Wendover Street

By Lindsay Lennox

The Beast was tired, and he was cranky. 

Most of all, he was hungry, and humans aren’t the only creatures who get a bit moody when they’re hungry. He turned the corner near the playground. 

Yes, wonderful: cobblestones, thought the Beast. He hated cobblestones. The uneven ground made it awfully hard to lurk with any proper spirit, and they also hurt his feet. 

The street went uphill, of course. The Beast had powerful lower limbs that coiled like springs, as if designed especially for leaping upon things. Even sprinting up silently behind things was possible, with concentration. But his body did not lend itself gracefully to this slow, cautious uphill trudge over the stones. 

To_Smell

To Smell by Donald Patten

It was a summer night, a Saturday, and many of the houses were dark. Lifting his face and sniffing, the Beast could pick up traces of morning departures. They were rich with anticipation, pregnant with the snappish arguments of road trips, the disappointing arrivals at places which, after all, weren’t different enough from home to matter. There was, already, the resigned dread of Sunday evenings after a weekend filled with busyness. The Beast could survive on such fumes, like a fruit fly, but he wouldn’t say it was much of a life. 

Walking—trudging—a little further up the street brought the discovery that one of these houses wasn’t empty after all. It was absolutely overflowing with light, and noise: well, with Joy, thought the Beast, wrinkling his muzzle. Ordinarily he’d pass this house by without a thought. Not that there weren’t possibilities—there were always possibilities—but usually there were better options for an evening than braving this stench.  

To_Taste

To Taste by Donald Patten

Even as his body began churning with nausea and anxiety, his hunger brought him closer to the house. Joy wasn’t necessarily dangerous to a healthy, fully-grown adult of his species, but that didn’t stop his nostrils from clamping shut, or his thick, pungent blood from moving faster. He counted to ten, pushing his brain to filter out the distractingly unpleasant smell and instead focus on what else he could detect. 

Back to basics, the Beast coached himself. How many are they, what are their ages, what are their fears?

Commanding his muscles to relax, he took a single deep breath through his nose. The house held both adults and children, six of each. Sniffing again, he decided the adults were married couples, and the children were true children, no teenagers, although a couple of them were on the cusp. Possibilities—yes. 

A geyser of laughter erupted from what seemed to be a small sunroom on one side of the house, pushing the Beast back a few steps and making him stumble on the cobblestones. The adults were all in the sunroom, he realized, playing a card game that seemed to involve quite a bit of good-natured arguing.

The Beast crept closer to the sunroom. It was screened but open to the night air on three sides. A screen door allowed the passage of children between the backyard and the sunroom, door bouncing noisily every time one came inside to seek its parents. He moved up underneath the windows facing the front, where he was concealed by the slightly unkempt shrubbery and could stay well clear of any wandering children. 

Children’s minds were difficult to predict; sometimes they could walk right by him without turning a hair, and sometimes they knew his presence almost before he had arrived and steadfastly refused to go near him, taking no notice of their parents’ threats or cajoleries. The Beast found it humorous how often parents referred to these episodes of flawless, unreasoning insight as tantrums or sulking. 

From his position by the large front windows, now that he’d gotten used to the always-present odor, the Beast began to learn more about the adults. Yes, they were definitely three married couples, and marriage—well, there was no richer source of what the Beast ate. One of the couples owned this house, had purchased it when their first child was expected. The others were visitors, but visitors who had been to this house so many times that their affection clung to it, their knowledge of which stair creaked, which cabinet held their favorite coffee mugs, mugs that had themselves survived multiple kitchen purges on the strength of these visits.

Closing his eyes, he could taste intricate flavors in the humid midwestern air. Love certainly, between the couples tonight, the lines connecting those who were married expanded into a kind of net, painfully bright and humming with power. But love was no use to the Beast, and he focused his senses on the other interesting scents dancing under that glowing surface. Oh yes—there was the memory of arguments, things said that could be both forgiven and forgotten but which stayed there nonetheless, sending out their tendrils of quiet rot. There were worries, of course—the children, the money, the illnesses, the promotion—but these worries were so often products of love and thus were not the Beast’s preferred sustenance.

Deliciously, there were echoes of the future, things awaiting these people that they themselves already guessed at: there was divorce, there was addiction, there was grief for harm that would come to some of the children, and worse, guilt for those harms. If he concentrated, he could even sense tragedies for the children who weren’t even born yet, the ones who would be created by some of the children even now passing him by in the dark as they tracked fireflies.

He could eat all these things, of course. From where he stood now, he could fill his belly and leave behind—well, nothing very dramatic, just a shared feeling that these evenings, once so looked forward to, were somehow not the same anymore.   

But it would be hard. Even with all their private sorrows, tonight these people were sheltered by their gathering together, much more than they knew. What the Beast longed for right now was some nice, simple uncomplicated despair. Surely someone, in one of these houses, was tipping over the edge, was ripe for emptiness, was craving it, even. Maybe even now, he’d be better off just moving along up the street—but he was, still, very hungry. He wavered.

Just then, the bushes separating him from the front yard shook violently. They parted to let a child through. It was a girl, one of those who was almost, but not quite, past childhood. She didn’t seem to be aware of his presence, although she was standing nearly on top of him. 

To_See

To See by Donald Patten

The girl child held her breath as several other younger children dashed in front of the bushes, their erratic flashlights and noisy chatter fading as they turned the corner toward the back of house. The Beast assumed she would leave the way she’d arrived, now that the front of the house was quiet and dark again. Instead, she sat down on the mulch that surrounded the base of the bushes. The Beast had to back up quickly to prevent her from actually sitting on his hoof-like feet. 

He was accustomed to being ignored by children, but he’d never been quite this close to one without getting some kind of reaction, if only in the form of a sudden impulse on the part of the child to be somewhere else. The girl child, however, gave every sign of staying put right here. In fact, she pulled out a small book, flipped through the pages until she found her place, then began to read in the bright light that spilled from the sunroom windows. 

Now what?

He was still uncertain about the adults inside, and he also wasn’t completely sure he could get out of the shrubbery without alerting the girl. The girl who, he belatedly realized, he was a bit afraid of; his pulse had quickened again, and that rolling nausea had returned, making it impossible to decide what to do. 

The problem with the girl was that she was terribly, terribly happy. 

She didn’t live in this house, the Beast knew. She was visiting with her parents, and as he hunched awkwardly above her, he was assaulted by the joys — they were many, and recent — that this place held for her.  

To_Feel

To Feel by Donald Patten

Standing this close, her pleasures were vivid: there was the family’s arrival two days ago, leaping from the station wagon (filled with the debris of eight hours of driving) to scale the low wall that bordered the driveway. Yes, there it was, the semi-wild backyard, the evergreen tree with branches hanging all the way to the ground, a natural haven for a quiet, bookish child. Then there was carrying her suitcase up, up, up, past the bedrooms on the second floor, the younger children’s rooms filled with bright, educational toys. 

Up to the third floor, which was really an attic, tall enough in the middle to stand up, but with a roof that sloped down to meet the walls, which were covered in books. Nearly every surface in the single large attic room was packed with books. The smell of the attic library was the single most powerful sense memory the girl had of the house, and the Beast reeled from its intensity, barely noticing that the same scent rose from the book the girl held open as she read by the window light.  

She was terribly happy, but she was also eleven years old, and that was an age rich in loss, the Beast knew. Already, she was just a little too old for the game unfolding around her, a shifting amalgam of hide-and-seek tag Marco Polo that would keep going for hours still. Already she was feeling the blind safety of childhood slipping away, even here, in the house of the people who’d been there when she was born, a magic she couldn’t have articulated, much less understood.

It wouldn’t take much, he knew. He knew how to find those tiny negative spaces of loss, how to breathe on one with great gentleness until it became an uncrossable missingness that was the end of childhood with its savage birthrights and protections, the beginning of despair. 

Time passed.

The Beast waffled. He shifted his weight.

Time passed.

Jennifer stood, closing her book after committing the page number to memory. She brushed off the backs of her thighs where bits of mulch had stuck to them. Using one arm as a shield, she pushed through the wall of bushes that had hidden her from the younger kids. The parents had spilled out of the sunroom onto the front lawn now, calling to their offspring with great noise and hilarity. 

She passed the hiding spot of the two kids whose parents were ready to leave: the two brothers were shushing each other underneath the huge tree whose branches came down all the way to the ground. Jennifer herself was staying here tonight and was more than ready to settle into her sleeping spot on the sofa in the family room.

She missed sleeping in the attic with her parents, in a sleeping bag with her face turned toward the low shelves packed with books arranged first vertically, then stacked horizontally on top of the tightly packed spines wherever space permitted. The books were varied; there were textbooks, mysteries, nonfiction hardcovers, dog-eared romance novels. 

But as the older sibling she had been displaced to the living room several years ago, and the living room had its own treasures. The built-in bookcase held books more prestigious than those stored upstairs—large-format art books, academic works authored by colleagues of these friends of her parents — but arranged in much the same way. The shelves also held a fascinating selection of other objects: sculptures, small paintings, framed numbered prints which were continued onto the walls in larger pieces. 

Jennifer loved the living room, so different from the neatly ordered living room in her own house, as she loved the attic and the dining room with its heavy, formal dining set covered in perilously high stacks of papers (guarded by a cat with the dark gray fur that adults insisted was called blue). As she loved the sunroom where the floor vibrated when you ran through it on the way to the backyard, making the card table sway so that the parents grabbed up their glasses, slick with condensation from the humid evening, and shouted laughing reminders not to let the door slam (reminders which no child ever heard, what with the door slamming all the time). 

Sometimes she stayed up late after her parents tucked her into her sofa spot, watching the lights from occasional cars pass over the room, listening to the muted quarter-hour chimes from the cuckoo clock in the entryway. Jennifer liked sleeping, especially now as she was approaching adolescence, but the feeling of this house was always strongest at night, and it was nice to fall asleep slowly, letting her gangling limbs melt into its warmth, its books and clutter, its fullness. 

This evening, though, she’d been up very late already, alternately playing with and evading the younger children, and she wasn’t awake long enough to hear even one of the clock’s chimes.  

As she sank into sleep she heard, for a moment, an odd clopping sound. She thought it sounded like hooves, fumbling unevenly over the cobblestones, but that didn’t make sense; Jennifer didn’t always pay close attention to everything around her, but she had certainly never heard of horses being on Wendover Street. 

The sound, seeming to make up its mind at last, moved further and further away, in the direction of the dark houses further up the road. As the sound faded Jennifer drifted into one of those golden, twilit dreams that only children really have, and by morning she didn’t remember hearing it at all.  

To_Hear

To Hear by Donald Patten

About the Author

Lindsay Lennox is a queer, non-binary writer living in Colorado. In addition to a few (more mainstream) published pieces, they are currently revising a novel using sci-fi themes to explore gender identity, as well as working on a magical realist retelling of The Boy Who Cried Wolf.

About the Artist

Donald Patten is an artist and cartoonist from Belfast, Maine. He produces oil paintings, illustrations, ceramic pieces and graphic novels. His art has been exhibited in galleries across Maine. His online portfolio can be found here

The Bats of Wat Pho

By Kimberly Gibson-Tran

It was noon and scorching, but my sister wouldn’t budge from the pleather backseat of the white Mitsubishi. This was the first time we’d been back to the temple since childhood, but this fact didn’t move her. And she was supposed to be our eyes with her expensive journalism school camera. Trying to recall her lesson to me on shutter speed, I took the strap from her shoulder, tracked the dusty trail to Wat Pho. In the archway emerald with Bodhi leaves, I snap a photo of two young monks—nejns—shoulder-toe in the orange robes of their order. Their shaved heads bend together. The backs of their sandals slap the packed dirt. I do not approach them. As I am a woman, they shouldn’t talk to me, and, as I am a Christian, I have no cause to bother them. I’ve come, like everyone who comes here, to be enlightened by the dark things, so I look up. 

Khangkhao Mae Kai, Pteropus lylei, Lyle’s flying fox. They are big for bats—the biggest, in fact—wingspans of a full meter. Faces puff out of their black rubber arms in tufts of orange-brown. Suckling their little pups upside down, the colony, which can also be called a cloud, chitters and cackles like a village at market. 

Banshee_Jennifer_Weigel

Banshee by Jennifer Weigel

When we moved away from Bang Khla, we almost never saw bats, not in their night swarms anyway, those thousand bodies outdoing the birds as they spewed from the trees in the Halloween purple of dusk. How did Katie get to be so afraid of them? 

Who isn’t afraid of the dark, even without ghosts, even with prayers lodged in the throat and brain? Children of missionaries were trained back then to deal in the spiritual shadows. It was called warfare. In church, in America, when I was fourteen and newly moved from the tropical latitude of Thailand to the unenriched clay of Texas, the other kids laughed off the parts of the New Testament about demonic possession. God didn’t work in those ways here. If only, I thought, these worshippers under the spotlights of their basketball-court-convertible sanctuary could sense the incense infused air of the goldleaf and glass kaleidoscopic temples. There is a voice that calls us from the open and into the corners, recesses, bushes, far fields. What do they call it here?

In 2007, when I was a teenager in College Station, Texas, the vampire craze hit. For my birthday, a pretty, red-headed classmate gave me a thick paperback of Twilight. I didn’t read it—I admit, I don’t read books gifted to me. But I read her note inside the cover—a cursive rendering of Shakespeare’s Sonnet 116. Maybe my sister read the book, which, I learned from the Robert Pattinson movie, demystifies the lust-sick vampire into simply another kind of wounded human. 

I trace my vampiric trauma to the source of most of my nightmares—The Animal Planet, whose educational programs in the 90s included, between filler material of seal and walrus footage set to Beach Boys soundtracks, the dangerous conservation adventures of Steve Irwin, crocodile hunter, and straight nature documentary—harrowing animal tales narrated by the likes of Leonard Nimoy or other fringe celebrities. These nature documentaries would cover a region—the Kenyan Great Rift Valley or the South American Amazon—and toggle between footage of different species. The narrative was always a variation on the big theme: survival, aka death, aka predation. There I learned about the vampire bat, which pierces the warm hide of a cow before licking the wound in little laps of pink triangle tongue, not unlike the little impish dagger my sister carried when she would cut in to report one of my wrongs. 

Through the TV box I saw the moonlight catching in the wrinkles of the squished, piggish faces, nothing like the friendly dog-snouts of the flying foxes of Wat Pho, wolfish as they were. The worst the foxes would do is steal from the orchards, copper fur matted with banana mash or mango, though, my doctor dad reminds me, they do spread rabies through urine on occasion. 

One time, after we’d moved from central to northern Thailand, to a valley surrounded by green mountains, I was riding my bike around the compound. It was night and the air was still suspended with rain. It was quiet and very dark, and away from the lights left on at my parents’ clinic, I could hardly see in front of me. I had to look down for what little light escaped the concrete when suddenly out of the infinite nowhere something big and black flew into me, shocking me alive. It felt like the slap of a furry umbrella. Everything was fine. I didn’t fall. I peddled home. 

Prayer_Jennifer_Weigel

Prayer by Jennifer Weigel

Why couldn’t Katie get out of the car? At the root of this inquiry is the fact that I have never understood my sister. She, my only sibling, does not see memory like I do. She asked me sometime last year or the year before if I would go with her and her husband on a vacation to Thailand—play guide and interpreter for them. I, who can only ever go back. She, who can only ever go forward. I said yes, but we never bought any tickets.

She seemed to adapt more easily to America. Top grades, top social circle, pretty. Not that I wasn’t those things, just in different ways. We used to fight with kicks, fly at each other like bats out of hell, someone in Texas might say. What was it she never got? What have I always been trying to get out of her?

A chance discovery home from a college break: her diary. I expected the usual mourning over a crush, but it was over me: “Kimberly is so perfect with her long golden-brown hair, the way it tumbles down in waves. She walks so tall and smooth with her shoulders back. She’s so popular and beautiful. I want to be just like her. I want to look like her, talk like her, walk like her.” It was the first time I read myself as a character of hers. I felt more than ever that we had missed each other at some crucial juncture. 

But then there are the things we’ll always know. The data we could present, and sometimes have presented, on each other, ripples in the fond reflections. The things I know she fears irrationally. This dark knowledge a sort of intimacy beyond words.

One night, when I was twelve and Katie was ten, and we were sleeping in my room, she got up and went down the stairs grumbling. My mother, working late at the dining room table, saw first my sister’s flushed, chubby cheeks—what everyone noticed—then the bulge of black armor, the stinger bobbing from the six inches of scorpion on her chest. 

The summer after my high school graduation in Texas, Christopher Nolan’s The Dark Knight dominated the box office. I went to the midnight show with my dad. He liked the action. I liked the symbolism, the moral quandaries Batman’s enemies always seemed so intent on placing him in. Batman, hoard of one, no matter his intent, is a dark agent. Chaos and order both, like the spiral cloud of bats which so traumatized him in childhood, impressing upon him the need to become the fear rather than overcome it. 

Sometimes you look inside and want to find the animal. This thing of pure instinct that we cannot but tame into symbol. What did it mean when I tore at the flesh of my sister’s scalp? Was I, as the Buddhist might say, shackled by desire? Or was it jealousy old as Cain and Able? When the scorpion stung my sister, it left a mark. All the while I was in my bed, dreaming on the top bunk, cocooned in my own arms.  

They call them “loners” or “lone wolves” in the news coverage. Unable to find the darkness in their skin, we summon other powers of assumption. We scrutinize the details, lay blame at the door of the parent, therapist, or dumping girlfriend. He’d dyed his hair red-orange, a joker. Armor cloaked him like a Batman fan, fooling the audience that he was part of the midnight premier act. Then he lit up the place. During his flight, we almost took him for a police officer. 

When my family drove by Aurora, Colorado in 2012, it was only a place. Another land to contrast with the mountains and fields in our memories. My sister was working at the big YMCA in Colorado that summer. She was changing, growing, my parents and I remarked, trying to know who she was. 

On a recent return to my childhood home in Bang Khla, I brought my Texan roommate. One of my parents’ old friends, a missionary I’d known as a child, played host to us, driving us around town in her mission-donated white Mitsubishi. Some things stay the same, like the bat temple. Same rusty dirt, same Buddhas in the shrine, what look to be the same young monks, the Bodhi tree canopy, and the gibbering cloud bespeckling the noon light. How at once they allow you to believe in them and their vibrant reverse world. A mother with her pups hidden under an umbrella wing. Another bat, blackened utterly, hangs electrified from the telephone line. My friend is awed, snaps dozens of photos that can never get close enough. Then she’s done and, looking around again, finds the place creepy, says she’s ready to go when I am. 

Maybe my sister, unlike me, knows how to leave a scab alone. Maybe she knows something I don’t about wounding. She is, after all, a nurse now, like our mother before her, our mother who shouted over and over for our father to bring the surgical Kelly clamps from the bathroom, which he did, swiftly locking down on the monster’s spike. In the memory that is not my own, it bucks and writhes like a nightmare fiend, like a strip of purest nerve, a live wire, a struck patch of blackness I would do best to leave alone. 

About the Author

Kimberly Gibson-Tran studied linguistics and creative writing at Baylor and the University of North Texas. She's written critically about poems with "Lines by Someone Else" and has recent writing in Anodyne Magazine, Passengers Journal, Elysium Review, and The Common Language Project. Raised by medical missionaries in Thailand, she now lives in Princeton, Texas, and works in college counseling.

About the Artist

Jennifer Weigel is a multi-disciplinary mixed media conceptual artist. Weigel utilizes a wide range of media to convey her ideas, including assemblage, drawing, fibers, installation, jewelry, painting, performance, photography, sculpture, video and writing. Much of her work touches on themes of beauty, identity (especially gender identity), memory & forgetting, and institutional critique. Weigel’s art has been exhibited nationally in all 50 states and has won numerous awards.

Vampire Finds Out You’re Low on Blood Sugar

By Eric Brown

It’s the slight retraction of the fangs, 
just inked with crimson stains,  
that signals that first impression 
of disappointment.  It’s not that the neck 
wasn’t bare or taut enough,  
the lace choker too limply woven,  
the bodice too homespun for ripping.   
(Though what sad labor went into so much 
restitching.)  But disappointment 
all the same.  Perhaps if you’d supped 
on chocolate, or hydrated more,  
or swallowed freely that second bite 
of bagel, or if you’d stretched your 
intermittent fasting a little less severely,   
then those puncture wounds with black 
and scabrous crust might have been yours. 
The draining of all that sweet corpuscular 
flamboyance.  Instead, another bat-faced boy 
in the night feeling sorry for you, 
turning to mist, gone before sunrise. 

Bigfoot_Saw_Us_But_No_Oner_Belived_Him_23x31

Bigfoot Saw Us But No One Believed Him by Daniel Wood Adams

About the Author

Eric Brown is Professor Emeritus of English at the University of Maine Farmington and Executive Director of the Maine Irish Heritage Center. His books include Milton on Film, Insect Poetics, and Shakespeare in Performance, and his work has previously appeared or is forthcoming in Enchanted Living, Rust & Moth, The Ekphrastic Review, Mississippi Review (first prize, Hamlet issue), Carmina Magazine, The Galway Review, Sublunary Review, Constellations, Eternal Haunted Summer, Star*Line, The Frogmore Papers (shortlisted for the 2023 Frogmore Poetry Prize), and elsewhere.

About the Artist

Based in Austin, Texas, Daniel Wood Adams is a multifaceted creative with a passion for blending visual aesthetics and craftsmanship. As a graphic designer, illustrator, and woodworker, Daniel’s work reflects a unique intersection of artistry and skill. Daniel’s creative journey began with degrees in illustration and graphic design from Pratt Institute in 2012. Those formative years were a thrilling rollercoaster of art, Pabst Blue Ribbon, and caffeine-fueled all-nighters, setting the stage for what would become a dynamic career. In addition to his professional work, Daniel enjoys contributing to the local creative community and collaborating with fellow artists. His diverse skill set allows him to approach projects from unique angles, continually presenting new opportunities to grow and refine his craft. Daniel is excited to see where this journey will lead him next.

Texas Chainsaw-esque

By John Sara

Shoe_Tree_WarrenMuzak

Shoe Tree by Warren Muzak

Hollow_Screams_WarrenMuzak

Hollow Screams by Warren Muzak

Madness hides in the backseat of a pickup, 
feet blistered from running.  
In the hot sun, blood  
can be mistaken for sweat. 
The bones of roadkill  
can be fashioned  
into a home. 
 
Madness is a family, starved 
at the dinner table; meat 
stuck between teeth. 
 
Your family tree is 
made of skin. From 
afar it looks like leather; 
a dance in the orange dawn, 
blades whirring, 
laughing, 
still alive  
but barely. 

About the Author

John Sara is a writer from Parma, Ohio. He received his BFA in Creative Writing from Bowling Green State University and is currently pursuing his MFA at Ashland University.

About the Artist

Warren Muzak's passion for illustrating started early, captivated by the visual narratives found in comics. He studied Graphic Design in college and from that worked at a few print-shops in pre-press. His abilities creating digital art got him a job as a production artist for a high-end carpet manufacturer where he took beautifully hand-painted gouache artboards and redrew them digitally to be used in manufacturing. In 2016, he met a seasoned UK stop-motion animator while working under contract for a small media production studio. This sparked a new direction—2D animation. Warren embraced it, finding a natural knack and genuine joy in the work and atmosphere in the studio. By 2018, freelancing became his full-time pursuit, honing his craft through persistent bids on online platforms. 

Summon Forth

By Jennifer Rodrigues

About the Author

Jennifer Rodrigues currently lives on the sacred Powhatan land of Fairfax, VA. She is trained as a certified yoga therapist & trauma informed yoga teacher, is a queer & neurodivergent military spouse, & mom. She has been featured in many lovely literary journals, anthologies, and has been nominated for Best of the Net with her photography. Find her on Insta @gmoneyfunklove.

About the Artist

Bec Sommer is a painter and interdisciplinary artist from Saint Louis. He received his BFA in Painting from Kansas City Art Institute and his MFA in Visual Arts from Cornell University. His work tends to gravitate toward ideas of taboo, transgression, dysphoria, and infatuation, with an emphasis on collage and fandom-born methods, to create and deconstruct narrative scenes.

Carnival of Souls – Release

By Allison Goldstein

Hunched at the edges  
of the swirling gray water, 
 
the men can only shake  
their heads in quiet disappointment 
as the car full of dead girls  
is dredged from the river. 
 
Silent faces young and perfect— 
lipstick unsmudged,  
not an eyelash 
out of place. 
 
A low groan escaping the tow truck  
as it drags the sedan past  
the cross-armed men  
straddling the shoreline,  
 
tires clawing into the mud 
like the fingernails  
of someone buried alive.   

This_Limestone_Doom_-_Mixed_Media_Collage

This Limestone Doom by Brett Stout

About the Author

Allison Goldstein received her MFA in Poetry from California College of the Arts. She has been published in a variety of literary and cultural publications including Not Very Quiet: The AnthologyBurnt PineMoleculeGyroscope Review, and Maximum Rocknroll. Allison currently lives and writes in South Florida. You can learn more about her work by visiting her website. 

About the Artist

Brett Stout is an artist and writer originally from Atlanta, Georgia. He is a high school dropout and former construction worker turned college graduate and paramedic. He creates mostly controversial artwork usually while breathing toxic paint fumes from a cramped apartment known as “The Nerd Lab.” His work has appeared in a vast range of diverse media, such as art and literature publications by NYU and Brown University.

Isle

By Eleanor Levine 

I want pumpkin pie 
and luscious small talk,
not opera breaking a glass;
martinis splattering;
everyone in flight while I
remain alone; blinking
stares: the way it is with
boys taking meat cleavers
to my feet so they turn
inward. 

About the Author

Eleanor Levine’s writing has appeared in more than 130 publications, including New World Writing Quarterly, the Evergreen Review, The Hollins Critic, Gertrude, and the Maryland Literary Review. Her poetry collection, Waitress at the Red Moon Pizzeria, was published by Unsolicited Press (Portland, Oregon). Her short story collection, Kissing a Tree Surgeon, was published by Guernica Editions (Toronto, Ontario, Canada).

Untitled_Dark_Abstract_shaemeyer smaller

Untitled by Shae Meyer

About the Artist

Shae Meyer was born in the shadow of the Rocky Mountains in Boulder, CO. He studied at the University of Colorado, where he received his BFA in Printmaking. He moved to New York City and began working in studios producing large scale paintings in the Hudson River style, while developing his own processes. His work engages questions concerning objectivity, subjectivity, and individuality within the context of environment. Incorporating materials discarded and overlooked, he examines whether these have intrinsic value, or prescribed value based on their use. By pulverizing these objects, they often lose their natural form, and become hidden in the depths of a painting, becoming a part of the larger whole, an element within a larger context. For Meyer, these materials become an allegory for the value of an individual person, examining if somebody is more than merely the sum of their parts, or perhaps; are all these parts the same. Wondering constantly whether he is a big part of something small, or a small part of something big, or perhaps nothing at all. 

After Magritte’s The Lovers

By Lorna Wood

She knew he was respectable by his suit, shirt, and thin tie. He knew she was sensuous because she bared her arms, allowing him to caress her flesh, pressing it with his fingers as if she were a fruit he might or might not buy before he joined his cloth-covered mouth to hers. But always, each held something back from the other. Later, when their tongues were tired and coated with lint from fruitless probing, there would be a gradual unveiling, until no mystery remained—only two baby blankets, and, in the end, two shrouds. 

See The Lovers

About the Author

Lorna Wood is a violinist, writer, and teacher in Auburn, Alabama. Her debut collection, The Great Garbage Patch: Reflections on Fascism (Alien Buddha Press) appeared in 2023. She has had poetry published in the US, the UK, Iceland, South Africa, India, and Australia. She has also published fiction, creative nonfiction, and scholarly articles. Find out more here. 

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