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micro fiction micro monday short fiction

All The Kids Are In Therapy by Jen McConnell

All The Kids Are In Therapy | Jen McConnell

Life was just a series of soon-to-expire sticks of string cheese but my brother, a monster with no imagination, ate his by biting into it, like it was any ordinary food, whereas the rest of us – and, by us, I mean all of humanity – pulled the strings off one by one, dangling them, slurping them like spaghetti, whipping each other’s cheeks with them, like normal kids and it makes you wonder what happens when a monster grows up and gets a job, and that’s when the therapist asked if I had a happy childhood and I hesitated, wondering if she really wanted the truth or rather the abridged version I gave everyone else because, while people loved to hear a tragic story, they preferred it in the third-person and that’s when I realized I was reclining on a couch, like a patient of Freud, and the couch wasn’t for my comfort but for the therapist, so she didn’t have to look me in the eye when I opened my heart and let the truth rush out.

About the Author:

Jen McConnell has published prose and poetry in more than forty literary magazines and two of her short stories have been nominated for a Pushcart. She received her MFA from Goddard College. Recent work can be found in Does it Have Pockets?, Bridge Eight and the tiny journal. Her first story collection, “Welcome, Anybody,” was published by Press 53. See more at jenmcconnell.com.

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micro fiction micro monday short fiction

Love Letters by Karan Kapoor

Love Letters | Karan Kapoor

Dear Blue, You are an island far away. Extraterrestrial like oyster shells, I want to carry in my palms the stones beneath your feet. I rub moss all over my body as a way to be near you. An island is the raised thumb of an ocean. It means ocean is having a really good day. Or perhaps ocean is hailing a cab. I am working on convincing ocean to take a walk, so I can walk to where you are. For now, I let the sky open and cry in my arms. Rain is the way clouds look after us — the true teachers of returning. I trace my origin to the sun. To South Africa over three hundred thousand years ago. I am the color of fire, yolk, urine, lemons, daffodils, bananas, longing, summer honey. That I might be made up of cow urine might make you laugh. But I am made from the earth and you are sky. I want to rise above and fly through this smog and reach your doorstep. When we touch, we will be the color of a healed world. Eternally yours, Yellow.

Dearest Yellow, Your words are the cause of light. You are the subject of sun’s envy. Though you remind sunflowers to turn, they wither in my presence. I raise my hand but nobody asks why. When I was born, my mother’s milk came out blue. I did not know you then, but sometimes when I feel alone (which is a regular occurrence in this country where rivers stretch like veins over the broken skin of the earth) I imagine I have known you my whole life. Silver-gray clouds, like thieves, hop the fence of horizon. All beaches I touch hold a signpost warning against tsunamis. How does one outrun a tsunami? I did not mean for this letter to loom with death but these days even the palm trees along the stripmalls do not cheer me up. I am a world without footprints. I am the broom that scatters the dust of joy, shatters the vase of mercy. I am bruise, I am ice, I am Shiva’s throat, I am death. My prayer is not more than gossip. Why do you lose yourself in the atlas of earth and water? This fugue of distance. Do all colors not turn black if mixed together over and over? Yours in the pandemonium, yours in the quiet, Blue. 

About the Author:

Karan Kapoor is an MFA candidate at Virginia Tech. Their poems have appeared in AGNI, Shenandoah, Colorado Review, Cincinnati Review, North American Review, and elsewhere, fiction in JOYLAND and the other side of hope, and translations in The Offing and The Los Angeles Review. They’re the Editor-in-Chief of ONLY POEMS.

Categories
micro monday micro nonfiction short creative nonfiction

Oceans by M.R. Lehman Wiens

Oceans | M.R. Lehman Wiens

The child is crying, his wails cascade down the stairs and flood our home with grief. It’s the sixth time this evening, and our Netflix queue is stuck on a frozen screen. Are you still watching?

She does not look at me, focused on her laptop, as she should be, the physician caring for her patients. She has birthed, nursed, worked her body and mind down to the bare fibers of her existence. She is done.

She coughs once, a soft, delicate sound that tells me what I already know. It’s my turn, has been my turn, and there will be no discussion of the issue. I shouldn’t have to be reminded. I go upstairs and pick our son out of the crib. I sing to him, rock him, and he quiets but does not sleep. Large blue eyes fill the nursery, her eyes, reminding me that love is an ocean, one with tides that ebb and flow, but that never completely disappear.

He and I lie down together, me curled around him inside the crib, as much of a womb as I can be. 

He and I sleep.

When she comes upstairs, I hear the creaking of the old floorboards before I feel the touch of her hand on my shoulder. Carefully, slowly, I climb from around our son and follow her back to our bed.

There, we hold each other, our breaths matching, caught in the ebb and flow together. 

About the Author:

M.R. Lehman Wiens is a Pushcart-nominated writer and stay-at-home dad living in Kansas. His work has previously appeared, or is upcoming, in Consequence, Flash Fiction Magazine, The Metaworker, The First Line, and others. He can be found on Threads as @lehmanwienswrites.

Categories
micro monday poetry

Death of the Moth by Annalee Fairley

Death of the Moth | Annalee Fairley

When I turn on the faucet, he cannot escape
this torrent, his wings vibrate, an eyelid dreaming
flight which can lift him only in the direction of
the water’s exit. How quiet is the panic of
this moth. He begs nothing from me, no mercy
even as the liquid pools around him, which shows
him the life of a dead leaf in autumn. 
A brown thing all wet and weighed down.

I want to be more than this bed I made.

About the Author:

Annalee Fairley

Annalee is a queer poet that currently lives in Roanoke, VA. Over her writing career, her poetry has been published in Ink & Nebula, Apricity Magazine, The Black Fork Review, Hellbender Mag, and Chapter House Journal. She has been awarded the Gager Fellowship, Neill James Creative Writing Scholarship, and the Betty Killebrew Literary Award for her poetry and fiction. She currently works as a librarian.

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micro monday micro nonfiction short creative nonfiction

Tucked In by Mubanga Kalimamukwento

Tucked In | Mubanga Kalimamukwento

My son watches Bambi for the first time today. An hour and ten minutes of decadent silence – no banging toys, no merry-go-rounds of questions and requests. I welcome this quiet for the gift that it is: rare solitude for my mind.

After, his afternoon continues as always – Legos, Pokémon, Beyblade, a loud, imaginary world that turns the house upside down, until supper.

Then, as I bend over to tuck him in at bedtime, he says, “Mom, I have a question.”

I smile. “Oh?” Usually, his questions just spill out, no preamble or room to answer before the next one comes, for as long as he can stave off my inevitable Goodnight. I tap his nose with my finger. “And what’s that question?”

“Will you die?”

He is eight. So far, our big talk has been about why daily showers are important, even when he doesn’t get any mulch in his socks. I was expecting the birds and the bees before the life-and-death conversation. My heart cracks right open as I tell him, “One day, yes, I will die.” 

The silence returns, the one from Bambi, no longer a gift, as my mind tries to squirrel away from his inquisitiveness. His eyes, which were once my mother’s eyes, dark and wide, seem to take a long screenshot of my face, memorizing the routes of the lines on my skin as the understanding sinks into him. The silence blooms – a minute stretched to the verge of breaking until he asks, “When?”

“Not for a very long time,” I promise, planting too many wet kisses on his cheeks. 

Prone to ticklishness, usually, my son would laugh. Instead, he shifts from me, this new wisdom already tugging him out of childhood, making him a little less my baby. “But your mom, she died when you were little, like Bambi’s mom?” 

I spot a quiet terror in his expression, the math he must be computing. I was ten when mine died, and he will be ten in two years. I have told him as many stories as my mind has been able to restore, rebuilding my mother the way he does the Lego castles whenever they fall apart – how he has the gravel in her voice, the exact cadence of her laughter, her sneaky sense of humor.

A quiver sits in my throat, waiting to mutate into tears over a glass of wine later. I nod, frantically hoping his next question will be something I can answer – How many deer are there in the world? Can I go to the park tomorrow? How are animations made? I cup the duvet around his shoulders and lift it to his chin. I fix his mohawk, which doesn’t need any fixing, anything to avoid the question building in his eyes. 

Instead, he asks, “Who tucked you in, then?” 

About the Author:

Mubanga is a Zambian writer. She is the winner of the Drue Heinz Literature Prize (2024), the Tusculum Review Poetry Chapbook Contest (2022), the Dinaane Debut Fiction Award (2019) & Kalemba Short Story Prize (2019). Her work appears or is forthcoming in Contemporary Verse 2, adda, Overland, Menelique, on Netflix, and elsewhere.

Categories
micro monday poetry

Collarbone by Lynn Gilbert

Collarbone | Lynn Gilbert

She shows me where they’ve repainted
the blue and black lines on her face
and neck, adding a new target
just above her collarbone.
Her wig frets her in this weather;
the sore place in her throat is back.
She gets so many visitors
I don’t even glance over there
when car doors slam.

Out my window that faces her house,
bright cannas simmer in a line
where the wall of my old garage
once tottered, the whole dilapidation
leaning more and more until
it had to be torn down. Long gone, but
today I imagine the canna blossoms
gold and scarlet against dark scales
of the vanished garage roof,
the ancient shingles shedding grit daily
and the rotted rafters sagging, caved-in
like the hollow above a collarbone.

About the Author:

Lynn Gilbert’s poems have appeared in Arboreal, Blue Unicorn, The Lakeshore Review, Light, Mezzo Cammin, Sheepshead Review, Southwestern American Literature, and elsewhere. Her poetry volume has been a finalist in the Gerald Cable, Off the Grid Press, and Fjords Review book contests. A founding editor of Borderlands: Texas Poetry Review, she lives in a suburb of Austin and reads poetry submissions for Third Wednesday journal.

Categories
micro monday poetry

Guessing by Jared Pearce

Guessing | Jared Pearce

I always thought Mom was the John Denver
fan, but there was Dad, post three strokes, thick
with dementia, asking me to play him.

We snuck into the front room which Mom keeps
holy while the family roasted meats and munched
cookies and placed puzzles and talked.

I snapped a guitar and strummed every Denver
tune I could recall. We sat in the dark, me
missing chords, voice mostly dropping out,

and he sat in his elevating chair, tears shining
like Christmas lights on his eyes, his cheeks,
dropping onto his chest from his chin.

We crossed the mountains, dove with
dolphins, became haunted by the loves we
forged and lost, wished our singular wishes.

He wouldn’t say why the tears came, but I know
it wasn’t my beautiful sound. I’m sure he
felt a corner of the past he had missed

in his previous scrambles to pull himself
together for another few days, and holding that
unnamable portion drew a small assurance:

he would die soon, but he lived, and the living
was often wonderful, like an eagle’s flight,
an aching, coming-home kiss, a dusty road.

About the Author:

Jared Pearce grew up in California and now lives in Iowa.
His website: https://jaredpearcepoetry.weebly.com.

Categories
micro monday poetry

Those Who Can’t by Taylor Franson-Thiel

Those Who Can’t | Taylor Franson-Thiel

I will teach my daughter how to carry
the body of her mother west,
stepping over the Rockies
to bury her

beneath the red chest of Utah’s desert.
Cup my hands over hers as she
smooths oxidized dirt,
careful to cover the
face first

if it makes her feel better. I will teach her
how all daughters of our lineage bury
many versions of their legacy.
The line of graves,
a long ribcage.

About the Author:

Taylor Franson-Thiel is a Pushcart nominated poet from Utah, now based in Fairfax, Virginia. She received her Master’s in creative writing from Utah State University and is pursuing an MFA at George Mason University. Her writing frequently centers on the intersections between the female body, religion, and her experiences as a college athlete. Along with writing, she enjoys lifting heavy weights and reading fantastic books.

Categories
micro monday poetry

Comfort Food by Sydney Sheltz-Kempf

Comfort Food | Sydney Sheltz-Kempf

Could a depressed person make homemade ravioli? Ha.
The joke’s on you, C-SSRS. 
My hand-me-down bread machine is an Oster, 
and the manual contains an eggless recipe for pasta dough 
so there’s nothing manual about it. 
My hands are free
to collect all the tears I shed while
shredding the parmesan,
and I have enough salted water
to boil the entire batch. 
My arms and legs are the right gangly proportion to flail
like a yellow perch out of water, 
but he won’t let me sit in my bathtub alone anymore
because he knows I’ve chosen the scent of my soap 
based on how it tastes in my lungs: 
vanilla with a hint of sotolon. 
Sometimes when I just can’t do anything else, 
I sit on the linoleum floor
in the tiny apartment galley kitchen, 
lean my head against the flimsy plastic of the dishwasher door
and let the tears run down my face until the tissues in my hand become a sponge bath.
It’s a trick I learned from my mother
when she answered the cord phone on the wall 
and learned her baby brother died. 
She was so dehydrated when she pulled herself off the floor
that she never cried again – a salted fish of grief.
I just want to be like my mom. I ask her: 
“Did you have a bread machine?” “Yes.” 
“Was it before or after you cried?” “I can’t remember.” 
It is not the first time
she has not given me the answers I need.
If I’m depressed enough, I’ll make the damn waffles too
(thank you Oster manual) 
and let the maple syrup run in rivulets instead, 
pooling stagnant like all the memories
forgotten in the dopamine drought.  
Carbohydrates are comfort food
only because they stick in your gut 
and hold you together from the inside out, 
crammed in the crevices 
where the things that eat away at you used to lie. 
I need to shower,
and my husband is expecting a semblance of dinner, 
but I only have enough caloric energy
for one horrifically large task: 
living.

About the Author:

Sydney Sheltz-Kempf began writing poetry to cope with the stress of her PhD in Developmental Neurobiology. Her previous work can be found in Intima: Journal of Narrative Medicine, Sonder Midwest, Hilltop Review, Atlas + Alice, Evocations Review, Dying Dahlia Review, and elsewhere. Her previous chapbooks include “Adding Up Forever: A Memoir” (2018), “Kissing the Face of the Grandfather Clock” (2023), and “An Experiment Gone Wrong” (2023).

Categories
micro fiction micro monday short fiction

Levitation by Michael Raqim Mira

Levitation | Michael Raqim Mira

A stained wedding gown hanging in a dusty closet is how you grieve without a sound. A failed marriage and not marrying the man she truly loved in college was how to perfectly control numbness: surgically remove a beating heart, place it on the altar of an empty chapel, and shoot it with a suppressed pistol. 

—

That gown was the first thing she showed me when I interviewed her after her husband was shot in the back of the head in a rice field. She tells me that was not the first time she cried over him. Before, he would come home drunk, then beat her while laughing maniacally. 

When he died, she felt two emotions: pain and ecstasy. 

—

Teresa of Avila levitated under the tip of Cupid’s arrow, her fragile body being ripped cell by cell as carnal pain and divinity pulled her at the ends like an archer’s bowstring. 

She defined the term total surrender, meaning to offer your entire being to what God had written for you, even if your fate is written in blood.

—

Her daughter pulled her hand, leading us to the rice terrace where a white, wooden cross marks the spot of a buried treasure chest. Her daughter’s pull is too strong for her frail, aging body. Her feet are staked to the ground, but her child is straining the umbilical cord connected to her torso, trying to drag her to the memory of a man she once loved. 

She loved another man once. He, too, is gone now. These loves, she thinks to herself, are like that unicorn on a carousel she tried to reach as a child at the annual fair. She could never see it clearly through the motion blur as the mythical creature ran round and round until its magic lost its gloss. 

In the Earth’s gravitational field, she is being pulled in every direction. She says a prayer and the words become an unwritten contract. She says she will always love him. What she really meant to say is, “We’re both free now.”

About the Author:

Michael Raqim Mira is a writer, photojournalist, documentary filmmaker, and podcaster based in Texas. His website is www.michaelrmira.com.