Tag: literature

Table of Contents: Cobblestones Spring 2025

Fiction
Granma’s Dumbwaiter by Christopher Sloce
Squirrel Rain by Tilden Culver
Night Kitty by Christine Stoddard

Visual Art
Step One by Jean Barrie
In Your Dreams by Grace Oxley
Cobble, A Good Boy by Savannah McLaurin
Swimming by Gabba Heinz

Poetry
Digital Echoes by Sneha Rajan
A Townie’s Brush with the Bourgeoisie by Jena Salem
The Outside Sill by Kylie Grunsfeld
Three Poems by P.H.G.
The Cicadas Cry by Casey Kendle
Tourist by Jozlyn Basso


Editor’s Note: It is with profound gratitude that we present the Spring 2025 issue of Cobblestones. Our most sincere thanks go out to all the writers and artists who chose to share their work with us, whether or not they were selected to appear in this issue. Journals such as this could not exist without their hard work and their courage to share that work with the world. Readers, it is our fondest hope that you enjoy this inaugural issue of Cobblestones as much as we enjoyed producing it. Happy reading!

Digital Echoes

By Sneha Rajan

Somewhere on the other side of the country, I
 taste ash
with fumbling fingers sliding palenumb across my screen.

My eyes skipbeat over my father’s name.
 I can’t delete the number because
 one day my car might break down
 and he’ll need to lilt faults at me while getting in his car to
get me.
Though his phone is crackeduseless, the car towed, mouth unpracticed again
But the number stays of course.
He’s not dead of course.

My friend isn’t dead either my phone speaks
 echoes of soot fingers and acrid lungs.
My breath forms fantasies while
 waiting for the next.


Biographical Statement: Owner of the stubbiest cat with the loudest scream on the East Coast.

A Townie’s Brush with the Bourgeoisie

By Jena Salem

On this glorious Tuesday afternoon,
I will become the richest woman this
Backwoods town has ever seen.
It will be in the middle of my
Double, after a stocky middle-aged man
In his too-tight business suit and aviators
Hurls his boiling cappuccino square in my face
Because the steamed milk is not wet enough.
My manager, the one twice-divorced with a Monroe piercing,
Will soothe my aching burns with expired ointment
And dress my wounds in band-aids with sparkly butterflies on them.
I will take a well-deserved lunch break that’ll only last five minutes.
As I’m sinking my teeth into a half-rotted Red Delicious,
I’ll scoop up the quarter and scratch-off I packed as my dessert.
Absent-mindedly, I will scrape off each protective seal.

Gold pineapple.
Gold pineapple.
…Holy. Shit.

The beaten-up bar stool I’m perched on
Will clatter to the ground as I spring up
And let out an ear-piercing cheer.
The first thing I’ll do is make a beeline for
That cufflink-polishing prick.
Before he can berate me again,
My fist will ram into his jaw,
Sending a shiny gold molar skittering.
The crisp twenties he was shuffling
In his beefy fingers
will drift to the sticky floor.
I’ll gather up the fallen bills,
Stride over with the confidence he’s
Dedicated his whole life to mimicking,
and stuff them far down his engorged gullet.

“And keep the goddamn change!”

The joint will be stunned into silence.
So silent that you could hear my apron drop
after untying it and throwing it up in the air
like the graduation cap I never got to wear.
No one will dare stop me from swinging that door open,
Middle finger extended in place of a two-week notice,
And letting it slam shut.
The frigid autumn will chill the
Hot tears leaking down my cheeks,
trailing over my chipped teeth and drugstore lipstick.
Hysterical giggles will escape me,
Turning the heads of pedestrians,
who are clutching the pearls I could never afford.
Like a madwoman, I’ll gleefully skip towards my
Fifteen-year-old piece of junk
And jiggle the busted handle ‘til it gives.
I’ll careen down I-90 to the rhythm of a Madonna song,
Going wherever the wind takes me.
At long last, I’ll take a breath.
In, then out.
And I’ll breathe.


Biographical Statement: Jena Salem is an aspiring writer and a senior undergraduate student at Virginia Commonwealth University (VCU). She is currently a copyediting intern at Blackbird Literary Journal and working as a student copywriter for VCU’s College of Engineering. Her work can be found on the College of Engineering’s website.

Artist’s Statement: This was written as an ode to all customer service workers alike. Please enjoy, and I hope this piece provides some emotional catharsis.

Cobblestones Deadline Reminder: March 31st

Hello readers, writers, artists, and miscellaneous miscreants!

This is your reminder that the Cobblestones open submission period ends in two days, on March 31st. Submissions sent after March 31st will not be reviewed. Our submissions form can be found here and our editorial guidelines can be found here.

It has been a wonderful submissions season so far and we are elated with the quality of the work that all of you brilliant creatives have produced, but we still have room for more pieces! If you have been wondering whether or not you should send your work to us, take this as your sign that we would love to see it. If you have any questions, our editor will be monitoring comments on this post.

Happy reading!

Granma’s Dumbwaiter

By Christopher Sloce

Granma lowers me into the basement on her dumbwaiter when she puts me in reflection time. I think about getting old sheets and straw so when she puts me down below for reflection I am at least comfortable when I fall asleep, at least as comfortable as I can be with all the rats crawling in the walls all around me and me reflecting on what got me here. Here I lay, looking into the laundry room till morning when she pulls the dumbwaiter back up.

There are rags and food boxes down here and they’ve been chewed up by little tiny mice, maybe when the big rats in the walls don’t eat them. I saw one in a crack once, large as a shoebox and its red eyes looking in my eyes. I screamed and Granma just stood above and stared saying What? What do you need me for?

Granma has walked away, I have heard the door close. She is going to bed. I can hear her walking up the stairs of the creaky house we live in, full of big rats and tiny mice and Granma and me.

When Mama died, Granma was there. She had to bury Mother. The funeral was hard to plan. Usually Mama didn’t bring me back here. We lived in the city. I would ask Mama if we could visit. And she’d say, “I like the city. I only go there when I have to.” She drowned in a bathtub. I asked all the people who helped when I found her how could Mama die in such little water. All the people said she did because sometimes people drown. One man said actually it does not take that much water to drown someone.

Mother is the dead body. Beforehand she was Mama. I loved her. I’ve wondered if I could drown in a bath, too. Granma puts the water high. If there’s not enough, you won’t get clean, she says.

She works me cleaning. I scrub, vacuum and dust. Her house is dusty, and there is always something to dust. I can never figure out if I’m done because it’s so dusty. She has her snacks during the day– Granma is always eating but never big somehow, she says it’s the worm she has– and I have to clean up what’s left over. She puts all the trash she wants thrown away on the counter, the cans of fish and cracker sleeves and chip bags and burger boxes. She lies in her living room bed, with no blanket on because she claims it will make her sick, and she reads books without covers. After the house looks to her standard, she lets me play. Though now, she has said, because of the games I like to play, she won’t let me.

One day, I went to the creek down the hill. There was a boy there at the creek. He was sitting on the dirt and he watched me while I walked down. I was actually thinking about grabbing the little fishes and lobsters and frogs in the creek I saw, maybe to run them back up the house and put them in the smudged fish bowl I found in Mama’s old room. He patted on the ground and had me sit next to him. He told me his name and I’m trying to forget it because Granma told me to but his name, Heckle, I keep hearing it in my head. He said he came down here because he loved to look up at the hill. He pointed up. Don’t you see all the colors on the hill? I sat with him and looking up, he pointed at the grey house, and then the brown trees, and then the yellow grass.

He saw all these things, and it was like the first time I saw it. Heckle was maybe a little older than me but all the ways he could see stuff I couldn’t at first, it was like he was ancient. And when Heckle looked at me, it was like he could see in me all these wonderful things. The sun would set and I watched with him, squatting on my feet so I wouldn’t dirty up the back of my jeans. And when I got done, each time, I crossed over the creek and Heckle said, “Bye. See you tomorrow,” like he knew each time I’d come back. He had me pegged, because I was going to, if only to get looked at like I was something new.

At night in my bedroom I’d think about all the things we talked about that day, and when I thought about them, I realized I was starting to think about something else. His eyes, how soft and brown they were, like a chipmunk, and how they could see something inside me nobody else had looked at. I never thought of eyes like that. I thought of them more than I would most things, and I thought of how he could touch me with looks, his eyes like a keyring holding all the keys. It would keep me up all night, thrashing around, rolling over, trying to figure out what to do with myself.

Granma started noticing me slacking, being lazy with my chores. And spending time playing outside, too. But I realized she wanted me out of the house for some reason more than she wanted me there, so I had plenty of time when I was by myself. She’d complain about the chores, how I couldn’t do anything the way she wanted me to, but then when I fixed them, she’d tell me she was going to lay back down in the living room to read her paperbacks, and I could do whatever it is I was going to do outside. That’s when I went to go see Heckle.

I could feel all the warmth radiating off him as he sat and told me all the things he saw in that hill. Sometimes there were wonderful things he saw, other times he saw terrible ones. And I ate up every single thing he said, listening to his voice purr. He’d tell me I look nice, sometimes, which I knew I didn’t. Granma didn’t really care much for clothes, so none of mine were fancy.

The last time I knew I’d ever see him was when we went to the trees. He was sitting on the bank and said he was told by everybody something we could do. People kept asking him when he was going to do this, and he said he didn’t have a good answer, but that he thought maybe people had asked me, and that we could just get it over with for me? What is it? I asked him. I’ll show you, he said.

He took me to the trees. I crawled out later not sure of myself or him or if there was any reason to talk to him again. We weren’t really sure what to say to each other, but it was getting dark. I went back up the hill. Before I went we stood, looking at each other across the creek. He didn’t say bye.

I ate chicken noodle soup quiet with Granma. She didn’t really have much to say while we sat there. I told her it was good and she said thank you. I asked if I could go upstairs and take a bath. She said she’d come up and draw the water up with me. She always did but I thought I would be okay if I did this one time. She thought otherwise.

Granma stood over me. I stood there, not wanting to take off my clothes. Get undressed, Granma said. I asked if she could wait. She said no. She couldn’t. So I did. I got down to everything but my underwear. She told me to drop it and get in the tub. I said why. Get in the tub, she said. I don’t understand, Granma.

She grabbed me by the hair and pushed me in. She took a washcloth and she shoved it over my mouth. She held down my neck with one hand and turned the spigot with another. Water went down my throat, filling it up. I thrashed.

You went somewhere. She said.

She stopped. I told her: I went in the trees with a friend.

Granma gave me a towel. Come with me to your bedroom, she said.

We went to the bedroom. It was Mama’s old bedroom. Not anymore. She was Mother, dead, so it was mine. Granma opened the top drawer of my chest of drawers. She pulled out an odd screwdriver. It seemed to cork a little like a pig’s tail. I had never seen a screwdriver like that before in my life.

You lay down. I did.

She stood over me with the screwdriver and ran it down to my belly-button. You’re just like your mom. She said. You both have a secret, and I’m the only one that knows it.

I tried not to cry. What is it?

She put the screwdriver into my bellybutton. She cranked it. I felt like there was something inside me that was turning, something I didn’t even knew I had. I started to sweat, tears started running down my face. A salty spot grew on the mattress with each time Granma cranked. I was trying not to look at what was going on. I opened up my eyes and saw.

I tried to push her away with my arm, but when it did, my arm came off. It laid there on the bed, connected to my body with a thin red wire. My other arm couldn’t push her away, either. It was about to fall off. Granma pulled one of my legs away. I kept watching the wire get thin. She pulled it back and it smacked against the bed. She pulled my head off of my neck, pulled it far away. When I looked down, I could tell where most people had bones, I just had wires that kept me together, all held together by the special screw in my belly button. I would have bit her. But I couldn’t. If she kept going I was going to just be a bunch of doll parts.

I’m the only one with this screwdriver. I can do this to you anytime. She said. Any time you act up, I can come in here and unscrew all of your parts. I did it to your mom, and I’ll do it to you, too. She said it, chicken noodle soup breathed. If you think you can just go around and act like that.

No. I cried.

She took the screwdriver and began tightening me, turning it right. My limbs drew back up into me, and finally I was whole again. She looked at me. This is why we behave.

I nodded because I was happy I could.

You need to think about why I had to do that, she said. I’m going to take you somewhere else so you’ll know to think.

That was my first night on the dumbwaiter. And that’s when she did what she does every night she drops me down there. She puts me on the dumbwaiter, and then, she puts the screwdriver into my belly. She loosens me up, then she pushes me down. She says she can’t trust me not to climb up. In the morning, she tightens me up so I can do her chores.

For now I am down here among the rats and the boxes. Granma is upstairs. I can hear her rattling around, doing things with so much noise. She has asked me to reflect on what put me down here. And the only answer I have is one she doesn’t want to hear. Granma doesn’t want to hear love is why she sends me downstairs on the dumbwaiter.


Biographical Statement: I was born in Wise County, Virginia, near the Tennessee and Kentucky border, early 90s, and was raised by my mother and grandparents in a country coal-mining family that kept a high priority on reading, whether it was the Bible or Louis L’Amour. Considerably less Focus on the Family approved were my uncle’s Stephen King short story collections. It was there I encountered somebody who tried to write about blue collar life in books like Skeleton Crew and Night Shift. It was also the earliest parts of his Dark Tower series, specifically The Gunslinger, that were my first introduction to “The Weird”, as we might call it. As I grew older and followed his own literary pathways, I learned about people like John D. MacDonald, Raymond Chandler, and Dashell Hammett, who took pulp seriously. I also began to read Flannery O’Connor and William Faulkner and Cormac McCarthy.

I left Wise (besides a year to work after college) to go to school and eventually work in Richmond. At VCU, I studied modernist authors like Virginia Woolf and Franz Kafka. Later in life I began a more systematic study of “The Weird” featuring lights such as Thomas Ligotti and Robert Aickman as well as expanding my literary horizons to include people like James Baldwin, Anna Kavan, Jean Rhys, VS Naipaul, and so on. Richmond was also where I began getting involved in anti-capitalist and labor politics, leading to my interest in proudly subaltern publishing paths such as zine-making and the thirst to understand history. My social engagement and own personal proclivities are what lead me today to becoming a librarian at Richmond Public Library’s Main branch, where my special focus is archiving our collection of zines.

I live with my partner. If you can believe it, I own a cat.


Artist’s Statement: “Granma’s Dumbwaiter” began as a dramatic monologue titled “The Pull-Apart Grandma” in a triptych play I wrote called The Valentines: Three Plays About Love. It began as an experiment to write a story that worked as a pure distillation of facts about what happens: there is the narrator, the Granma, the narrator’s “friend” Heckle, and the dead mother. The narrator, named VOICE in the play, was designed to be played by whoever best fit with their dramatic talents: it was to be essentially genderless, equally playable by male, female, or non-binary voices, with androgynous costuming.

The play sat languishing on my Google Drive for around seven years. I changed my focus from scriptwriting to prose, with the eventual plan to convert any lingering plays or scripts into short stories, novellas, or novels. “Granma” was first. The goal was to see how dramatically satisfying a story could be while removing as much concrete information as possible, to leave only the thin bone of the story with enough scraps of meat that one could reasonably surmise what animal it came from.

With so many facts left unstated, there will be various different readings of the story. I will allow one point to be clarified: the lack of gendering our narrator is not a bullheaded escape from gender and sex based readings. If anything, it is the narrator’s obfuscation of their gender and sex that opens up an entire universe of questions, the key one being of the narrator’s identity. Who are they sitting on that dumbwaiter, sleeping, waiting for Granma to pull them back upstairs for another day of abuse, and when will they get to live their true identity?

The Outside Sill

By Kylie Grunsfeld

To me you were Apollonian; I had some sense
that if you walked from this graveyard, all the sunlight,
all the order, would leave with you.
Now sometimes I wonder if there was some truth to that
because for a while I’ve felt as though
I’ve been searching around in the dark
for a switch or chain that will make me feel lit up again.
But I hate to attribute all of that to you—
you were no God at all, only a boy
who happened to block my view of the sky
at just the right time.

Still, I can’t shake each glaring contradiction:
the mossy acre of the dead and the sweet summer glow of the evening.
The corpse playground and the church playground, meant for
real, live children. You and me.
Perusing the aisles, you told me stories of you as a kid,
of this very church, this very playground,
and the productions they’d put on in the courtyard;
every iteration of you that had seen the dust motes
idling in this golden stream.
Sometimes you’d open the door to understanding and I’d enter gladly,
perpetually a first-time houseguest
walking slowly up to the skittish cat, no sudden movements,
hoping it could see the good intentions in my outstretched hand.
Other times it was like clutching onto the outside sill
of the church window, searching for solid enough footing
on the cobblestone wall to hoist myself up
to get the slightest glimpse inside.

What did I know about church, about death, about love?
Still I tried to find some meaning in it all,
None of which belonged to me.


Biographical Statement: My name is Kylie! I’m from Charlottesville, VA. I’m an English major in my freshman year, and I want to pursue a concentration in creative writing. I’ve been writing since I was a little kid; I’ve always known that I want to have a career as a writer in some respect, and I genuinely can’t imagine a world in which I’m not telling stories, whether that’s through the medium of poetry, novels, plays, films, songs, etc.

Artist’s Statement: This poem is a reflection on an evening spent (and really an entire relationship spent) with a person I’m no longer close to.

Squirrel Rain

By Tilden Culver

A squirrel hit my sister’s umbrella. I watched as it slid down and dropped lifeless to the pavement. I could tell she was watching it, too, from the way her eyes lit up.

“Don’t even think about touching it,” I told her. Her hand, a small, fledgling thing, fell lamely back down. “I’ve told you so many times. You don’t know what kind of diseases they carry.”

“It’s dead.” She kicked it with a polka-dot boot. “What’s it gonna do if it’s dead?”

“Kill you,” I said. “Now keep walking. You know what one squirrel means.”

Her lips tightened into a pout. “More are coming.”

“Exactly. And we’re still ten minutes from home.” I wrapped my hand around hers and nudged her gently. “I saw a badger fall yesterday, you know? Just think about what else could be up there. If a buck fell on your head, you certainly wouldn’t be walking away from it.”

We had barely made it to the parking deck by the time the sky started falling. Little bodies of rodents smacked the concrete. I squeezed Kelsey’s hand tighter, her palm clammy from the humidity in the air and mine wet, leaving a sweaty mark on the door as I shut it. She protested, wanting to watch the rainfall, but I said nothing and draped her favorite beach towel around her. It was covered with prancing cartoon deer. She shrunk away beneath it, a pudgy floating face in a cloak. 

“I want to watch,” she said again. 

“You can watch TV,” I said. I motioned to her nook, a corner of worn carpeting and curtains that looked more gray-brown than pink. “You haven’t watched it in a while.”

“Because I’ve watched everything already!” Her voice was squeaky but sweet, the same consistency of treacle. “I’m so bored of repeats.”

“Then go to sleep. Dream of something. You have an imagination, don’t you?”

She dug her chewed-on nails into the blanket and pulled it tight. “You are so annoying! Mom would let me watch. Why can’t you be cool like Mom?”

“Because Mom’s not—.” I stopped short of finishing. Her face was round and her eyes looked like an owl’s. Wide. Light-catching. Stupid on the verge of smart. I couldn’t force the rest of that sentence out. “I’m in charge when she’s not here. And I’m telling you to stay away from the windows.”

Her pouting disappeared as she stomped away. I liked the echoing silence that I was left with, how oppressive it was and how it stung my ears. The thuds of bodies hitting the roof was all that could penetrate it. I slid into the red Chevy propped open beside me; the dent in its door made it impossible to lock, but I closed it to the best of my ability, the smell of cigarette-soaked upholstery boxing me in the rest of the way. I reclined as far as I could and stared at the nicotine stains on the ceiling. One of them looked like a family, a mom and two kids. The mother stain had significantly faded.

A parking pass still hung from the rearview, a relic from its rightful owner that swung when I smacked it. Lot 47, it read. I was partially certain that wasn’t the lot it was in, but the Chevy didn’t care, the lot didn’t care, and so neither did I. The parking deck was empty save for me and Kelsey, and the few stray cars left behind by owners who would never come back for them. Lot numbers were a dead language. A forgotten manuscript that, in a few decades, would be the only remnants of a time abandoned. Lot numbers and letters—letters written from mother to son, detailing why she’d left him.

It was in my hand again. I couldn’t stop rereading it. The graphite had been smudged from constant touching, from my fingers gliding across it again and again as if they could change what the words spelled out. But those words were some of the last fragments I had of my mom. Every gray smear seemed to put more distance between us. “I need your father” had become a dusty pool of smudges that, unfortunately, made its meaning no less clear—no more clear, either. “I’ll be back soon,” she’d written. “I promise.” But she had only written it; she hadn’t come back to say it herself. It had been two weeks now, and across those two weeks my fingers had left more of an imprint on the page than her pencil had. They held it tight with a confusing cross of love and resentment. Looking at it now, it made me feel my age; just a boy, a young man, no need to act older than his years allowed. A defenseless child. A child who needed his mom.

There came a knock from the passenger door just then. The knock differentiated itself from the downpour only by its practiced restraint. Kelsey was there, eyes stung red and wet. My grip loosened and I became grown again. 

“Robbie,” she said, “the TV isn’t working.”

I got out of the car and stood, but my back was not straight; it was hunched, deflated, bent at the angle of something broken. “I thought you didn’t want to watch TV?”

Her cheeks were slick now, shiny. “I changed my mind! So please just fix it.” I stared at her. She shied away from the intensity of it, my stare, and her emotions seemed to fix themselves on command. “Please?”

And so she broke me further. The TV said in bold boxy letters “incompatible,” bouncing from corner to corner but never truly touching them. The VHS was buzzing. I ejected what was inside and the buzzing stopped immediately, whirring to a standstill that immersed us again in the thud of bodies. It was an awkward, faded tape, glue residue on its side instead of her favorite films’ stencils. “You put it in wrong,” I told her. I slid it back in the right way and it played.

“Ah, I’ve got it working!” the TV exclaimed. It was my mom’s voice, and my mom’s face. She smiled at the camera in her hand, the grain of its quality making her lips look rosier than I last remembered, plumper and happier than they had been in years. “Honey, come here.” A man shifted into frame.

“Who’s that?” Kelsey asked. 

“That’s our dad,” I answered. My jaw was tight. “Was our dad. You never knew him.”

On screen, Mom and Dad shared a kiss, flushing at the novelty of saving that fleeting moment forever. It was indeed very fleeting; a child came through and broke the heat with his laughter, mousy hair tasseled from all the mischief a kid that age could reasonably get up to. “Robbie!” Mom shouted and tasseled his hair further. “Say ‘hi’ to the camera, sweetie!”

Young me beamed.

The video panned over to a motorcycle, spewing the smell of gas that I could still fondly remember on my tongue. The boy squealed. “You gonna ride it?” He stood on his toes to pet the seat’s leather. “Can you take me this time? Can you please, please take me?” 

They did not take him that time. Any disappointment I had felt then was replaced by what I felt now: joy, seeing how tightly Mom clung to Dad on the back of the bike. The tape played out the rest of their joyride.

“I miss Mom,” Kelsey said. “Why hasn’t she come back yet?”

I did not have an answer for her. The only noise I made was the tapping of my shoes against her carpet, body sinking deeper into the beanbag chair that worked rather inadequately as a hug. “I miss her too,” I said. “I miss them both.”

* * *

Kelsey fell asleep early that night. In retrospect, I was glad she hadn’t taken a nap when I had told her to; the later she stayed up, the more hyper she got. I was preoccupied with watching the window, waiting for the rain to stop. I didn’t know when dogs had started falling, but they had, and their bodies hit the ground harder than the squirrels ever did. Even as the surge petered out, their thuds seemed to pound louder.

I set out once the sky was flat, dark from night itself and not from little falling silhouettes—nor big ones, counting dogs. It was the first time I had felt an evening breeze in a while; there weren’t many reasons to go out at night, when I couldn’t tell a stormcloud from the rest of the darkness. But tonight I walked down the road with purpose, standing straight as if I knew exactly where it led. I had at one point, I supposed. Muscle memory served only to the extent that I knew to walk straight. There was once a time where I would’ve been guided by road signs alone, but those messages of neighborhood greetings did not stand anymore; the entry to my childhood was gone, nothing more now than a broken metal pole. It was empty, the night breeze. There were no people to fill it.

What had begun to take the form of jagged rocks on the horizon became more distinct as I walked. They were not rocks. Remnants of rooftops had turned to clutter, lining the street like industrial breadcrumbs forgotten by the ones who’d left them. I could see only one chimney still standing. The rest had crumbled, crushed by animals laying limp atop the brick and lumber. 

Navigating the wreckage was easy, despite what it was. Though each house had been reduced to identical shells of themselves, they still had that throb of familiarity about them, the one that only grew stronger as I walked. Right, right, left was the pattern I had committed to memory. It was the pattern I followed now and what led me to that tired silhouette around the bend. Home. It was odd to see it with the lights out.

But there was something in the street just in front of it. It wasn’t a car; all the cars had been driven off, and those that hadn’t been now sat dented in their driveways. It was too small to be a car, anyway; it was a motorcycle. It was my mom’s motorcycle. I had had two predictions before this: one, I would find the bike here. Two, I’d find it in a ditch. I should’ve unquestionably been relieved at the first one being true, but my stomach filled with acid and was unsettled nonetheless. Something was wrong; the bike was on its side. There was a dead deer laid out like a ragdoll on top. 

I approached slowly at first, cautiously. I didn’t like the grease on its coat or how it made my stomach surge. But when I was close enough to make it out in color, my steps grew faster, cold and hot at the same time so that I couldn’t gauge the extent of my panic.

Its antlers were not antlers anymore; they had broken off in the center and in any place thin enough to snap, like a tree struck by lightning: battered, splintered, reduced to little more than a hazard. Bloodied. But dead things couldn’t bleed. The longest antler—the only one still intact, its end formed like a spear—was doused so thick in blood that the very thickest was still clotted; around it, it dissipated into a jarring and far-spreading dark brown. It had, however long ago, dripped down onto the handles and the seat and the asphalt, leaving them scored too with little dots of what was. They turned to streaks the further they got, drag marks leading to a nearby lawn and disappearing under its brush. They were not from the deer; that was firmly in place. Its limbs were tangled with the spokes of the wheels, twisted and bent to no thanks of their own, as if there was a struggle post-mortem with whatever thing was caught in the path of its fall. Whatever thing was on top of the bike. My mom’s bike. I told my brain not to think about it. It did not obey. 

I was shaking. I could feel it even in my lungs, every breath I took. The air didn’t feel real. My sight was fading at its farthest borders, leaving only a small ring of things I could still see, eclipsed with specks of light dodging in and out, out and in. It at least made the bloodstains easier to avoid. I braced myself on the ground until I came to, numb from the incoherent lies all flooding through my head: it wasn’t her blood. It wasn’t her bike. It wasn’t blood at all. Maybe the squirrel that had fallen on Kelsey earlier was diseased, just like I’d said, and now I was sick. Hallucinating. I told myself this over and over again like prayer, but even under the rationale of a panic attack I couldn’t fully deny what was in front of me: remnants of my mother’s dying moments. 

Only when full sensation came back to me was I able to feel what I was leaning against: something soft, not from a motorcycle or an algid, rotting deer. It was a rucksack. The stone in my stomach grew heavier, so heavy that the only thing keeping it from bursting out was the thin veil of denial I held onto. I stared at the bag, sitting lifeless at the base of the wheel. It looked like it had been dropped there in some heated moment, and now waited patiently for its owner to return. My hands, however, were the only ones to have touched it in quite awhile. The frail sliver of myself not in denial knew what would be inside—expected it, even—but I had silenced it so effectively that I opened the bag like there was still a mystery to break open in tandem. 

There was a picture inside. It was framed. I had seen it before many times. But seeing it now was like a punch or a slap, some act of violence that had been sprung on me from a blindspot. It was the picture of Mom and Dad on their wedding day, the one they’d kept on their nightstand and the one that had greeted me every time I’d come into their room. I hadn’t been there when it was taken—I hadn’t been born yet—but even all these years later I could still feel the happiness that poured from their faces. A tear hit the glass between them, and I hugged it to my chest. I kept digging.

My father’s wedding ring, his hat, some things of his that I had never seen before. It was all there, stuffed into that bag like a time capsule. But it wasn’t him I was crying over; it was the smell of my mom that still clung to the bag’s fabric, how it intertwined with the memories of him like they were one and the same. And it seemed that they were now, in the haze of my tears. I forgot about the deer and the bike behind me, fixated on becoming part of the bag itself, its contents, part of the sentiments it held. The closest I could get was breathing in the mix of my mom and decay and the earthy tang of the outdoors. It was just a bag. Just me and a bag and its memorabilia all around me, sitting in a silent, lifeless night. 

There was a crumpling sound still inside. I could only hear it once my sobs had become more gaspy than sharp, dulled by exhaustion instead of knowing how to cope. It was another picture, folded, wrinkled at the edges. It had been folded and unfolded so many times that the paper was wearing thin. I unfolded it one more time. Myself, my sister, Mom; all three of us stared back at me as one, a happy, smiling whole. 

I remembered when that picture was taken. Kelsey was still a wide-faced baby, I was at the age where critical thought had first begun to form. My mom looked beautiful in the sunlight; we all did, bathed in the early afternoon splendors of that park we’d frequented. 

“Mom,” I said, tears choking me so I couldn’t force out anything more. It hurt me how I had already forgotten the order of freckles on her face. I was a bad son, letting something slip like that, not committing every detail to memory like she was alive somewhere in my brain. In the picture, those freckles of hers were bunched up, arched lips pushing them into mounds. But she wasn’t smiling at the camera, or whatever was behind it; she was smiling at Kelsey, swaddled in her arms. I recognized her smile, at least; it was love.

I looked between the bag, the bike, our house and the incoming sheet of clouds. I didn’t speak, but in my mind I had reached a warm certainty that I could not fully place, not with words or anything beyond the primal, instinctual force of “knowing.” I packed up what I had rummaged through, hoisting the bag above my head like an umbrella. The only thing I did not put back was the picture of us three; I kept that one in my jacket pocket, separated from my heart solely by fabric and skin. I walked the way I came.

When the clouds let their rain go, it started with squirrels. It always did; small mammals, rodents, furry things that I had never learned the names of and never would. But it soon got heavy. It came down faster, shooting out animals that weighed more than me, some hairy, some sharp. I had never seen a bear fall before, but one thud to my right came in the limp shape of a grizzly. I quickened my pace. The smell of rot was all around me, new bodies slapping old, crushing them the bigger they got and releasing stenches no living thing was meant to know.

Half a mile out from the parking deck. I had a map to it wired in my brain. The street signs and trees—battered as they were—ignited something inside me that tasted like home, breaking through the rot and the tears for the first time since dusk. My pace was quick now not just for safety, but from anticipation, some strange breed of excitement. 

And then something hit me. Something heavy, from the sky.

I fell down. My back screamed. My lungs struggled to take in air beneath the weight that pressed against them while adrenaline and panic fought for control over me, a clash that left neither on top; my head became a wasteland, wartorn, muddled by incoherence. Images of the one bloody antler were all that could penetrate, the blood even fresher in my mind’s rendition of it. I was going to die. Like my dad. Like my mom. Like everything around me, fallen, crushed, left to decompose. Maybe Kelsey would find my body, whatever was left of it.

Kelsey.

Another image came through. The picture, me and her and Mom in the park. I had not taken much time to look at myself, that younger, unformed shell of me, but as I lay there, the scene came to me in that way life does just before you die. Young me was staring at her. At Kelsey. There was fascination in my eyes. It wasn’t just the reflection of the sun, or the flash of the camera. It was a genuine glow. Had I been on my feet, I wouldn’t have thought into it even to that degree, beyond acknowledging that yes, in fact, I was in the picture. But being pressed up against the asphalt as I was, I saw some form of vitality in that light. Some form of life. It burned inside of me; it built up first as a small simmer but soon sprung out from my gut, flooding up and down my limbs like I had touched electrical wire. I pushed up, out, squirmed. In the surge, I didn’t know what I was doing, or how—my body had its own autonomy. But I found myself standing upright in the span of a second. I was sore, and I was disoriented. I was bruised—my back was on fire, like I’d been hit by pure hot steel—but I was free. 

There was a thick branch at my feet. Tangled within it was a deer—a doe, not a buck. Its eyes were soft with that uncanny look of death. But it was the branch alone that had hit me; fragments of its bark were still stuck to my shirt. I looked up at the tree that it had come from, that the deer had collided with and, in doing so, had just narrowly missed me. My head had been only inches from its flank.

My bag, though, was trapped beneath it. I grabbed it and tugged, the only strap I could reach, but it was stalwart under the dead weight of venison, and my back had a clawing ache that kept me from pulling with all my strength. The cheap corduroy dug into my hands the tighter I held on, getting deeper, sharper, all breeds of chafing and painful until it began to feel more like shrapnel than fabric. My chest burned, too, though this was less from the pain of heaving, and more from the thought of leaving it behind.

But I knew I didn’t have much of a choice. The thud of bodies kept calling out around me. I didn’t think while I stood there. I only stared at it—the deer, the branch, the bag, the way they intersected and looked almost organic. I said two words before I turned around: “Love you.”

Kelsey was waiting for me when I got back. I could tell she had woken up some time ago from the way her hair looked spiked and her eyes hyper. “Robbie!” she shouted. “Where’d you go? Why’d you leave without me?” She hit me softly in the leg. I pretended it didn’t hurt.

I didn’t answer; I fell to my knees and hugged her, so tight I could feel her heartbeat fall into a rhythm with mine. “I’m sorry. I was doing something stupid. But it’s done now—I’m back, and I’m not leaving you again. I promise.” Her hair smelled like sweat and must, but I breathed it in regardless. “I love you, Kelsey.”

She said it back—perhaps a bit confused—but said it again when a hitch caught in my throat and her shoulder turned damp with tears. “I’m surprised you weren’t at the window,” I told her, my smile wide despite the quivering I felt behind it. Her smile was more innocent. Rosy.

“You told me not to,” she said. “And you’re in charge when Mom’s not here.”

My voice was warm from the tears, warmer from the tearlessness of her own. “Oh,” I said, “I didn’t think you cared.” The picture weighed heavy in my pocket as I spoke; I felt its warmth between each crease, pulsing against my chest and then in my hand, unfolded. “You know, who needs windows, anyway? I’ve got something better in mind.” I handed the photo to her. “You remember that place? The park?”

She looked for a moment, and then nodded. “I liked when Mom took us there.”

“Well,” I breathed, and she did too, “how about we take a walk there after the rain stops? I’ve…been missing it.”

The excitement in her eyes answered me before she could. “Oh, yes! Yes! Yes please!”

I ruffled her tangled mess of hair. “Go get your jacket.”


Biographical Statement: Tilden Culver is a senior English major at VCU, with hopes to pursue an MFA in Creative Writing after graduating. He has been writing since childhood, and his topics of choice include speculative fiction, absurdism, and cosmic horror.

Three Poems

By P.H.G.

The Latest Flame

I’m having an affair with a box of matches
But don’t tell anyone
Some of my more loyal friends know,
but my family would never understand 

Its sardonic rattle in my grip
Chaos scittering in fragile, uniform pieces
The rough shink
when it opens itself to me,
the cardboard playing a little hard to get

The coarse vibration of the phosphorus head 
dragging over the hexagons
of signature oxblood stripes
The colour of long lust and mayhem

We have our differences, sometimes
As with all passionate affairs, there is
Friction
But without it,
Well,
We wouldn’t have the chemistry we have
That spark of desire and need
That fire

Each strike hisses secrets
Telling me how it likes to have
its smoke held in my mouth
It whispers to me and only me
I burn
I pine 
I perish
So I burn too
Immolated
Until we are both reduced to nothing 
but ash


The Sick and the Citrus 

Let the lady with the needles do her work.
Place your heart in her hands,
still beating and bloody,
and hear your new heartstrings
Thrum to her rhythm

Let her pricking thumbs
weave patterns and webs
in your epidermis
Enjoy your new tight seams,
intricate and minuscule,
before she unravels you

In her girlhood, she practiced on oranges
As many aspiring pre-meds do
Oranges, mimicking the tension of
human skin
Were stitched and laced in her kitchen
With methods from thick textbooks
But something darker called to her
Something unseemly
A hunger to be sated
A thirst to be quenched
A feeling unfelt by healers
And her young dreams fell away,
as so many do

So here she is
And here you are
With your own hungers and thirsts
In this place where
we feel what is unfelt
by the sick and the citrus

Give in to the need
and the cunning craft
Let her pierce your rind,
bring your pain to the surface,
And drink deeply


An Acquired Taste

I have never eaten a mind before
Yet you offered me yours,
served in delicate china bowls
with cracks from crimes against the raw ceramic
outlined dark veins
You handed me a dessert spoon
and begged me to taste
With complete freedom to make substitutions
as I wished

It came away against the silver like a fine mousse
I had expected to need a steak knife
or at the very least something with bite
But it seems I have a talent
for cutting through you

You have an intricately seasoned subconscious
It seems it has been waiting a long time
for an epicurean like me
Its flavours simmering
blending
and steeping into something
rich and strange

With my first taste,
I knew the meaning of gluttony

Your brain pleads for an elegant wine pairing
Suggested by a sommelier
in hushed tones and a pressed suit
Perhaps a merlot, to bring out the flavour of obedience
Or a fine chianti


And now I cannot have enough
My hunger grows
I hide little snacks in dishes with lids
I sneak into the kitchen with a ladle,
Adding new spices with crazed abandon
I pick out stuck scraps from between my teeth
and under my fingernails
To savour you all over again

It is never enough
I am never sated
I am never satisfied
I find myself eating grey matter over the sink,
thoughts dripping from my elbows into the porcelain
with a soft think


Biographical Statement: P.H.G is a writer with a background in Shakespearean theatre living in England. Although she has a diverse range of interests, her writing frequently features a unique blend of sensuality and darker kink themes. Previously only writing for personal expression, she is now seeking publication for the first time after ten years of scribbling.

Artist’s Statement: These works were not originally written to be grouped together and were written at very different times. However when reviewing pieces to submit, their compatibility was very evident. All three have very specific and intertwined subjects which personally I have not come across in other poetry.

The Latest Flame is about my own feelings towards kitchen matches, an object-based fetish I have had since I was 17 and one which is so rare, I had to make the tag for it myself on popular kink websites.

The Sick and The Citrus is a poem I wrote as a character study, but really the subject is an amalgamation of myself, other wonderful ‘vampires’ I have met on the kink scene, and the young pre-med girl who first told me that oranges have the same thickness and resistance as human skin. Hence why budding surgeons practice stitches on them.

An Acquired Taste is the real reason I wanted to write an Artist’s statement. The other two could stand on their own without explanation, however I would be fascinated to hear from readers how they interpret this piece. Art is meant to be subjective and poetry is always open to interpretation, so this one is ripe for projecting the reader’s thoughts and personal focuses on. However, what this piece is truly about is hypnosis. Specifically, erotic hypnosis done within a dominant/submissive dynamic. A very special submissive introduced this to me, and previously I hadn’t ever given much thought to hypnosis other than stage tricks and tv. In case you don’t know, allow me to tell you; it is real. It is powerful. It is addictive. It is dangerous. And it is one of the best things about being alive.

A special thank you to the Editor for indulging me.

The Cicadas Cry

By Casey Kendle

Summer is full of lust and
I am full of grief. My body aches,
still not used to the pain

it now has to carry. The world
feels heavy, and regret trudges
alongside me on the scorching asphalt.
My mother will ask me what’s wrong

and I’ll smile, unwilling to share
the burden of my boyfriend’s love.
At night I open my windows,
close my eyes and sit in the

thick, humid air with a blanket
wrapped around me—
I pretend that if I don’t move,
nothing will ever hurt me again.


Biographical Statement: Casey Kendle is an up and coming poet who’s from Virginia. They were born in rural China, and brought to Virginia at a young age, and have stayed there ever since. Their work was published in Pwatem, as well as in several fanzines.

Artist’s Statement: “The Cicadas Cry” is a poem I hold dear to my heart, and is about struggling to accept the cards you’re given in life.

Tourist

By Jozlyn Basso

There are landmines in our backyard,
and I carefully jump around
them while Dad takes apart
his Smith & Wesson and drenches
the porch with molten black oil.
The sticky stains coat a ringing shadow
of Mom’s fallen
windchimes, their bells tolling
in the voice of God,
and Dad can’t tell if they’re damning him or not.
Today, the sun shines hotter
than it did in Iraq,
and Dad warns me to get back in the house
before my skin is burned.
Through the tan curtains, I see
Dad cup his head in his hands.
From far away, his knuckles look less calloused
and sometimes I imagine them, all soft
and rosy, before they learned
to slide delicately
between trigger and soul.


-In memory of SPC Timothy Gresham, walk tall young man.


Biographical Statement: Hello! My name is Jozlyn Basso, and I am a sophomore at VCU. A teacher introduced me to poetry in elementary school, and since then, I have been compelled to write. Poetry has been a dominant force in my life, and I hate it almost as much as I am infatuated with it. Beyond writing, I find great joy in relaxing in nature and being surrounded by family and friends.