Issue 107 August 2022

No one sleeps on an empty stomach

by Lucy Zhang

August 12, 2022

For Hungry Ghost Month, Sister and I put out bowls of persimmons, plums and freshly steamed buns filled with sweet red bean paste. Mom locks the doors and windows while we sit on a yoga mat, playing Stratego and fighting over the last Hello Panda biscuits. Once a year, we stay indoors. No walking to the bus stop, going to school, chasing the crows from our backyard. These days always fall on full moons, the “day of the fall harvest, the rebirth of ancestors,” mom says. We burn joss paper by the fireplace and the house fills with the scent of incense. It’s supposed to appease Auntie who died last year after a stray bullet from a local gang war passed straight through her car window and into her head. An instant death, the police said. Mom shook her head and told us never to go near the ghetto areas of the neighborhood.

Auntie was the younger, prettier, wilder sibling—always taking us snowboarding or skydiving or scuba-diving when mom was busy on-call or answering her never-ending emails. Mom doesn’t keep any photos of Auntie around the house. They’re buried in her drawer with tax forms and receipts from decades ago. I think mom is afraid Auntie will leave hell, sneak into our house and steal our lives away. Mom didn’t even attend Auntie’s funeral. I had to beg our neighbors to drive Sister and me to the florist for a bouquet of white irises. At the cemetery, we huddled together in front of Auntie’s gravestone: my eyes closed to the breeze on my eczema-plagued skin, and Sister sobbing and clinging to my arm. I brought one iris home to place on our dining table. The next morning, I found it tossed in the trash.

We stay cooped indoors, waiting for the hungry ghosts to take our offerings and depart. I secretly replace the ripe persimmons in the bowl with the astringent ones, certain the ghosts will not be able to tell. Death dulls the taste buds. Even though mom knows I like persimmons best, she sacrifices my favorite fruits rather than the bananas Sister insists she needs for her kale almond butter smoothies. Sister tells me to chill because they’re just persimmons, but mom only buys them when the store gets rid of all their misshapen produce for cheap.

After the ghosts have their fill, we’re allowed outside to float lanterns on the river bordering downtown and the corner Goodwill. The lanterns are shaped like lotuses, and we place them on wood boards before sending them down the current, hoping they’ll make it far without toppling. The lanterns are how the ghosts find their way back. I ask mom why we can’t give the ghosts flashlights, but she just laughs. Ghosts can’t grip flashlights, but apparently, they can touch us if they make eye contact. 

During the days following fall harvest, mom orders us to only look down at our feet lest we get caught and dragged to hell. Sister ignores mom and operates like usual: attending track meets, leading the dorky guys on, indulging their tangents on meteorites in Antarctica. She makes eye contact with everyone, at least partially to flaunt her long lashes coated in mascara and her eyes blossoming in smokey eye shadow. Auntie taught Sister how to apply eyeshadow each morning. I chose to sleep in for a few minutes before bolting for the school bus. “Makeup inspires confidence,” Auntie would say. “Always make eye contact. Speak your mind.” When it was just mom and us, mom would shake her head and warn us, “Don’t listen to Auntie. Looking someone in the eye is just asking for trouble.” I think mom would rather die than confront someone: even while we crowded onto a local bus in Fuzhou and she saw a man sneak a hand under my skirt, she lightly pushed me toward the window, expressionless as the man grazed her thigh instead.

I follow mom’s instructions and stare at the ground when I talk to others. I avoid raising my hand in class, shy away from crowds. I do this even when it’s not Hungry Ghost Month, more comfortable with tiles and pavement than pupils. Sister’s friends who dance at Qing Yang studio with the long red ribbons and sparkling shou pa joke that I have a fixed head, like those foil people twisted into a position they hold for the rest of their lives. Sister laughs with them as I look down, unable to associate faces with voices. 

“Do you think we need to offer more?” I ask mom. The fruits and buns must not be enough. That’s why Auntie keeps coming back. Mom shakes her head and says it’s not worth it. If Auntie wants to eat human souls, fruit can only do so much. 

On the last day of Ghost Month, I tell Sister the bubble tea vendor is offering two cups for three dollars, and if you buy a Jiu Cai He Zi, you’ll get a third free. The vendor knows the kids like bubble tea and visit in hoards. He normally sets his food stand near the river, a few minutes away from the shopping district. I don’t have friends to share bubble tea with, and I rarely walk to the stalls alone because mom says it’s not safe, but when Sister and her friends aren’t complaining about calories, they’re inhaling sugar. She leaves with a twenty-dollar bill mom gave each of us to buy lunch from the school cafeteria next week. I am reminded of when Auntie would give us crisp five-dollar bills and tell us to buy something nice—like Skittles or lipstick. 

I stay up that night, monitoring the bowl of fruit, ensuring it stays untouched. Auntie should be on her way back, following the light from the lanterns, stumbling upon Sister, meeting her gaze head-on and latching on to her arm. I wonder if this is enough to stop Auntie from coming back.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR LUCY ZHANG

FFO: What is your biggest challenge when writing flash fiction?

LZ: I’ve been writing so many longer stories that I now seem incapable of writing something that neatly ties itself up in under 1000 words. I think I’ve been indulging myself too much. That being said, I often feel the worlds I’ve been writing lately have been requiring more and more words to do them justice.

Leave a Reply

Instructions for Bottling Tornadoes: Please Read Before You Leave

by Marie Croke

August 19, 2022

1. Be careful. I have to say that. Otherwise the words will worm in my mind forever, insisting you’re hurt somewhere I can’t find, all because I did not remind you, once more, to be careful.

In the aftermath, I noticed the glass bottle first as it rolled down through the wreckage of my house, hopped a cracked board before coming to a circling stop in the dirt. Then I noticed you, your mauve coloring so close that I first confused it for the blue-death look of an infant left abandoned.

I almost turned you into the authorities. Almost gave you away, allowed you to be a newspaper sensation, your picture circulating, your future a timorous idea that might swamp you. Maybe you would have become a YouTube sensation, mauve skin coining a brand-new scientific condition, the wispy cloud speckles along your eyelids spawning a new makeup fad.

Maybe.

But I didn’t give you away. I kept you. I named you. I placed your shed teeth and cut hair into that rugged pale blue bottle that had housed the tornado you rode in on, the glass remaining steadfastly unbreakable.

2. Choose the right bottle, one strong enough to withstand the tumult of the wind, yet translucent enough to see the direction it churns. Otherwise, it may shatter when you summon its force, leaving you between worlds.

You learned about your arrival as soon as you could talk. I told you, like a bedtime story, about the tornado that appeared abruptly out of a clear, cloudless sky and destroyed my home. I explained how it had left you behind.

I never added that you destroyed that empty pocket that swelled so vastly inside of me.

You would play with the bottle that had brought you here—with any bottle really—once you understood. You pointed it, then swung yourself around and around before crushing some fairy house you’d built, standing straight up, and announcing that you’d arrived! Hello Mommy!

It wasn’t until after you caught your first glimpse of a real tornado on the television that your games changed.

I caught you running after dust devils out on the road so many times I lost count.

3. You must not chase a tornado, like news crews or adrenaline junkies, for you will be caught up in its chaos. Stand within its path, allow it to come to you.

We were not the same, you and I. This plain, with its fields and grasses and old farmhouse cottages and grand trees that stood so proud and alone, this was where I’d grown up. This was where I’d lived, assuming I’d be just as proud and alone as those singular trees on the horizon.

This was where you grew up too, but not where you should have grown.

You would ask for stories I couldn’t tell. You would beg to understand a world I’d never seen. You would wonder if you’d had another mother. Or a father. Or both. Or many.

The family pictures you drew with me and you holding hands morphed to me and you and a tornado, then me and you and many tornadoes. Then just you falling through the tornado, with faces looking down, watching you fall far and away. Into my waiting arms.

When I began to search for ways to help you find what you were instinctively looking for, I couldn’t tell you, for I worried. Worried you’d try on your own, become scared, avert your eyes, and be swept away.

4. Face the wind. Wear goggles if you must, but you cannot look away. You cannot allow yourself to flinch. For if you do, you will not be able to see its weak moment, when the air abruptly clears, for just a second, and you can glimpse the million million worlds rushing past.

You used to write me stories, of the place you’d blown in from. Graphic novels made with folded paper and colored pencils. And much imagination.

In some of your stories, you were a lost princess, sent out to survive a dreaded attack on your palace.

In some, you were the last of a magical race who just needed the right teacher to unlock all that was within.

In some, you were abandoned, your parents, if you even had them, tossing you within a weak tornado so they didn’t have to care for you.

You never did stop telling those stories. You just stopped writing them down. Stopped committing the thoughts to a sort of permanency. Letting them destabilize. Become amorphous, unsteady, untenuous.

5. Hold the bottle steady, for even a slight angle, one way or the other, will kick the bottle in your hand and whatever you have gathered thus far will come roaring back out in a furious flurry.

I wished you would start with the dust devils. Maybe you did. Maybe all those times I thought you were climbing the sycamore and then found you down by the pond were because you’d jumped through windy chaos.

A few meters. A few meters more.

Maybe you’d caught me practicing despite my precautions. Though, when I saw you last, your hands did not boast shattered-glass scars, nor were your eyes filled with pingueculae from dirt splattered into them constantly. I couldn’t ask though, for you no longer wanted stories. You wanted reality. You wanted to know.

So I doubted. And that scared me more.

Capturing the power to jump worlds was different than jumping across our backyard. It takes immense amounts of focus and strength. And practice. Much practice. Many bottles and many winds of varying strengths.

6. Carry more than one. Collect an arsenal of tornadoes. Let the bottles clatter at your belt before you leave the first time in case you jump to a world without angry, world-spanning winds.

In case you get stuck.

In case you need a swift exit.

In case you get homesick, but for me this time.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR MARIE CROKE

FFO: What piece of writing advice would you give to people interesting in learning flash fiction?

MC: One big piece of advice I have for anyone learning to craft flash fiction is to choose only a few story elements to focus on. If you attempt to give equal words to all aspects of a story you’ll quickly slip into short story territory out of a need for words. You can imagine this craft choice as shaving down on the less important aspects of that particular story or, conversely, zeroing in on the important ones, but either way, you want the flash story’s most vital parts to give the prose room to breathe. For instance, in “Instructions for Bottling Tornadoes…”, I didn’t add names or dialogue, nor did I dramatize my scenes, all of which gave me space to focus on the character’s emotional journey and her physical choices in reference to her child. For flash, less of something means a whole lot more of something else, and deciding what the core of your flash is helps solidify which story elements are most needed to convey all you want to convey.

Scarlet Fever

by Stefanie Freele

August 26, 2022

Simultaneously, she is seven years old dressed in a white sweaty nightie and forty-seven years old covered in sweaty snow pants, a down jacket, and her husband’s blue long johns, the ones with shredded ankles. This can happen when an illness bridges across a lifetime; both sicknesses occur on different planes, different paths, interjecting, interloping, running side-by-side like two rabid foxes eyeing each other, running, salivating.

The scratchy couch, made of a wool/acrylic blend, reaches through the sheets to sandpaper her young skin. With a fever, one would always want 100% cotton sheets, cool and soothing. Later in life, she will realize she is allergic to polyester, which is but one of many reasons for this misery. She has been moved downstairs next to the kitchen, perhaps so her mother does not have to climb the steps to tend to her. Not that she’s tending anyway, the girl is soaked, moaning and being told to hush. She is seven. Hush.

Thinking of seven—when she is forty-seven and has pneumonia—of this itchy nubby couch spattered with peanut butter and crumbs, the high window with the white pressing light and the hope she placed on the light in that window, fix me.

Little girls do not normally visualize themselves as adults, but here she is dripping, picturing water spilling from under the house, blue warm water, knowing her older self is also inside her chest, inside her head, they are together in a fever. She tells this to her mom, Another me is here, but I’m 47. Maybe she tells it to her mom, she’s not sure she has said this out loud and she’s not sure anyone is there, as she can’t see over the back of the couch. To sit up would take concentration, effort. There is no cup of water and she needs a cup of water. Bring me water please, she says to the white window.

Although her lungs know she has pneumonia, her mind doesn’t yet. The heating pad at her back, the down jacket on her top, and her body stuffed into a flannel sleeping bag—all this and shivering should tell her you have pneumonia. An idea of rising and picking up her son from school is running around in her head like a sloppy Ferris wheel that has fallen off its track, from her chin to her forehead, pick up your son pick up your son. Also inside her mind: a little girl in bed, she reaches out and it is herself, bringing water, changing the unbearable sheets on the couch, lifting the hot little girl, holding sips. You can trust me she says. They say it to each other. How can anyone get up and drive?

As if the fence has come down and the water is running out of the yard, her bladder is about to do the same; she can feel how it will roll down her legs, soaking the couch, her hellish nest, but there is no better, help I need to go. No one is answering and where is her mother. Water running out of the house into the yard. Feet on the carpet, so rough, so awful on skin, why isn’t anything soft, ever? There is nowhere to go when nothing is soft. Dizzy and a small hand on the back of the wool couch and a hand on a wood wall, at least that isn’t scratchy, if only she could sleep on a wall. If only a person could sleep standing up or tilt the house. Freezing in the bathroom, it is cold cold cold and if she could only have a blanket and she doesn’t think she can get back to the malevolent couch where she can at least be warm. Mom!

Please, she calls her husband, you have to get our son from school, I can’t. There is a weighty sense of guilt, a guilt as large as the playground; how difficult can it be to drive and retrieve your son, your own child. No water next to her. A girl at seven reaches for the glass and fills it over and over, but still the glass is empty and there is no one to ask for more.

Her father presents to her a fox, made of polyester/acrylic, and she wants to hold it, hug it, but it is another offering her skin can’t bear. I’m 47. Cotton.

Her father stays twenty feet away, across the room by the fireplace.

Did you pick him up from school?

The fireplace without a fire is unfriendly next to her father with his trench coat and his impeccable tie, asking in a faraway voice, What are you talking about, sweetie?

Her mother tosses a green washcloth into his hands, a toss of I’m-done, the same washcloth the girl has been turning over and over on her forehead. She’s been rambling, making stuff up all day.

Barely can she see white over white as she whispers thank you daddy reaching for the fox while her mother tromps out of the room pouting, of all the things I’ve given her, you buy a cheap airport stuffed animal and she loves that.

Her husband says get over it and sticks a cold hand under the down jacket, laughs. He is her rabies-infested untrustworthy fox, grinning with enjoyment from shocking a warm body with his chill. She is too weak to hate him, too tired to explain. Water, she hears water flowing out of the house, down the front steps, but none in her mouth. He fills her cup, brings home their son who kisses her forehead and says You’re hot, get better, Mama, hurry up, I know a new card trick, one with disappearing aces.

The woman brings the feverish girl to her bed to keep each other warm, pressing foreheads together, breathing shallowly while their bodies go about ordering the disorder. This way they can rebuild together. Reinforce the dam while eyelids are burning.

Previously published in the The Chattahoochee Review Fall/Winter 2014. Reprinted here by permission of the author.

 

Leave a Reply

Join the 
Community

Support

Become a member of our Patreon community

Subscribe

Subscribe via Weightless Books

Submit a Story

Submit your story using our Submittable portal