“A Dog’s Ode to Her Girl” by Kristina Heflin

she says i save her
            life but I knew when
            she sat beside me
on that dirty bed
                       she would be my saviour

i’ve watched her hurt
            a thousand times

i was there when he
used her
            when she was betrayed
by family

           we made a run into the dark night

i’ve followed her
across country
            more than once
and i would again

           when i fall
asleep every night
i make sure i can
feel her breathe
            make sure she doesn’t
                       give up

Kristina Heflin is a riding instructor, originally from Northern California. She has served on the editorial board of the literary journal Flumes. She has been published in the literary journals Flumes, Canyon Voices, Fearsome Critters, and Broad River Review, the websites 2Elizabeths, the write launch, Underwood, Shelia-Na-Gig and Passaic/Voluspa as well as the anthologies Diverse Minds and The Beckoning. Future publications include Duck Lake Journal and Coffin Bell Journal. When she’s not writing, she enjoys riding her own horse, Lucero, and hiking with her dog, Jessie.

“Detroit Jazz” by Michael Hughes

I knew this was going to happen. I shouldn’t have let Archie talk me into this whole thing. But it was a done deal as soon as I got into his flivver. He and his gal Grace thought they could show me a grand old time.

“Best time you’ll have this side of the Rouge,” he said. I wasn’t convinced, but I had nothing better to do after getting off from the factory, and it’d been a bit since I had a real drink.

Archie drove us up to the place, which was in the back of a hat shop. It was after hours, but the door to the front of the store was unlocked. The three of us walked to the back where there was a little door hidden behind some display racks.

“This is how we get into the joint,” Archie said. “Joe down at the foundry said you knock five times. Guy asks who wants some tea, and you say Warren G.”

And it went just like that. Five knocks and a harsh voice and Archie giving the code. A bruiser of a guy opened the door and led us down to the basement, where there was a jazz band and about forty guys and gals drinking and having a grand old time. Even the piano man was knocking them back.

“Hooch came in over the river from Windsor,” Archie says. “The Purple outfit has been running some high quality stuff from the Canadians. No turpentine or any of that crap, won’t turn you blue or put you six feet under.”

“How reassuring,” I said, taking a seat next to Grace. She was a looker alright, but I didn’t let my eyes linger lest I piss off Archie.

The three of us were in there for about an hour and thirty minutes before it all went to hell. The barman hit a switch that flipped all the shelving behind him back into the wall, a horrible crunching sound overcoming the playing band. It was all for naught. The fuzz busted in real quick. All of us were pretty loaded, and the only way into the basement was through the stairway, which was where all the heat was. Apparently there was a passageway off to the side, as most of the people in the know snuck out that way, including Archie and Grace. That left me and a few straggler members of the jazz band. A big burly cop decked me in the gut and sent me reeling. When I got up back on my feet, he and his goon partner had me cuffed.

“I didn’t do anything, officer,” I managed. “I just came down here to check the joint out.”

“Well, I assume you know that speakeasies are illegal, and that drinking in one is as well.”

“I guess, I just don’t see the harm,” I managed.

The cop chuckled. “The harm is that you happened to be at this particular establishment, which many of our fellow officers hold in disrepute.”

“This establishment?”

The other cop started chuckling.

“What the sergeant is trying to say is that we are much more amenably inclined towards Morty’s off of Woodward.”

I put two and two together.

“What’s the word?” The cop who decked me undid my cuffs. “They ask who pays the piper, and you say Al.”

“Simple as that?”

“Yeah.”

The cops proceeded to bash in the place with their billy clubs, but they let all of us out. Helluva world we live in these days.

Michael Hughes is an author living in Los Angeles. His novels include Pumpkin Farmer, The Crimson Shamrock, Inland Intrigue, and Loafing by La Brea. 

“looking backward through a telescope” by Benjamin Brindise

justin and i are sober now
megan got hit by a car
aidan got a cat
two cats, maybe, I’m not sure

two years ago we were a balloon
my chest is smaller now
megan lives at the ER
justin tells us he retired

romanticization of a moment
is looking backward through a telescope
on April Fool’s Day – everything is too hard to see clearly
and you end up with a black eye

so much of life is jumping
i’m not sure what that means
but i think it explains why
we came up with the concept of faith

if a metaphorical fire goes out
it symbolizes an undesired end
if a real fire goes out
it prevents the forest from burning down

megan tells me she will dance again
and i believe her
justin says to call if i ever need to talk
aidan looks happy whenever i see him

if i’m being honest i’m not sure how i feel
about all this ‘getting older’ stuff
but i’m glad i made it long enough
to have a chance to figure out how i feel

you can’t hold anything
only let it run through your fingers
anything that gets caught
inherently becomes different the moment it is

you can’t put a cool spring wind
against your skin, on a fire escape
that makes Buffalo feel like Brooklyn
in a facebook memory

hell, you can’t even put it in a poem
life is like one big inside joke
to get it
you had to be there

i’m not sure what i’m trying to say
other than that you can miss
the flames that burned you
long after you got smart enough to put them out

justin and i are sober now
megan is traveling again
aidan bought a house
time changes everything, even your friends

Just Buffalo teaching artist BENJAMIN BRINDISE is Buffalo-born and Nairobi-based. He is the author of the chapbook ROTTEN KID (Ghost City Press, 2017), the full length collection of poetry Those Who Favor Fire, Those Who Pray to Fire (EMP Books, 2018), and the short fiction micro chap Secret Anniversaries (Ghost City Press, 2019). His poetry and fiction has been published widely online and in print including Maudlin House, Peach Mag, and The Marathon Literary Review. He tweets @benbrindise

“Oh, That’s a Mad Thing to Look at!” by James Ross Kelly

John Monroe lived on Lost Creek by the covered bridge. John ran cattle for decades and always wore a big cowboy hat. John rode round-up in the fall with Leonard Bradshaw. John would hunt mountain lions with Tom Tibbetts as they both kept hounds, and Tom said John was the best lion hunter in the county. Tom said they’d start off together and split apart in opposite directions so their hounds would not get mixed up during the chase. Improving the family income with bounties on the big cats every winter as each lion brought $50 from the state, and $10 from Jackson County.

John would not have electricity in his home until a short time after a man walked on the moon. He then gave in to his wife and got electricity and a modern phone. They’d had a crank phone for a time, when Lloyd and his brother were kids. In 94 years, John, had only been to Medford six times which was 24 miles away.

Once, John’s sister decided to take him to the ocean in a car and they were gone for 3 days. John saw the Redwoods and went to the beach.

Everyone had a distinct cattle call; each owner’s beasts knew his masters call. Many of the neighbors knew each other’s call. According to Emil Pech, John’s call was a good one, with a “Whoopee! “on the end of it.

John gave up on horses when he got old and drove an International Diesel tractor. John was up the South Fork looking for cows and didn’t make it back one evening. Lloyd, John’s son went looking for John with his brother-in-law. After finding the tractor at the bottom of a steep grade, that went up to Conde Creek, they began calling out for John in the dark, pretty far up the South Fork of Little Butte Creek and up on Hepsie Mountain, past Grizzly Canyon.

Eventually they heard his “Whoopee! “and followed his call in the dark about a half mile from the tractor. He was cold, wet and muddy and had the big hat pulled over his ears with a plastic sack tied round his head to hold it down. Each of the men got a shoulder under the old cowboy and got him off the mountain.

“I think I had a stroke,” John said to Lloyd on the way home in the car, long after midnight.

A few weeks later, John fell while feeding calves, the calves tromped the old man until he crawled under a flat bedded wagon, he hauled the baled hay on.

For a brief time, they put him in a nursing home in Medford. John became so sorrowful because he was embarrassed when they took his clothes away. One day, he found his overalls and his flannel shirt and made a break for it out of the nursing home. After that escape his sons took him home and cared for him there. At the age of 94 John passed, three months after his wife Ida Marie had died. Lloyd said, John would say, of his one trip to the ocean:

“Oh, that’s a mad thing to look at! That’s a mad thing—those waves coming in!”

James Ross Kelly lives in Northern California. Mr. Kelly is a U.S. Army Veteran (1967-1971), Mr. Kelly was in the Army Security Agency and served in Eritrea, East Africa, where he was a teletype intercept operator. He has been a journalist for Gannet, a travel book editor, and had a score of labor jobs — the in-between, jobs you get from being an English major. He retired as a writer-editor for the Forest Service, where he spent the a decade in Oregon and Alaska respectively. He started writing poetry in college on the GI Bill, and after college continued and gave occasional readings in the Pacific Northwest during the 1980s. His poems and stories have appeared in Westwind Review, (Ashland, Oregon), Open Sky (Seattle), Siskiyou Journal (Ashland, Oregon), The Sun (Chapel Hill, NC); Don’t Read This (Ashland, Oregon), Table Rock Sentinel, (Medford, Oregon), Poetry Motel (Duluth, Minnesota), Poems for a Scorpio Moon & Others (Ashland, Oregon), The Red Gate & Other Poems, a handset letterpress chapbook published by Cowan & Tetley (1984, Vancouver, B.C.). In the past three years Silver Birch Press (Los Angeles) so glad is my heart (Duluth, Minnesota), Cargo Literary, (Prince Edward Island, Canada), Fiction Attic, Rock and Sling (Spokane, WA) Flash Fiction and Rue Scribe have all featured one or more of his stories.

“Overly Emotional” by Andrew Mills

She screamed out about that one night
You know the one she means
The words never come out that way

“You are being crazy”

Act as though questions are an insane thing
Something to dismiss as quickly as they come
“Calm down calm down,” wait for my everything
Don’t speak for truth spoils the ear

Call it hysteria, speak it from the hand
Crash down into drywall etchings
Of a time you can’t remember

She yells again
Or maybe simply speaks out in large portions
Too much to hold in one mouth

Andrew Mills is an emerging poet who is studying creative writing and sociology at Old Dominion University.

“Birdseed Memories” by James Barr

There’s a story behind those boxes of birdseed at your local pet store. Someone with a deft hand mixed different seeds into a curated blend designed to satisfy a bird’s deepest culinary desires.

That someone was me.

Looking for a summer job during high school, I spotted a “Help Wanted” sign on a pet shop window. After a short interview with the owner, we had an even shorter conversation about my duties.

I was to stay away from tropical fish, puppies, guppies, cats, rats and customers. After that, I could scarcely wait to hear what my duties might be. The answer came quickly.

I was to make birdseed for parakeets, canaries and finches. Kind of like a celebrity chef,

I thought, only without the toque.

This process began by opening a bunch of flattened boxes, rubber cementing the bottoms, waiting for them to dry and then filling them. Then I was to empty large sacks of seeds into a huge galvanized garbage can, mix them with an industrial-size scoop and fill the boxes. How simple was that?

All this was to be done in the dark recesses at the back of the store. What I wasn’t told, however, was that the owners’ son, David, would be constantly watching me from different corners of this gloomy area. David was a young man of limited capabilities and wore his Cubs cap sideways. He wasn’t especially social, so we settled into a nodding relationship. That was fine with me as I was there to make birdseed, not friends. But I did keep an eye peeled for him, as he had a penchant for suddenly appearing out of nowhere and making my hair stand on end.

Birdseed making turned out to be an unfortunate career choice, however, as I’m allergic to anything with fur, feathers and probably fins. Grasses are another big no-no. Hay fever comes on me like a South Seas tsunami. Once, an allergy doctor’s injections of allergens transformed my skin into a Himalayan topographical map, complete with surrounding foothills, a nearby village and a lagoon.

On my very first day, I knew I was doomed when I poured large sacks of millet, cracked corn, milo and sesame seed into the garbage can. Then, with scoop in hand, began mixing. A cloud of dust rose from the can and enveloped me in a vortex of wheezes and sneezes. And the more I scooped, the more the dust arose.

Once that task was completed, I scooped the seed into the empty boxes. That activity created dust clouds of a smaller magnitude, but there were dozens of them, each hovering above a box. When the boxes were filled, they needed to be sealed. During that process, the rubber cement brush quickly gathered enough birdseed to feed a family of finches and possibly a dozen canaries.

I didn’t last more than a week. And though I’ve had plenty of other jobs since then, this one was not for me.

It was for the birds.

James began his writing career as a copywriter for the Montgomery Ward Farm and Garden Catalog. This gig taught him how to distill all the pertinent features and benefits of a tractor, tiller or mower into 12 lines of 36 characters, including “Easy to Assemble.”

“It isn’t life, but how to live” by Liz Stork

It isn’t life, but how to live, that you get to choose.
But I can’t shake the feeling that
something to hold onto is something to lose.

I was at a wedding when I heard (too late) the news
that Eliza was married in a hospice bed.
It isn’t life, but how to live, that’s what you get to choose.

But what do you do when all the future feels like a ruse?
Enjoy the moment! they say, but don’t they know that
something worth holding onto is something to lose?

What used to be a trickle of doubt and fear now spews
What used to be an errant fly buzzing is now a constant ringing in my ear:
It isn’t life, but how to live, that’s what you get to choose.

How do you go back when you’ve seen something true?
What if you don’t want anything worth holding, cause
something to hold onto is something to lose?

Nothing works like it used to not the body or the booze.
I can’t shake the feeling – How do I shake this feeling?!
It isn’t life, but how to live, that’s all you can choose.
Something to hold onto is something to lose.

Liz is a New Yorker, a civil rights lawyer, and a writer. She enjoys talking about the heavy things in life, because it makes them a bit lighter.

The Art of Folding Paper Cranes by Hendrik Kühn

Andrew was about to master the art of paper folding, but his self-confidence was suffering from serious deprivation. The Origami evening class was engaging and well structured — and the teacher, Mr. Nakamura, one of a kind — if it were not for Blaine.

Andrew’s eyes wandered discreetly across the table to feeble hands sculpting fiery red paper as if they were defining material behavior at will. His paper crane, on the contrary, had a will of his own and was never tired of resisting his attempts. Of all twenty-four participants, Andrew had to share a table with Blaine. Twenty-three adults and one soft and pedantic boy, Andrew thought.

“Now here’s what you do,” he said and folded the sheet of paper in front of Andrew. “You can’t skip a step, this is crucial.”

Mr. Nakamura came to help. “Everything clear?”

“Yes,” Andrew grumbled.

Blaine disagreed: “Not at all. He mustn’t skip a step.”

The Origami class was a birthday present from Andrew’s parents. Alone during the day and lonely at night, the slightly overweight 36-year-old had been looking forward to a change from his downbeat routine. He couldn’t admit it, since it was too shameful, but he enjoyed this minimalist craft with all that enchanting and recyclable sculptures. Unfortunately, every Monday evening, Blaine had one hour in which to spoil his joy. And it worked every time.

After the class, Andrew rushed straight to his car, and his drive home was a long rant about his classmate. “That little braggart!“ he shouted. “He does need that satisfaction, doesn’t he? Because he failed to get anywhere in life! Narrow shoulders, tiny hands … He is calling himself a man, but is just a boy! And what is this name anyway? Blaine sounds like a girl’s name. I’ll show him!“

Next day at work Andrew was still annoyed. And the day after. The entire week there was a low-lying pain in his chest, hurting with the wrong movement of thought. It came from a sting which Blaine left in him, and next Monday he thrust it deeper.

“Evening, big guy!“ he said with a lower tone in his boyish voice.

“Today we’ll make a dragon. Can you do that? Can you handle the dragon, champ?“

“Yes,“ Andrew grumbled, irritated by Blaine’s stilted masculinity.

Mr. Nakamura detailed the folding of the paper dragon step by step, and Andrew noted that his unpleasant partner was observing him. Pretending to be unaware, he followed Mr. Nakamura instructions. First Blaine stayed quiet, but at step number five he ventured to comment.

“Careful, you need to …“

“I know,“ Andrew said contorting with pain and turning sideways. It took him ten minutes and a flawless hunter green dragon was already posing from the other side of the table, but he managed to finish his own.

“Excellent work,“ Mr. Nakamura said. “And yours is good too, Andrew.“

It was the first night since beginning the Origami course that
he drove through the cold city lights with peace of mind. He did not understand Blaine’s smile when he examined his correct and — to a lesser extent — decent dragon, but it seemed there was no competition between the pair mismatched by nature. At the moment of this insight, the pain in his chest vanished, and he got a full night’s sleep. The following working week ran smoothly, and Andrew overcame the shame and told Jim, one of his closest colleagues, about the success of the paper dragon. He had never heard of Origami though. “Why paper? You should do a dragon out of plaster and paint it with varnish colors. That would be something.“

Andrew returned to the course for the very last time with a fresh sense of self- confidence. It came to an end after eight weeks and he found it a pity. The one he would not miss sat at the table and did dry-runs with pale white paper. Blaine was in such a too-good mood that Andrew’s ignorance couldn’t impede his vigorous flow of words.

“Do you know why I’m doing this class? We all have stressful daytime jobs, but Origami is more than relaxing, isn’t it? It’s contemplation, it’s meditation, it’s Yoga for the hands. Here we find inner peace and learn a fine craft. Isn’t it nice to learn something new in your free time? Why are you doing it, Andrew?“

“Certainly not to talk,“ he said.

“You have a great sense of humor! I love it!“

Blaine began to laugh and Andrew froze looking at him. “Is he hitting on me?“ he thought and found alarming details in Blaine’s facial expression. There was a particular gleam in his eyes, he never saw before, a tilting of his head and pointy lips too. He stopped all the joking immediately worried that he was misconceiving the signals. The simmering embarrassment ensured a total silence on either side of the table the entire hour. At the end, both used the quiet time to finish two marvellous paper flowers. Andrew’s was better than expected, Blaine’s worse, at least measured at his talent. After the course, when they parted ways, both said from a distance “See you!“, and one of them added “or not“ in thought.

On Saturday, Andrew visited his proud parents to show his Origami sculptures and the certificate that Mr. Nakamura had awarded him. He remembered Blaine, the annoyance that he underwent, and it was still embarrassing. But somehow he was missing him as an existence in his empty life that cared about his crafting.

As usual, he went alone to the movies downtown, leaving after nightfall with a cosy warmth in his chest. Outside the cinema, a beautiful starry sky gently tarnished by the city lights greet him, and he stopped. At that very moment, somebody leaving the same movie brushed his shoulder. He turned around and saw Blaine, but dressed in women’s clothing and painted with lipstick and blusher. Disgusted by the cross-dressing, his first thought was: “I knew he is gay!“ His disgust was also the reason he made no response.

“Surprised, big guy? I’m a woman. So what?“ Blaine said and set off without looking back disappearing in the lively city.

Andrew stood motionless while his thoughts derailed. His eyes followed Blaine, but what he saw were old reminiscences of him breaching the thick layers of his twisted mind to form a strange identity. He was not a boy, nor a man. Blaine was a woman, and the thing that remained after she left was the wish to see her again. He realized, just now, that he had gone to the movies with her and that was a good start.

Hendrik Kühn has studied sociology, lives with his wife and daughter in Bremen, Germany, and works there as a researcher at the University. His short stories have been published in Amazon’s Kindle Singles program and his debut novel will be coming out in January 2020 (Luzifer Verlag).

Every Spring by Maeve Moran

These wet petals of cupped liquor
are kept for myself.
Cast in bright bullets of cerulean;
no more than twelve,
like bitter cellar wine.

Moved against peppery pane,
the vine-ripe rain cries a warm line
behind white curtain,
not unlike the cleanest of flames
drawn up in cuts of chlorine,
feverish,
washing and rushed of a lung.

Curiosity has killed my tongue
with lacy shadows and glassy eyes,
sharp like sea salt.

So, steal high noon into Sicilian quarters
And I am pouring into glass.
Fly-trapped in tea tree cotton candy, nothing
but a pressed daisy. A fractured frieze
Cramping.

A masterpiece.

Rinsing is the evening cool
cutting warm afternoon;
dried, preserved and left lace-curtained
for another month or two.

Maeve Moran is an Irish student currently studying English Literature and Education Studies at Durham University. Maeve is absolutely fascinated by language and words and voice and uses poetry to explain the things she simply cannot express properly any other way.

Cleopatra Eyes by Maeve Moran

He invites her, waits on that wood-drawn seat
under their pink floral trees, ancient lamp
and chilly, newspaper air. Il fait doux, so
he leaves his coat thrown over the bench
and greying night leaves milky light
in sheltered wreaths of black-and-white.

The hazy sands in clouded streets trail
their paths for her stilted feet. Her stride
increased and paced for the Champs-Elysées.
She feels the heat. Pleated skirt at her knees,
so unlike her usual things. She wears a blouse,
chemisier; smiles her way, brilliantly. Teeth
white against a red lip and Cleopatra eyes.

Beautiful lies over journeyed lands reveal this
rising evening romance. Her heaving sands,
sunset streets, the lamp still lit, straight shoulders,
sweet golden-grey swaying Cleopatra eyes
realise le beau soleil and carry her to Paris.

Maeve Moran is an Irish student currently studying English Literature and Education Studies at Durham University. Maeve is absolutely fascinated by language and words and voice and uses poetry to explain the things she simply cannot express properly any other way.