, 2025

Horror

Milica curses the summer heat as she sets off into the forest with her empty backpack and wicker basket.

The basket is all aesthetic—it knocks into Milica as she walks and the twisted cane handle digs into her arms—as is her outfit: a deep burgundy dress with a full skirt and a mushroom-print apron.  But her followers don’t see the mud splatter or bramble tears, and ‘cute’ brings more viewers than ‘practical.’

Milica pastes on a smile and starts recording.

She thickens her accent and lets her precise grammar fall away for added authenticity. “Today I go into deeper part of forest. Mostly untouched. Locals avoid this area—say it is where forest spirits still hide. Lešij, vila, rusalija.”

That has a thread of truth. But Milica doesn’t know if the locals’ disapproval of her foraging stems more from superstitious nonsense or an unwillingness to share the forest’s mushroom supply with a social-media-obsessed sellout.

By the time Milica stumbles upon a well-hidden glade between the beeches, ground clustered with charcoal burner mushrooms, her hems are sodden with mud, her body sodden with sweat, and her forearms rubbed raw from her basket.

She rearranges her hair, plucks some mushrooms and places them prettily in her basket.

“Charcoal burner has special gills. They are soft and flexible, and do not break when I touch.” She runs her fingers over the greasy ridges. “This is how I know it’s charcoal burner, and not other Russula.”

She pauses the recording, and sets to gathering up all the mushrooms her backpack can hold. One beech tree, from its lower branches to its knotted roots, is lumpen with unfamiliar fungus. Milica kneels. She knows every mushroom in these woods—counts on it not to poison herself or a client. The fungus grows like chicken-of-the-woods, forming a series of shelf-like protrusions. But it isn’t bright orange or vibrant yellow. The growths are dark: black, blue, and green. Glabrous and glossy, like the surface of a still, deep lake.

Milica takes the patterned kerchief from her hair and ties it to cover her nose and mouth. Covering her hand with her apron, she breaks off a piece of the fungus. Spores puff out in a thick haze, and Milica jerks back, waiting for the air to clear. The mushroom’s flesh oozes a reddish latex, like sticky blood. But there’s something else in there too: a hard, white shard. Bone.

Small bones—of birds and squirrels—scatter the ground around the beech. And there, tucked into the roots and nestled in between the fruitbodies, is a carved doll.

It’s shaped crudely, into a head and a body with the suggestion of arms and breasts. Its face has only depressions for eyes, but a detailed, screaming mouth, complete with sharp bone embellishments for teeth.

Milica wraps it in her kerchief and drops it into her basket, fighting the urge to run away and abandon her harvest, to scrub herself of all traces of the forest.

“Here I made lucky discovery. This pagan idol is carved in local custom to protect from vengeful forest spirits.” People go mad for traditional folk stuff, and more money never hurts.

 That night, Milica dreams of dirt.

It presses in on all sides, comforting at first, then suffocating. Soil, thick and damp, clogs her nose and fills her mouth. She’s stuck like that, in a wide-open scream. Itching spreads over her body, but she can’t move to shake it free. Tendrils like hair—hyphae—push through her and out of her skin, questing for air. The mycelium fills her, replacing veins and arteries.

When she jolts awake, arms rubbing imaginary sporocarps away, Milica is almost surprised to see her mushroom harvest sitting right in the tub where she left it.

The doll is on her bedside table. Watching with pupil-less eyes. She lifts it to turn it away, but she has to pull hard. Sticky white strings hold it down. Milica scrubs it clean, and works on updating her shop website.

By night, the wooden table is fruiting with green brittlegills.

Milica films the patch. “Wow! Idol I found is for fertility and increased growth. See my website to purchase from this blessed harvest!”

Then she cleans away the fungus, careful not to breathe it in, and seals the doll away in the tub with the mushrooms. Hopefully the increase in income will make up for how creepy the thing is.

In the morning, meadow mushrooms carpet her bedroom like wildflowers. Bracket mushrooms climb the walls, and foxtails clump in the corners. Her sink is overtaken with blushing amanitas, and her pantry overflows with summer ceps and queen boletes. Presiding over it all from the middle of her kitchen table is the doll.

Milica snatches it up, releasing a spore cloud, and dumps the thing into her fireplace. Fire cleanses. She always has chopped wood at the ready, even in summer. It takes several tries to get the fire to catch, her hands shaking so wildly she keeps dropping the matches to snuff out on the floor.

Flames lick at the doll and make its eye-pits dance as if alive. But it doesn’t burn. It screams. An agonized wailing like a shot deer. The mushrooms vibrate at the high pitch. Porcinos, pearl mushrooms, and big sundews quaver at her feet. Then the room explodes.

This time there’s no dodging the spores, the air gone thick with them. Milica coughs, but inhales more than she spits out. It tickles at her eyes, at her throat, in her lungs and her stomach.

A bubbling rises to the surface of her, something warping her flesh. Milica presses hands to her abdomen, where silky black fungus has burst through. Ripping it away hurts like tearing off a chunk of her own body, and the insides drip with her blood.

She tries to run, but a ring of meadow mushrooms encloses her. Milica screams, and growths fill her mouth, forcing it into a permanent rictus of terror.

A mirror image to the wooden doll, staring from the fireplace.

* * *

Aggie Novak

Comments

  1. Kulamrit Bamrah says:
    Hi, Aggie!

    This piece was deliciously creepy.

    The character of Milica was actually favourite part about this. She sees herself as a kind of savant, and probably is, but it wasn’t enough for when she bit off more than she could chew, hey?

    I suppose if there’s one thing I might change in this piece, it’s that I wish Milica were a bit more freaked out by fungus growing in her bedroom.

    I really enjoy this piece. I can’t wait to read more from you.

    Take care!

  2. William Peter MACMONAGLE says:
    Spooky story
  3. Kulamrit Bamrah says:
    Hi, Aggie!

    This piece was deliciously creepy.

    The character of Milica was actually favourite part about this. She sees herself as a kind of savant, and probably is, but it wasn’t enough for when she bit off more than she could chew, hey?

    I suppose if there’s one thing I might change in this piece, it’s that I wish Milica were a bit more freaked out by fungus growing in her bedroom.

    I really enjoy this piece. I can’t wait to read more from you.

    Take care!

  4. William Peter MACMONAGLE says:
    Spooky story

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Woodsong

by Arthur H. Manners

October 24, 2025

Horror

It hit me last night, as a chorus of woodsong filled our hiding spot: we’re never getting out of here.

But even if I want to lie down and die, I’m clutching one last thread of hope. It’s all I have to offer Chase—it’s still my job to offer him something, even if it’s a lie.

“Where’d you go, dad?” Chase says, stamping his feet to ward off the cold. He scans the pine forest carpeting the mountainsides. “Out there again?”

I drag my focus back to our makeshift camp: pitiful fire, tattered gear scavenged from other camps littered with cleaved corpses.

But we don’t think about that. Eyes on the horizon. Minds on our next move.

I squeeze Chase’s shoulder. “It’s out there we’ll find a way home.”

He sighs, his stance radiating exasperation, like he’s a teenager.

Because he is a teenager now, stupid.

Years. How did it add up to years. When we first got stuck here, after our roadtrip turned into endless circling, I’d promised him we’d be home the next day.

Now our fourth winter is setting in.

“Dad, let it rest. We’re stuck here.”

We’re not stuck. I must make him see it. But my dad’s special connection with Chase had died with him.

“Don’t say that,” I say. “We—”

A shriek rises from the east. Maybe a person, maybe not.

* * *

The woodsong soon starts again, which means some poor bastard has been torn to pieces. A sighing breeze joins the buzzing of insect and the twittering of birds, until every organic mote rings like a bell.

The score of my failure to make things right.

“That song could be for them, dad. Like a memorial,” says Chase.

I say nothing, because it’s better than saying, “It’s either to torture us, or it’s a fucking dinner bell.”

There are no friends here—only the creatures of the forest. They rest by day, but each night their bloodlust ignites; they stalk, whisper, lay traps.

I urge Chase onward, trying a new route—which of course is another loop to nowhere. Come dark, we wedge ourselves between some rocks. Something titanic lumbers along the ridgetop, visible only in silhouette when it blots out the stars.

We sleep in shifts. Chase had bad dreams at first, but now he sleeps like the dead, which scares me even more. This can’t become his normal.

* * *

The terrain loops on itself; my improvised maps don’t knit together. I don’t even know if we’re still in Oregon. We’ve run into people who arrived from several continents.

Each time we retread our own footsteps it’s more obvious that I’m out of ideas.

I had hope in the early days, when we teamed up with three Japanese people who spoke of hidden passageways; if people arrived from all over the world, there had to be exits.

But the trio grew careless. What devoured them looked like a grove of trees, until the trunks split open, revealing rows of curved teeth.

Since then, we’ve walked alone.

* * *

The next day we find a field filled with butterflies. Butterflies in winter… whatever. Chase runs with wings beating around him, ignoring my hissed warnings—a flash of the boyhood he’s been denied.

“Don’t let your guard down. That’s how people die.”

He stops running. A dark look falls over his face. “I don’t want to end up like granddad.”

“You won’t.”

He looks away. “I already am.”

My dad died a few months before we got here. When I remember that liminal space between diagnosis and funeral, all I see is Chase holding dad’s hand.

I couldn’t even keep his grandad alive. I started failing him long before we got here.

* * *

We stumble on a frozen lake, and Chase insists we skate on the ice.

“We should stop walking,” he calls. “I like it here.”

My heart stops. He can’t give up. Not yet. “We need a better lay of the land. Come spring, we’ll try crossing the mountains.”

He arcs in a wide circle. “What if we die before spring?”

“I won’t let us.”

“I told you. I don’t want to be like grandad,” Chase yells, suddenly furious, his voice magnified by the ice.

“Look! I’m sorry I couldn’t save him. God knows, I spoke with every specialist, applied for every trial…”

“I’m not afraid to die, dad. I’m afraid of being invisible.” He jumps in frustration, coming down hard. “It’s like you’re not even here. I’m talking to you, but you don’t see me—

A sound like a gunshot splits the air, then he’s gone into a wound of black water.

By the time I drag him out and start a fire, he’s unconscious, blue, but alive.

* * *

Hiding in a tree that night, while frostbite gnaws my toes, I realize that my biggest regret is never having taught him to shave.

* * *

The things of the forest are closing in, sensing that hypothermia has left us too weak to run. Bundles of eyes open on rocks. Trees sprout wailing fruits that look like foetuses. Enormous shadows flit under the lake, splintering the ice.

The heaviness in my bones turns leaden. “We’ll think of something.”

“Dad, it’s okay.”

“No, it’s not! I—”

“You can’t save us.”

It hurts to hear him talk like that, but worse is not having the strength to argue.

Chase smiles. “It’s like with grandad.”

“I tried to save him, Chase—”

“He didn’t want you to save him. Grandad just wanted you to be there. For as long as it lasted.”

But I’d been off somewhere trying to fix it. Clinging to hope so hard I strangled it.

I take Chase’s hand and whisper sorries into his palm.

We listen to a fresh wave of woodsong. Now that I really listen, it doesn’t sound malevolent or comforting. It’s just what it is.

“Chase, how many beautiful things do you think we can find before dark?”

* * *

Arthur H. Manners

Comments

  1. Zuben says:
    Have you read Cormac McCarthy’s “The Road”? Some eerie similarities here.
  2. Zuben says:
    Have you read Cormac McCarthy’s “The Road”? Some eerie similarities here.
  3. […] Woodsong – Flash Fiction Online […]

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This Is What Mouths Are For

by Parker M. O’Neill

October 31, 2025

Horror

We snatch the centipedes off the boulder and crack their carapaces, sucking the insides out. There are rules to our eating. Guts slide, wriggling, into four mouths and down four throats. All this under the moonlight, which reflects weakly off the waist-high saltwater that is inescapable in this endless labyrinthine swamp. Around us thickets of gnarled drowning trees snake away in lines, perhaps artificial in their measured growth––forming interminable pathways and clearings by their absence––but there is no time for unimportant questions. All we know is to eat.

Guiltymouth eats the most centipedes, beating Bittermouth by a few. The victory-prize is a revelation, a memory; she shudders as it pierces her. Opens her eyes wide and fearful, says there should be five of us, not four, but she’s lying, she’s lying, she’s lying.

Our stomachs rumble as we wade to the next clearing on pruned feet. The hunger is already gnawing again inside us, trying to eat its way out. Anxiousmouth sloshes ahead and finds a good omen: the trees curve gently moonward, wending away imperfectly to the left, leaving one thick branch poking out just far enough away from the thorns. We take turns crouching on it like hobbled grotesques, scratching the itches on salty knees drawn tight up to our chests.

Guiltymouth wants to stay but our stomachs ache. Our hands knit around her and drag her from her perch.

At the center of the next clearing there is a fallen log on which a wolf lies half-butchered and rotting. Below a shining moonbeam the meat is splayed out on the beast’s pelt like a trophy. We are at war inside ourselves: a somatic urge to vomit rises in our throats at the stink of decay, but four mouths are already watering. We fall on the carcass in a hideous splashing rush.

As we scoop up chunks of filthy meat, snatching crow-quick and jealous, clutching piles of offal close like thieves, we wonder. Between bites—in fleeting hungerless instants—we dream of what else may be, of what other forms the world could take, of how else we could endure this place.

This swampbyrinth could be paradise, or punishment; we four are sinners, or saints. We do have our theories. So hard to refine them, though, to waste time with mouth-noise when we could be biting down on meat. Why bother?

The pelt we save for dessert. We tear with wet calloused hands and slice at the skin with fragments of bone. It’s greasy and cold and tick-flecked and Guiltymouth eats the most, wetting the fur in moon-glistening saltwater and swallowing soggy lumps by the handful. Another vision-revelation-memory engulfs her. If only we could chew less, force our throats wider, gulp down guts and flesh and skin faster. We watch, eyes narrowed, nails biting into our palms as she drops to her knees and sobs.

We look to the moon, which hangs eternal, lending long shadows to the endless trees, and for the first time we feel disunity. We push Guiltymouth ahead of us and plug our ears when she claims to know the nature of our confinement. She’s lying, she’s lying, she’s lying.

Waves undulate along the next path. Fallen logs shift with low shudders like the resigned sighs of the long dead and we are hungry, so hungry, and then we find the source of the water’s throbbing motion.

The writhing mass in the clearing looks like an overgrown blue tumor. It should not be here. It’s still alive: a single black eye is quivering, winking at us. Not an eye, Guiltymouth says, a blowhole; we can’t eat this. But we’re so hungry.

We walk around the thing, marking flippers, tail, colossal baleen jaws. It should not be here, but should we? Haughtymouth breaks a thorned branch off from the thicket, hefts it. It’s sharp enough on one end to pierce skin. To dig.

The whale takes forever to die, and—forgive us—we’re too hungry to wait. We eat as we cut, tunnelling through flesh and prizing the rich organ meat we stumble upon like miners striking gold. Guiltymouth refuses, says this is all wrong, says we should fight this impulse, try to escape this swamp. But she should know that we have no time for anything but eating, and the shared void of our hunger compels us to hold her in place and shovel the blubber into her mouth handful by handful.

She shudders, she flails, a memory flooding her, whale blood sheen red on her skin. That envy rises in us again. She gets all the memories, and for what? Nothing has changed. We’re still hungry. We drag her to her feet.

No. Something has changed. She is distinct, somehow. There are three of us, three mouths, and this other thing, gurgling and moaning through a guilty gullet still muffled by fat and gristle. There is nothing in the next clearing, no food awaiting us, and we’re so hungry.

Her eyes widen as she feels the rest of us staring at her, feels the totality of her separation. There are rules to our eating. If she isn’t one of us, there is only one thing she can be.

In the hungerless instants, the brief flashes of clarity, we taste melancholy. Between bites of tongue or liver or cheek we long for a place beyond imagining, a non-swamp outside of the world, a treeless place without saltwater or reeking flesh or the endless gaping pit of us. As we finish we wonder whether we are driven by something that could ever be filled.

The feeling passes, as it always does. But Anxiousmouth is picking the last few strands of hair out of her teeth when she convulses, a shudder ghosting through her. Something in her eyes changes. She gasps, says there should be four of us, but she’s lying, she’s lying, she’s lying.

* * *

Parker M. O’Neill

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