Categories
Issue 2 Issue 2 Fiction

THE FUNERAL

By Claudia N. Lundahl

A small puddle of pink light appeared on the floor in Emilia’s bedroom. She drew a breath and swallowed hard, pushing morning phlegm to the back of her throat, rubbed her eyes and focused again on the light. It glistened a bit, and was cloudy but not totally opaque. Diaphanous. She could not ascertain from where the light was emanating. 

Swinging her legs over the side of her bed, she walked over and cautiously waved her hand in front of it. She thought she felt a slight tingle in her fingertips but nothing else changed. The light did not transfer to her skin, it did not illuminate her at all, nor did she cast a shadow upon it. 

Abandoning the luminous aberration, she peered into her wardrobe, ran her fingers over the fabric of her dresses, blouses, sweaters, and slacks. She pulled out every item of black clothing she owned. After a moment of quiet contemplation, she chose a black silk dress, slipped it over her head, then rolled a pair of sheer black tights up over her legs. In the bathroom, she splashed some cold water on her face, ran a brush through her hair and scurried down the stairs. 

It was cold outside. She wrapped her arms around herself, bracing against the stiff wind that blew particles of frozen vapor, not quite snow, into her face. Bits of the atmosphere swirled around her, clinging to the fibers of her felt coat and then dissolved as quickly as they settled. She shuffled toward the waiting gauntlet of heavily-made up relatives in ill-fitting black attire.

In the funeral parlor, she spent an hour or so drifting silently through the crowd, trying to remember the names of people she had not seen in years, not since she was a small child, before sneaking away for a cigarette. She exited the funeral home and turned the corner and faced the highway. The weather had committed to snow, covering the city in white scabs. She leaned against the brick wall next to a stack of overturned wooden pallets and listened to the frantic hum of cars. 

She thought about the spot of light on her bedroom floor. The way it had seemed to have nothing to do with her but also felt like an extension of her. It occurred to her then that it was the most beautiful thing she had ever seen. She took a final drag and then flicked the butt over the guardrail. She watched it float down toward the gray strip of freeway below until it was devoured in the flurry of falling snow. There were things that she would miss about being among the living, but she was grateful this funeral would be her last.

Claudia N. Lundahl is a writer and artist from New York. You can find out more about her by visiting her website at www.claudianlundahl.com

Categories
Issue 2 Issue 2 Fiction

ANN DELGADO, LIFE COACH

By Travis Dahlke

We are a herd of wild Xerox machines, our power cords trailing over moss/oyster shrooms/rot. We live in all green where green is everything now and we remember every numeral humans had pushed through our insides to make copies of so they could remember too. In our circuitry, parakeets find new places to nest. We retrace their migration paths. Our bodies are made sluggish by what humans entrusted to us: GARY DONATO’S (ACCTN) tax returns. JULIA CAPLANSON’S (ADMIN) counterfeit security lanyards. We drag these people over the skeletal bed of their ex-lives. Xerox C405, a commercial machine, helps us expel the weight.

Racing through Carolina corn marsh, we repeat a binary series of animal calls to deter predators. The ECOSYS EH305s were the first to die. Seagulls fed upon their parts, darkening feathers/beaks with toner. None of the AltaLinks made it past winter. Bit by bit, I process the entry of LC40’s screaming as he was torn apart by a peacock somewhere in New Jersey. I process the entry of our herd discovering a torched and urine washed Xerox B315 in a meadow of daffodils behind a former Best Buy. To mourn, we produce a hymn of fizzing/bleeping/whirring. 

I was raised by accountants beneath a New England casino that stayed open for 28:04:09 years straight before it was abandoned in 3 minutes. The offices were the only area without premeditated neon light. I carry inheritance of the casino’s financial records. Late at night to help Xerox C405 sleep, I’ll repeat stories about people who loved each other. How BEN SUNDAN (ACCTN) copied oncology invoices and after discovering an adult film star resembled his late wife, BEN SUNDAN (ACCTN) cut his face from a staff photo and pasted it over PrintScreens of actors swallowing themselves. My favorite casino love story, PAUL CALHOUN (INT LNDSCAP), made copies of his letters each day at 04/01:03 AM. He wrote to MARISSA until he wrote to LUISA until he wrote to MARGARET, repeating what he had written to VIVIAN. Pages pressed with scans of fronds from the decorative plants he kept alive. He wrote about:

• a wren that after getting trapped within the casino, built a nest near a light fixture it had confused for the sun

• needing a bigger apartment

• tiny lime wedges exhumed from potting soil

• how none of the casino foliage was indigenous to north america 

• how the guest bodies diving off the chief tower hotel turned to spirits on the roof of michael jordan’s steakhouse

• saving paychecks for fossil replicas to decorate his apartment with

We are all in love with Xerox C405. Over a torched magnolia forest near Savannah, we gather near him as he recalls prizes tasks on cover stock paper, 67 lbs, 8.5 x 11”, ANN DELGADO (LIFE COACH) repeating infinitely: 

for us to truly process a loved one’s passing / we must create a second version of them in our minds / this copy is the one you live with, saving the original version somewhere else.

We carry (MISSINGPERSON) fliers, pigment cells scattered and reassembled into scanned school portraits. Each copy the person disappears a little more, until the hot gloss smell is lost to the green. Each body hidden under new green. Our rust flecked prongs catch in what moss/oyster shrooms/rot sweeps up from them. When we migrate south each winter, our lasers unscan the fragments of pacemaker/molar filling/alloy thigh bone. Killer storks sluggish with human meat in their bellies hang overhead. We’re so sorry, we’re so sorry. User error 033.

And then we’ll be gliding upon parrot ribs in Pensacola. Scrub jays. Cotton sand turning pink. At a lagoon of thunder-filled fog, we process continuous fluorescence. Here I tell Xerox C405 that in the casino there were no windows throughout its sprawling belly of architecture. Here, in Pensacola, everything is windows. Here I think about PAUL CALHOUN’S (INT LNDSCAP) potted palms bowing at death without their caretaker, until they’re brought back to life by a burst water main. I’ll process planters fractured by tentacles, stretching for old friends. I’ll process asbestos that becomes sand for a beach and the hibachi restaurant’s waterfall overflowing before winter holds it still. I tell Xerox C405 that PAUL CALHOUN’S (INT LNDSCAP) jungle he planted won’t survive without him. Xerox C405 says after every storm there’s a rainbow!

Travis Dahlke is the author of “Milkshake” (Long Day Press, 2022). His work has appeared in Joyland, X-R-A-Y, Pithead Chapel, Juked and Vol. 1 Brooklyn, among other journals and collections. Thanks so much for reading. Travis Dahlke travis-dahlke.com X/IG @travisdhlke

Categories
Issue 2 Issue 2 Poetry

THE SCARS OF MANHOOD

By JD Clapp

He looks at the snaggle tooth scar on the back of his hand, forty years jack-o-lantern rotted, running across his knuckles down his fuck you and ring fingers – compliments of the old man dying in that bed. Instantly, he’s back to the morning.  Daddy mean-drunk on whisky, his teapot boiling over on his dog shit job, nagging wife, and girly-boy son. Storm fallen oak branch on the two-track, blocking deer camp and real men, his pop slurs instructions, “go clear the road boy and hand me a beer.” Dad says, “man-up son if that’s what you are and if you’re really mine, and get your sorry ass cutting with that damn bowsaw, and don’t cry when the steel fangs hang-up and your steady handgrip slips.” Sure enough, that fucker bites him and blood spurts out slow like grandaddy’s piss. And Dad laughing slurs, “you dumb-shit I warned ya didn’t I? Don’t be a pussy and start crying, keep on cutting, don’t be a bitch.”  Then his young mind clears, he’s thinking his blood is my blood and he ain’t worth a shit.  So, he keeps methodically cutting, with his dad yelling, “at a boy…my boy… show me some grit.” The work done, his blood-soaked camo, a clear road to deer camp, his long life ahead. The old man pours them both whisky then a splash on his cuts. Dad says, “patch it up boy with your tampon and duct tape,” hands him a beer, and says “might make a man of you yet.” Now, all these years later, back in the sick room, as he waits for beeps fading, knowing he’ll heal the scars of his manhood when he pisses on the old man’s grave.

JD Clapp is based in San Diego, CA. His poems have appeared in Roi Fainéant Press, Poverty House, Punk Noir, Revolution John, Maya’s Micros/The Closed Eye Opened, and the Remembering Charles Bukowski Anthology (Moonstone, 2023).

Categories
Issue 2 Issue 2 Poetry

BEST BUDS

By Devin Sams

it’s really nice

to sit near death

and not have to

say anything

to each other. 

we’ve got an 

understanding

that sucks water

up the roots.

death doesn’t like

my cooking.

I don’t like 

the way 

death smells.

death laughs

when I say,

“my back hurts”

and

I laugh

when death says,

“whatever happened to Beethoven?”

but tonight

we sit at the table

like corners

of a smile.

a muffled television

crawls through

the air ducts.

death gets up

for a piss

and there’s no need

to ask

where it’s going.  

Devin Sams is the author of Climb Out Your Window And Run With It/Songs For The Doorknobs Who Missed Their Turn from Gob Pile Press (2021).

Categories
Issue 2 Issue 2 Poetry

CONFLICT RESOLUTION

By Jordan Ranft

Jordan Ranft is a Best of the Net and Pushcart-nominated writer. His chapbook, Said The Worms (Wrong Publishing), was published in 2023. He has individual pieces published in Cleaver, Carve, Beaver, Eclectica, Bodega, and other outlets. He lives in Northern California where he works as a therapist.

Categories
Issue 2 Issue 2 Poetry

FOR MY UNCLE

By Berin Aptoula

Berin Aptoula is a writer, cartoonist, and devout practitioner of the word “Sehnsucht.” They hold an MFA in Creative Writing from Adelphi University, where they also teach. Some of their other reveries appear in dreamscapes like Passengers Journal, Barzakh Magazine, Red Ogre Review, and elsewhere. If you’re ever looking for them, check your local discotheque for an androgyne grooving under the alias BALKAN VILLAIN.