Issue 112 January 2023

Editorial: A Better Tomorrow

by Emma Munro

January 1, 2023

This issue completes my first year of editing Flash Fiction Online. Wow. In between learning the EIC job, I had major surgery and turned 60. Through it all, I’ve been supported by the wonderful team at FFO, my found-family and my always-family. I am lucky and grateful.

For a long time, I’d have sworn blue that all I wanted or needed was to write my own stories. The last twelve months showed me that I don’t just like editing stories; I love the challenge of each story’s unique puzzle and love it even more when I’m working with an author on their story. A sweet reminder that “change is the only constant in life” (Heraclitus, Greek philosopher) and in stories, I’d argueWhether it’s a eureka moment, an epiphany, a chuckle, or a gasp— change (in one way or another) is the catalyst.

Do you want to know why Grandmother’s throat shines like firefly juice? Read “The Carousel” by Eliza Gilbert.

“Facts about Alligators and Broken Hearts” by Jacqueline Parker is about beautiful predators, oranges, and broken hearts.

If everything really is connected, then the connections between a slagheap of sorrow, penguins, and tofu might not surprise you. Read “For The Penguins” by Gary Priest.

“An Act of Consumption, In Two Parts” by Michelle Muenzler is our reprint this month. What could possibly go wrong in a basement full of squirming letters and talking spiders?

A special thanks to Anna Yeatts for keeping the magazine afloat and free to read.

A huge thank you to our subscribers and patrons, without whom we wouldn’t continue because we’d either have to stop paying authors or stop being free.

We wish all our readers a year filled with peace, hope, and inspiration.

Enjoy!

The Carousel

by Eliza Gilbert

January 6, 2023

On the day Grandmother swallowed a piece of the sun, the carnival was in town.

“They’d just elected Eisenhower,” she swears. “A do-nothing. Creepy looking, too. Bald, sun-spotty. That Normandy heat sucked the collagen right out of him, poor thing.”

We nod and smile and keep on using the bedside commode and the bars of the home-hospital bed as jungle gyms. We don’t point out that just yesterday, Grandmother claimed Nixon was office during the carnival, or that three days ago, she said the president was a man with no mouth, just a smear of rubber-smooth flesh that crumpled up and down depending on the state of the nation.

“I was a girl,” Grandmother says. “I was in my good red dress. The one with the frilled collar. You know.”

We nod even though we do not know. The machines bleep and putter. They too have learned the art of aimless acceptance.

“Everyone was buzzing about the unicorns in the big tent, but I’d seen the men in the trailers pasting horns between those sorry ponies’ ears, so I stayed away. Far away. Didn’t like the smell, either. From the carousel, that tent was just a gumdrop.” Grandmother pops her tongue. A wad of buttery phlegm hurtles towards us. We shriek, duck, fling ourselves to safety. She throws her head back like a sword-swallower and cackles.

“You wouldn’t believe how quickly it happened,” Grandmother says. We freeze, stop flipping ourselves over on the walker, stop making the tubes of the nebulizer into alien tentacles. This is our favorite part of the story. This is the part that never changes.

“I was on that red horse in my good red dress and the carousel was playing this beautiful music. Bum-da-dee-dum, bum-da-dee-day. Something stirred inside the saddle. Something hot and important. You could just feel it, the importance. You could cup it in your goddamn palms.”

We nod and nod. Oh, Grandmother. Oh, conjurer. You make us into mystics.

“I spread my arms wide like a dragonfly and looked over the booths, over the ferris wheel, right into the sun. And then it happened.”

We are a chorus. An ear-worm. “What happened, what happened?”

When Grandmother smiles, her criss-crossed front teeth catch the jaundiced light and briefly turn the color of her skin, the color of a spoiling body. “A piece of the sun fell from the heavens, right into my kisser,” she says.

“Right into your kisser,” we whisper.

“And you better believe I swallowed,” Grandmother tells the pulse oximeter on her finger. “You better fuckin’ believe it.”

Grandmother is a liar. Father gets angry when we tell this truth. She’s just confused, he says, but Grandmother never sounds confused. She’s the most certain person we know. But of course, she never lived in a town, so there couldn’t have been a carnival, and the sun’s still here, still whole, isn’t it, and Grandmother’s not burnt to dust like she would’ve been with all that light in her belly. She’s still here. Partly, at least. Maybe halfway. Here enough to be a liar. Our favorite liar, but a liar nonetheless. Probably she would spit at us if we told her this. She does a lot of spitting these days, mostly at Mother. Grandmother, we’re pretty sure, can smell Mother’s impatience. Mother would very much like the guest room back, but tick tock, tick tock, and Grandmother doesn’t die.

Mother used to sleep in the guest room. Not because of Father, of course, she’ll reassure us in a gummy voice. It’s the night sweats. The deviated septum. The cover-hogging.

We never point out that these items still qualify as “because of Father.”

Grandmother doesn’t like to sleep and neither do we. We sneak to her room at night, centuries past bedtime. We become gymnasts on the geriatric recliner, acrobats on the various grab bars. Sometimes Grandmother claps. Yowls. Mostly, she hums. Bum-da-dee-dum, bum-da-dee-day.

One night, while we’re doing aerial work on the spare IV pole, Mother comes in with a puckered look on her face and a glass of apple juice clasped in her hands. We all know the juice has smushed-up nighttime pills in it, the little green ones meant to make Grandmother sleepy and quiet.

Back to bed, Mother tells us with her eyes. Mother says we’re hellions, to vault around Grandmother’s room like we do, but Father says it’s all right. She hasn’t got much time left, we heard him assuage Mother one night. Not much, I promise. Let them be with her while she’s still around.

Grandmother doesn’t want to be made sleepy and quiet and neither do we. When she sees the drink, she starts to do her moose bellows. The noises are soupy and raw and we join in and Mother jumps and apple-pill juice splashes onto the hardwood. Mother retreats, the door snapping shut like a knuckle. Grandmother stops bellowing and begins to laugh and we laugh with her because what a treat to see a parent scared! What a wonder to watch adults fumble.

We perch ourselves like parakeets on the end of Grandmother’s bed. “Tell us again,” we say. “We’ve forgotten.”

We’re liars, too. But not like Grandmother. We’re more than halfway here. Three quarters, at least.

“They’d just elected Truman,” Grandmother says. “I remember because of the smell of the air.”

The night outside the window is a blackberry sprinkled with powdered sugar. Grandmother’s rickety ferris wheel voice spreads through the room, across our chests, burning hot and cold like the mentholated goo Mother rubs into our sternums when we’re sick.

Bum-da-dee-dum, bum-da-dee-day,” Grandmother sings, and we lean in, echo the notes back to our shriveled siren. We rock together on the home-hospital bed, among the alien tubes and wires.

Grandmother is a liar. But when the story is over and she opens her jaw to moose-bellow to the ceiling, her throat shines like firefly juice, and we can see it all. Every jolt of the carousel. Every splinter of the sun.

 

Facts about Alligators and Broken Hearts

by Jacqueline Parker

January 13, 2023

1. Alligators have four-chambered hearts

This similarity alligators share with humans, birds, and the engine of Darryl’s car. The latter of which is hunkered in the shadows of Roy’s Clunk N’ Junk after it shuddered to a stop on SR 44, miles from the nearest municipality.

Roy’s is on the main drag of a one-stoplight town, along with a motel, a diner, a mini-mart. Won’t be fixed today, Roy tells him, best rent a room and settle in before dark. Strange things happen out here in the boonies.

Darryl pays for a bed and flicks on the TV but there’s no cable, just a public-access preacher declaring the end of times.

He decides to wander instead. At an unoccupied farmer’s stand Darryl deposits cash in a box for some oranges. HONOR SYSTEM, the sign reads in fading white letters.

Honor’s a funny thing. It implies trust, integrity.

2. There are approximately 100 albino alligators in existence

Some miles down the road, near the post office trailer is Clint’s Gator Emporium, where three taxidermy gators stare at Darryl under yellow spotlights. Their glass eyes are crystal balls showing Darryl his hazy and uncertain future. His fingers glide over one of the stuffed reptiles, curious to feel the scutes that mosaic its body. Each protrusion feels like a mountain. He emerges from the emporium an expert with a newfound reverence for Lucille the Albino alligator, a local cryptid celebrity that’s said to lurk in the surrounding swamp.

The sangria sky melts into blood orange, currant, grape. Amphibians croak and chirp, cicada whirs rise and fall, and a guttural, otherworldly groan rumbles like thunder. Lucille waits for him.

3. Only two species of alligator exist in the world

He calls Julie out of habit, even though he shouldn’t. He hopes that one day his memory will minimize her to a series of unmemorable numbers, but it’s only been a week and every digit still burns. He only wants someone to know where he is in case he’s dragged into the marsh by Lucille.

When Julie answers, he nearly forgets she cheated, that he’s the one who broke it off.

The silence between them stretches miles. Julie exhales. The humid air teases his neck like an oily kiss.

4. Alligators mate in June

Darryl hears what he believes to be a congregation of gators, huddled together like horny teenagers, lurching out growls to prospective partners.

One day many years ago, in the corner of a crowded kitchen, Julie leaned into Darryl’s flannel shirt and kissed him.  He had almost stopped breathing then, surprised by her passion, hungry for more. She pulled out desire he didn’t even know he had.

5. Alligators have shown signs of fidelity over multiple mating seasons

As he listens to the carnal dark, he remembers Julie’s muffled cries before he opened the door to their bedroom. A hitch in his throat, a stone in his heart. A beautiful predator caught in rapture.

6. A young gator can consume nearly a quarter of its body weight in one meal

Darryl estimates one-fourth of his body weight is a backpack full of oranges or, grimly, human hearts. He pulses one orange in his fist, dips his thumbnail into the rind. Stringy white pith surrounds the flesh. Underneath, eight segments, easily divisible and all together whole.

It’s night and he’s alone, but he’s still here. At least, for now.

Pieces of orange peel trail him like breadcrumbs.

7. Female alligators average eight feet in length

In the moonlight, Lucille is almost silver. She lumbers across the road, barring his way back to the inn. She is as long as the road is wide, a mythical beast magnificent and terrifying. Lucille has punctured tires, swallowed family pets whole, shaken the earth with her bellows, and now she will devour him.

Darryl can’t take his eyes off her.

A million thoughts race through his head. Among them:

There are fewer than two hundred albino alligators.

I haven’t had a threesome yet.

I should’ve called my parents. 

My bones will take up to 100 days to disappear inside Lucille’s digestive tract.

Will Julie attend my funeral?

8. Alligators like fruit

Wedged between small regrets, this information feels like the last-chance pitch in the ninth inning. Without breaking his focus on Lucille, Darryl removes his backpack and extracts his last orange. He hasn’t thrown a baseball since Little League, a time before he understood arcs and trajectories, tragedies and love.

He cups his fingers around the fruit, exhales and lets it go. It’s so gentle a roll Darryl might as well have tossed it to a baby.

9. Alligator eyes glow red at night

Lucille’s pink eyes brighten, and Darryl can vaguely make out screeching tires and the blare of a car horn. A door slams and Julie is at his side, her brows arched in concern. Are you trying to get killed? Why are you throwing oranges into the road?

Darryl tries to explain Lucille to his former lover, but there is no gator. Lucille has disappeared. There is only him and Julie and bruised fruit.

10. Alligators were removed from the endangered species list in 1987

Julie parks in front of Room Two and tosses him a paper bag. From the backseat she produces a six-pack. Cheeseburgers and beer. A last meal they eat in silence.

She’s not sure why she’s here. Felt compulsive, an itch to scratch, she says. Darryl knows why. He spent years playing tic-tac-toe with her scars, trying to decode her, never stopping to think if her challenge was an invitation or a warning.

Julie came for the same reason he called.

One day this routine will fade, like Lucille in the fog. It must. It’s what happens when people lie and hurt and end up broke down in the sticks, when their own fable of love is no longer evocative. They heal and start over, as if it never existed at all.

For the Penguins

by Gary Priest

January 20, 2023

I stopped recycling on the day you left. You were the one who wanted to save the world, not me. I was the anthracite-fueled cynic with a penchant for sullen women with placards and eyes brown and impenetrable as the frozen autumn ground.

Your placard read ‘Ozone before Oligarchy’.

The details of how we became lovers are unimportant. I made you laugh and was an eager pupil for your eco-education, even if I still snuck a greasy kebab once a week and never quite understood which types of glass you could and couldn’t recycle.

Your friends disliked me for my lack of knowledge about fluorocarbons and tofu. Rasmus, in particular, zeroed in on me.

‘Why are you doing this, dude?’ he asked. His man bun was wound even tighter than he was. ‘Who are you doing it for?’

I was doing it for you, of course.

I should have said ‘mankind, or ‘the kids’ or ‘the universe’, but for some reason, none of those obvious answers came to me.

‘I’m doing it for the penguins,’ I said.

His jaw actually dropped, and he took a step back which enabled me to escape into the kitchen and an innocuous discussion about hummus.

The details of how you left are also unimportant. It involved a kebab container that wouldn’t degrade for a millennium and the fact that I was not a philosopher, poet or protester.

I was your project. Your pupil. I made you laugh, and in the end, it wasn’t enough.

A week after you left, the kitchen overflowed with pizza boxes, single-use plastic bottles, and empty, unrinsed wine bottles and beer cans. Together they formed a slagheap of sorrow. My pathetic attempt to destroy the planet.

I knew you never loved me the way I loved you. Your passions lay elsewhere. You were more concerned about the hole in the sky than the emptiness in my heart.

I let the refuse collect in the hope you might come back and see my ecological dirty protest, but you never did.

Eventually, I bought some heavy-duty bin bags and cleaned up. No sorting or reading the recycling information. I would dump all my misery and woe into the non-recyclable waste where it belonged.

The sixth bag split and emptied its guts all over the floor. I slumped in a kitchen chair. I looked at this mass of melancholy for a long time. Among all the non-degradable detritus, I saw a pattern emerge of a life spent carelessly and all the mistakes that would remain long after I had left this rock, and then I knew what I had to do.

Twenty-seven minutes later, all the pizza boxes and rinsed-out wine bottles and beer cans were in the blue bin. The half-eaten kebabs and fried chicken bones were in the brown bin, and everything else was in the green bin.

It felt right.

It wasn’t done to please or appease you. It wasn’t done to try and make you love me. It wasn’t done for myself who knew that all hearts mend given enough time and processed meat.

I did it for the right reason.

I did it for the penguins.

PATREON EXCLUSIVE: INTERVIEW WITH GARY PRIESTFFO:

FFO: What other work of yours would fans of this story most enjoy?

GP: I think people who enjoyed this story would enjoy my collection of science fiction, contemporary fantasy and horror short stories ‘The Cannibal Sky.’

An Act of Consumption, In Two Parts

by Michelle Muenzler

January 27, 2023

In the basement, there is candy. Boxes teetering atop boxes, overloaded with gum gums and chew worms and those little nougat-filled eyeballs that blink when you stare overlong; with honeyed do’s and honeyed dont’s; with tar braids and clots of candied floss.

The basement has all the candy you’ve ever dreamed of, a sticky thrill in every box that’s yours and yours alone because only you know where the basement door is currently hiding.

The basement, unfortunately, is also full of spiders.

Your roommate thinks you’re crazy. She writes letters to her great-aunt about you, stacks and stacks of them pressed and yellowed like dried daffodils. They rub against each other at night and keep you up, they’re so noisy. You can’t sleep on the same floor as the letters, so you grab your pillow—the one with your baby footprints ink-stained atop it along with your vital birth statistics—and drag yourself through the hole behind the fridge to the secret landing where the basement door is yawning as though it only just awoke.

You tell it about the letters, about your roommate, and it gives what might be sage advice if you too were a door.

Then you bring up the spiders.

The door’s mouth clamps shut, and for the rest of the night it acts as deaf and dumb as every other door in the house.

Meanwhile, the stacks of letters continue to grow. Your roommate doesn’t mail them, merely ties them off with assorted ribbons and tosses them into the corner where they rasp and squirm. Every now and then, one manages to wriggle free of its pack.

You know this because they camouflage themselves in the general clutter of the halls when they escape, awaiting the stray passing of a foot to pounce. Their teeth aren’t very sharp, but like everything else in the house, given enough time they will draw blood.

When you return them to your roommate, she snatches them from your hands with an accusatory glare and nurses them against her chest as though it’s your fault the corners are newly crumpled and tinged with red.

The letters are a menace, as much as the spiders.

Finally you grab them all one night while your roommate is sleeping, stuffing them into a laundry sack and heaving them over your shoulder. They hiss and crimple, but your roommate doesn’t wake. Carefully, you shove them through the hole behind the fridge, through the door still pretending to be a door, and down the basement stairs.

Everything is quiet at first, but then the letters slither free of the laundry bag and the spiders whisper warnings to the new intruders and suddenly paper and silk threads are flying in all directions. The letters snap up spiders between their folds, smearing them into an inky paste, while spiders snatch loose letters and mockingly recite their contents to each other before tossing them aside where they whimper broken in the corners.

While they fight, you tiptoe down the stairs and fill your pockets with candy. A few of the whimpering letters cling to the hem of your pajamas as you slip back out the basement door, but you scrape them off with a twist of your foot and close the door behind you.

The candy is sweet, as sweet as you remember.

* * *

Your roommate thinks you’re crazy, but you love the dance of ink across paper. You love the shush of quiet words arranging and rearranging in perfect configurations before you gently tuck them into their envelopes and nestle them with their siblings.

Like all children, some are more aggressive than others. You don’t mind, though. A bit of blood is a small price to pay to watch your children grow up.

So used to the comforting rustle of paper rubbing against paper, you startle awake one night convinced the house is afire. But there is no smoke. Just a deafening silence so deep you can hear the scribble of neurons firing across your brain.

You switch on your bedside lamp, expecting the worst.

It is as expected; the letters are gone.

You know your roommate is to blame. The letters would never leave all at once on their own—you love them too much. So you slip on your slippers—the bears, not the badgers or the fat horned toads your great-aunt sent you last Christmas—and begin the search for your roommate.

You find her snoring, stuffed behind the fridge, sticky-mouthed and sticky-fingered with a pile of discarded candy wrappers beside her.

Her feet lie dampened with ink.

There is a hole behind your roommate leading into the kitchen wall, but when you shove your head inside, there is nothing there but mouse-chewed wires and the stale scent of pumpkin spice tea.

You return to your room and pull out your pen and a fresh sheath of paper, then begin to write letters to your great-aunt detailing the tragedy you suspect. You take back what few good things you’ve said about your roommate in the past. You call your roommate a terrible person.

These words do not rearrange themselves. They are quite happy where they are.

One by one, you crease the letters into perfect tri-folds then carry them all downstairs. You release them at your roommate’s bare feet, watch as they unfurl at her scent. She remains deep in sugar thrall even as the first letters begin to gnaw.

Their teeth aren’t very sharp, but like everything else in the house, given enough time they will draw blood…

 

Originally published in Daily Science Fiction, May 2016. Reprinted here by permission of the author.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR MICHELLE MUENZLER

FFO: What is the story behind your story?

MM: To answer this, I must admit to a terrible love of two things: writing in unloved forms such as second person POV…and writing about food in ways that skirt the edges of desirability. I wanted to have some fun in this bizarre little Halloween-inspired candyfest and really push the reader, not with just one second-person POV, but with two opposing second-person POVs and a candy-filled opening that devolves from the almost familiar to the utterly wrong to help “unground” the reader before they hit the first POV indicators. 

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