Saturday, 14 June 2025

'We Were Lost and Young' by Kathryn Kulpa

So young, and the world was young with us and offered nothing to guide us. The car bumped along a dark winter road and we bumped along inside it. We only touched by accident. Streets passed without street signs, without streetlights, no lights at all but the stars in the sky. Once I would have loved getting lost with him. Now I watched the gas gauge nervously, pulled at the seatbelt that dug into my shoulder. The radio faded between stations. The only part of the car that worked reliably was the heat, blasting a dragon’s breath of stale popcorn and skunked beer. I cracked my window, wiped the fogged glass with my jacket sleeve. Dark shapes passed, as if the whole town was sleeping, and then I saw a house all alive and brightly lit. Doors open to the night, flooded with orange light. A barn, and inside the shape of a horse. 

Stop, I said, and the man I wouldn’t marry laughed, asked if I wanted to ask the horse for directions. And I did. I had never wanted anything so hard in my life as I wanted to leap from the car and run to that lighted barn. Whatever that horse told me, I would believe him. 

The man I wouldn’t marry kept driving. Eventually, we found a ramp for the highway. A highway he would take in another direction someday, with a woman who wasn’t me. I don’t remember the day he left. I don’t remember our last fight. I only remember that night. How lost I felt. I remember the wanting. The campfire glow of that doorway, like it was there to welcome me home. A dark night, a lonely barn. A horse in the moonlight, waiting.  



Kathryn Kulpa is a writer, editor, and librarian with work in Best Microfiction and Best Small Fictions. She is a 2025 writer-in-residence at Linden Place in Bristol, RI, where she hopes to grapple with the ghosts of history.


'Sebby’s Rocket' by James Montgomery

Look, I know it ain’t much, a bottle of fizzy pop, nabbed after last night’s shift at the Golden Dragon, but your mom’s got foil, paints borrowed from working today’s kids’ club, and paper, all crinkly like, for flames from them thrusters—the bog roll’s ours, at least—and I know it’s not the one you want, the one we promised, with the flashing lights and the countdown song, and God knows I’m cack-handed, will probably mess it all up, but we’re trying our hardest, and when we take off from here, someday soon, I swear by that there moon we’ll soar.

 


James Montgomery writes from Stafford in the UK. His stories have been published by Bath Flash Fiction Award, Splonk, The Welkin Prize, Emerge Literary Journal, Gone Lawn, Maudlin House, Reflex Fiction and more. Find him at www.jamesmontgomerywrites.com

'Tongue' by Sudha Balagopal

Father's tongue falls out of his mouth during Sunday dinner. One moment he is spewing a hail-storm of hateful, hurtful words, next moment, the muscle lands from his mouth onto a half-eaten bun.
 
Mother crushes the napkin in her fists, quakes in her chair. My fork and knife clang-clatter onto the tiled floor.

Father's vast, toothy mouth drops wide open, revealing bits of food stuck in his molars. He lunges after the slimy pink organ with his meaty fingers, scattering the bread and tipping the soup tureen. The quick tongue, moist with a coating of spittle, slip-slithers away from him.

Father is particular about taking care of his sinful tongue. He scrapes the three-inch length with a stainless steel, U-shaped tongue cleaner every morning and every night, over and over. He has grated, and grated, and flattened his taste buds. Now, he cannot taste the tomato sauce in a lasagna or the brown sugar mother adds to the apple pie.

Today, he screamed at Mother for her muddy soup, for the chalky bread, for the salt-less vegetables. His tongue, that soft body part, hit her harder than a baseball bat.

She's learned to tuck the injuries under a soft voice, inside her soundless movements, behind her lowered gaze.

Father swings across the table making guttural sounds, gasping, grasping for his tongue which has flipped upside down in the oven-roasted vegetables. Faint blue lines mark the organ, veins maybe.

The muscle leaps onto Mother's plate. In two breaths, she places the tines of her fork on Father's tongue, holds her knife poised over the flesh.

He waves his arms up and down, up and down, stamps his feet, thud-thud-thud.

Mother pins her gaze on him. It's as steady as her fork on his passive tongue.

 


First published in Stanchion Zine, October, 2022. 

Sudha Balagopal work appears or is forthcoming in Banshee, Doric Literary and Fictive Dream among other journals. Her novella-in-flash, Nose Ornaments, was published by Ad Hoc Fiction, UK, in 2024. She has had stories included in Best Microfiction, Best Small Fictions and the Wigleaf Top50.

'One of the Lies I Tell My Children (#19)' by Ruth Joffre

If they say they hate this town and want to go somewhere else, we will leave—just like that—sell the house and pack up the minivan and let it decide where we should go next. Every morning, we will wake up somewhere new: the parking lot of a drive-in slinging hashbrowns and flapjacks for brunch, the trailhead of a hike nestled deep inside a national forest, the rocky shore of a beach on the Oregon coast, hundreds of miles from anything we have ever known and loved. This morning under the gold-tipped firs will be their first time seeing the ocean. Smelling the brine, hearing the waves break against stones. I will watch them discover how it feels to dig their toes into the sand. How to roll up their pants and let water crash on their shins. They will refuse to collect seashells, at first, believing themselves too cool (too mature) to engage in such a childish activity, until one of them stumbles across a piece of sea glass, its edges long and wavy like a dagger, and they start slipping keepsakes into their pockets (a gray pebble flecked green; a piece of driftwood bleached white in the sun; a mussel, its shell pried open, stripped of meat). For a day, at least, this will feel like home. We will throw open the trunk door and dangle our legs out the back as the sun sets. At night, we will build ourselves a bonfire. Toast marshmallows on sticks we gather from the sands. Say, Where will we go tomorrow? as if we have any control over the future.

 


Ruth Joffre is the author of the story collection Night Beast. Her work has appeared in Wigleaf, SmokeLong Quarterly, TriQuarterly, The Journal, Baffling Magazine, and the anthologies Best Microfiction 2021 & 2022,

'Olvera Street Loteria' by Peggy Riley

La Arana. 

Brown fingers in fingerless gloves, she fans and turns the cards. 

La Luna. 

He rode in through darkness, hard hooves on a red dirt road. Only came in for a beer. Now he’s getting his fortune told, penny for five cards. 

Widow spider, crescent moon. “What is this?”  

She shushes him. He isn’t used to that. Back home, women bat their lashes, bite their lips for him. Out here, they’re scarce as water. Anyone’s a prize. 

La Nopa. Wild-armed cactus tree. 

He came west in a buckboard wagon, crossing plains, counting chickens. Left behind his family and birthright, the pink-lipped, wide-hipped girls, for the prospect of glint and glimmer, but all he found were rocks. Didn’t know how to stop digging. 

La Calavera. Skull.  

Once, he swung his pickaxe. Struck bone, head round as a river stone. Native? Miner? Could’ve been anyone, but he didn’t want it to be him. Maybe he hadn’t believed streets would be paved with the stuff, but he’d thought there might be a nugget left for him. 

He swapped his pan to a greenhorn for pennies, hitched a ride with a friar on the back of a long-lashed donkey.  Mission-bound, but he wouldn’t stay, not for God nor the hope of stew. 

La Muerta. Skeleton. 

“No.” Fist to the cards. This won’t be his fate.

Her hand is a bird, taloning his wrist. She turns a sixth and smiles. 

El Corazon. A heart – a heartbeat.  

Between her lips, a flash of gold. Her mouth is all a-shimmer. 

He pulls out another penny. What else of her might shine? 

 


Peggy Riley is a playwright, writer, community artist and lecturer. Her work has been commissioned, produced, broadcast, published and installed. www.peggyriley.com


'Professional Waver' by Guy Cramer

There was a family who every time we drove past their mansion I’d wave to their son in the yard. He’d be out tumbling around streaking grass stains on his white clothes. He’d look up, but he wouldn’t wave back. My dad said they were so rich, if they didn’t want to wave, they didn’t have to. 

I pulled back the giant brass knocker and stood between the Romanesque pillars, asking if they’d like to hire a professional waver. The butler said hold on and went away. When he came back he asked when I could start. I said I could start anytime. They set me up outside, dressed me in the same clothes as their son, gave me a lawn chair I could sit in while the yard workers worked. 

I’d been out there long enough the wife was concerned how much I sweated. She sent someone with a pitcher of lemonade for me. The first few cars that drove by I waved at, even though they didn’t wave back. Word got around. Before I knew it, there were two-hundred cars a day coming by just to wave at me. So much that the husband said they should talk to the city about putting in a toll booth. When my arm got tired I slouched in the chair, drank all the lemonade away. They hired a man to stand behind me just to hold me up. 

I decided to retire and they gave me a pension. I stand outside in front of my own mansion now, when the paperboy or tourists come by waving I just stare back. The mailman asks why I don’t do it even for him. I tell him I did it for years; there are just some things you shouldn’t give away for free anymore.



Guy Cramer is a writer from east Texas whose stories have appeared in: Paragraph Planet, Short Beasts, Vestal Review, Flash Frontier, Major 7th Mag, and JAKE. He has forthcoming work in 5 Minutes and Does It Have Pockets? He is on Instagram @guy.cramer


Debut Flash: 'Deliverance' by Christina Sponselli

You gave birth three times, yet never saw a baby being born until you watched at the foot of my bed. “He’s not as slimy as I expected,” you said. We laughed.

Now, I’m at the foot of your bed. Eyes are closed, your breath labored. I talk about our life, just us two. Things I wanted to say, but never did, until now. Your eyes are still closed. I talk about the birth of my son, your grandson, and your eyelids raise, barely. I see your pupils – lighthouse beacons – and your familiar eyes watch me one last time.

 


Christina Sponselli lives with her family in Northern California. She has served drinks in a Boston nightclub, formatted patents at an Austin translation company, and packaged smoked salmon in an apple orchard near the California coast. But she was always scribbling her observations in a notebook.

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