Issue 104 May 2022

Table of Contents

Editorial: Persistence

by Emma Munro

May 1, 2022

Welcome to Flash Fiction Online’s 104th issue.

Our stories this month have protagonists whose circumstances, status, and identity create the conflict and tension driving the story. After all, the experience—actually, the privilege!–of choosing one’s own path in life is hardly universal. Our protagonists solve problems in their own unique ways, they persist, and they maintain their sense of self. All of our stories gave me hope in one way or another. Something we all need in the world today.

Our first story, Upper Bout by Lindz Mcleod concerns a determined protagonist who fights to remain true to himself, despite the odds.

How does one survive the past, present, and future? Peach Child, Woman, Stone by Dafydd McKimm reveals a unique solution.

We loved the poignant friendship and banter in Bad Taste, Bad Luck.  Rosalind Helsinger perfectly captures that feeling of being on the open road, with the kitschy tourist attractions and seemingly inevitable car issues.

What Is Yours Is Yours by K-Ming Chang is an unforgettable and lyrical exploration of identity and the struggle to survive in new lands

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Upper Bout

by Lindz McLeod

May 6, 2022

The violin had curves like his mother. Electric guitars hung from wires as if dropped by angels, while trumpets blasted from all four corners of the display window. In pride of place, a glossy red drum kit crouched, motionless, like a heart waiting to beat. Struan pressed his hand-knitted, lumpy mittens to the icy glass, drinking in the view. The wind slid frosty fingers under his thin clothes—a threadbare Ramones t-shirt which had once belonged to his da, and charity shop jeans, neither thick enough to stave off the chilled air—while his little brother swung a scuffed and torn backpack around in a circle, eyes on the darkening heavens, ignoring the loud tuts of passersby who were forced to step into the road to avoid an accidental belting.

Everything in the shop window was out of reach; the black flute with the white tip, bursting from the left like an unlit firework. The fanned-out, pristine music books—not a single dog-ear or crumpled cover among the lot. Individually, he coveted each beautiful instrument, but what he desired most of all was to hear them join together in harmony. Cooperation towards a single perfect goal was an unattainable concept at home, but in an orchestra, amidst the gleaming music stands and the soft hush of turned pages, fusion would be a palpable thing. Incontrovertible proof that unity and stability existed, somewhere.

He stayed as long as he dared before Declan, bored of the familiar display, hammered the pedestrian button at the traffic lights. Hatless, they walked home; Rudolph noses glowing, cheap trainers sticking to rimy pavements. Ma cut up a single Granny Smith in rough strokes without taking her eyes off the soaps on the television. The knife slipped a couple of times. Flecks of blood spattered Struan’s apple slices, but he ate them anyway because if he said anything, she was likely to shift the entire lot into the bin or hand them over to Declan, who would eat off the floor in a mineshaft without complaint. Besides, a conductor was like silent glue, holding the orchestra together. Never complaining, never causing any fissures or ripples, smoothing the passage from one brassy instrument to the next.

Da was on the nightshift again, so they had to sit quietly and do their homework. Even the TV was down as low as possible; the subtitles were on, even though Ma didn’t like to read. When Da finally emerged from the bedroom, a waft of hot, greasy sleep billowing from his open robe, Ma got up from her armchair. In the hallway, his parents sidled past each other like undecided rams; chins down, heads tilted, weighing up the odds of injury. Sometimes fights ended in rutting, but more often than not, someone bled. He craned through the open door and chirped a greeting, deflecting attention onto himself, and breathed a sigh when his parents passed into different rooms.

Declan kicked at invisible enemies, making the couch jiggle, and whined about missing his cartoons. Struan passed over the remote and slid off the sticky leather, snuck past the doorway leading into the kitchen, where Da sliced the heads off fish and tossed them into the sink. A callous executioner. A big pot of peeled potatoes were boiling—it smelled better than the eye-watering stench of the fryer. Chips often came out too-skinny and too-tanned, like the teen dragons who guarded the salon on the high street. Long, turquoise claws, to match their painted eyelids.

He crept along the hallway, fingers strumming the wall, until he reached his tiny bedroom. Little more than a cupboard, really, but he’d crammed it full of invisible music; soft skeins of clarinet solos, swinging from hole to hole in the patchwork ceiling. Plastic building blocks of double bass notes piled high on the flaking windowsill. Liquid glass pooling in a chipped mug, poured sparingly by a harp duo in long glissandos. He sprawled out on the bare mattress, hands conducting in sharp, defined strokes.

Brass coming in here, strings rising just so. Percussion to the right. The space around him contracted into a single portal, shimmering like a blown bubble. Beyond, a wide wooden stage, whispering his name. Struan stepped through onto the boards without hesitation, rolled his shoulders. His old clothes were gone; now he was swathed in a black suit and a white shirt, gleaming brighter than anything his ma had ever bleached. The captive audience of fish heads stared up at him, bug-eyed and awestruck. A baton in his hand, sturdy and powerful, as if it had always been there.

The music rose around him, painting the air in colour. A yellow C, repeated twice, followed by a minor chord in burgundy. A thin pink melody swelled through the cerulean fog. One deep breath. Through the portal, his name resounded; a bass note, wrapped in salted steam. His cheeks were wet; his small chest heaved with the effort of keeping the desire contained, of keeping reality at bay. A building crescendo waxed, soaring high above his head, into the rafters and through the terracotta tiles of the theatre. Final notes fluttered down like plucked feathers. His lungs ripened in rose petals, drowned in cloaks. Fish heads cheered wildly, applause bleeding from invisible fins. He held the baton high to extend the last exquisite moment before the lights blinked out.

One day the orchestra would be in his hands and not just his head. An artist without a canvas, his music teacher had promised, is no less of an artist.

Comments

  1. Ezimadu says:
    “The violin had curves like his mother”
    That hooked me! Well done Lindz.

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Peach Child, Woman, Stone

by Dafydd McKimm

May 13, 2022

Yes, there were peaches, fresh peaches from the mountains, on the table that afternoon. January’s rice crop had already been taken in, leaving two glorious weeks of idleness until the July seedlings had to be planted. All the men were at war. In the small living room, cooled during the day by a dulcimer breeze, I watched as aunts descended on the fruit like egrets on a freshly turned field.

I was eleven that summer, but one of those girls perpetually trapped in a body too small for their age. I held my peach tightly and stood by while the aunts chattered about when the war might be over, who their daughters would marry now that so-and-so was dead, how much of their harvest the government was claiming for the war effort—but this deluge of disturbances washed right over me. I paid close attention as juices from the peaches ran into the furrows around their lips, into the troughs of their chins. The peach in my hands was covered in a light fuzz, a down that reminded me of my mother’s cheek when she was overdue for a face threading appointment, after which her cheek would be smooth like a bathtub, for a time, until the down inevitably grew back.

I sometimes imagined that my mother and these aunts, who oftentimes murmurated in our small living room, were in fact birds who had lost their feathers, perhaps due to some clandestine procedure, or else some peculiar disease.

The susurration of long grass that was so common in our house was now noticeably absent after the harvest, and an odd silence permeated the room beneath the aunts’ chatter—a stillness, so odd and still that I felt for a moment part of a picture, suspended in time, with the peach halfway to my mouth—a picture of a summer full of the sweetness of peaches, far from the war, that would never, ever end.

Then, unwontedly, a baby cried; and that wonderful when was destroyed forever.

* * *

The peach child glistened on the table in the late afternoon sunlight, its skin still slick with juice. My mother had excavated it from the flesh where it was trapped in place of the peach stone, and now it writhed and wriggled on a shallow dish like a bait-worm on a hook.

After examining the miracle for only a few moments, the aunts and my mother once again began bickering—this time about what the omen could possibly signify: that the war might soon be over (and in fact, an announcement was made only the next morning to that effect over the tannoy perched on the electricity pole at the bottom of our lane), that the harvest would succeed or else fail, that long life would bless our family or else we would all die young. And while they bickered, only I stood in attendance as the peach child’s cries became whimpers, and rapidly, faster and faster, it began to grow older—first scuttling about the bowl like an upturned insect, righted; then standing upright as it took its first tentative steps; then burgeoning like a bamboo shoot as parts of it began to swell, parts that I recognized had begun to swell on my own body too, though far more slowly, subtly; and then the peach child was standing tall, no longer a child, though the juice remained wet on her shoulders and in her hair that had quickly grown dark and long; and only a moment after she had extended a hand and observed with momentary joy its elegance, so the skin on her extremities began to wrinkle and crease and her hair sprout streaks of grey, so that she looked so much like my mother, holding her lower back where it ached; and then curling inwards like a caterpillar scared by a touch, the peach child was now my grandmother, bent over so far her head almost reached her knees and whose skin was scarred deeply like a peach stone; and the peach child, head buried now in her sagging belly, clasped her arms about her knees and moved no more.

* * *

When, a moment later, my mother glanced back at the table, she saw me—her young daughter on the cusp of womanhood, on the cusp of life and care, who looked so much like she did at my age; and although she treasured me, she felt, too, as if I was something she had lost, misplaced along the path of her life—a moment of calm that she had not enjoyed in so many years, with the worry of the house, and the harvests, and the war; indeed, she had barely enjoyed her peach, for as soon as she had bitten into it, it had begun to scream, unveiling yet another preoccupation—the peach child and what it might signify—the child that, blinking, she realized was no longer there; for on the table, now in my hands, now being proffered to her, was only a peach stone; and in that moment, she laughed, at her absurdity, at her heat- and worry-addled mind, that there could be such a thing as a peach child; and she gathered all the aunts around her and said look, look how foolish they had been to imagine such a thing; and before I could speak, she had taken the peach stone from my hands and tossed it through the open window into the field.

* * *

Later, I would retrieve that stone and keep it in a secret box in my room, the first of many secret things that my mind would dwell on. And each night, before I slept, I would run my fingers over its furrows, and feel their shadows, like feathers sprouting on my face.

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Bad Taste and Bad Luck

The women in my family have death on their lips. No husband lives past a tenth wedding anniversary. My mother says it’s an old curse. Our love makes men drink, choke, slip, fall, suffocate with our hearts growing too big in their lungs to breathe. I thought I would end some man one day too until I fell in love with Elaine.

And we are here together. My best friend and I on this long drive to meet the surgeon who will cut out part of her throat.

Elaine asks to stop at every roadside stand and because she might die, I pay for her shitty spiced peanuts she can’t even swallow. We stop so many times my rust bucket Corolla’s engine heaves its last breath. So, Elaine and I sit sweating. With AAA on the way, we lounge under the “Florida Citrus Center: Live Baby Gators, Exit 341, 3 Miles” billboard. A half-finished paper bag of roasted road nuts slumps between us. Elaine sucks almonds until they’re smooth like river pebbles and spits them far into the dead highway grass.

She lays back on the quilt from the car. “Beccs, we close to Orlando at least?”

“Nope.”

Elaine pouts and pushes her sunglasses up her sweaty nose. She looks above us at the huge cartoon baby gators on the billboard. One has a pink bow. She coughs, gripping her swollen throat. “I’ve never been to the Citrus Center.”

I lay down next to her with my hands behind my head. “It’s tourist stuff.” The sweat shines on her arms and her freckled neck. I look back at the billboard. “I think the wind chimes on my mom’s porch are from there.”

“Do they sell gator heads?”

“Dunno.”

“I like how shiny the little heads are. Ready to sit on a mantlepiece.” She grins.

I scowl. Elaine and her goddamn dead things. I force her to keep her collection in her own room. I can’t stand looking at her taxidermied blue-tongued skink in the living room of our apartment.

I shove her shoulder. “You’re such a creep.”

“I’m not the one who’s cursed.” Elaine sits up. She snaps open her fruit cup from the snack bag and slurps Mandarin oranges like soft little slugs. “You still think it’s real?”

I shrug.

She was the first to tell me the curse was bullshit. She cackled at the idea when we first met in the middle school nurse’s office. Both of us in for period cramps. Elaine had a face made for milk cartons; eyes like chunks of turquoise and two blonde braids.

“Bad taste and bad luck, Beccs,” she said. Elaine insisted over the years that you don’t need a cursed bloodline to always stand at the altar with accident-prone alcoholics and pack-a-day smoker serial cheaters. If that was true then her mom was hexed too.

But Elaine’s esophagus didn’t start closing up until I was her best friend. She didn’t grip her swollen neck, choking on popcorn, sobbing, until I held her hand too long at an animated movie. She wasn’t locked in an ambulance and bound to a hospital bed until I kissed her, drunk on Fireball after a Halloween party. I told her the night she came back from the hospital. It was my fault. My heart lodged in her esophagus, swelling it so nothing else can go down. She shook her head. Eosinophilic esophagitis ran in her family. It was in her blood before we ever met.

I watch her neck tremble, swallowing slimy canned fruit. “You scared?”

She laughs. “Of your curse?”

“The surgery.”

“Oh.” She rubs the back of her neck in slow circles. “I mean, they’re gonna put a chunk of my stomach in my esophagus. So, yeah.”

“How much does it even cost? Your esphaget…”

“E-soph-a-gect-o-my.” She reaches into the paper bag for another peanut to suck the spice off of. “And it costs more than two years at college.”

“Christ.”

“Yup. If it works, I can eat whatever and no more chronic inflammation bullshit.” She spits her wet peanut into the dirt. “It’s risky though.” Elaine reaches for another one. “Like risky-risky.”

I wrap my hand around her wrist, still stuffed into the paper bag pooled with oil stains. “You’ll be okay.”

Elaine pulls her empty hand out and away from me, cumin and cayenne under her fingernails. She stays silent for a moment. Then she speaks in a low voice, “Do you think it works the opposite way?”

“What?”

“If you hate someone, will they live?” She takes her sunglasses off to wipe the sweat out of her eyes. Her lip trembles.

I think of Elaine hiding her stupid skink around the apartment until I screamed at her. Elaine tracking onion skins onto my carpet from the kitchen and stealing the trashcan when she’s sick. Elaine pushing me back after I kissed her, wailing, she’s drunk, she’s sorry, she can’t give me something she doesn’t feel. Elaine pelting me with Goldfish in the cafeteria as children even after I said to stop over and over. Elaine holding my hand when we crossed the street to school. Her fingers reaching out for mine across the plastic-wrapped beds in the nurses’ office, bleeding into her pink corduroy pants.

Bad taste and bad luck, Beccs.

I grab her slick shoulders. My breathing hitches as I pull Elaine’s body into mine, cradling her against my chest. I pet the top of her head, promising, praying, “I hate you, I hate you, I hate you.” I beg my voice to be enough—enough to burst her swollen throat open and spit my heart far into the dead highway grass.

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What Is Yours Is Yours

by K-Ming Chang

May 27, 2022

是你的就是你的,不是你的就不是你的. That’s what my mother always told me. What is yours is yours, what is not yours is not yours. Once, she backed her silver 1994 Honda CRV over a man she didn’t want to love, but he came back to her on his knees, with subtracted teeth and a titanium spine but the same two fists, the same mouth misted over with mosquitoes. She told me this was the way it was, that you could hail-Mary your baby out of an eighth-story window and it would return to you as a man with your name fish-hooked through his lip or as a bald-assed moon to rope down and wig with your own hair: there was no getting rid of what belonged to you. You could try to get rid of a recurring dream by sleeping with an onion between your knees, or you could try to abandon the dog your daughter brought you instead of a grandchild, but the dream will dye every day into night and the dog will follow you as a fart, tethered forever to your ass. Once, my mother flayed a mole off my chin, a pearl sauced in blood, but it regrew the next month on the tip of my tongue, a territory I couldn’t taste from, a scar where I used to be fluent in salt. My fault, my mother said, for trying to take what is yours, even the ugly things. She said some of us inherit our mothers’ ugliness, and some of us inherit invisibly, only learning later what we were not responsible for, perpetual nosebleeds, forgetting god’s name, a desire to gnaw the inedible rinds of melons.    

And you could want, want with all the air in your bones, for something to steer you: a good man, a green card, a god, the CA lotto number, but if it wasn’t already yours, it would never be. If you were not meant to live in a beach house or straighten your teeth or look good with a perm. If you were not meant to be loved in this country or eat meat or marry for money. Sometimes it was better that way, to know the borders of what was yours and love it anyway, the way my mother’s sister loved her son despite the woman he killed, despite the daughter he orphaned, despite the time he broke into my room and threatened me onto my knees with a wrench. What he took that night was nothing that belonged to me. It was better to know the exact dimensions of your death, to know what radius to live within: my mother’s mother used to draw a circle in the dirt for her daughters to play inside. When they tried to leave it, wanting to climb the trees where laundry hung heavy as bodies or ride the water buffalo with tusks wide as their waists, my mother’s mother drew the circle again with her heels, deeper and narrower, and said every time you leave I’ll shrink it, take this as a lesson, one day this circle will close around you like a noose, I won’t permit even air inside you, so learn now: some places are not born to be yours.

My mother can tell the weather with her tongue. She tastes a flood in Maine, the salty palm of a hurricane mishandling Florida, drought everywhere else. Even now, she calls me about the trees downed in California, the mudslides in Washington, even though I’m only a city away from her. I live now with a woman who could narrate the weather channel, her hair bright as a licked dime, her anklebones I suck like salted nuts. When I tell my mother no, I’m alive, there is no hail here, no rain either, no mountains for the mud to run from, my mother asks me if I remember the summer it rained for nineteen days straight, unstitching the seams of ants that sewed the street to her mouth, and how the ceiling was needled with so many leaks, we ran from room to room with our hands out, trying to catch the rain like coins, our mouths open to swallow what the sky owed us. And afterward, even the sofa floated up, the one our grandfather had a heart attack on, the one with the cushions carved out and re-stuffed with plastic bags full of half-dollars.

The carpet rippled like a river-bottom, nippled with mushrooms we knew would poison us but that we plucked and rinsed and ate anyway, and as we waded naked through the water, my mother unhooked a mirror from my door and rode it like a silver surfboard. Drowned mice bobbed belly-up in the water. And we laughed, slapped down onto the water belly-first, paddled through the retired rain, sorting out what was ruined and what was salvageable, laying everything on the driveway to dry, the shining archaeology of our lives. Then the rain emptied us again that night, flooding everything we’d set out, and in the morning we walked out among our things, our dresses in confetti, the microwave a nest for crows, the curtains my grandmother stitched knives into, and laughed at ourselves, at what we thought had been over. What is not yours is not yours, my mother said, licking my salt-spangled forehead, my hair honed blacker than hers. Then what is ours? I might have asked, and she nodded at the sky and said what we have survived.

Originally published in The West Review, Winter 2020 Issue. Reprinted here by permission of the author.

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