I became a widow at the tender age of nine.Continue reading “Kids”
Burning House Press are excited to welcome MAPULE MOHULATSI as our JULY 2020 guest editor! As of today MAPULE will take over editorship of Burning House Press online for the month of JULY.
Submissions are open from today – and will remain open until 25TH JULY.
MAPULE’S theme for the month is as followsContinue reading “JULY 2020 Guest Editor Is MAPULE MOHULATSI!!! THEME: SINK”
short story: Point Nemo
He’s been on two journeys in his lifetime. Firstly, Antarctica. With his son, Mark. Arriving by air, setting out (despite all the warnings), saying to the seventeen year old boy, We must take our first reading from the coastline. Mark saying, How can we do that? It’s covered in a billion tonnes of ice.
That doesn’t matter. Continue reading “Short Story by Stephen Orr”
A sample page from Crow Carriage, an annotated poetic horror novel set in a Victorian English seaside village. This is the format of the Crow Carriage book, a sonnet with an expansive annotation that tells a story in prose below (the same format as my book Flutter available at my website and Twist In Time).
The Night The Crow Must Go Away
You lie beneath a dozen nightmares. Screams
careening down a crow-covered stair wake
you in the last second before the dream.
At nineteen she decamps to an apartment in the western suburbs with her boyfriend, Tanner Walsh. This is not her first time living outside her parents’ home. There had been that whole year   at the university downstate — a semester in a traditional dorm room and then a desperately traumatic semester in a suite situation with three other girls who had all already been living with each other for a whole semester and who had a system and everything that went along with it (“intruder” is barely the word). The point being: she had lived alone before.Continue reading “Playing House, by Jenn Lee”
My Ariadne can see the future.
(My Ariadne. This is my version of the story.)
She spins her red thread, and it twists into shapes before her eyes, hearts and nooses. It tells her that Theseus turns out to be an asshole.
Seven young men and seven maidens arrive on the island, and Theseus outshines them all. His eyes are the sky blue of someone who believes he cannot fail, who believes he has no darkness within him. Those eyes make Ariadne dream of flight.
Theseus wonders how such a creature as the minotaur, half-beast, half-man, could be allowed to exist. Ariadne doesn’t tell him the last of the halves: the monster is her half-brother. In the evening she dreams of blue eyes, but her hands twist and turn the red thread. At midnight she dreams of mazes like arteries and veins, running red and blue.
Ariadne gives Theseus a coiled ball of thread the size of a heart. She tells him the thread will guide him out of the labyrinth.
“The poem surpasses the other literary arts in every way: in its depth, potency, bitterness, beauty, as well as its ability to unsettle us.” Jón Kalman Stefánsson
Unsettlement is a recurring theme in Tony Messenger’s debut collection ‘poems to be found in the desert’. Colonial unsettlement, traversing an uncomfortable environment,
d i s l o c a t i o n and the blurred lines of imaginary \\\borders///. \\\Boundaries/// & limits that appear, settle and dissolve.
This conflicting duality works to unsettle the reader, forcing them to ???question??? their place in the vast Australian →landscape←, an environment where nothing seems as it appears.
The epigraph for the opening section of poems comes from Ely Williams “I find that out in the desert my words wander too because here thoughts and words are things unleashed.” A warning that the collection is peppered with thoughts and words unleashed, a cryptic murmuring, a maze of ideas that circle, repeat, fade and reform. It is easy to become lost in this text, thinking you’ve already experienced an image, but a refresh and a re-read show slight differences, an erosion, a morphing of concepts.
This is the desert where the obvious is not so obvious.
The collection opens with the poem “longifolius” (the scientific name for the spiky spinifex grass that is abundant in the central deserts). The poem can be viewed as a metaphor for Australia itself. The grass grows in a ◌circular◌ clump, and as it ages its shape becomes nest like, with the centre ►dying◄ off as the grass uses all the available nutrients in the soil, the newer stems sprouting on the outside forming ◌concentric◌ patterns. The inner “►dead zone◄” is a haven for ants, who feed on the ⸙seeds⸙, and reptiles and birds, who feed off the ants. Hence the ◌circular◌ shape of the poem. Something that may appear barren is in fact teeming with life. Look to the centre not as an ⸔inhospitable⸕ place, look for details, enquire with a local pair of eyes.
. . . something about a man and his dog (in the grand, non-linear scheme of reincarnation) as being one in the same. Soul, that is. Ethereal transient dweller, is another. Here now, there they are: Situated between two distinct, bloody meat husks, between two separate states of existent being — at once, under one roof, simultaneously — with one foot in man, the other, a dachshund-terrier mix.
. . . is comprised of both end and endless, singular and infinite, of omniscient oblivion, bright-dark heavy-light, of both shape and void, each with their own distinct name. As a man: Brandon. In dog form, she is Mocha, among countless others (i.e., Mochi, Mookie, Monkey, Chunky, Chubbers, Chunkmonster. . . ). As mutual entity, root identity, as timeless core incarnate, a loose translation: Daielaareux.
. . . will spend seven months at the shelter, gone unadopted longer than any other dog, before rejoining herself again. Meanwhile, she cries her jaw off. Starves herself down to a coffee-boned silhouette. Even draws blood from the hand of a guileless child, to make clear the message: I will never be yours. She waits patiently for what she already knows will eventually be.
. . . remembers what, on pure impulse, will drive him to the shelter in this manic grasping for purpose, going on six days without medication. He will come upon himself, caged separate. His ovaries scooped clean. Groggy with shots to keep him quiet, stagnant, alive. Not even finding himself to be particularly cute, or unique, or enthralling, yet feeling instantly connected, just the same. Might he’ve recognized then, in those muted eyes, himself? She knows the next years ahead of them together will be nothing so glorious — that they are in no way ready or responsible enough to take adequate care of themselves. They will ingest things that will make them violently ill. They will be too poor, too careless, to seek medical help. Will endure vast chunks of boredom, chewing holes through themselves, incapable to leave the house. Will watch themselves from the foot of the bed sulk and rot away for days on end, treading the grey wash of their skull, directionless, besides down. Will be the only life force to keep them afloat, strong enough to pull themselves upwards, and eventually, out.
. . . yanks on their leash in unruly directions, and, out of sheer spite, he tugs them back the opposite way. Each will struggle to tell themselves what to do. He instructs her to obey: Sit. Heel. Eat. Fetch. Up on the couch. Now, off. But she refuses to listen. Years later, their heart crushed by a lasting love, lost — the one who used to (she now learns) smack them in private, but still loves her, despite the abuse — two months out, having still not washed the pillows or sheets, incubated with the tortuous scent of their ex’s shampoo, she has no other choice than to piss on the bed. She instructs him to: Be calm. Go for a walk. Know your self-worth. Move on. But he refuses to listen. He tells himself: No. He calls herself: Bad girl. They scream as themselves: Shut up shut up shut up.
. . . Daielaareux, in countless other forms: A bridge in New Zealand. A strip mall in Detroit. An unbuttered croissant. A great big pile of leaves. A spanned lineage of prehistoric, neon-colored crabs. A comfortable silence. An impossible dream. The 37th Annual Miss America pageant. A one-hit wonder. An impotent king. A fortuitous accident, recognized only in hindsight. The Divine Mouth taking the earth like a vitamin. A newborn horse’s first step. Another one biting the dust.
. . . forever amounts to, returns back to, self-love.
. . . just seconds before the New Year, 2018. Time hibernates. Thoughts shuffle like a deck of cards. Head loud. Skull turned inside out on psychedelics. A blubbery, sunken, self-contained mess of fleshy slop packed inside a transient shell. A dark stain on the carpet, on a mother’s pelvic floor. He rushes to the bathroom, convinced an empty bladder will cure him. It does, then doesn’t. Grime sits in every wrinkle. Gravity’s tandem held hand lets go. The universe’s veil pulled down like a shower curtain, their many forms spilling out over the linoleum floor. On their knees, hands, back, she perches on his chest and he catches it — a quick glimpse, the uncanny resemblance, atoms stacked like dodged shoved in a cage. He holds herself behind the ears, kisses himself on their wet, hot stinking teeth. Noticing it fully, this tethering between them — an ethereal cord, conjoined. He she they them are all was once will have had we become continuous as one day slips seamlessly into the next without a clock, as the crackling bursts of fireworks resound from outside, at last. They have made it, for now.
. . . in the same windowed timeline, will cease just as abruptly as its start: The man, at the tender age of fifty-six, from an untreated pulmonary obstruction; as a dog, age nine, a pack of stale Oreos left accessible at the top of the trash. And yet, both still remain incapable of saving each other, themselves, from what must be in order to happen again.
Stephen Wack is an Atlanta-based writer. He earned an undergraduate degree in Neuroscience from the University of Georgia, where he briefly interned at the college’s literary magazine, The Georgia Review. His work has previously appeared in Five:2:One, Rougarou, and Cleaver Magazine, and is forthcoming in The Hunger and New Flash Fiction Review.