Issue 103 April 2022

The Social Phobic’s Guide to Interior Design

by Sarah Grey

September 15, 2013

Editorial: Little Things, Big Things

by Emma Munro

April 1, 2022

Paul Kelly’s song, “From Little Things Big Things Grow” popped into my head while considering this editorial.  Not surprisingly, it is an ideal segue into our April stories, which in one way or another deal with those things that change us. The song also reminded me of my own unwilling change of direction around 12 years ago when a pretty timber cottage (holiday rental) came up for sale. I’d been house-hunting for two years, so I grabbed the opportunity to test the house out by renting it for the weekend. I had a lovely day imagining myself living there and made the decision to buy it. Sometime during the night, half-awake, a coal train squealing past, a weight sunk on to the blanket inches from where I lay (I kid you not). I knew it was facing my way and looking at me. I knew it did not want me there. Yes, I left. No, I did not buy that house.

Would a ghostly visit change your life? How about a convention of ghosts? The Annual Conference of the Ladies in White by Stephanie Feldman deals with that occurrence.

Have you ever imagined a little chunk of feta changing your life? Sam F. Weiss’s delightful “The Perfect Brick of Feta” might change your mind. (Available April 8)

Death is a big and permanent change from which there’s no coming back from—or is it? To find the answer read, On the Anniversary of Your Passing” by Thomas K. Carpenter. (Available April 15)

On the scale of Big versus Little, alien abductions are high on my list of Big, but they rarely rate on the laugh-o-meter until I read A Midsummer Night’s Abduction by Jennie Evenson. I hope her story makes you laugh. (Available April 22)

Our final offering is by FFO alumni Sarah Grey. The Social Phobic’s Guide to Interior Design deftly encompasses how little and big things can be interchangeable and yet transformable.

From Little Things Big Things Grow” is on still on replay in my head.

The Annual Conference of the Ladies in White

I’ve been driving for six hours when a hotel appears on an otherwise empty stretch of road. It has turrets and a fussy gazebo, like an antique wedding cake preserved by moonlight, and a red sign promising “vacancy.” Whatever it costs, my emergency stash will have to cover it.

I’m so tired I pause over the hotel registry, struggling to remember my own name; upstairs, I collapse onto the bed, his words repeating in my mind. You’ll never make it on your own.

He’s right. I didn’t get far. Tomorrow, I’ll go back.

Again.

The thought settles like a weight on my chest, just as another weight settles near my hip.

A lady sits on the edge of the bed. She wears a cloudy dress; her black eye twitches and her torn lips tremble. Another lies beside me, fingerbones interlaced over her heart. A third lifts a sweater from my suitcase. Their faces are ghastly and pretty. Their flesh hangs like fine lace.

I grab my keys and run.

Outside my door, the ladies are everywhere—sweeping through the halls, stalking up the stairs and falling down again, one by one, into a silent pile. They sit on the lobby sofas before a gothic-lettered sign: Welcome, Ladies in White! A lady slips a lanyard around my neck, the name-card blank except for a crimson smear. Suddenly, I know where she came from and how she died. She’s the Lady in White of Kinsale, Ireland, who hung herself after her father killed her bridegroom.

The ghost turns away to fill a paper cup from the coffee urn. Next to her, eating a complimentary cookie, is Haapsalu Castle’s Lady in White, from Estonia, who dressed up as a choirboy to continue an affair with a clergyman; they bricked her into a wall. The Berlin Palace’s Lady in White starved behind a wall, too, but she sticks with the other German Ladies in White, from Haus Aussell and Spandau Citadel, who are already at the bar. On the mezzanine, Brazil’s Dama Brancas weep for the babies they died birthing. The murdered Kaperosas, who hitchhike the Filipino highways, head toward the office center. They like taxis, radios, and midnight headlights, which makes them distressingly modern to the others.

The other attendees of the Annual Conference of the Ladies in White.

The corners of the name-card prick my skin. The blood streak is unintelligible, but I can guess what it means. They’re admitting me to their sorority of destroyed women.

The cold spark of my survival instinct flares. I dash past the oblivious receptionist and through the front door.

Outside, the Chinese Nu Gui wander the lawn, searching for the men who wronged them. In the gazebo, La Llorona, the keynote speaker, drips with river water. The Siberian Maidens of Uley, abandoned and driven to suicide, applaud.

I dive into my car. I’ve already hit the gas pedal when I notice the Lady in the passenger seat and another four crammed in the back; there’s one on the roof, the ratty ends of her hair sweeping the top of the windshield like rain that won’t fall. They wail and thrash; they blink in and out of the rearview mirror; they whisper their addresses, it’s almost curfew, mother and daddy are waiting.

Headlights swell before me. My car has swerved over the yellow lines. I brace for impact, but then a horn blares and the lights slice away, sparing me.

If I die on the road, I’m afraid I’ll become one of the Ladies in White.

I pull into the first parking lot, run through puddles bright with neon, and enter an empty 24-hour diner. I take a booth and watch helplessly as the Ladies process up the ramp and through the door. They squeeze into booths, spin on counter stools. They spill sugar on already gritty tabletops. They examine laminated menus and build towers of creamers. They weave paper napkins into their hair.

They’re not chasing me, after all. They’re just excited to leave the hotel—their eternal hotels and castles, highways and rivers. My fear fades into relief; my relief is chilled by sadness. How tragic they appear, now that I’ve stopped to really see them.

The waitress arrives. It’s past midnight, but she’s cheery.

“Just you?” she asks.

“Just me.”

Her smile falters. “Are you okay? There’s blood…” She touches beneath her throat, where her collar opens.

The Ladies stop their fidgeting and twirling. They watch.

I mirror the waitress’s gesture and find something cold against my chest. The name tag—I whip it over my head, rip it free from my hair.

It’s not a conference lanyard, but a necklace, my name pressed into a gold plate. It was a gift. Never take it off, he said, and I never did, even when I left.

“I guess it was just a reflection,” the waitress says. “I thought…”

“I’m fine,” I say. The vision of the smeared blood—they weren’t claiming me. They were warning me. Don’t become another anonymous death.

The Willow Park Lady in White, drowned by her husband on her wedding night, puts down her spoon and disappears.

One by one, they all disappear. They take their bloody gowns and their bones, their wails and their moans, their promise rings and their dead babies, leaving me among black vinyl and ivory linoleum, saltshakers and dirty cups, clean windows and flashing cars, highways stretching into the future.

The last Lady winks at me before she vanishes.

I order breakfast and plan my next move—I won’t go back, not now or ever. When I’m done eating, I consider leaving the necklace behind, but I decide to take it with me. My name is one of my last possessions. I intend to keep it.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR STEPHANIE FELDMAN

FFO: How did the idea for this story germinate?

The story started with the title: “The Annual Conference of the Ladies in White.” I love Ladies in White legends, and especially how versions have proliferated across the world. You can learn so much from the nuances, the tiny regional and large cultural differences in how we imagine what it means to be a wronged—or wrong—woman. But first, I thought it was funny: imagine all these ghosts, members of the same ghost club, gathering together. A creepy-funny premise, though, does not a story make. The next thing I had to figure out was my main character: What kind of person, exactly,needs to encounter this spectral congregation?

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The Perfect Brick of Feta

by Sam Weiss

April 8, 2022

Larry accepts the transcranial advertising patch on his way into the supermarket. The next step in this—his Sunday morning grocery ritual—is to drop it into the return bin, where others have done the same. Supermarkets can compel you to accept the patch in exchange for entry, but they can’t force you to put it on. But someone spent money on this patch. It’s thick, transparent, band-aid-shaped, with delicate gold electronics filigree running between the embedded microchips. None of that opaque nonsense used to obscure the sloppy work in most disposable patches. Larry works in advertising. If worthy competition exists, he wants to know about it. He peels off the backing to expose the electropaste and smooths the gummy device onto his forehead.

Following his usual path to the fruit aisle, Larry thinks with satisfaction of his latest work, which boosted orange sales 7%. The patch warms and emits a single beep, indicating that its thermoelectric module has finished absorbing enough heat from Larry’s head to power itself.

The supermarket blurs. Larry is in a sun-drenched kitchen, the stone and light evocative of an ancient shrine, removing a cast iron pan from the oven. In the cast iron sizzles a flawless brick of feta in a sea of grape tomatoes. The tomatoes have popped and spilled sweet-smelling boiling red juice. He adds garlic and basil, a drizzle of extra-virgin olive oil. The scent of basil does him in. A perfect moment, universal: the simple pleasure of food.

The scene leaves Larry shaken. He has not seen such high-quality advertisements in a supermarket before. As if by a force other than his own will he is inching toward the cheese aisle, where the feta is kept. Larry bares his teeth. He. Will. Not.

Larry creates advertisements. He does not fall victim to them. Since college, when he learned how those patches apply their tiny electrical currents to manipulate neurons, prodding them into artificial desires, he has lived according to cautious, uninfluenced logic. He’d optimized this path to limit shopping time and followed it even when his ex teased him for doing so.

Larry peels off the patch, but the damage is done. By force of will and habit he gets through his pre-planned, portioned list: plain tofu for protein, four servings of canned vegetables, oats, unsalted peanut butter.

When he reaches the checkout, he can still hear sizzling cheese. He wants it so much; he’s broken out into a sweat.

“Oh, honey,” the woman behind the counter says. She’s wearing long red sleeves, a red apron, a red hat. She looks, as far as Larry is concerned, like a grape tomato. “Those new adverts—seem like they’re potent to some people.”

“Not to you?” Larry gasps.

“Nah,” she says. “Tried it this morning. Pleasant. Like myself some good feta. It’ll pass. This one takes five to six hours, I’m told.”

“Not going to tell me to buy feta cheese and tomatoes?”

“Sweet gods, no. Sold out of them hours ago.”

Larry nods. He does not want to seem like one of those people, any more than he already does. He smiles, leaves, and then abandons his afternoon chores to search six grocery stores in vain. By the time he hits the seventh, it’s all over the news: an advertisement for feta cheese gone too far, a raging debate about what should and shouldn’t be allowed on those patches. An interview with someone who has given up his corporate job and bought a sheep farm.

Larry gets home, puts the groceries away, and lies down on his kitchen floor. If he tries to move to the bedroom, he may get into his car and continue searching. He doesn’t try.

In the morning, when Larry wakes with an aching neck, the need to chase down bricks of feta has passed. He calls in sick anyway, which he has not done in a decade. It upsets him—it’s true—that he will never create anything like that. He takes pride in his competent, consistent work. But something else bothers him, and he hasn’t worked out what.

He spends the morning at his desk interrogating the chip, looking for where the electroencephalographic recording of someone’s memory of feta ends and where the editing by an advertiser like himself begins. Sometime past noon he finally has the answer: no neural pathway tricks. It’s just a real person’s memory—untampered with. He should feel satisfied, having found an answer, but he feels worse than when he started and again he can’t pinpoint why.

Larry cleans his bathroom (it being on his schedule for the day) and portions out a meal of white rice, canned green beans, and unseasoned tofu. His ex hated that Larry defaulted to ‘unseasoned.’ Before she left, she told Larry how it annoyed her that he took `lukewarm’ (her word) pleasure in food, in art, even sex. At the time, it seemed a petty, unfair thing to say. He’d had pleasant experiences with all of those. But now, clenching his car keys, he understands. He has never, in his controlled life, enjoyed anything as much as whoever had prepared that cheese. A pleasure so fulfilling, so simple, that moments like those could easily constitute the entire purpose of living. The authenticity—not the artificiality—of the patch is what has wreaked havoc on him.

Larry opens his day planner to today. The same chores, meals, walks for exercise. He trembles. When the trembling stops, he rips out the page, crumples it, and leaves. He walks an inefficient route—at least ten percent more time than necessary—to a downtown plaza where he has no reason to be. He luxuriates in sunlight glittering off buildings and in the lulling chatter of pedestrians. On his way home, Larry purchases a small paper bag of honey-roasted nuts from off a cart, and it smells like life should.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR SAM WEISS

FFO: Are there any themes that you find yourself returning to throughout your writing? If yes, what and why?

In the last few years–in the context of the pandemic, bitter politics, and all of the interrelated upheavals–I keep returning to themes related to compassion. Namely that acts of compassion are a debt that we owe to other human beings. And that we are individually responsible for making things safer, kinder, more humane, and more truthful.

Comments

  1. Erin Cairns says:
    I absolutely adored this story! A poignant concept that felt dystopian at the start, but left me feeling really good and energized at the end, and I don’t even like Feta XD

    A beautiful story told really well. I’m gonna recommend it to everyone I can.

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On the Anniversary of Your Passing

March 23rd, 2051

The first time you walk out of a blinding white door suspended in mid-air, I’m hiking the CT to forget the accident. Your sudden appearance makes me trip over a tree root and bust my nose. We hike for three days after that, but you have no supplies, only a stick of gum you had in your pocket when you went into the machine. While arguing about something I’d done two years ago at the Hepstone Bar & Grill, you slip on a scree field and break your neck in the fall. I mourn for three days before deciding it was a hallucination from dehydration. My nose still has a bump.

* * *

April 17th, 2052

I’m in the bathroom at the Esquire Bar in downtown Sacramento on a date set up by my apartment building when you arrive from the third stall. After I injure my hand thinking I’d ordered your funeral in error, my date stumbles in. I lie that you’re an old fling, then the two of you hit it off and we go back to my room for haptic-kink play. The next day you get run over by a FunCar. I ID the body at the morgue, but there’s no record of your existence, so the resident aDoctor marks you down as a glitch in the data-sphere.

* * *

November 4th, 2054

On business at the Siberian Meat Farms, you appear next to the culturing vats. I ask you about the accident, but you only remember stepping into the machine. You fall into a vat before we can leave. I swear off processed proteins and never look at a burger joint the same way.

* * *

July 7th, 2056

July 8th, 2057

July 9th, 2058

These dates are a blot on my memories, an ink spot I cannot remove no matter how much I try. Pleading does nothing so I turn to printing an ever-increasing dosage of experimental medications. The bathroom mirror sends me to rehab when I wake up naked in an orbital hotel.

* * *

After your ninth appearance and death, I go to the Institute of Temporal Studies, but the building had recycled itself into a water retainment pond. No records of the company exist and the NDA on my memories prevents me from speaking to anyone about it.

* * *

Six more deaths in 2062. My calendar is filling up with anniversaries. I barely go a month without having to be reminded of you. It’s bad enough that you keep coming back, but now you haunt my schedule like a Gregorian virus.

* * *

I’m forty-six years old and nearly every week I’m having a toast to your memory. I wish that was the only time I drank. Your appearances have stopped accelerating. I’m not sure if this is good or bad. When I spoke to a quantum-archeologist, using hypothetical questions to avoid violating the NDA, he suggested that a theoretical time-traveler could accidentally pierce a hole in the multiverse. The other versions of you might slip through a temporal membrane, but the base universe would eliminate anomalies. It’s a theory.

* * *

2071 – The Year of Plenty / The Year of Sorrow

Twenty-nine. That’s how many times I’ve had to watch you die. Twenty-nine more anniversaries to clog my calendar. I hate you. I hate the Institution. Why did you have to sign up as a beta tester? Your death is like a flooded river, overflowing its banks and choking away my life.

* * *

July 9th, 2086

I was wrong about the acceleration. There are an infinite number of multiverses, each one with a version of you, each one sliding inexorably towards me.

On four-hundred-and-thirty-fourth version, I ask if you believe in the immutability of the soul. Instead of responding, you ask about the bump on my nose. This is a first. I explain the circumstances of the initial visit. Normally questions relating to past versions of you trigger an event that claims your life as if the multiverse has its own fatal NDA clause, but we talk all night and again in the morning after sex. You die a week later, but during that time I forget about the death anniversaries.

* * *

August 30th, 2091

We spend a month together. Then two. The span is getting longer as if the multiverse is triangulating. The deaths are hard, harder than even the earlier ones, but I’m at peace. Rather than think about the reasons you went into the machine, I concentrate on present. On the now.

This gives us time to grow gills and explore the sunken ruins of Orleans; learn to carry ant farms in our bellies. In time, it feels like you’re not dying at all, except when you do.

* * *

March 23rd, 2101

It’s simultaneously the fiftieth anniversary of your first death and a full year of continuous existence. We celebrate by emailing ourselves to Jupiter and using titanium airfoils to fly through the Great Red Spot.

I don’t know if this means you’ll stick around. You could die again any day, but I’ve decided that for each version, you only die once, but you live many more times than that. You could say it’s an almost infinite ratio depending on how you want to quantify the time-signature of death.

* * *

March 23rd, 2135

On the anniversary of your passing, I want you to know that I’m sorry. You signed up for the experiment because I’d been ignoring you, busy in my day to day emergencies that really didn’t matter. It took a multiverse of karmic echoes to prove to me what I was missing. Even if you die again and we have to start over, I want to get this right.

Footnotes:

1. Rasmussen 2213.5.3; No further entries were found.

PATREON EXCLUSIVE: AN INTERVIEW WITH AUTHOR THOMAS K. CARPENTER

FFO: What is the story behind your story?

TKC: The piece started as a writing prompt. I was only given the title and used it as the piece of grit to grow my pearl. I find title prompts to be some of my favorite ways of generating story ideas. Sometimes for my novel length projects, I only have vague ideas for the later books of a series, but when working with the cover designer, I have to have the titles decided long before the stories are written. I use the title as inspiration for some of the threads of the plot, or as a way to shift expectations. My favorite of these was the Mark of the Phoenix, the third book of the Animalians Hall series. I won’t spoil how the title influences the conclusion of the story, but I know my readers were thrilled by how it worked out.

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A Midsummer Night’s Abduction

by Jennie Evenson 

April 22, 2022

I thought aliens were interested in medical experiments but this one wouldn’t shut up about Hamlet.

Just before the abduction, I’d been in the middle of a student conference in which a freshman was introducing her emotional support ferret, so of course I was zoned out, thinking about how I could make more money as a walking billboard than I could as a university adjunct. I couldn’t even get a cup of free coffee without the office secretary glaring at me like a witch guarding a cauldron. The whole thing made me so angry I’d taken to stealing reams of paper from the supply cabinet. I didn’t need the paper; the theft was punitive in nature. I took them home and used them as a bathmat.

The point is: I wasn’t sad when they abducted me. My only regret is not paying attention to how they did it.

When I came to, I was in a massive room that looked like the London Globe playhouse. Above was a re-creation of Earth’s sky but the clouds were oddly pink. I stood in the groundlings pit across from a wet, blue, squid-like alien with the lidless eyes of an owl and what appeared to be a mustache made of shells.

The alien talked for an hour before I finally interrupted him.

“Wait. You’re telling me your star system is at war and your plan is to put on a play?” I asked. “You think they’ll hear poetic words and throw down their weapons? So you put together an intergalactic mission to find a writer?”

“Not just any writer. Shakespeare!” he said. “It’s like you said in your self-published e-book: ‘Shakespeare creates timeless wonders of the imagination that heal souls across time and space, offering us the balm we need in trying times.’”

That line was written in a particularly dark moment after I’d had a lot of wine and was contemplating a divorce from my wife. “I’m sorry, what’s your name?”

“Benvolio. Everyone on this mission has taken a Shakespearean name. We want to be one with the Bard.”

“Listen, ‘Benvolio.’ If you’ve got a copy of Shakespeare’s work, why do you need me?”

“A copy? Oh, no. We’ve got Shakespeare himself!”

My heart knocked. Was he serious?

“But,” he continued, “he’s proven recalcitrant. We need an expert like you to persuade him to write a new play, something bigger and better, but he won’t even talk to us.”

The ‘expert’ part was debatable, but I did have questions. Was Shakespeare offended by the present-day use of his word “bedazzled”? Was “the beast with two backs” a reference to medieval kink? Was he Queen Elizabeth’s secret twin? I would have the definitive answers. Me! I nearly exploded with joy. Until Benvolio opened the door.

The room looked like a Victorian parlor, all red velvet and lace. On a fainting couch was a skeleton propped up with a pillow.

I wrinkled my nose. “He’s dead.”

“Is that a problem?”

Benvolio turned to me with a look of such apprehension, I wasn’t sure what to say. “Not necessarily.”

He slapped me on the shoulder. “You had me worried. I’ll let you two get started.”

I knew I should be panicking, but mostly I felt sorry for myself. Of course this was the kind of abduction I’d get. Why couldn’t they just have sex with me and leave me in a cornfield in Iowa? At least I’d get laid. Now I had to produce a brand new Shakespearean play that lived up to his reputation. I had no idea how I was going to do that.

Then it occurred to me: they’d send me back to teaching if I didn’t deliver.

I picked up the quill and began to scratch out a story. Slowly at first, then picking up speed. It was about a young king who meets three witches in the woods who tell him he needs to divide up his territory among his daughters but he picks the wrong one and then he falls in love with someone from his enemy’s royal house. On his wedding night he kills his new wife because he thinks she’s cheating on him and then his best friend gives a rousing speech in the town square and several people suggest hiring a court jester named Fool to sort things out. At the end the king swallows his own tentacles in remorse and dies but comes back as a ghost to tell his son to avenge him because it turns out he’d faked his death. The king takes off his costume to reveal he’s Scottish, then everybody gets married and lives happily ever after.

I was worried Benvolio’s direction would warp the message, but the applause in their makeshift theatre was deafening. It was wonderful. In that one moment, I began to feel like I mattered. No more punitive paper-stealing villainy for me! I was finally about to get my due. Or, so I thought.

Unfortunately, nobody knew I’d written the play. I was the genius. I was the one who had stopped their intergalactic war with my beautiful poetry. But they kept going on about ‘Shakespeare.’ They even gave his bones a spaceship parade.

There was only one thing for me to do: stage a coup. And I knew exactly how to do it.

I penned a series of letters from ‘Shakespeare’ in which he insisted the aliens call him “Caesar” and demanded a crown made of gold, then he declared himself ruler of their galaxy and suggested they rename their capital Rome so he could invade it. Also, he wanted a salad named after him.

Naturally the aliens were horrified by the turn of events, just as I expected they would be, so I expertly consoled them with a familiar tale about good-natured conspiratorial murder of ambitious leaders. They agonized, but eventually I convinced them to invite Shakespeare to a super-secret toga party, and that was that.

Et tu, Brutus? Then fall, Shakespeare.

 

Originally published in Every Day Fiction, February 2018. Reprinted here by permission of the author.

PATREON EXCLUSIVE: AN INTERVIEW WITH AUTHOR JENNIE EVENSON

FFO: How did the idea for this story germinate?

JE: I got the idea for the story after I quit my adjunct teaching position at [Redacted] University. I knew it was time to go when I caught myself daydreaming about being abducted by aliens during office hours. Don’t tell anyone, but I really did nab two reams of paper from the supply cabinet as a punitive measure for restricting my access to the office coffee pot. Morning caffeine is serious business.

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