Issue 126 March 2024

Table of Contents

Editorial: States of Suspension

by Rebecca Halsey

March 1, 2024

Haven’t we all heard that quote about there only being two plots? Attributed frequently to John Gardner, it goes sometimes like this: “There are only two kinds of stories – a man goes on a journey and a stranger comes to town.” I haven’t been able to verify if Gardner actually said this, but it has been regurgitated at workshops and in MFA programs since at least the 1980s.

What I’ve sometimes wondered is what about those characters that don’t go on a journey or don’t meet a stranger? What about those that stay put? What about those that are left behind? Trapped, bound even. Isn’t having just two plots a bit too simplistic?

My first concern is that the Two Plots theory sets us up to assume that those left behind don’t have “main character energy.” That stranger—the one coming to town—they have main character energy, never mind all those NPCs (non-playable characters) manning the stores. I know how it goes, I’ve played as Link rolling around Hyrule restocking his arrows and throwing people’s chickens around. Of course, the game designer’s answer to this is the side quest, which gives us the slightest bit of insight into the NPC’s goals and motivations.

The writer’s answer is that a character in a state of immobility doesn’t have to merely respond to the stranger coming to town. They can be the one to go on a journey, at least internally. Their character arc can center on the choice to stay or “move on.” And yes, we can unpack that phrase. We can definitely question whether the rush to move on is helpful considering what we’ve been through and what we’re facing. Perhaps because the decision to move on can be so thorny and personal, I appreciate the authors that attempt to imbue that stay-or-go choice with the tension it deserves.

The bigger question, one that I still wonder about, is whether this internal wrangling can be called a journey or if that’s taking too many liberties with the word. Perhaps the stories for this month will give us some insight. Throughout this issue, we have stories that depict characters in some sort of suspended state.

In “Leavings” by Shira Musicant, the wife’s internal journey, as we’ve described it, is a search for understanding about her husband’s mental health, and eventual suicide.

In “The Lime Monster” by Shelly Jones the protagonist chooses to take her journeys through the stories she writes, but physically she remains rooted to her family land.

This physical immobility is even more literal in “Sparsely Populated with Stars” by Jennifer Mace. The reader experiences an entire universe while the main character remains anchored in place.

In “On the Wing” by Lindz McLeod, domestic scenes are juxtaposed with bird metaphors, increasing the tension surrounding the choice between staying in a loveless marriage and flying away.

Finally, Samir Sirk Morató’s beautifully poetic language in “limerence” takes us to a bog where a short love story emerges between the remains of two ancients trapped in peat.

As always, thank you for reading! If you love visuals, I post issue-specific mood boards and other random jokes on FFO’s Instagram account. If you love music, you can check out our Spotify playlist for this issue. If you just love reading and like what we do, consider becoming a Patreon patron, or subscribing via our independent distributor Weightless Books.

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Leavings

by Shira Musicant

March 1, 2024

[themify_box color=”gray” icon=”warning”]Content Warning: Suicide[/themify_box]

 

My husband left things. A sock at the hotel, his car in the parking garage, our infant son at the doctor’s office. Granted, the socks were no big deal—he had a drawer full. I saw to that. And the car was parked in an appropriate place for cars, even an appropriate space marked Visitor. Which he was. And our son was in a safe place. You could argue my husband’s morbid fear of doctors was to blame for that leaving.

He simply went on to the next thing.

He left things around the house. Post-it notes that said fix the and watch out for stuck to the refrigerator and doors. Instructions to himself that were indecipherable to me, words and intentions locked up in his memory.

 “I’d never leave you, Ellen,” he said, his eyes darting away from mine.

In our therapist’s office, he picked at the leaves of the potted ficus as we picked our way around the landmines of my accusations and fears. “Sorry,” he said. Then he walked out of the therapist’s office, the car keys and a Wrigley’s spearmint gum wrapper forsaken on the chair. “Wait,” I said, calling after him and handing him his keys.

“Where are you going?”

He dropped the keys back into my hands. “I shouldn’t be here,” he said.

I thought he meant here, in therapy, with me. Now I think he meant here, as in on this planet.

“Walking away,” he once said to me, “solves most problems.” The therapist reminded me that I knew this about him when I married him. I threw away the gum wrapper.

She suggested I meditate. “Nothing in the external world, Ellen, and no one, can give you the anchor you are looking for.” She said he had an aversion to completion and gestured to her potted plant. “He doesn’t want to put down roots.” She recommended medication. For him, and maybe for me. “To help you cope, Ellen.”

Each month I refilled the little brown bottles that sat on our bathroom counter. We took turns with the baby. I fed, he bathed. He went to work. Did he have everything? Tie? Phone? A kiss to go? I patted down his body searching for the wallet. Yes.

The baby learned to crawl, then cruised around furniture, and eventually toddled to the front door waiting for Daddy to come home from work. The days passed and settled on me in a soft blanket of constancy.

My husband’s smile left first.

“Sorry,” he said one day.

He left his coat at the lawyer’s office when he filed for divorce. Inside one pocket, two forgotten binkies and empty gum wrappers. Inside the other, a handful of small white pills.

I worried about him. I wasn’t sure how he would manage without my rescues. Or how I would manage without rescuing.

When he left our apartment, he turned to me and said, “Ellen, you’ll be . . .” and then he opened his hands as if those hands knew how I would be. He placed that knowledge right there by the front door and walked out into the rain. He left his umbrella.

After he’d moved out, I found the words buy 2 on a bright green square of paper pressed onto the bathroom mirror and a package of Oreos half-eaten in the pantry, one cookie left with a bite in it. Had the cookies always been stale?

Maybe he was trying out this life, like an experiment, tasting it to see if it worked for him. Maybe he was a visitor.

Recently I heard from a co-worker that he left his job.

I imagined him discarding clothing, keys, phone and now parts of his life. I had been a force of accrual, buying new socks, having a baby. I hadn’t seen that he was dismantling all the accumulation of adult life, preparing for the last act: his leavings a prelude to the final departure. Leaving behind only a body.

His remnants live on in the apartment: a drawer full of socks, some still encased in cardboard bands announcing their size; the Christmas sweater I knitted for him in a blue that I thought was his favorite; a sadness, congealed on the bedroom pillow where he used to rest his head.

Just yesterday I found a post-it I hadn’t seen before. It had lodged between a table and the wall. A pale-yellow paper square with a gummy edge that no longer held.  The writing on it, in his unmistakable slant, said let Ellen know.

Comments

  1. That’s deep. Men go through more misery than you realize because they keep it bottled up inside.
  2. A suspenseful tour-de-force with believable characters

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The Lime Monster

by Shelly Jones

March 8, 2024

The pickers would tease me about the lime monster as if they thought I were afraid, as if they really knew she existed. “Don’t wander too far back. You never know what it’ll do.” Their faces would beam in the August sunshine as they gulped water from old soda bottles. Apples piled at their feet in bushels, some already rotting in the grass, their skin bruised by over-eager hands.

“Don’t go near that stuff. It’ll boil your skin,” my father would warn, turning his attention back to the vinegar-smelling rice hulls, remnants of the cider press.

I did not listen as I ran through the orchards, a journal tucked into the pocket of my overalls, a pen jammed through my ponytail, and sat in a pear tree near the lime pile, waiting for her to rouse. Perched there, I would write, collecting snatchets of stories like flailing butterflies in a net, my eyes on her: a white mound like an iceberg or a bleached Mediterranean cliffside. But I knew what it really was: the scarred, protruding eye of the lime monster, hidden away below.

She would sing to me in her gravelly voice, cantos and dirges, songs of the earth long-forgotten, of stones, roots and seedlings abandoned. Sometimes I would feed her, ripping out pages from my journal covered in my childish scrawl. She would gobble up the words, the pages sinking deep into the soil.

For a while, I feared my father would discover us, follow me through the orchard on the tractor, the oversized tires ripping through the earth. I would hide in the canopy of the tree, listening to the grinding gears of the tractor and my father’s shrill whistle as he drove near and then beyond to the next field over.  No one ever used the lime or, it seemed, even knew why it was there. “My grandfather must’ve used it in the wheat fields before he converted that over to cherries,” my father would say, without knowing for sure whether it was true. Conjecture and hand-me-down idioms were how he planned his day, his land, his life: the first thunderstorm predicted the first frost; a ring around the moon whispered of rain, but so did flocks of birds foraging or cows with their tails to the wind. He lived off of the mythology of the landscape, ignoring the sprawl of suburbia inching its way closer to our borders, their cookie-cutter homes designed to divide our farm.

That is until they learned of her: my lime monster. The developers and city planners shake their head and whisper of poisoned land, recalculating their taxes, redesigning their tract houses.

She is my last hope, the only protection he left me with. He never told me anything useful like when to prune the trees or how to rotate the crops. I was too young then; I had more important things to do like homework and lessons. And when my lessons were done, I spent my days wandering through the rows of trees, the high grass skimming my bare knees. As my hips widened and my fingers grew knotted, I dreamed of faraway lands and wrote down my stories, feeding them to her, an offering, to quench her, a sacrifice for my protection.  Nowadays, as my shaky hands can no longer hold a pen, I still feed her, telling her the hand-me-down myths that I dimly remember, of the birds I hear so rarely, of the cows that chewed their cud the same way I now let apples roll around in my mouth, my teeth all but broken.

No one dares come near us, unsure of what she can do. Some fear she will eat holes in their pipes. Worried mothers wring their hands and conjure up possible illnesses she might infect their children with.

The others are gone now, the trees overtaken by blight, the soil sapped of their nutrients. “The land is good for nothing else but development,” the contractors write to me in cloying letters, trying to convince me to sell. When they are bold enough to walk onto the farm to talk to me in person, they take one look at her and blanch and stutter. Suddenly they realize the land has drainage issues or it would be too expensive to connect plumbing so far from the sewer lines up the road. I nod, my greying hair tied back in a loose braid down my back, and smile as I lean against my favorite pear tree, sap and fire blight lesions oozing from it, staining my clothes in that old familiar way. New developers will come in time and we will go through the same disappointing dance. 

But for now, we sit together like this, the lime monster and I, guarding one another. She enjoys the quiet, enjoys the blights and decay, my own decrepitude as she listens to my grunts as I try to climb our faithful tree. My arms are too weary to lift my sagging body and I sigh and lay down next to her. She devours the stories I drop, my throat burned by her basic breath. And I wonder: will I ever see her face sprouting up like last year’s bulbs, green and dew-soaked? Once my stories bleed into the earth, only then will she sing again, pushing her way through the rotten earth to take what is hers.

 


 

Originally published in The Future Fire, Issue 52, January 2020. Reprinted here by permission of the author.

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Sparsely Populated with Stars

by Jennifer Mace

March 15, 2024

You are born on the first day of summer on a planet with three moons. When they rise in congruence, blue flowers unfurl all across the tropic latitudes and raise their faces to the sky. I see you, the pale fronds of your hair streaming behind you as you run. There is something following you, something large, something luminescent and hungry. Your cheeks are flushed green as you strain for air.

Even so far out across the galaxy, this vision sets my fingers spasming in the long winter of cryosleep. I twitch and stir, mouth open, some desperate warning struggling to blossom in my chest, but the tubes pulse, and I fall back, drugged and frozen against the icy creep of time.

The net around me drinks in the dream, harvesting it as all others, but this time, something is different. Something lingers. The shine of your eyes beneath the golden moons. The smell of wounded flowers. The sound of your feet, running.

***

You are born on the midwinter solstice in the gaseous moon of an iron-red giant. Your crystalline feathers slice the dust clouds to tatters as you flee.

***

You are born in the warm swell of springtide in a world of rolling dunes. You learn to tend the mist harvest, and when the being comes for you, you do not run. If you let the distillation webs be torn or damaged or burned, your knife-edge city will thirst. I wake briefly, sobbing, as your scales fold in flat and you surrender to the blazing unknown.

The buzz-pulse-stutter of engines fills my veins with ice as they drag me back down beneath the surface of your agony.

***

This thing we hold between us, do you understand how unlikely it is, how rare for us to ever, ever meet? The sheer loneliness of dimensions, the planets and galaxies we orbit, the long slow burn of centuries wrapped around me like cloth around an infant, sheltering me from harm?

But I am not a creature born for swaddled skin and ageless sleeping, no matter how I have been pinioned. They can strip my memories from me, skim self from my soul like harvesting corona off a dying sun, but I still burn. The weight of my dreams is infinitesimal, up here above the stars, and how can something so light be worth stealing?

Is immortality really worth such a frozen cost?

***

You are born on the last day of autumn on a planet smothered in oceans, and this time, somehow, I know it is you. I dream your life in fragments: your slow sleeping growth inside the egg sac, the darting hide-and-seek with other fry, the way you laugh and tremble the first time another girl touches your fins.

But the shadow finds you eventually.

There is something within you, some spark which kindles across solar systems. It calls out to me, beloved. In my berth, I begin to shake.

You swim, thrashing through the water. Sharp-toothed leaves have scrawled grey-black scratches across your skin, torn your scales. Your gills are distended and red. Desperate.

You stop to look behind.

You look, and I look, keening, warnings clamouring around me where I have torn loose from the tubing, from the drugs. The sleep.

You look, and it’s too late, it’s a mistake, you must keep swimming, you must–

And as the pain strikes, belated, as you double over the wound, you see through my eyes; for an instant we are overlaid. Entwined.

You see the silvered vine around me, the way it sparks and sways and drinks the dream. You see the frosted crystal of my breath, the glass, the spinning void beyond. The blue-white fluid of the drugs spilling out into my berth, floating puddles of mercury and thwarted sleep.

And I see. I see the reaching claws, their silver-twined prostheses. The blue-white sparks. The vines, hungry, as hungry as the ones which drink my visions.

They are the same.

The same technology, the same hunger, the same unknowable hunt across starscapes and centuries, for–

‘For what?’ You ask this within me, within us, even as the last of those claws pierces flesh, and I realise:

For you, my love. It’s always been for you, from the beginning; for the spark of you, the beacon which beckons me from so, so far away.

I can’t reach you. Not physically. You are lightyears away, by the time I free my pod, find a shuttle, detoxicate my veins–

‘You’ll find me,’ you say. There is a pressure, a tug–something between us yanks taut. The first time I ever saw you fall echoes in your voice; the soft crumple of blue grasses beneath you, the cry. ‘Next time. Or the next. You won’t let them take me. Not for good.’

And then, like a meteor burning away to dust, you are gone.

Somewhere in my bones, that hungry presence roars. It has your flesh, but flesh without soul is meaningless. Worthless. A failure, as every time before. The station around me shakes with resonant fury.

My face is burning. The breath in my chest is dagger sharp. Cold starlight dries the salt against my cheeks.

But now I know. A fleck of you remains, a thorn in my heart, a speck; we are linked at a level deeper than universes, beloved, our harmony older than stars. Far out across the galaxy, on a moon pierced with quartz-ceilinged cenotes over a planet made of flame, I can feel you: the dust-mote scrap of my own soul, taking root in some alien womb. A new life. A free one. A chance.

Alarms are blaring. Soon, they will come for me, for their immortal seer imprisoned above the sky.

I will not be here when they do.

On the Wing

by Lindz McLeod

March 22, 2024

He wakes up to the smell of baking cotton. His wife is already ironing a white shirt, choosing a tie based on the pattern of the clouds which scud past the window. She’s a glean of herons, long-legged under an oyster-pale silk slip. Slippery and pliant.

While she makes breakfast, her husband scrolls through the day’s headlines and spoons runny egg into his mouth. As a kid, he’d thought that fried eggs looked like vulnerable suns; as an adult he knows better. This shade of orange, tiger-bright, would indicate that the sun was dying, which wouldn’t suit his plans at all. He’s a realm of kingfishers, flashing blue blazes—the hottest colour a flame can be.

 When he checks his phone, he frowns at the screen. For another man, a frown might herald a coming storm. With her husband, she knows, it’s simply the way he reacts to all news, whether good or bad. He’s a parcel of penguins; black and white and stoic all over. 

When she leans over him to pour more coffee, he swipes the message away, but not before she glimpses the contents. A body—nude—neither his nor hers. A clamor of rooks clanging inside the vast timpani of her chest, echoing rounded copper notes. She turns the tap on, soaps the dishes. The washing-up liquid is not clean and sharp, like lemon, but rather a frothing apple-scent, concave, like a smell collapsed.

When he performs his ablutions, he’s a drum of goldfinches; scrubbing the bristles against his teeth in time with a familiar melody in his mind, washing his face and patting it down with a musky, pine-needle aftershave more suited to the wolf than the woodcutter. She kneels on the hardwood hallway floor and buffs his brogues to a brilliant shine until she can see the pale oval of her own face.

When she hears the smack of his wet towel against the bathroom tiles, mere feet from the laundry basket, she’s a quarrel of sparrows—a thousand-fold origami flock, each a darting, stinging papercut. When she walks into the bedroom he’s dressing and belting, buttoning collar and cuff. She pools the words, gathers them together like goslings under the trembling wing of her tongue; he kisses her on the cheek and exits the house, whistling, neither noticing nor caring. 

When he swerves onto the motorway with practiced ease, he’s a pride of peacocks. Switching the radio to a popular channel, he drums the steering wheel to the beat and chimes in at the chorus to a song last sung while nine-pints-sunk. The house he left behind is a silent sentence, punctuated by the full-stop smashing of crockery, the commas of curses, the semi-colons of sobbing.

 When she packs her suitcase, she takes only what she needs. Layering neon t-shirts on top of pajamas too modest to please him; a bright lasagna of her own style. She’s an unkindness of ravens, pouring a full jar of honey into his sock drawer. Spraying shaving cream into his closet, graffiting her name in bursts of citrus foam.

When he waits in line for a free coffee from the company-owned machine, he hits the button twice. Strutting down the hallway, he’s a prattle of parrots, exchanging jokes with the janitor, ribbing the guys in accounts about the latest football score. Holding both plastic cups aloft; common libations to double-faced gods.

When she locks the front door behind her, the key is stiff and unyielding. For a moment she wonders whether to retreat inside, to unpack her bag, to hibernate for a season or two of denial. A single caw sounds from above. She counts the birds perched on the gutter pipe, doffs an imaginary cap like her grandfather used to do. She’s a gulp of magpies; one for sorrow, two for joy.

When he stops at the front desk to chat with his mistress, he slides one coffee over with a smile and keeps the twin. She answers a phone, holds up a finger to indicate that she’ll be right with him. He’s a charm of hummingbirds, hovering steadily. The thrum of his desire is almost too low to hear, like whalesong—mournful, ribbed, fathomed. Still, the mistress is attuned to the crackle and hiss of his frequency by now.

When the woman who was once his wife turns the key in the ignition, the rumble starts in front of her knees and wriggles down until the car is purring under the soles of her boots. Flushed, blistered, she’s a ruby of robins. Rubies, after all, are the gemstone of home and hearth. These things were important, once upon a time. She’d left the ring on the front doorstep—right in the middle, so the man who was once her husband can’t miss it like he misses everything else. The expensive jewel fizzles in the sunlight. Colour, clarity, carat, cut—the four qualities men look for in a rock and a woman.

 When he texts the woman who was once his wife to tell her he’ll be home late, her silence doesn’t alarm him. He’s already busy making plans, fortifying his arguments, loading lies like crossbow bolts, each capable of slamming through the sternest defenses. He’s a pitying of doves, clustered snug and peacefully in the driver’s seat of his car, watching his mistress unbutton her blouse, her skin coated with the last gasps of a brilliant, bloody sunset.

When she turns the radio on, miles later, it asks her hey what’s going on, it asks what have you done for me lately, it asks have you ever seen the rain, and she drives out of town and the sky is new-wound-pink with not a single cloud in sight and above the road a solitary black dot hovers above an open field, hovers, hovers. Flaps once. Plummets. Rises again with nothing in its open beak, not even a question. She thinks that’s how she’d like to be from now on—not a kettle of hawks, but a tower of falcons. Unlimbed. Torched. Rebuilt.

 


 

Originally published in Bear Creek Gazette, October 2022. Reprinted here by permission of the author.

limerence

There’s no seeing the moon under two meters of peat.

Soon, she tells herself, soon, but that’s been the moss-cradled word in her mouth for over two thousand years. Her skin is leather, her organs shrunken, her bones dissolved—the bog, ever-faithful bed and jealous boyfriend, has taken those—but there’s no cure for longing.

It’s beautiful up there, she tells herself; it must be. Even with everyone she’s ever known gone, there must still be storks, uncombed mounds of golden grass, and willow-laden laggs. Surely the bell heather still blooms. The village that plaited her hair put nightshade in her stomach to secure that bounty. It can’t be gone.

There’s another down there with her, in the belly of the bog, but he’s more spagnum than man. A mummy unspooled into the wool that makes them all; a weft end that ought to be tucked into a loom warp rather than seen. He’s a half-meter below her. That may as well be a world. When she sinks, he does. They’ll never touch. They’ll never see each other. Since they died centuries apart, perhaps they were never meant to. They’re parted and united by peat. All they can offer each other are words.

The unwoven man has a noose about his neck. The offering knows he must’ve been a criminal. Maybe a thief, murderer, or adulterer. She hasn’t cared about such things since she died. Nor has he.

They are in love.

it    is beau tiful, the criminal says. I   ca  n feel it.

I’d like to see the snow, she replies. There must be snow. The peat is colder.

is it?

Yes.

It’s been centuries since the offering was high enough to feel the peat’s warmth, or to even feel its changes. She can’t sense these things when she speaks to the criminal. This is not lying—it’s stretching truth to its finest fiber. Snow always comes; snow always goes. Flowers bloom, thicken, birth, and wane. The season, a mere matter of months, isn’t important. The comfort is.

the  re   must be geese, the criminal says. there mu   st be  sun. do you remem ber the sh   ape of it?

She doesn’t.

I’d like to hold hands, the offering says. I’d like to see the sky. That’s you-shaped.

i’d like tha   t too.

All the riches down there with them—the gold, the white stones, the butter, the pots, all plushly tucked in peat—yet they’ll never picnic together. They’ll never be any richer than when they died. Once, the offering found this an injustice. She’s forgotten the taste of that word. The criminal has forgotten it entirely. They’re both naked, the bog having long devoured their clothes, but this too means little. They’ve shed carnal hunger alongside all that can be hurt.

All there is bog. Bog and longing.

It will be beautiful, the offering tells herself, when my friend hits the bottom one day. Then I can catch up and sink into him. That’s companionship.

It isn’t as beautiful as a moon on a misty, salty night.

The criminal must feel her discontent sliding along what’s left of his sinew and pressure-crushed skull.

go   see it fo  r me, he tells her. The everyt   hing.

We’ll never meet then.

that’   s alright. i love you more than i need to mee t y  ou.

What they have, acid-forged by ages, compressed by peat, can outlast their existence. The offering’s longing is such that it overflows from her augury holes, pushing pickled slips of gut as it goes. They are beyond marriage; they are beyond blood. So much seemed essential when her village read their fate in her entrails, yet nothing has ended up more important than a stranger’s voice in the dark.

I’ll be back, the offering vows. We’ll reunite.

She’s never stretched the truth further.

Though the offering can’t push against the peat, now that she’s untethered, she can extend her will upwards—towards shapeless sun, mountains she’s tread, and stars she died beneath. It takes everything in her. The criminal murmurs comforts until he quiets, lost in his unspooling perception of time.

Though the offering doesn’t burst out or bloom, her hands are outstretched in spirit when a shovel digs into her shoulder. The offering weeps when they pry her out of the peat. She’s headed heavenward.

Surely, she thinks, they’ll dig a little deeper. They’ll take us both!

They don’t.

The peat harvesters that have claimed her aren’t interested in further investigation. She is bound for a case in a traveling tent. It’s dim and dry. The air will eat her; the sun won’t reach her. Boys will tear at her braids, bacteria at her flesh. She’ll unweave far less gracefully than the criminal. When she dies the biggest death, it will be in some Denmark ditch far from her bog. She’ll have gone from village hope to discarded debris. She and her love stay unmet.

But before all that, when the offering is laying in an open box of peat, carried shoreward by laborers barely older than her in life, she feels the mist, hears the owls, and senses the soft grass underfoot. Her skin glows beneath watching stars. She soaks in the world her kin killed her to feed. Though eyeless, she sees the moon: a fine, glowing sickle.

Which makes all the partings worthwhile.

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