BASH THE BISHOP — DEIRDRE COYLE

“I dreamed about masturbating on the highway shoulder,” he tells me. “Standing in some bushes. I turned and saw a corpse right behind me, by the side of the road. A cop pulled over. I said, ‘I know this looks bad, Officer, but I wasn’t masturbating to the dead body.’ He didn’t believe me. I went to prison.”
            I am either imagining this man bashing the bishop or imagining him in prison. Imagining him in front of a dead body by which he is theoretically not aroused. I think, this man understands me. I think, I will place hidden cameras inside his mind. But I don’t need cameras—I know as well as you do that the devil’s in the discoveries as much as in the details. I’ll discover wide swaths of information that don’t require minutiae to speak blackness from one tongue to another. I’ll hold his eyes open and see nothing that will make me look away. I know as well as you do that the devil’s in our dreams. I’ll join his self-lovemaking, and there will be no dead bodies, only little deaths everywhere.


Deirdre Coyle is a non-practicing mermaid living in New York City. Her writing has been published in theNewerYork, Fwriction : Review, Control Literary Magazine, Internet Poetry, and elsewhere. You can find her at deirdrecoyle.tumblr.com and @DeirdreKoala.

ROY ROGERS, MY GRANDFATHER, AND A DEAD DUCK — SARAH SHIELDS

Here in my grandfather’s basement, behind the stocked bar, is a photo card of a young and smiling Roy Rogers. Framed and hung next to it is a photograph of a more serious, older-looking Roy Rogers standing with my grandfather and a third, nameless man. There is also a circular cut of leather on the wall, a token from a special event signed “Roy Rogers” and “Trigger”. My grandfather shot alongside Roy in the 1969 Two Shot Celebrity Goose Hunt in Lamar, Colorado. 
            He tells it like this, “I outshot The King of the Cowboys that day. While everyone had fancy guns, mine was old and useless-looking─but it had always worked just fine. There were forty competitors in the shoot-out, and I won every competition.”
            Listening to the story, I buzz with pride. Then my bones warm with rum and prickle with some indistinct connection buried in the marrow there. I wish he was my real grandfather.
            There are geese and ducks just about everywhere in this basement, even on the plastic tissue box cover in the bathroom. Fowl hunting magazines. Cowboy magazines. There is pride of the western frontier down here. I look for this famous gun from my grandfather’s story, mounted to a wall maybe, but it's not down here. Must still work. 
            I pick up one of the magazines and flip to the article I know is there about The King of the Cowboys. I love that Roy Rogers and other performing cowboys like him, Gene Autry for example, had no fear of stripes or fuchsia satin. Double-headed arrows embroidered below the shoulders, a trail of blossoms all the way down the sleeves to the guitar. Ivory hats and silver spurs flashing like they’d never had a speck of dirt on them.
            Sing, my dear fancy cowboys, sing me a merciful tune of desert dust and vultures flying overhead so that I’ll forget about the dead duck by the cast iron stove. My eyes climb over the tops of the glossy, magazine pages. I can't help but look at the kill. Its green feathers are perfect, glass eyes deep and still. It is standing. How is it made to stand there? Must be weighted. I look at something else: the teapot on the stove is pretty and always cold. But no matter where I look, I think about the duck and wonder where the gun is.


Sarah Shields is an alumna of Colorado State University where she studied Psychology. She mothers, writes, and illustrates in San Diego, California, and is currently working on her first middle grade novel, a macabre and humorous Western. She is an active member of the Society of Children's Book Writers and Illustrators. Her work has appeared in Underneath the Juniper Tree.

SKILLET — IAN D. WALLACE

We've been trying to season the cast iron skillet. Even after we read everything on the imaginary pin board website, we couldn't get that rich black we’d seen on cooking shows.
            We used canola oil at first. The skillet took on a sticky texture. After, we used lard. Old-fashioned, god’s honest lard from boiled down animal fat. Still, the skillet came out sticky and smelled strong. We tried frying a bunch of bacon and smearing the rendered fat with our hands. Nothing was good after that.
            Things changed. We started to smoke more cigarettes in summer evenings, and spent less time away from the house. We wrote letters to Alton Brown and Guy Fieri. We hired men to tear up trees from the backyard and spent days chainsawing logs to build raging white fires.
            We stopped sleeping in the same bed because it was my fault the skillet wouldn’t season, and it was her fault for not being the girl I was secretly falling for on Facebook. We brewed strong coffee and let it sit for days in the skillet over low heat. Eventually, I threw her copy of Prodigy’s Fat of the Land in there and let it melt, hoping for something that would ultimately never happen.
            While I slept on the hardwood floor, she clipped all my nails off and tried rendering them down. Cranked the stove up as hot as it would go, and then the oven. I cut pieces off the cat she loved. The one that shit on the floor and destroyed my chair with its freedom claws. Those just made the skillet smell like burned hair and fat. I threw in old love letters that were so sappy I worried they might ruin the skillet. We bought cartons and cartons of cigarettes and went through so many lighters with all the forest fires we set and all the cigarettes we smoked. When we were smoking was the only time we really talked anymore.
            She would inhale the smoke cleaner than the air in the house.
            “You read the article about never putting soap in the skillet?”
            I took a drag off my cigarette.
            “I’ve never touched soap to that fucking thing.”
            It would be Fall soon. I would smoke cigarettes and fuck the Facebook girl and like every Facebook status she put up. My ex would stop smoking and drink less, and pretend to lose weight in profile pictures. Eventually, one of us would take the skillet.


Ian writes in a quiet office in North Carolina. He bakes. On a good day, the cat will be near. His work has appeared in Split, em:me and Cairn.

TIME AND SPACE — WILLIAM DAVIDSON

Jane and Mark found the cycle path that had once been the railway line to Selby. Now models of the planets were spaced out to scale along the route. The sun was just down from Tesco near the edge of the racecourse. They sped past Mercury, Venus, Earth, Mars and Jupiter. They stopped beyond Saturn at the Trust Hut and bought Fruit Shoots.
            “This is marriage,” she said.
            “Drinking Fruit Shoots?” he said.
            “This. The solar system,” she said. “Light and explosions at the start, then so much happens so quickly. Planet! Planet! Planet! Work! Children! Houses! And then the planets spread out.”
            “It’s not our marriage because I couldn’t be an astronaut,” he said. “They wouldn’t have a vegan astronaut.”
            “We’re not astronauts,” she said. “Marriage is just the solar system.”
            Uranus and Neptune were miles apart. Jane and Mark spent a long time looking for Pluto. The track stopped at a small car park by the A19. They leant their bikes against a fence and poked around the hedges.
            “Maybe they took Pluto away,” he said. “I don’t think it’s a planet anymore.”
            Pluto, they found, was at the top of an overgrown slope. Pluto was pea-sized and on its plinth someone had written tosser.
            “Isn’t tosser a bit eighties?” he said.
            “Time and space,” she said.
            “So your marriage solar system thing,” he said. “Marriage ends up near a car park just short of Selby and someone’s written tosser? It doesn’t really work.”
            “It works,” she said.


William Davidson lives in York, England. His stories have been published in Synaesthesia Magazine and The Puffin Review.

SAY NOT REALLY — ADAM SCHUITEMA

Today’s garbage day, and there’s a windstorm. Torn envelopes and food wrappers scurry through the neighborhood like tumbleweeds. Trash bins lie in the road with their lids flung agape. Warren steers wide around them, headed home from the post office, where the woman behind the counter told him they couldn’t just stop Beverly’s mail from arriving. “You have to go online, to the Direct Marketing Association’s Deceased Do Not Contact list.”
            “On the computer?” he said. “I’d rather kill myself.”
            And he could almost hear Beverly’s voice then, whispering into his ear: Say, “Not really.”
            At home, there’s paper sticking out of the brass mailbox. It had come in the ten minutes he was gone.
           He parks, gets out, and removes advertising circulars, Valpak coupons, pre-approved credit card applications—all in Beverly’s name. Warren holds them above his head before liberating them like frantic release doves. “Fly, you fuckers!”
            He cleans his glasses on his coat and heads inside. It’s only three-thirty, but he wants to drink until he blacks out and maybe sleep forever.
            Say, “Not really.”
            Beverly was a habitual finger-crosser and wood-knocker who refused to stay on the fourteenth floors of hotels because she knew they were really the thirteenth. When the disease stole all but the last of her memories, she’d still make Warren say “not really” to quash the bad luck of his black humor.
            When he cut his finger with a kitchen knife and joked he’d bleed to death.
            Say, “Not really.”
            When he mused that the Chinese would enslave us within a decade.
            Say, “Not really.”
            There’s gin and bourbon in the kitchen, but he runs cold water and makes coffee instead. While it brews, Warren gazes out the window above the sink. Along the fence runs a hard-packed stretch of dirt that had once been Beverly’s garden. In the perfect purgatory of her disease—when she remembered past blooms but not the words “iris” or “dahlia”—he’d pierce the dirt with the plastic stems of silk flowers, and she’d stand before this window and smile.
            The first sip of coffee fogs his glasses so that, for a moment, he’s lost in a cloud only he can see. He ambles down the hallway to his small study, rests his mug on the desk, and opens the lowest drawer, removing matches and his usual stockpile of candles: pillar and taper and votive. A half-dozen tea lights Beverly once put in jack-o-lanterns. He arranges some on the desk and the rest among bookshelves. After lighting all of them he shuts the door, closes the curtains, and turns off the lamp.
            Among the dim orange light, Warren sips coffee and reads the newspaper while, outside, wind-thrashed branches rasp against the siding. Soon the room’s air has burned so thin he feels high as if on wine. It’s something like amnesia. He breathes deeply, head floating, wanting to be blessed the way she was cursed, with a mind scrubbed utterly free.
            But not really. Not really. Not.


Adam Schuitema is the author of the forthcoming novel Haymaker (Switchgrass Books, 2015) and the short-story collection Freshwater Boys, which was named a Michigan Notable Book by the Library of Michigan. His work has appeared in numerous publications, including Glimmer Train, the North American Review, Indiana Review, TriQuarterly, the Black Warrior Review, and Crazyhorse. He’s an associate professor of English at Kendall College of Art and Design and lives in Grand Rapids, Michigan, with his wife and daughter.

HISTORY — NICK BEVAN

At the age of 10, Paul Wilcox and I decided to write a history of the world. If we wrote alternate chapters it didn’t seem too onerous a task. At that age I was obsessed by the Norman Conquest and not greatly interested in the rest, but felt that I was prepared to put myself out a little for the sake of the fame and publicity. We decided that I would do the first chapter (Stone Age to Celtic Britain), he would cover the Romans and we’d take it from there. Working largely from my father’s School Certificate history textbook, I don’t think we’d clearly distinguished between British and world history. We only had a couple of ruled exercise books to fill so a degree of brevity was taken for granted.  
            I sat down on a Saturday afternoon and imagined what life was like for a Stone Age family. I felt that a human interest angle would be more meaningful.  If I picked the specific family that then discovered bronze I could combine emotional engagement with historical narrative.  
            When we compared notes on Monday after school I had completed five pages and Paul had only written one. In 55 BC Julius Caesar invaded Britain. In AD 122 Hadrian built a wall.  And so on.
            You’ve made it up, he said. How do you know that John invented bronze on a sunny day in May? You’ve just copied down a list of dates, I said, no one is going to want to read that. You need to bring history to life through imaginative reconstruction I said. Of course you don’t, he said, it’s dead, that’s the whole bloody point.  I’d never heard him swear before. He left without taking his work and before my mother had served the cake.  
            I felt I had the ability to see it through, but somehow without Paul I couldn’t continue. I kept both exercise books. Interestingly, neither of us had thought about how we’d manage with alternate chapters written in different notepads, although as a way of presenting history that might have been a first.


In his younger days, Nick Bevan published poems in several little magazines in the UK; in middle age he focused on committee reports for internal audiences and articles and reviews in professional journals for a slightly wider readership; most recently he has had a couple of stories published in Every Day Fiction.  

A PREDICTION OF JANE — KEVIN BAKER

There will be a girl. She’ll be called Jane. She’ll dream of being a dancer, and waitress to get by. 
            When she’s twenty-five, Jane will meet a boy. He’ll be called David. He’ll dream of becoming a rock star, and wash dishes to get by. 
            Jane will talk to David at his station. They’ll flirt a little and nearly get together at a Christmas party. For the next few months they’ll dance around the possibility, like Ross and Rachel from a show called Friends. (This show will be very popular – so popular that it will continue playing in a loop until the end of time.)
            One day Jane will say to David:
             “Old people love my hair. That’s two tables today who have said so. Do old people ever say that to you?” 
            (They will both have red hair, though Jane’s will be the reddest, tumbling like autumn from her head.)            
            “No,” David will say, “they normally just say, ‘Get off my lawn,’ or ‘Stop doing that to my dog.’”
            Jane won’t say anything, and for the rest of the day David will be worried that he ruined his chances with a stupid joke.
            Jane and David will marry two years later, then separate amicably in their mid-forties. David will be bald by then, and Jane will be turning grey.
            Ross and Rachel will marry 1.2 million times before the sun explodes.


Kevin Baker is a writer and musician currently based in Korea. He's a regular contributor to the arts magazine Retroussage, and his work has appeared in Adbusters and The Island Review among others. He is currently working on a novel.

ULYSSES' INTERLUDE (2) — DANIEL A. NICHOLLS

She kept me in her room; I wanted to head home but the wine was strong and it was far to walk, and I had the barest design on where to go. Some seductions are slow and sad, a writhing girl holding you with your collar down to the bed for, she says, just a little. The language is not her first, her tongue comes apart in burs around it, but she pushes it like a tongue across a chest.
            Barren-brained I stared away, I made excuses, I made denials, I dreamed of the sweet A/C blowing cool upon me and on the icy silence between my seat and hers, her dash-lit rage burning blue. But she was near as far gone, down deep below an ocean of wine, as she let on, and I no more wished her dead than I wished to not go home.
            So there we were, a white-walled apartment in the dead-black woods, and sure it had been a long swim through the years with no arms around me but vengeful mermadonnas plucking at my feet in the swirl of memory—but could you, could I, so thoroughly lie for the sake of perfect form?
            the burns upon her eyes
            the glistening, working thighs
            and who could guess her lips would taste like cloves
                        when they glow, when their bright orange coils shred
                        the dark paper in the dark?
A fever and collapsing and staying through the night. A waking with a panic and knowing that you’re drugged. She’ll draw you out, she’ll pour you back; a phial, a pharmakon.
            If you thought you were lost before, brother, if you thought you were lost before.


Daniel A. Nicholls can be found declaiming poets and poetry on Twitter (@nomopoetry) and Tumblr (nomopoetry.tumblr.com). He has poems online in Agenda, The Honest Ulsterman, Open Letters Monthly, Compose Journal, Specter Magazine, and Halfway Down the Stairs. From 2010 until 2012, he was Writer in Residence at The Starving Artist in Keene, New Hampshire. He now resides in Arizona.