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Welcome to the Under_World of Nico_ by Alistair McCartney 

Photo collage of Nico, by Billy Name, 1967.


Alistair McCartney is the author of The Disintegrations and The End of the World Book, two experimental novels published with University of Wisconsin Press. The Disintegrations is the recipient of The Publishing Triangle’s Ferro-Grumley Award for LGBTQ Fiction. TEOTWB was a finalist for the PEN USA Fiction Award and the Publishing Triangle’s Edmund White debut fiction award. His poetry and cross-genre writing has appeared in journals such as Hotel, Deleuzine, Fence, Light/Air, LIT, Stand, 3:AM, Vestiges, Nat.Brut, Animal Shelter (Semiotexte), ExPat Press and Pilot Press’s Paul Thek and Forbidden Colours Anthologies. He is currently working on a book of poetics and a novel. Originally from Australia, he lives in Los Angeles, where he is Teaching Faculty in Antioch University’s MFA program.

Hollow Copy by Yvonne Salmon

Nico in Exploding Plastic Inevitable (1967).


Yvonne Salmon is a writer, artist and filmmaker. Recent work has featured in the Ver Poetry Prize Anthology, Martello Journal and Frogmore Papers. Her study on queer sixties literature ‘Certain Circles’ appears in The 1960s: A Decade of Modern British Fiction (Tew et al eds).

Death Is Not the End (On the Last Bench Before Oblivion) by Mark Jay


Mark Jay is a film-maker, writer and visual artist who has been causing cultural disruptions for almost half a century.  His documentary and fiction films have gained awards at international festivals and are in worldwide distribution.

Mark started SKuM ‘zine  in 1976 aged 14 after bumping into members of the Sex Pistols in Rock On record shop in Camden.  Issue #1 featured Sid Vicious’ first interview with his band The Flowers of Romance.  Mark became an early face on the UK Punk scene— getting arrested on the Pistols’ Jubilee Boat Party, designing the cartoon poster for their debut LP, and stowing- away on the Clash’s Out of Control tour.

In 1979 Mark co-produced the post-Punk poetry ‘zine All the Poets, in London and San Francisco.

Mark has recently published two Punk Poemtry volumes on the Spinners imprint available

GESHMACK X GESHEFT (Tasty X Biznez), chronicling his extra curricular escapades from 1972-78 from Skinhead Moonstomps to Dead End Career Opportunities (that never knock).

FIVE YEARS (Between the Gutter and the Galaxies), which rips into the collision of Bowie and Primal Punk—where Rebel Rebels tore through 1972–76 Britain, spawning the Hot Tramps and theYoung Dudes who would carry Bowie’s spark forward into the chaos.   

Both volumes are companions-in-spit to Mark’s forthcoming novel / Midrashic memoir of misbehaviour—THE NUDNIKS OF 1977  — to be published in 2026 by Spinners, which delves further into his back catalogue of sedition and religious disobedience.

Mark’s poemtry and prose employs an unreliable lexicon of Yinglish – a language of coughing and cursing brought over from Eastern European Shtetls in the 1880’s and stirred into the melting-pot of Cockney East London’s pie & mash emporiums.

Follow Mark’s instagram  @mark.jay6262  or schlep through his website www.markjay.tv

The Woodcutter by Vik Shirley

Nico (1967) by Michael Ochs.


Vik Shirley is a poet and writer from Bristol living in Edinburgh . Her collections and chapbooks include: Persona Digitalia (PhotoWorks, 2025), a photo poetry pamphlet which was selected for the inaugural P5 photo poetry series, Some Deer (Broken Sleep, 2024), Strangers Wave (zimZalla, 2023) and Corpses (Sublunary Editions, 2020). Her work has appeared in Poetry LondonPN ReviewThe RialtoMagmaPerverseand 3am. She has a PhD in Dark Humour and the Surreal in Poetry from University of Birmingham. 

EVENING OF LIGHT by Jesse Hilson

Evening of Light music video (1969).


Jesse Hilson is a writer and artist living in the Catskills in New York State. His work has been published in venues like Hobart, X-R-A-Y, Maudlin House, Apocalypse Confidential, Expat Press, and others. He has published two novels, Blood Trip and The Tattletales; a short story collection, The Calendar Factory; and a poetry collection, Handcuffing the Venus De Milo. He can be found on Instagram at @platelet60 and he runs a free Substack newsletter called Chlorophyll & Hemoglobin.

OMENS OR DELIRIUM by Logan Berry

Nico in Tokyo album cover.


Logan Berry is the author of several books, including Doom is the House Without a Door and Ultratheatre: Volume 1.

Nico Restored by Nicholas Rombes

A young Nico in Berlin, photographed by Herbert Tobias.

Nico Restored

I.
Because Nico could not foresee the danger ahead.
She was not careful, she was a child.
Above her Hell’s Sun
moved blackly—How far away? Shall I touch it?–
Like some shiny wet ink spot, or a stuck wet leaf.

II.
Before her journey back Nico slept and slept and
dreams: back then it was all right.
Back then it was a wall of black crickets and her baby
sitter’s ventriloquil voice.
As she slept It watched over her, and
loved her in Its brief, iron-lung heart.
It did not want to let her go, but knew, but knew.
It did not think of itself as lost, it did not think of itself at all.
It just was. It just wanted.

III.
Nico did not think of herself as lost
she did not think of herself at all.
She just was. She just wanted.
Christa wanted.
It has changed, she thinks.
Nico’s Nico. Come for Nico. She just
wanted the image of her lost face.
Herself. For a moment Nico could not imagine Nico, nor recall
the green of green, the hum of wires,
the flash of fires, the sound of sound
had come apart

IV.
It has changed.
She was nowhere.
Her heart. Inside her.
Christa wanted gravity. The thing that was not flat
watched her from behind a red cliff.
When she laid her white hand across her red heart Its mouth opened.
Her ears could not catch her own dripping sound.
She said her name to hear it, the sound
When It moved Its knotted head It pushed Itself out of gravity.

V.
Nico says: When I stand on the roof of the opera it’s amazing I don’t fly off.
Nico sits atop a red cliff, atop an expanse of red sand.
As red as far as the eye can see.
She is red, too, from the sand, mixing with her sweat.
She takes off her sweater, and
tosses it aside.
She takes off her shoes, and lies back.
She touches her body. It has changed. Her body is red.
Afterwards she leans forward to shake her hair
until grains of sand fall out like thunder.

VI.
Nico marvels that although she has not eaten she is not hungry.
It has fed her food while she slept, careful to remove each and every
crumb from her face with tweezers. It has spent an eternity
using its tweezers to move
mountains, grain by grain.
It does not want Nico to escape, but It does not know how to stop her.
The thing it does best is observe. It does not know how to stop things.
Back then it was all right.

VII.
Back then, Nico, thinks, it was all right.
It finally comes for Nico while she sleeps, curled in the sand.
It cleans her face, grain by grain, not even touching her skin.
It spread its wings over her to measure her size.
It considers its sack full of potions.
It worries she is dead and leans close in to her face.
It loves her so gently.
Take me back to back then.

VIII.
The marble index of a mind forever.
Christa wanted.
To free her mind, because it was caught.
I wouldn’t want a different variety, thinks Nico.

Nico thinks in shapes
more and more.
Round and Square.
Truth or Dare

are not shapes.

Not sound.
Not gravity.
The Absolute Zero.

Nico’s mind is a shape that comes
to free her mind, because it was caught
with Its claws
and retraces her footprints
she just wanted to free her mind, because it was caught
with Its claws
retraces her footprints
squares and triangles, circles and cones.

Her own shape, the pattern of sunlight
just wanted to free her mind, because it was caught
with Its red mountain claws and triangular imagination,
circles and cones.

Fright and dread, fear and bones, Wehrmacht dreams.
Her own
but a King.

Come for Nico.
But a King.
Come for Nico.

Her very own body in the night,
beneath the Ibiza sheets, the shape her hands make.
The real Nico, more real than real, her old self

a Sleeping Beauty for some fierce Prince
but It is not a Prince.
Shape, the pattern of moonlight upon
more and more, the hospital floor.

Her very own body in the night
beneath the light, the shape the world makes.

The real Nico, more Nico than Nico, her old self
a Sleeping Beauty for some fierce Prince.

But It is not a Prince.
Come for Nico, no fangy King
beneath the sheets
the shape her hands make.

The real Nico, more real than real, her old self
a Sleeping Beauty for some fierce Prince.

She just wanted to free her mind to be
the hunting thing with claws of shade.
Where It went, Nico wonders, and retraces her footprints.
Sleeping and murder.
Squares and triangles.

Fright and dread, fear and bones.
Her own melodic shape, the pattern of moonlight upon
the institutional floor. Her very own body in the night
beneath the white cold sheets, the red triangulated claws
of Greek thought.

The real Nico, more real than real, her old self
but this thing–this It–is not a Prince.
Rather a King.
Come for Nico.

Sleeping Beauty for some fierce Prince.
But this thing—this It—is not a Prince
rather a Devil.
come for Nico.

She just wanted to free her mind, because it was
a trick and retraces her footprints
squares and triangles, circles and cones.
She just was. She just wanted.
Christa wanted.

Her own shape, the pattern of moonlight upon
the hospital floor. Her very own Nico in the night,
beneath the sheets
she just wanted to free her mind, because It was caught
with Its Trick
and retraces her footprints, Squares and Triangles
circles and cones
fright and dread fear and bones.
Her own shape
Red-sanded body and mountain side
her cold linoleum floor.
Her very own body in the night
come for Nico.

IX
Back then it was all right.
Take me back.

Come for Nico.


Nicholas Rombes is author of the novels The Absolution of Roberto Acestes Laing (Two Dollar Radio), The Rachel Condition (CLASH Books), and Lisa 2, v 2.0 (Calamari Archives). He co-edits TIMECODES (Bloomsbury), a film book series dedicated to slow criticism and is author of 10/40/70 (Zer0 Books). He’s an English prof. in Detroit, Michigan.

consecrated to the gods by Misha Honcharenko


Misha Honcharenko is a Ukrainian writer based in Todmorden, West Yorkshire. Their debut novel, Trap Unfolds Me Greedily, was published by Sissy Anarchy in 2024, following their first poetry collection, Skin of Nocturnal Apple (Pilot Press, 2023). Their work has been featured in Vogue Ukraine, Erotic Review, i-D, AnOther, Tank, Worms, Manchester Review, and minor literature[s].

DECEMBER 2025 Guest Editor Is MATTHEW KINLIN!!! Theme: My Heart Is Empty: Responses to The Life and Work of Nico

Burning House Press are excited to welcome Matthew Kinlin as the fifth BHP guest editor of our return series of special editions! As of today Matt will take over editorship of Burning House Press online for the month of December.

Submissions are open from today 1st December – and will remain open until 21st DECEMBER.

Matt’s theme for the month is as follows

My Heart Is Empty: Responses to The Life and Work of Nico

Matthew Kinlin lives and writes in Glasgow. His published workst include Teenage Hallucination (Orbis Tertius Press, 2021); Curse Red, Curse Blue, Curse Green (Sweat Drenched Press, 2021); The Glass Abattoir (D.F.L. Lit, 2023); Songs of Xanthina (Broken Sleep Books, 2023); Psycho Viridian (Broken Sleep Books, 2024) and So Tender a Killer (Filthy Loot, 2025). Instagram: @obscene_mirror.

——

Submission Guidelines

All submissions should be sent as attachments to guesteditorbhp@gmail.com

Please state the theme and form of your submission in the subject of the email. For example: NICO/POETRY

Poetry and Fiction

For poetry submissions, submit no more than three of your best poems. Short stories should be limited to 1,500 words or (preferably) less. We encourage flash fiction submissions, no more than three at a time. Send these in as a .doc or .docx file, along with a short third-person bio, and (optional) photograph of yourself.

Art
Submit hi-res images of your works (drawings, paintings, illustrations, collages, photography, etc) with descriptions of the work (Title, Year, Medium, etc) in the body of the email. Files should be in .JPEG unless they are GIFs or videos, and should not exceed 2MB in size for each work. File names should correspond with the work titles. Video submissions can be uploaded onto Youtube or Vimeo for feature on our website. Send these submissions along with a short third-person bio, and (optional) photograph of yourself.

Virtual Reality/ 3D Artworks

For VR Submissions, please submit no more than three (3) individual artworks. For Tilt Brush works, please upload your artwork to Google Poly (https://poly.google.com/), and mark it as ‘public’ (‘remixable’ is at your own preference). A VR/3D artwork can also be submitted as a video export navigating through the artwork. If you prefer this method, please upload your finished video file to YouTube or Vimeo and provide a URL. With either format, please provide a 150 word artist’s statement.

Non-fiction
Non-fiction submissions (essays, reviews, commentary, interviews, etc) should be no more than 1, 500 words and sent as a .doc or .docx file along with your third-person bio/and optional photograph.

Submissions are open until 21st December – and will reopen again on 1st January 2026/for new theme/new editor/s.

BHP online is now in the capable hands of the amazing Matthew Kinlin – friends, arsonistas, send our December 2025 guest editor your magic!

Unwell by David Rodríguez

over seventy windblown years
tied to the mast, patience has eluded me
leaving me to hum along the shrillest
siren call in grating irritation
struggling to find or develop
a minimal measure of discernment
to catch my breath, one breath
between the healing itch the mending pain
and the vicious nag of wounding aches
might say my suspicious mind
dove for a dark, silty bottom
and found the drain unclogging gratitude
or trust to sluice and flush a pressured dram
of bittersweet relief

. . .

David Rodriguez is a 71-year-old prodigal son trapped in a Ground Hog Day loop. The thought that all the scribblings of my circuitous, rambling life will either end up in the dumpster or belong to a posterity I will never see has been keeping me up at night lately.

Late September 1978 by Kelly Rebar

Photo by Kelly Rebar

Every year I’m taken there
the air the light the sight
of leaves
drifting past
without a care I’m driving
in the Rockies
in my old Plymouth Valiant
a shade of bronze
you don’t much see
anymore
colour of stubble
fields
at sundown
I’m barely 23, endless Christmas trees
line the highway
now it’s the mountain peaks
the sun is tinging
pink I think I even sing
(I wouldn’t put it past me)
Neil Young’s Comes a time
when you’re driftin’
Comes a time when you settle down

Okay, what’s this
side of the road
a herd of elk
just standing there
watching
five in total
the reason I recall is
I write it down
when I get there
the cabin I’ve secured

for winter
and right on cue
like a movie
I pull up just when
it’s not dark yet but getting’ there
now that song also takes me there
to that door
the smell of firewood
stacked by the door
I watch the kettle while it boils
I open my notebook
on the kitchen table
by a window
with green curtains
and lo and behold I find a candle
meant for emergency
but at 23 who waits for that
you see a candle
you light it
I write September 1978 on the first page

No, hold on, it’s not a notebook
it’s a school scribbler
dime store type, Hilroy, map of Canada on the cover
timetable on the back
and bottom left:
30 days hath September
April June and November
I write what comes to me
how people in the past wrote it snowed all day
baked so many loaves of bread
as if it needs to be said
“Saw five elk on the way here”
and leave the unpacking
for tomorrow

but when tomorrow comes
I don’t unpack
too busy
sitting
in the sounds of silence
a woodpecker tapping
in a nearby tree
maybe I imagined that
but I know this much is true: I set my Smith Corona
on that kitchen table
by the window, the green curtains
and I tap too
all day long
tap tap
tap tap

into the next night
and all the days
and nights
after that
Who knows where those words are now
they’re long gone
but not the sound they made
landing on the page
not the smell of firewood
by the cabin door
the leaves gathering on the window ledge
the candle going out
I probably slowed
the Valiant down
when I saw the elk
I’m willing to bet I did
you never know if they are going to stay
or if they will wander

. . .

Working from the small mountain town of Nelson, BC, Canada, Kelly Rebar has written for theatre, film, and television. After a long hiatus, she recently returned to playwriting and created two one-woman shows, both written in verse and scored with music. She also works with photographic images, old and new, and writes short poems.

Three Poems by Alexis Karlsen

Ferdaminni [XI/24 – X/25]

The dust on the road
Rotting leaves on a cold autumn morning
The faint scent of hasty intimacy hours earlier
The dogs are nervous tonight
There’s blood on the wind

Floodstained thaumaturge
Pyrolatrous and atavistic
Smudging our faces with ash from bridges burnt

I’m following a blood trail
My ego has been freebleeding
All over the place again

Shamanic nights under a bright full moon
Snow in the deep forest
Moose tracks in the frozen bog
Hematite rocks the colour of red ochre
Spells of protection in the night
I met a strange god
One that no man has ever named

. . .

Myrmalmens ballade [IV/24]

I found God at a gas station in Nissedal
Now I’m siphoning gas here in Niflheim
There’s a radio tower on the heath
Amongst the cows with their GPS trackers

My mind is a swamp
Where the air is thick with things
That are out to drink my blood

I’ve got a new best friend
The red forest ant, Formica rufa
Is it all in my mind or are they all
Moving with strange synchronicity

. . .

Purple Prozac [VIII-X/24]

Chafing on my chakras
Inflammations in my legs
Stains on my soul
And I’m standing over here
Trying to laugh it off
Saying pretty please, Pleiades

With your New Moon Theory
And my dharmatology
Trying to figure out
Where all these gulls go to die
I’ve got a bad back
From looking over my shoulder

The smell of rotten petunias
In autumn grey streets
I love your geometry
Even when you taste like dead dreams

If love is solitude gone bad
Then I’m sitting here fermenting
With your pyrolatrous autumn colours
Alight in the early evening sun

The man I’ve become has no reason
To be ashamed of the boy I once was
You laid me down among the lupines
Placed a cigarette in my hand

Landscapes of IKEAs
And your crepuscular smell
I’m standing in the middle
Of the wrong side of the road
Trying to snap a picture
For our interdimensional trophy room

Wake me if you wanna smash
You said, fell asleep
And ran a fever all night

. . .

Born and raised in northern Germany and emigrated to southern Norway in his late 20s to take care of his child, Alexis Karlsen‘s work spans three languages and reflects the life experience of a disillusioned underdog drifter. Alienation, death, restlessness, substance abuse, sexuality, and the unquenchable thirst for love are recurring motives in his writing. Karlsen’s background is in social ecology, and his German-language novel Am Ende des Fadens, which touches on themes of magical realism, is nearing completion after 13 years of work. He can be found on Mastodon: @brisling@merveilles.town.

The Long Game by Kyla Houbolt

Cutting locust tree saplings
to feed to the sheep who
blatt impatiently. A locust grove
has started and it must be stopped.
Locust has thorns and is good
for little except feeding goats
and sheep. Although I’m sure
the land has a different opinion.
But the land does not have
a vote, so cut
the saplings
will be.

The cost of the coast is the loss
of honest sand, which was host
to myriad lives we’ve failed
to understand. Now there are
daily sweeps of machines
to scrape the bought sand smooth.
You may find old cups or leftover
snack bags there, because shells
are crushed by the beach sweeper
and these shells all came, once,
from another beach from whence
this sand was harvested.

Let’s go to the beach. Look. Here
there are thorns and thistles. All
the things to hurt your tender feet.
Thistles wave their brave purple flags
above their fierce foliage but it does
them no good, cut they will be. Wear
your rose gauntlets when you go
into that field, and boots. The beach
is friendlier, having been made so
by voted decree. The sand is very
hot, however, as no vote has learned
to cool it. No vote could, though
some still believe.

Slip into the water, still a bit cool.
Out there are creatures who
would like your friendship, and others
who care for nothing but their
next meal. Sometimes they are
the same. We might recognize
ourselves there too in the water
when it’s calm. We’ve not yet
drowned nor learned to breathe
in the deep. What do we need
to learn? I often wonder, or if
it is possible at all, to learn,
to breathe.

. . .

Kyla Houbolt is a poet and gardener living in North Carolina. Her first full length poetry collection, Becoming Altar, from Subpress.

https://asterismbooks.com/product/becoming-altar-new-and-selected-poems

https://kylahoubolt.us/

Kerala Notes by Kim Dorman

Photos by Kim Dorman

Through a grimy window
open fields
small houses by tracks
people standing
or sitting
in doorways
watching the train

. . .

6.30 p.m. muezzin’s call to prayer

. . .

The battered, rusted pans the workmen use
are as beautiful as things in a museum.

. . .

names of butterflies
Sahyadri Birdwing
Sahyadri Grass Yellow
Sahyadri Rosy Oak Blue
Malabar Banded Swallowtail

. . .

Nightfall.
A lamp,
its shadows

All morning, rain.
Thousands of cicadas sing at once.
I sit by the window and sip coffee,
watching rain pour from the eaves.
I’ve lost touch with old friends.
Lizard droppings lie scattered on the window sill.

. . .

I’m not useful like a carpenter or plumber. I sit alone
on veranda steps, gaze at the evening sky.
Neighbors are quiet; the road to the village is empty.
The moon set an hour ago.

. . .

Shadows blur on whitewashed walls.
Serrated, spinning: leaf midair.
Sensitive cells know day from night.
Chitin, bone, shell.

A street barber squats on the pavement.
Mirror, comb, scissors,
razor, soap
neatly arranged
on a threadbare blanket.
Coins fall like stars.

. . .

moth shadow,
web
let the mind
rest

. . .

I’m a stranger, outcaste passing through

. . .

A dog limps past,
vagabond.
Whisper of river grass.

Drums reverberate.
An oil lamp gleams.
Heat. Sweat.
Gods and heroes
dance through the night.

. . .

The rain doesn’t end.
Fungus eats our nails, books grow white mold.
Pillows and sheets smell of mildew.
The whitewashed walls turn green.
A huntsman spider clings to a corner of the ceiling all day.
There’s no daylight.
The rain doesn’t end.

. . .

Fog at dawn. The smell of cook fires,
feces, wet earth.
The sky stays dark.
My heart:
a withered seed.

. . .

Last night I dreamed I was walking by the sea
and came upon a group of thatched huts.
I asked an old man, “What place is this?”
“Nelcynda” he said.

. . .

I light a citronella stick.
Bullfrogs roar in the flooded paddy field.
Already the road is quiet.
My lamp flickers
and then goes out.

. . .


Kim Dorman was born in Little Rock, Arkansas, and raised in Oklahoma and Texas. He has worked and traveled in North America, from Mexico to Alaska, and spent time in France, India, and Sri Lanka. His books of poetry include Owner (Longhouse, 2016) and Kerala Journal (Corbel Stone, 2021). He currently resides with his wife in Kerala, India.

Boreal by Autumn Richardson

. . .

Autumn Richardson is a poet, editor and translator. She has authored 5 collections including Heart of Winter, An Almost-Gone Radiance and Ajar To The Night. Since 2009 she has been co-director of the multi-media publishing house Corbel Stone Press alongside British artist Richard Skelton. Between 2013 and 2022 she co-edited the influential journal of ecopoetics and esoteric literature, Reliquiae. Originally from Canada, she now lives on the west coast of Ireland.

www.corbelstonepress.com

Everything Is Far Away by Brian McHenry

Drawings by Brian McHenry

I have a favourite road.

There is a moment in the film version of Gavin Maxwell’s Ring of Bright Water when the main character, Graham, gets off the MacBraynes’ bus and for the first time looks across the Firth of Lorne towards Mull in the distance.

Ben Buie, Sgùrr Dearg, Dùn da Ghaoithe are all there in front of him, each a distant grace note to something that isn’t there anymore. Of course the movie takes vast liberties with both the book and indeed the story of Gavin Maxwell himself but somehow for me, with that scene, it all gets forgotten.

And so I watch the grass as it gets moved by the wind

and the sound of it

And I think of us there in Fishnish all those years later

The sweetness of that sound on Aird a’Mhorain.

Traigh Iar

and I think of those landscapes now that we’re not there,

the spaces where we used to be.

Your presence as it shifts into abstraction

and distant thought now

the space between you and me and the lines that I draw.

. . .

Born in Belfast, Northern Ireland, Brian McHenry is an artist and illustrator whose work has appeared in various publications — including The New Yorker — and featured on record covers, books, and even the odd beer can. He currently lives on the north-east coast of Ireland with his two children. His recent combines elements of portraiture, symbolism, and abstraction to explore the physical and emotional landscape of remembering.

https://brianmchenry.bigcartel.com/

Imprint Of Weeping Angels by Jenni Fagan

Photo by Jenni Fagan

. . .

Dr Jenni Fagan is an award-winning, critically acclaimed novelist, poet and artist. Published in global translations the author of four fiction novels, one non-fiction memoir, eight poetry collections, exhibitions, adaptations and with another two new fiction novels due out next year. She has won The Gordon Burn Prize 2025, was a Granta Best of British Novelist (a once in a decade accolade), Scottish Author of the Year and has been on lists from The Women’s Prize, BBC International Short Story Prize, The Sunday Times, Encore and more. Fagan has worked extensively with vulnerable groups including those  in prison, and the care system where she herself grew up. Described as The Patron Saint of Literary Street Urchins, Fagan’s work responds to the centre always from the margins and without compromise.

https://www.jennifagan.com/

Original Sin by Liz Cullinane

Sculpture by Liz Cullinane

Watercress abundant, pooled, fed by a freshwater stream that leaks a channel, a winding furrow  carving an arc across the sands. Joining the Atlantic salt waters. Diluted. 

Conas ta tu a stor? How’re you love? Bhfuil tusa ann?  Are you here? Where are you? 

                Under the rocks……..caught in the weed………….? A remnant of yourself…. a fragment, flotsam, tiny bones  bleached out over time. 

                First child, the one and only first, spent in the sands and carried away unseen.

Pause, sigh, and breathe. Slow. Clearing. In and out breaths. Fuck it …

The stream’s absorbed when it reaches the sea. Red standing stones guard the shoreline. Dug in, bulk undiminished through the years. Smooth blank faces peppered with tiny lives. Living creatures  in spiraling whorls, paint-box colours distinct from the rest with their blend of muddy greys, blacks and browns. The discreet, minding their own business ones.

Keeping to the low formation, leaning into these sentinels, pushing up hard. Limpets impress their determination into my back, encouraging them to leave their marks on my skin, through the layers of time and guilt. Tiny bruises, kissed into my shell.

Cá bhfuil tu mo stor,  where are you my love? Still here? Shape shifting your small self, half formed baba deas, lovely baba? Or have you vanished into mists of salt water and weed? Níl fhios agam, I don’t know, may never know.

Sins for which I alone hold no charge, spoken in my head. Not then, had no clue back then. 

Busy in the kiddish world of long summers, heat hazed early mornings blended into same grey days. School and holidays, home and here, the Red Strand. First beach out of Clonakilty, Cloich na Coillte, stone castle of the woods.

The brother, older but no wiser through the passage of summers, collects the tiny vivid shells under instruction from his know it all little sister. All through our early rising summers for as long as it pleases him. Mostly in the absence of anyone else. (He’d prefer the other boys, tardy, sleeping-in boys, almost always with a ball). 

We sort  the shells into currency for our long playing games, oblivious to any lives inside the whirly chambers. Red, yellow and green defining value, same as fruit pastilles or wine gums;sticky pleasures.  Flavours imparted by the power of suggestion. 

In truth  they all tasted much the same, the richer the colour the more they’re desired, sweeties and shells. No truth to either.

He is obliging, patient and generous, prepared to share a vision of the day, playing shop? Or being rich for our new life ahead. Content til he gets a better offer……at least til then. 

A big brother like no other, he is dark to my fair, tall where I am slight, brave while I am cautious. Protective and free running altogether in one certain self. His infectious self-belief sweeps us into his limitless foolhardy world and we’re away. Climbing rock faces, out of windows and trees, into danger without looking back. Running for miles with no sense of the dinner time clock. It chimes without our ears to mind it. Into trouble over and over he brought me, with no regrets. 

                                        Not true, baba deas. My one regret. The original sin.

Hours we spend under the towering protection of this headland. Obscured from view by the remains of an over-ground tunnel. Giant concrete slabs scattered about, fallen, impotent, discarded. Marooned in the sands. 

A hidey hole, a place of travel from one gloomy tunnel end to the other, between the stream and the sea. 

Fresh water and salt, fishing in both, crazy laughter and messing, all the way to tears and squabbles on rare days, high days and holidays, tense sort of days.

Status Quo, the quo, ruled the roost for his whole gang, while we, the girls, follow the Bay City Rollers. Uniform in our tartan trousers, Baby love, oh baby love, skimming our thighs cutting into our vain attempt to hold the boys attention. All the while loving our idols, the special one, he who holds our gaze on the telly. A band member for all the seasons of our pre-teen crushes.

Teenage years we return to the Red Strand with beer and tents. The sea is the place to be rather than the shore. Trailing friends, boyfriends, girlfriends, cousins once from overseas, to share the magic that no longer exists. Red Strand’s too full of childhood and original sin. Better beaches round the corner, further along the coast, closer to the shore life of pubs, craic and caravan parks. 

All these places we never saw as children, never knew were there, so determined was this family not to mix with the noisy ones, the drunken ones. The families that might know us from life at home ones. The sleeping in, lying in their beds half the day ones. 

Mothers and fathers equally corrupt longside their offspring, in the gospel of our English origins. They lined up daily at the chip van for their tea. We ate freshly caught mackerel with bread and butter, the food of the Gods, and so it was. Free, from the sea.

We ate mussels plucked from the rocks. Sometimes lobsters, captured in pots thrown off the shore. Squealing their way from blue black to bright scarlet in a pot alive with boiling water, delicious, with butter dripping from our chins, stinking of garlic. No one ate that stuff, famine food still reeking of the sea but we did. Set apart, positioned above, looking down, while trying to squeeze in.

We were blessed, apparently.

The beach welcomed us back annually, sharing its curves, a safe return into the familiar crook of embracing rocks. The concrete tunnel sheltering our comings and goings from year to year, constant,  never-changing. The strand,, our part in it, had a rhythm, a ritual of its own making.  It bent slightly each year as we grew up, new faces appeared, alongside the familiar caravans. 

Softly whispered voices, rememberings from the sea, in the sand dunes, where courting couples played out their pleasure. Mostly undiscovered, known by all and avoided, quietly sidelined. Not allowed, and still they were always there. Bless me father for I have sinned. Curled up in warm grasses on heated sand that threatened collapse without the tough spines that held it altogether.

All through the early Summers a man ploughed his way, twice a day from the dizzy height of the headland, traveling from his smallholding, along a narrow sunken track. He trailed a donkey and a jennet down onto the strand, on a single rope. Their arrival a Mr Whippy of excitement in the day trippers, our prior knowledge fattening our superior position. Privileged with familiarity, without names, we are known to each other. The donkey man and us, the regulars.

Some days I follow them on their return pilgrimage through the steep channel, the sharp, dry grass nicking my bare shoulders, a minor penance, a small offering. I daydream a change of identity, assuming a place in their holy family on the homeward climb. Shifting from child to blessed mother, to partner and devoted animal whisperer. The donkey man never seems to notice my presence or acknowledge it at any rate.

Codladh samh, sleep safe, a stor, love, where ever you are, under the deep sand or washed clean among the creatures that flow back and forth, in and out of the tides. Three hail Marys and one our father the regular gift for telling lies. How could you not tell lies when caught between the father and the son. I have no idea, only one idea possesses my mind, escape and protection. 

First love learned at the foot of the should be protector and  corrupt for ever after while nuns whispering lies and responsibility into the shell like of every girl child and what would they know about it anyway? Brides of Christ, be lady-like, be Marylike the impossible mantra, the ideal that will never be matched.

They can’t control themselves, they confide,  it’s up to ye to take control, female pleasure, unknown, unspoken.

Is it any wonder a stór beag, my small love, my tiny not fully hatched firstborn that you were conceived and lost on the shore of my innocence. Bless me father, I don’t fucking think so, thank you very much and goodnight.

Transformation, a daily event as the sea wipes out the story of the sand and shore. Washing and rinsing rocks and strand in a matter of hours, filling and emptying the pools closest to the rushing waters.

Anemones, the most tantalising transubstantiation of all. Still to this day, a miracle. Brown jelly mounds stranded in the air of low tide become flowering tendrils of soft pinks submerged in the salt water. Waving gently, they invite  touch, dipping a finger into a shallow pool and softly, softly stroking the water closest to the fleshy petals. Too close, they fold themselves in, abruptly resuming their impenetrable personae. Still here, always here, since the beginning of time. Stuck fast to their ways. 

Echoing through the years, on every return I pay homage to their beauty hidden in the dark  brownness of the rock pools, discomfited in the air heavy world.

Tabhair aire, take care, precious one, watch out for the sidewards crabs lurking out of sight among the weed. Sharp little nipping pincers, painful beyond belief to the unwary, bi curamach, be careful, mind your little fingers and toes. 

A fully grown woman this visit, kneeling in a hollow scraped out of the sand. Lost but keeping watch on the tide, inching closer and closer, washing clean its own. Soothing the grains with the patterns of waves, licking into the holes dug out with plastic reds and yellows. Further out to sea, waves churn up the red sandstone rocks  lining the basin of the strand. Fractured thoughts coming and going rolling back and forth, testing the present with the past, seeking out long gone shapes amongst the weed, carried and tossed, lifted along the breadth of the curve. 

Nothing clear, no single sound, a rag bag of rattling stones to hang from my feet. Uneasy flickerings in the corner of an eye. Glimpses of the jennet’s flashing whites and straining head. His unpredictable nature printed in my memory, a familiar refrain, a chord that echoes in my pulse. He was half donkey and half horse, we said, the mixture of breeding, his magic. Also his devilish power, tempting fate with its unnaturalness. 

The water, freezing, has reached me, frothing at my knees and trickles begin to fill the spaces around and between my legs, my feet folded into the dugout. How long could I last? The cold drove me out half way between head and toes, intimate with my belly. Enough already. This time.

. . .

Inter-disciplinary artist Liz Cullinane is a storyteller in words and pictures. Her Belfast based practice is rooted in community activism, theatre design and film collaborations with poets and musicians. Liz’s academic research on early 20th century Irish women artists focusses on Mary Swanzy (1882-1978). Published by the Irish Museum of Modern Art (IMMA), she has innovated a digital opera on Swanzy. Recent exhibitions & writing reflect her engagement with the Achill Island landscape in Mayo.

https://lizcullinane.com

NOVEMBER 2025 Guest Editor Is C.C. O’HANLON!!! THEME/S: JOURNEYS

Burning House Press are excited to welcome C.C. O’HANLON as the fifth BHP guest editor of our return series of special editions! As of today C.C. will take over editorship of Burning House Press online for the month of November.

Submissions are open from today 1st November – and will remain open until 25TH November.

C.C.’s theme for the month is as follows

—JOURNEYS

~~~

JOURNEYS: Physical, Psychological, and Imaginary, embracing words and images, in all forms, as well as complexity, resisting the superficial, algorithmic narratives of social media.

~~~

Photo by Given Rozell.

~~~

A self-described ‘vagabond, diarist, and wreck’, C.C. O’Hanlon’s fragmentary memoirs have been published in various anthologies, including Best Australian Essays 2005 and Best Australian Stories 2004 (both published by Black Inc, Australia), A Revealed Life: Australian Writers And Their Journeys In Memoir (ABC Books, Australia), The Odysseum: Strange Journeys That Obliterated Convention (John Murray, U.K.), Zahir: Desire & Eclipse (Zeno Press, U.K.), and Dark Ocean (Dark Mountain Project, U.K.). A founding features editor of Harper’ Bazaar Australia in the late ’80s, his mainstream journalism and images have appeared in The New York TimesThe Sydney Morning HeraldVarietyTravel & Leisure, the Australian editions of Vogue and Harper’s Bazaar and scores of other newspapers and magazines.

He now lives a nomadic life with his American wife of 38 years aboard a small, sea-worn old sailboat named Wrack in the southern Mediterranean. They have three adult children.

_______

Submission Guidelines

All submissions should be sent as attachments to guesteditorbhp@gmail.com

Please state the theme and form of your submission in the subject of the email. For example: JOURNEYS/POETRY

Poetry and Fiction

For poetry submissions, submit no more than three of your best poems. Short stories should be limited to 1,500 words or (preferably) less. We encourage flash fiction submissions, no more than three at a time. Send these in as a .doc or .docx file, along with a short third-person bio, and (optional) photograph of yourself.

Art
Submit hi-res images of your works (drawings, paintings, illustrations, collages, photography, etc) with descriptions of the work (Title, Year, Medium, etc) in the body of the email. Files should be in .JPEG unless they are GIFs or videos, and should not exceed 2MB in size for each work. File names should correspond with the work titles. Video submissions can be uploaded onto Youtube or Vimeo for feature on our website. Send these submissions along with a short third-person bio, and (optional) photograph of yourself.

Virtual Reality/ 3D Artworks

For VR Submissions, please submit no more than three (3) individual artworks. For Tilt Brush works, please upload your artwork to Google Poly (https://poly.google.com/), and mark it as ‘public’ (‘remixable’ is at your own preference). A VR/3D artwork can also be submitted as a video export navigating through the artwork. If you prefer this method, please upload your finished video file to YouTube or Vimeo and provide a URL. With either format, please provide a 150 word artist’s statement.

Non-fiction
Non-fiction submissions (essays, reviews, commentary, interviews, etc) should be no more than 1, 500 words and sent as a .doc or .docx file along with your third-person bio/and optional photograph.

Submissions are open until 25th November – and will reopen again on 1st DECEMBER 2025/for new theme/new editor/s.

BHP online is now in the capable hands of the amazing C.C. – friends, arsonistas, send our NOVEMBER 2025 guest editor your magic!

Labyrinth / Erasure by Teresa Mestizo

With subtleties broken, / discourses returned / much heavier / A fresh train of disquietudes / sighed often /Sparks of temper; / the puzzle and the plague / But, in full view, / all things in the world / answer consequently: / fallen, rescued / The deepest impression, / a fine truth to any purpose — / that odd legacy / of occasion

Teresa Mestizo is a Chicagoan Xicana currently based in a small
mountainous town in Mexico where she writes, teaches, translates
& makes art. These poems are part of her recent erasure series using
Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman (1759-1767).
More of her work can be found at teresamestizo.com

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