Flash Showcase: Houseplants (Love Spores) by Eric Farrell

Kathy Harrison bursts through the Green Lovelies entrance. Cocobolo beads rattle against the glass door. The steely-eyed clerk is dressed head to toe in selvedge denim. She stares Kathy down, inhaling imperceptibly. She knows what’s coming. The woman’s going to start yelling.

“Everyone just stop!” Kathy hollers once fully inside the plant shop’s showroom floor. A few Green Lovelies shoppers freeze in their tracks. The clerk eyes her from beyond the small forest of hanging macramé plants in the middle of the retail space. She’s got everyone’s attention. Part one of her mission successful. Now for part two…

“Citizens of Long Beach, I am warning you as a fellow neighbor, not to buy any of these plants! None of the succulents! None of the pathos! No tropical dwarfs at all! Because you know why?!”

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Flash Showcase: Earthbound Nebula by Ava Kelly

Image Credit: Ava Kelly


When it approached, it was slow. Passive enough to get close, unencumbered by human worry, graceful enough that its scarlet brilliance had exalted awe instead of fear.

I remember Pops, sitting on the back porch in that old squeaky chair, scratching his forehead, saying, “It’s gotta be something else. Aurora my ass, look at it.”

I remember Kiddo blinking at me, a couple of decades later, asking, “Why’s it so pretty, Daddy?” and, “Do you think we can touch it someday?”

I’d answer the same—nothing at all—because any words tasted like ash on my tongue. There had been one action to take, and one action only; even my twelve-year-old self knew. Study the earthbound nebula, comprehend it at all costs.

***

When it hugged the Earth, we didn’t notice, too preoccupied with measurements and suppositions and models. Too close to see. Kiddo used to tell me, when he got tall and broad-shouldered and voice-thick, that it governed my life. It had dragged me through school, through the long hours in the lab, through loss and pain, through stolen tenderness. I sigh, even now, at the memory of his angry frustration.

“We must understand,” I used to say. “Maybe it’s sentient. Maybe it also wants to understand.”

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Flash Showcase: Dissonance by Bernardo Villela

Did I awaken in a dream or dream I was awake?

I’d been drifting into twilit sleep, but did I make it? I saw nothing but blackness everywhere.

Not darkness, even when one wakes in a pitch black room there’s a sense—even if it’s subconscious—of a location, time or an innate feeling that things are there but unseen. When your pupil dilates, it comes to you.

This wasn’t blindness but absolute vacuity, I knew I could see, but there was nothing to see.

Light was derelict. Was it slowed, blocked, had it vanished?

Panic wasn’t within me, but an amalgam of ambiguous emotions: the feeling of awakening when you didn’t realize you fell asleep, the feeling of impending mini-apocalypse as a dreaded appointment neared, the no-man’s-land between déjà vu and jamais vu. As I couldn’t take the world as is nor could I imagine a new ideal, was this a new manifestation of Weltschmerz?

In my mind’s eye, which was unclouded, I saw bubble galaxies imbuing new realities. Was that something I sensed by some latent ESP I’d triggered or was that a dream, a daydream or a nightmare?

I felt weightless which was surreal. It was unearthly yet, as I took a step my movement wasn’t slowed and I touched back down onto solid, indiscernible ground. I was not aloft, nor paralyzed, but benumbed.

Seeing blindly, moving unfeeling; how could this be?

Looking down I saw my legs and hands. Another conundrum: There’s light hitting me and nothing else. What was the source of this light? Is it me?

Impossible. Yet, it seemed to be unless most basic tenets of physics no longer applied.

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Flash Showcase: Acid to the Bone by A.J. Van Belle

Kell wiped red paint from her hand onto a boor-tree-fiber towel and studied her creation. The crimson streaks glowed in the diffuse light from her bedroom window. All one color, an entire tube of alizarin used on one small paint board. The paint’s thickness determined the darkness or lightness. No recognizable figure graced the image, but the strokes suggested movement. An arm flung wide. A tapered back arched in dance. Transition from standing to leaping.

She frowned at her work. It wasn’t good enough.

She went to the window, wishing it were safe to go outside. Beyond the glass, rain dripped from curling fronds. Acidic slime, an oocyte that lived everywhere on this planet, dropped in sloppy masses from the branches of the treelike organisms in Kell’s neighborhood. She let her faint reflection fill her field of view and disappear as she pressed her nose to the cold glass. Her breath made a misty circle. Stories of going outside to play filled her head, tales she’d heard since infancy. All the classic stories came from Earth, the broken place that could only support a few thousand souls now, in cities that shielded their residents from the weather extremes wrought by global warming.

Here, on Kell’s home planet, children didn’t play outside. The oocytes would melt your dermis. The warnings echoed like a hiss, first as the voices of the adults around you and then from the mire of your own brain, never to be erased: The oocytes’ll burn your skin. They’ll eat you to the bone.

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Flash Showcase: Suckers by Gavin Jefferson

“If you can sign here, and here,” he said, pointing, “and here, here and here, you’re good to go.”

He perused the contract slowly, reading the words over and over in his mind. “I don’t know.”

“What are you worried about?”

“What if it doesn’t work?”

“Well ….” He shrugged his lips. “You’ll be dead.”

“That’s what I’m worried about,” he sighed.

“If you’d rather not, then I understand. It’s experimental, but revolutionary technology. I admit, we haven’t figured out how to revive the dead yet, but we will.”

“Are you sure? I mean; how close are you to cracking it?”

“Close,” he nodded frantically, “very close.”

“Within weeks, years, what is it?”

The man smiled and pulled the contract from the table. “I can see that this is not for you,” he said, folding the paperwork.

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Writing the Self

One of my major interests is inner worlds: the subjective experience of being human. Perhaps, then, it goes without saying that I love to write the self, and I love to read the personal accounts of others. So I’ve been thinking about the different ways we choose to do this, and in particular the various methods available for presenting it. Here I share some distinctions I’ve made along the way.

Autobiography is the most ‘objective’ method for writing the self, with the aim of presenting events as they really happened. It will usually (but not always) be in chronological order and span most of a lifetime.

Memoir is a collection of memories from a specific aspect or time period of the author’s life. It is usually presented in an entertaining way, with some distance between the narrator and the subject, some hindsight, but also some intimacy of emotional context.

An Autobiographical Novel is the semi-fictionalisation of real events. It puts more distance between the narrator and the subject, and allows the use of plot devices, imagined events or characters, and heightened drama. There is an expectation that the author will do this not in an attempt to mislead, but to make the text more attractive to readers. Like memoir, autobiographical novels will usually cover a specific aspect or time period in the author’s life.

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Book Review: Calibration 74 by William F. Aicher

I knew this book would be for me as soon as I read the description: an experimental, poetic, flow-of-consciousness exploration of reality, fantasy and all the spaces in between. Yes please!

This is the kind of book you bring yourself to, in that you’re never 100% sure whether your experience is what the writer intended or whether you pasted your own meaning over the top of their words. There’s enough continuity, enough thread to hang onto, to make the text flow through an arc, but it also leaves a lot to interpretation.

I read this as the narrator delving into and confronting his own psyche. Perhaps it comes from knowing this was written during the first pandemic wave, when many felt isolated and helpless, but I see someone grasping desperately at straws to find meaning; someone left alone with his thoughts and falling deeper into their clutches. He picks at scabs, seeks out dark corners, obsesses over repeating motifs and patterns, and he digs.

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Submissions are Open!

Following the success of our first anthology, we are pleased to announce our second. Abyss: Stories of Depth, Time and Infinity will feature the very best fiction we can find on these metaphysical themes. We’re looking for high-impact experimental pieces, unique voices, streams of consciousness and fictional accounts of altered states. We’re looking for extrapolations and interpretations of reality as we know it, or visions of drastic changes. We’re looking for boundary-pushing, genre-bending, literary and speculative fiction. The entertaining will be juxtaposed – or combined – with the philosophical in this volume of big unknowns.

If you’d like to be part of it, please visit our submissions page for full details.


Writers on Lockdown: Jonathan D Clark

Jonathan D Clark is author of philosophical novel Arcadia, and his short story The Video was published in our recent anthology, Vast. As part of our Writers on Lockdown series, he joined me to discuss isolation, paranoia, and the dark side of our relationship with technology.


Hi Jonathan, welcome to Writers on Lockdown!

Thanks for having me as part of this series. It’s a pleasure.

How are you surviving in these crazy times, do you find isolation is a help or a hindrance to your writing process?

I’ve always been a rather reclusive individual (going to and from my day jobs throughout the years without speaking to anyone), so besides the limitations on what there is to do around town—and having to snipe for groceries—not a whole lot has changed for me due to the lockdown. Although, it did give me the chance to tell my more extroverted friends “welcome to my domain.” And as for productivity, it did witness a spike in the first week, but it has since slowed back down to its original pace.

Are you working on anything at the moment?

For the past year I’ve been working on my next novel, along with the occasional short story here and there when I feel I need a break from the grand narrative.

Can you tell us anything about the new novel at this stage, or is it top secret?

Unlike Arcadia, my current WIP (titled False Cathedrals) will have a more contemporary setting; taking place in 2012 in the fictional town of Midtown, Vermont—as well as a few chapters taking place in the mid-to-late 90s. At the heart of the novel is Daniel Bloom, a middle-aged psychotherapist who can’t seem to escape the haunting memory of his first wife, Karen; even after fourteen years have passed since her untimely demise at the hands of a crazed shooter, now dormant. Hoping to distract himself, Daniel puts all his focus into helping a patient find lucidity after well over a decade of uncertainty. But it doesn’t help when he hears that the shooter has started a new, violent rampage.

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Writers on Lockdown: Ellinor Kall

Ellinor Kall is an explorer of the liminal, embodying the blend between fiction and non-fiction. The popularity of her short story The DreamCube Thread in our recent anthology sparked this conversation on isolation, automatic writing, and occult influences.


Hi Ellinor, welcome to Writers on Lockdown!

Thanks, it’s my pleasure!

So how are things over in Sweden, are you feeling as ‘locked down’ as us?

From what I gather you in the UK seem to have a stricter policy than us. There are restrictions on how many can gather in one place, on visiting the older and vulnerable groups and things like that. Many work from home if possible, but many people are still out and about.

Every spring Swedes go crazy when the sun returns after a long dark winter and people HAVE to gather at the temporary outdoor seatings that pop up outside the pubs – no virus can stop this annual sun-worshipping ritual. Maybe it’s a remnant of some stupid viking mentality: if we die in battle with the virus we’ll get to sit and drink beer in the sun on plastic chairs outside Valhalla.

Haha! Do you find isolation a help or a hindrance to your creative process?

I’m a rather introverted person, and before this I was already working from home at least one day a week. And when not working, well, I’m mostly staying at home, reading, writing, listening to music, watching films and playing games. So this “isolation” is normal for me.

When I’m working on something longer I need time, preferably over several days, to get into the right mindset, get into the world, arrange all the pieces before I continue writing. Any disturbance from the outside world and I have to start over again. My mind is kinda chaotic and wants to go off and do other things all the time. So I have to spend a lot of energy keeping focus until I get into flow. But once that happens it’s hyperfocus to the point I forget to eat.

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