Spring 2022 Images

Poem by Maxwell Stenson

Poem by Maxwell Stenson

This morning we will be simple.

We will collect splayed

seconds, our fingers

anticipating caffeine.


We will offer nothing

in way of robinsong

branches, motions

Aeolian about them.


There’s little time

for casual sublimity,

for drowned blues

beside a broken river.


Steel offices, shield,

crucible or desktop: for these

today will we be simple.


And for twenty minutes

a war can end which

trumpeted never truly

for us, for twenty minutes


we can taste

simple salt, curtailed

lotus, the dawn rolled back

along a lover’s tongue.



This premature light lingers,

lances through limes

and disassembles the mourning chariot.

Maxwell Stenson currently lives and works in Sacramento, California. His poetry has been nominated for Best New Poets, has appeared in Thrush, The Blue Route, Sijo: An International Journal of Poetry and Song, and is forthcoming in The Elevation Review.


Thompson: Submachine Gun or Seafood House by Henry Cherry 


The cable to helium,

the lightning mustard,

corded in excelsior.

Wings spun of caramel,

fellow witnesses to the

descent, beyond the linens.

Disrupted in popped corks,

unstrung tennis racquets,

woods layered with pine needles.

The sweeping falter of arrhythmia

pursed in ruby painted

lips, a dank basement.

I have the purplish-blue color

from architectural prints,

from duplicating ditto machines

embroidered in a pillow case

with English alphabet letters

and Arabic numbers up to 10.

Big block memorials by the

golf course, shrouded in

plastic cups lined with citrus

flavored ideologies. Clacking

hooves, five-foot high fences

and wide brimmed hats.

I have a DeCarava print on the wall, and a

metal table underneath collecting

dust and fingerprints.

Hymnals open to the last

number of the epilogue

where God gets a little swinging.


Henry Cherry worked as a cowhand, a chef, and is now a journalist and photographer based in Los Angeles. He has been nominated for the Pushcart and the Orison Award. Featured as a reader at the Hammer Museum in Los Angeles and at Litquake in San Francisco, his work has appeared in Los Angeles Review of Books, Cathexis Northwest Press, Australia’s Cordite Poetry Review, The Louisiana Review, and the recent pandemic collection, Hello Goodbye Apocalypse.

notes from the understory (layer 34, direction one) by Rusty Morrison

notes from the understory (layer 34, direction one)by Rusty Morrison 

Blue mountain, black cloven hoof, red tint at the rupture of 

temporality, green tint on hidden immoralities, 


a naked knowable, a virginal myth, an iris of the owl’s eye focuses 

on the direction of an iambic laugh, 


a secret I hear myself whisper and I feel the secret’s hands 

surround me.


Beside me in bed is Yi-Fu Tuan’s text “when we stand steadfast 

before an idea, regardless of its strangeness, then the mind frees 

itself and roams.” 


I put the book down and slide under the covers. Heat washes over 

me in waves luring me deeper than I want to go. 


I will not think the thing about death. The thing that I see has 

vanished from my husband’s face when he talks to me. 


My husband Ken, more sure-minded than I, knows he won’t die 

from cancer today. The doctor’s clinical language a raft that Ken 

expertly guides. 


Ken tells me a dream: he found a thousand dollars, but the trouble 

it caused made him glad to wake up here in our bed. 


The idea of this life we are living is so alive in his eyes that my mind 

finds itself free to roam.

Rusty Morrison co-publishes Omnidawn. Her five books include After Urgency (won Tupelo’s Dorset Prize) and the true keeps calm biding its story (won Ahsahta’s Sawtooth Prize, James Laughlin Award, N.California Book Award, & DiCastagnola Award). Her recent Beyond the Chainlink was a finalist for the NCIB Award & NCB Award. Her poems have recently been published in or accepted by American Poetry Review, Oversound, and elsewhere. She’s a recipient of a Civitella Ranieri fellowship as well as recipient of other artist retreat fellowships. She was awarded a fellowship by UC Berkeley Art Research Center’s Poetry & the Senses Program in their inaugural year (2020). She teaches and gives writing consultations. Find out more on her website: www.rustymorrison.com.


No Mary in Khashuri by Jacob Reina


I remember at the end of June—when our van broke down,

In the distance, foothills peered as a prelude to the Caucasus,

The sky came sprinkling down before it blew on a baritone;


I crossed the little concrete bridge over the canal’s rushing water,

Gazed straight across the grassy field, all-lined with chamomile,

White clouds of afternoon grew gray like a grieving widow;


Like our big black van, I stalled, for a moment, under the onset of rain,

Inhaling humid air, knowing then what a fresh start can really mean,

Realizing that one’s praised navigation can’t foresee a heated engine;


There was a girl I went across the world for who really won’t return,

To the cathedral bells, accordion songs, to all the cows wandering,

To the steep green hills, pot-bellied men, to overloaded dumplings;


Knew she must still be loved, her past handled best by the better man,

Like raspy coughs of my driver-friend, his Parliament Lights in embers,

His head in hand, over ruined matches—the merry prank of raindrops.


Jacob Reina is a part-time tutor and full-time English student at Fresno State. His poems have been featured by Poet’s Choice, Allegory Ridge, Prometheus Dreaming, and Cathexis Northwest Press. He loves traveling, making friends abroad, and currently lives in West Fresno in Central California with his two children.


Sea Change by P.Q.R. Anderson 

Sea Change by P.Q.R. Anderson


to the accreted


resolving as sand

again in the gills

the sea is turbid silver,

attended by birds

of the by-catch, not

a net cast

to the other side,

but like the last

stone, overkill.

These chrome fish

brought to burn

their gills in air,

winched aboard,

become a tonnage

shrouded in rags,


and to each its

parasitic worm

or hitch-snail.

In that bright


begin: cartilaginous

mouths mouthing

prayers of a people,

gills evolving

transit wings.

Who is it walks

on the shore

calling the shoals’

shadows as if

from the heights?

Why elect

these men,

these fish,

to multiply

the word at the fire

lit on the sand,

to feed the congregant


Now the sturgeon

and cod are collapsed.

We begin

in this well-

oiled protein,

provender of

gully and trap,

the walled tides,


the fish otoliths

found inland

in compacts

of carbon and dung,

our caves,

and cast

our thought far

onto the shelves

where the great

birds blow

over the mown


to the flooded

caves we knew

how long ago

in the morning


Now reckoned

by plastic milled

to a yet


dust of itself

or the ubiquity

of chicken bones,

we are our own

likely and sudden


who have netted

the currents

in that plastic


and built a new shore

of flip-flop

and nylon and nothing

will get it out,

but still

rake the floor

of the krill-fecund


for the smaller

and smaller fry

while the by-catch


in winged clouds

out of Dante

over the dredge

of a more-or-less


inhuman umami.

One day

we will construe


and be read

into the record

of the sea-change

as those

who browned the waters

and hauled

the drowned birds

aboard on our barbs,

if we survive.

Yet somehow we pray

the pods will outlast

as we settle

among our congener

chicken bones and plastic


knowing some deeper

deep, and singing

across miles of it

the elegies

asked of the ages

of the age

of our unmercy.

P.Q.R. Anderson has published three volumes, Litany Bird, Foundling’s Island, and a long poem In a Free State: A Music (“Destined to be a landmark in South African poetry” – J.M. Coetzee). He is the recipient of South Africa’s Thomas Pringle Prize for Poetry (2018) and the Sanlam Literary Award (2006), and was runner-up in the Vice-Chancellor’s International Poetry Prize of Canberra University in 2017, judged by Simon Armitage, and in The Rialto/RSPB “Nature and Place” competition in 2020. He teaches English at the University of Cape Town. His work has appeared in The London Magazine, Denver Quarterly, TEXT, The Rialto, New Contrast, New Coin, and other magazines.

Exit Strategy by Daniel Reiner

Exit Strategy by Daniel Reiner


I watched over Linderhof’s shoulder as he focused the security camera. The image on the monitor was not unexpected: a dead man. I’d seen countless and there was nothing unusual about this one: average height, average weight. He was on the younger side, but if the typical life expectancy is halved, he seemed to have nailed that number as well. Perfectly average, so to speak. Simply dead.


Then he looked up at the camera, smiled, and waved. Even in the grainy, black and white it was easy to make out the cheerful “Hello” he mouthed.


“WHY is there no sound?”


“Begging your pardon, sir,” gulped Linderhof. “This is the original equipment. We never expected to use that room. Except to keep up with the dusting, no one’s been in there since the kick-out party.”


“His name?”


“Neville B. Goodthorn.”


“And he walked in with the others?”


“Uh. Yes.”


As servants of evil go, Linderhof is…good. I never really enjoy punishing him, but my nature demands a certain amount of cruelty, both random and calculated. Overcome with an urge to lash out, he was too convenient a target. Wide-eyed, plainly prepared for pain of some sort, he trembled. Over the millennia I had learned that it is best to not disappoint.


My relentless gaze has always been both easy and effective. He stiffened as the paralysis took hold. Beads of sweat formed on his forehead, between the horns. A drop ran into his left eye. There was a wisp of steam. Then a second. That was cruel enough to satisfy the both of us, so I relented. He rubbed his eye.


Our guest waved again.


I tried to not fume, but the room warmed. “In all the length and breadth of eternity, has no one ever thought to check if the Blessed could enter?”


“It’s not our jurisdiction, sir. We can’t even— I mean, YOU can, but the rest of us can’t even get to the door to oil the hinges. It was installed by the other team.”


“How do we get his file? Is there even a procedure for this?”


Linderhof shook his head and shrugged. I sighed with enough despair to crush a score of souls. A pity none were within earshot.


“I’ll take care of it. In the meantime, see if he needs anything.”




“Water. Coffee. A snack. Surely there’s something around here to read. If he’s not one of the Damned, we must be nice.”






He scurried away, left eye closed. Moments later he appeared on the monitor holding a magazine with what looked to be flying cars on the cover. I watched as Linderhof mouthed “Read this!” and shoved the tattered publication into the hands of the mysterious Mr. Goodthorn.


At that point I didn’t know which was more pitiful: a devil who didn’t know the basics of common courtesy or watching the scene unfold soundlessly in black and white.


There was a short exchange, but I couldn’t make out what was said.


Linderhof reappeared in the doorway.


“How do I make tea?” he asked.





Rarely have I regretted the fiendish convolutions I imposed on the bureaucracy and layout here. In the beginning it had all worked fine with a steady trickle of sinners—up until that Flood episode. So much effort had been wasted tracking down lost souls who had truly gotten lost in the labyrinthine corridors. To make room and create a more open floor plan, we knocked out some walls in the lobby that I had never liked anyway. The rope lines that should have been in place on day one went up, but that still wasn’t enough.


The take-a-number system we added during that remodeling phase was actually Linderhof’s idea, an offhand remark about branding their foreheads with numbers to tell them apart. While I found the concept appealing, it placed too much reliance on the ability of my minions to count. Having a single roll of tickets eliminates mistakes. And writing out an infinite stream of numbers keeps the accountants busy.


They’re not all dim, however. I did place the brightest in positions of power. Making Dumah our ambassador to the other place was a no-brainer. Being half-Fallen, he was well-versed in the policies and politics of both sides. It was a good fit. Not as good, I now realized, were the rules I instituted for contacting him—rules that even I must obey. I do recall being amused at the time by the specification that he could not be visited in person.


I stared at the telephone for a long time before picking up the handpiece and dialing the number.


The Angel of Silence answered on the second ring. As expected, he said nothing.


“Dumah, this is Satan.”


Again, no response.


“I need your help with a wayward soul. Do you remember your Morse code?”


Scratch, tap, scratch, scratch. Tap. Tap, tap, tap.




I explained the situation and followed that with my questions. The ease of getting Goodthorn’s file was the pleasant part. Before Dumah had even started into his taps and scratches, the pristine manilla folder appeared on my desk.


Time passes quickly here, unless you’re being tortured unceasingly. Or deciphering a Morse-encoded discourse on free will over a telephone. On and on he went. The earpiece had visibly melted by the time I hung up.





Stepping into the waiting room, I had to wonder exactly how long my fact-finding trip had taken. Every flat surface was covered in cups and saucers, most filled to the brim with liquids of widely varying colors. Some resembled tea. Most did not.


Goodthorn and Linderhof sat at a table on the only two available chairs, quietly sipping. Distracted by the state of the room, I didn’t notice the cow until it mooed from the shadows of a far corner. Its udders were singed and the neck was stained with fresh blood.


Facing the door, Linderhof saw me first. He shrank into his seat.


“What is all this? What are you doing?”


“Being nice, sir?”


“Moo-ooo!” countered the cow.


Goodthorn turned and smiled at me.


“Oh, hello,” he said. “You must be Mr. Satan.”


I managed a crooked grin. It didn’t come naturally. 


“It’s just— Yes. I am.”


“If I may say, your Mr. Linderhof has been very accommodating.”


“That is…good…to hear.”


“As you can see, it took more than a few attempts, but his tea ended up being quite a treat. How do you like yours? He prefers a dollop of blood, something that I have to admit never occurred to me to try.”


When I eyed Linderhof, he held his cup out to me.


“Would you like a taste, sir?”


“Clean up this room immediately. And return the cow.”


With an unholy speed, the room was unencumbered of ruminant and porcelain.


I took Linderhof’s seat and studied Goodthorn, trying to not appear vexed by the gravity of the situation. I must have succeeded, his cheerful mien not wavering for an instant.


He leaned forward. “Might you be able to tell me when the next tour is scheduled?”




“Yes, I thought a bit of sightseeing would be nice before I toddle off to the heavenly—” He chuckled. “I almost said pastures. Cow on the brain right now.”


“Heavenly, yes. So, you do know that you don’t belong here.”


“Oh, for certain. The woman in front of me was extremely upset about this being her only choice.”


That answered my next question. “That means the mechanism is working. And both doors are clearly marked?”


“Clearly enough. The intent was more communicated through the use of the dreamy blue and nightmarishly red colors. But frankly, I was stumped on the language. Latin?”


“Enochian. It never caught on.”




Though I have a reputation—and rightly so—for being a smooth talker, I was stumped about how to begin. Aware of the folder in my hand, I put it on the table and opened it. His sins were listed on a single sheet with room to spare. Minor transgressions, all.


“But, uh,” he said quietly. “Do you have someone that can give me a quick look around?”


I tried to reply, but words continued to fail me.


“It’s alright. If nothing is scheduled, I can be on my way.”


That was the prompt I needed.


“Mr. Goodthorn… You cannot.”




“Yes, it’s a rule that no one ever bothered to explain to me. If a soul such as yourself does not make poor decisions while alive, one more opportunity is presented after death. And, once made, it is irrevocable. Despite remaining technically Blessed, you have been officially Damned.”


His face fell as he sat back. “That’s disappointing.”


Something possessed me to offer some encouragement. “Congratulations seem to be in order, however. You are the very first to have done so.”


“Ah, the silver lining.” His face lit up. “I suppose I should make the best of this, then. What happens next?”


“I can’t say. As much as I would like to torment you until the end of time for—I glanced down—calling Sandy Samuels a poophead when you were seven years old, I can’t.”


“Oh, I do regret that,” he muttered.


“Be that as it may, we are not allowed to knowingly torture, humiliate, confuse, punish, annoy, maltreat, discomfit, embarrass, tease, perplex, abuse, terrorize, disembowel—”




“Yes. With everyone down here lacking actual bowels, it’s more of a symbolic thing. But we make do.”


“I see.”


“Neither may we pester, distress, impede, fluster, antagonize, befuddle, exasperate, trick, injure, deceive, hinder, nor frighten you in any way. On the other hand, there is no stipulation that we entertain. Although… A tour can be arranged.”


“Wonderful! And after that?”


“I don’t know. You’re going to have to find some way to keep yourself occupied.”


“What is there to do?”


“Historically, the sole option has been to suffer painfully. I suppose you can sit quietly.”


“I must admit to enjoying a bit of that… But it could get awfully boring. What about a job?”


“Doing what?”


“I’m an analyst. I fix bugs. Do you have bugs?”


“Oh, I can assure you we have bugs.” I recalled the vast array of multi-legged creatures tucked away in our storage cavern, several filled by locusts alone. “Big ones, small ones. Flying, crawling. Hairy, stingers, the whole—”


“Umm. No. Issues. I fix issues. Do you have an I.T. department?”




“You know. Computers.”


“Oh. As a matter of fact, we do.”


I led him to room 101. A source of pride, I smirked as I opened the door. Filled to the brim with electronic misery, the condemned were chained to their desks, forced to enter page upon page of meaningless data by hand. The monochromatic monitors all had my image burned into them. The keyboards worked erratically. The network was undependable, the power less so. And in those rare instances when the form was completed correctly, the little circle would spin and spin and spin. And spin. It was hideous and beautiful.





“He did WHAT?”


Linderhof cowered in a way I didn’t think possible: His horns drooped.


“He— He fixed the…computers, sir.”


The top of my head may have burst into flames. That, I knew, was possible.


“I-in r-room 101,” he stuttered.


“Of COURSE in room 101! That’s the sole place in this godforsaken realm we have computers! What did he do?”


“First, he cleaned the keyboards. There was a terrible amount of gunk in the contacts. It looked awful.”


“I KNOW! Every agonizing aspect of that room was created to my specifications, including the gunk! What else?”


“He checked all the cables. Many were loose. And it turned out there were four things wrong that made the spinny thing keep spinning.”


“Four? I only put three errors into that code…”


“Well, he, uh…”


And as I glared at Linderhof, something clicked.


“Wait. If he fixed everything, what are the tortured souls doing?”


“Catching up. A couple more days and they should be done.”





Room 101 was just the beginning. Slowly, but methodically, Goodthorn applied good intentions everywhere he could, fixing and reconfiguring the very best parts of my designs. I regret giving him a tour.


He studied the heating and cooling systems, and with nothing more than a bone saw and duct tape—duct tape!—leveled out eons of deliberately excruciating temperature extremes. Our frozen lake melted into a lukewarm pond, while the most searing pits of flame cooled down to be no worse than Death Valley in May.


The few mathematicians we have were handed more challenging tasks such as finding the square root of two or calculating pi instead of the mind-numbingly repetitive chore of writing out the decimal equivalent of two-thirds.


To the endlessly thirsty he gave straws to sip the water that had been purposely set beyond their reach. And to the endlessly hungry he doled out our locusts. There’s a lot of protein in insects, I’ve been told. With plagues having gone out of style, I never did figure out what to do with the surplus.


There was but one hiccup in his unending stream of solutions. He had planned to strip bark from willows in the Grove of the Unrepentant and make an analgesic to help offset the worst pains of The Damned—until Linderhof innocently explained that the trees were actually sinners, and that removing the bark would be as painful as flaying them. I took more than a small amount of joy from the man’s embarrassment.


Why didn’t we stop him?


We weren’t allowed. On the list, that would have fallen under impede or hinder.


The situation had driven right off the cliff of tolerable. This was no longer my vision of Hell. I had to do something.





Scratch, scratch, tap. Scratch, scratch, scratch. Scratch, scratch, scratch. Scratch, tap, tap. Pause. Tap, scratch, tap, tap. Tap, tap, scratch. Scratch, tap, scratch, tap. Scratch, tap, scratch.


“Thank you, Dumah. And thank you for your help.”


The smell of plastic had been thick in the air for a while, and when I tried to place the blackened and deformed handset back on the cradle I saw why. The conversation had gone on forever as Dumah and I debated every alternative. Many of mine, revenge-oriented, simply weren’t allowed due to the restrictions of the list. Many of his involved taking a vacation. And although his suggestions were phenomenal, a trip away would be a temporary measure at best.


Having grown pessimistic about ever being able to find an answer, I had begun to mull over the vacation possibilities. But would even Bora Bora provide enough distractions to allow true relaxation? How long could I be away? My imagination running wild, I dreaded the changes that might greet me upon my return.


It had been at that low point when a new strategy had finally occurred: What if there were a way to make the vacation permanent?


Further discussion with Dumah had ensued.


Ultimately, he helped me chart a course through the legalities. It was unorthodox, but I had found an exit.





A tentative knock at the door allowed me a chance to put on a smile. I had practiced constantly while redecorating the office. It still felt unnatural, but I had memorized which muscles to move.




The door opened a crack.


“Goodthorn. Please come in. Have a seat.”


He crept in, his cheerful attitude not on display in the least. In fact, the cringing reminded me of Linderhof. Eying the classic electric chair positioned on the other side of the desk from me, he sat down slowly. No, it was not plugged in. That would have violated any one of torture, punish, maltreat, or abuse.


“You wanted to see me?”


“I do.” As he seemed close to being discomfited, I cranked up my grin another notch to put him at ease. Unfortunately, that made him more nervous.


“If— If I m-may s-speak frankly?”


“Of course.”


“Mr. Linderhof said that you weren’t happy with me.”


“Not happy? Look at me. Do I appear displeased?”


“No. But… Did I do something wrong?”


“Oh, heavens no. Relax. You’re not here for punishment. Far from it. You’re getting a promotion.”


“A promotion? Me?”


Oof. I’d come close to confusing him on that one. The end was in sight. I didn’t need a technicality scuttling my plan.


“If you want it. I can’t force it on you, of course. What has vexed me is not your success in finding and fixing the flaws that you have, but the realization that it would be better for me to step aside in favor of someone younger and more energetic.” And that was not deceit.


“What about Mr. Linderhof? Wouldn’t he be next in line?”


“Theoretically, yes. He is an excellent subordinate, but not much of a leader. This position requires problem solving skills. Imagination! How do we deal with a sudden influx of the irredeemable? Where might we find the room? How do we screen them efficiently?”


He sat up. That was the word.


“What do I do with a surplus of locusts, Goodthorn? I let them sit. But you… You approached the issue from a different angle entirely and solved two problems at once. If that’s not efficient, what is?”


“Anyone might have…” He shrugged. “I mean…”


“Not anyone, Goodthorn.”


He beamed.


“It will take someone motivated, resourceful, and organized to fill my shoes.” I pointed at him. “You.” That’s when I played my ace, temptation thankfully not being on the restricted list. “Only someone supremely effective and worthy of leadership should have the honor of sitting in this chair.” I stood up and stepped aside. “Please. Give it a try.”


To that point I had kept it obscured with my wings. Having a clear view, he stared. Lustfully.


I was hardly ever in my office, and the electric chair he occupied was the one normally behind the desk. Despite being wooden and unyielding, it had a certain something that I found whimsical. In its place was an awe-inducing distillation of executive power. A rush job, the scars on the cow’s neck hadn’t healed, but the imps down in Furnishings had done a skillful job hiding those blemishes. Other than that, it was perfect. Blood red leather, buffed to a shine. Gleaming, golden tacks. And infinitely comfortable. I had given orders to scour the entire realm for any and all bits of fluff and stuffing to be packed into it.


He sat down. And grinned, ear to ear.


“And sign this.” I plopped a stack of papers on the desk.





As I mentioned before, time can pass oddly in the nether regions. Though my ordeal had dragged on for weeks, mere moments had passed in the world of the yet-living.


I woke up in Goodthorn’s body. Lying on the ground, a spot on the top of his/my head was painful, but tolerable. Open eyes revealed a medic hovering over me. Behind him, some curious, concerned souls had gathered round. Off to the left, a sign announced this to be the home of the Salt City Sun Devils.


“How are you doing?” asked the medic. “I swear I lost you for a minute.”


“You may have.” I sat up and smiled. “But I’m better now.”


“Well, here’s what nearly killed you.” He handed me a baseball. “It was just a foul ball, but I’m sure Old Nick will sign it for you if you track him down after the game.”


“Old Nick?”


“Nick Flammadakoulis. He never made it to the majors. Been stuck in Salt City purgatory for twenty years, but we like him here.”


After the medic helped me stand, I was able to convince him that I was fine. The small crowd dispersed, relief on the faces, some even clapping. The people here were genuinely nice. It was so astonishingly different to experience a pleasant environment like this, the blue skies above especially welcome. Across the street, a display on the Salt City Savings Bank showed 115 degrees, but pfft. I had been broiled at 500 for most of my existence. Sunny and 115 was nothing.


In all, it was such a lovely place that it made me seriously consider being…good. I was officially someone else now. There was no longer any requirement at all to be satanic. If anything, there was more of a need to be, and act like, Neville B. Goodthorn. As an added incentive, a few decades of proper behavior would land me a spot in the other place. The look on everyone’s faces at my appearance up there would be priceless. I chuckled at the thought.






Eh. The hell with it.

Daniel Reiner was born and raised in Pittsburgh, PA, and was influenced at an early age by the imagination of Larry Niven and the adjectives of H.P. Lovecraft. Fascination with Lovecraft’s universe led to The Shadow Saga, an ongoing series being published by Vulpine Press. Aside from novels, he does dabble in short pieces with horror, science fiction, or humorous themes. Samples of his work and the latest bits of news are available at https://www.danielreinerfiction.com.

Automated Writing by Max Blue



George Kovacs, Opus, and the Author Software

From the Journal of Virtual Literacy, Issue 16, May 2001



In late 1998, an American computer programmer teaching at the University of Moscow began writing a novel. After only six months the novel was completed, and published in the Fall of 1999 to nearly universal critical acclaim. The novel was the four-hundred-and-ten-page Opus by George Kovacs.


The scandal around the authorship of the novel that followed the 2000 literary award season has been recounted elsewhere but put simply: George Kovacs was not the true author of Opus, though attributing the novel to anyone else is difficult and has become the center of much scholarly debate. Kovacs would tell you that he never has been, and still isn’t, a novelist (though of course he would have told you just the opposite at the time Opus was first published and garnered him nearly every literary award in Europe and the Americas (the reception of the novel across Asia has been markedly lukewarm)). These contradictions and complications arise from the fact that what George Kovacs wrote was not a novel, but a computer program called Author, capable of generating works of literary fiction.


I reached out to Kovacs for the purposes of this article, and he agreed to meet with me in a public park in San Francisco, where he is currently living. Although I had not seen him in more than a year, when he was last in California on a book tour, the moment I spotted him, hunched on a park bench babbling to himself, I knew immediately that it was him. There is a mark of someone’s undying person to be found always around the eyes: The rest of him was so drastically altered that it would have been difficult to locate the man in any other part of his being. He wore a shabby green greatcoat of the quilt-like material often seen in ski advertisements in the backs of old men’s magazines, and his hair, which had always been long, tangled with a wild beard that had previously been absent from his face.


Kovacs did not know me by sight, and he was noticeably skittish when I approached him, requiring me to state and restate my name, and answer several more security-type questions, before moving over to make room for me on the bench beside him. He refused to be recorded by tape, but paused frequently during our conversation in order for me to scribble quotes by shorthand. Despite these difficulties getting started, Kovacs proved eager to share his story with me, and displayed a great working knowledge of narrative as he rambled on for a total of three-and-a-half hours. His mannerisms were agitated and he spoke with a stutter, the former being a lifelong characteristic, while the latter was perhaps the result of his recent ordeals. 


Kovacs began by telling me that there were two motivations that drove him to write the software: “fear and love.”


The fear Kovacs referred to was the mounting cultural hypochondria concerning the then-impending turn of the millennium, to which he himself had fallen prey as early as the late 1980s when he was a PhD student at the University of Zurich, studying computer science. A regular topic of conversation in those days was something referred to at the time as “the year 2000 problem,” or, more commonly, Y2K. The issue was a software bug that would supposedly inhibit computers from accurately displaying date-times after the turn of the millennium, which led some to hypothesize the global crash of computer networks at midnight on January 1, 2000. By the early 90s, Kovacs was in a full-blown panic; by the mid-90s he was working avidly to think of a solution. Rather than putting his efforts into redesigning computer coding, as other engineers and computer scientists were doing at the time, Kovacs was thinking of grand ways to use technology while he still had the chance, thoroughly convinced that the impending software crash would set the world of technology back by rendering computers useless.


As for the love half of the equation, it was in 1985, as an undergraduate in California, a time of popped collars and sorority socials, that Kovacs had, by some measure of accident, become infatuated with literature. This accident occurred in the form of an elective course taken during his senior year with one professor Eugene Erasmus, whose emphasis was experimental poetry, specifically automatic writing and the work of Jackson Mac Low. Erasmus’s lectures were often cluttered with overly political nonsense, as far as Kovacs was concerned, and many afternoons, as the sun traversed a delicate arc outside the classroom window and warmed his desk, Kovacs found himself dozing. It was one day near the end of the semester when Erasmus set forth a hypothesis that caught Kovacs’s attention.


Every book, Erasmus postulated, was the product of a simple equation: Each book that writer had previously read plus lived experience. If you were to feed the same books and the same experiences into a blank human consciousness, the same book would pop out the other end every time. Erasmus wrote on the blackboard an equation so simple and elegant it had stuck with Kovacs ever since: A + B = A∪B.


After that, Kovacs developed a voracious reading habit, less a matter of pleasure so much as it was conquest. If Erasmus’s equation was true, Kovacs believed that there must exist the perfect sequence of inputs necessary to produce the perfect output: The epitome of literary fiction; the Platonic novel. No matter how widely Kovacs read, every book left him with something still to be desired, some part of his mind unsated. Surely, he figured, this could be attributed to some break in the sequence of experience plus books ingested: Perhaps the writer had read all the right things, but their born circumstances were wrong; or they were born in the perfect setting to become a great novelist, but only read comic books. In other words, the great inhibitor of the perfect novel that Kovacs identified was chance. So, he set out to eliminate the variable.


“The major problem I identified,” Kovacs told me, “is that no one can read everything. There isn’t enough time. Ideally, in order to produce the perfect novel, the novelist would read everything that had come before. That would be the only way to get a clear idea of what came next.”


After ten years of reading and thinking (thus far, the work of the average novelist) he departed from this standard path. He never wrote a word. Instead, he wrote lines of code necessary to produce the right words.


Completed in early 1998, the Author software was ready to execute its two primary functions. First, Kovacs instructed Author to read every major novel of the last three hundred years. Running this sequence took about three months, during which the software ran continuously, extracting and compiling information on history’s great novels, arranging and examining the books as a sequence of information, the same way similar programs can analyze a numerical sequence and predict the next number in that sequence. The result was an aggregate of the books’ similarities and differences, which could then be used to predict the next great novel in the sequence. Writing that novel was the second application Kovacs instructed Author to perform. This took another two months.


“The computer running Author was connected to a printer,” Kovacs said, “and each day, at the end of the day, another two or three pages of the manuscript would emerge. I had high hopes for the novel based on the very first page I read, and I would rush back home every night to read what had been printed that day, hoping it hadn’t suddenly gone off the rails. It was an agonizing period. But then one day it was finished. A page emerged from the printer, and halfway down the page there were the words: The End.”


Kovacs said he read back through the entire manuscript in a single sitting. By dawn, he told me, he felt certain that he was holding in his hands the greatest novel he had ever read. The only thing missing from the manuscript was a title and authorial attribution. Kovacs decided on Opus as a sort of joke and signed his own name to it. Then, he began querying literary agents.


Anticipating that Opus would be met with the rejection that seemed to him part and parcel of the experience of creating a great work of art, Kovacs submitted the manuscript to over one-hundred literary agents. Instead of being turned down, he was offered representation by multiple agents within twenty-four hours. Once he signed with the Lipman Agency in New York, it took less than a week before a bidding war began between publishers for the rights to the manuscript. The exact figure paid for the book, which was disclosed during the lawsuit following the revelation of Kovacs’s fraudulence, was something to the tune of ten-million dollars. Following publication, Kovacs took a sabbatical from his post at the University of Moscow in order to travel for a robust book tour, projected to last a full year, with the possibility of an extension.


And yet, around the time of the publication and rampant success of Opus, Kovacs had become embroiled in a potentially cataclysmic dilemma away from the public eye.


Kovacs’s publisher had contracted a follow-up to Opus on the merit of the first manuscript, and Kovacs had brashly promised to deliver a first draft of his second novel by early 2000. “It was the middle of 1999 when I signed that contract,” Kovacs told me, “and my plan was to run the Author program again, and produce a second manuscript. That way, when all the computers crashed on January 1, I would have my second book ready to go.” Following the publication of his second novel, Kovacs imagined retiring from both the academic and literary worlds, settling somewhere quiet with the small fortune he would have amassed.


“I set Author up to execute the two-part sequence while I was on my first leg of the book tour,” Kovacs said. “There was a week or two around Christmas and New Years that I didn’t have any events scheduled, that I would fly back to Moscow and see what Author had written. Then, I would dismantle everything before the new year.”


But when Kovacs returned to Moscow as planned in December of 1999, what he discovered shocked him. Author had successfully produced a second manuscript of four-hundred-and-ten-pages, but the contents were illegible, the shapes arranged on the pages appearing to be some kind of hieroglyphics or character-based alphabet Kovacs did not recognize. He spent the first half of the Christmas break in the university library, trolling through hundreds of linguistics textbooks, examining every logographic language he could find, but none were an exact match for the text Author had produced.


With only a few days to go before the year 2000, Kovacs downloaded the digital file of the manuscript from Author and sent it in an encrypted email to Phillip Lissitzky, a fellow professor (linguistics) at the University of Moscow, and a friend. Lissitzky responded within the hour.


Incredible, he wrote. The text bears some similarities to a South American written dialect that hasn’t been in use since before the arrival of the Spanish. It is a tribal dialect, only nameable by its own system of writing. I cannot read it, but I might know someone who can. Julianna Escobar is a linguistics professor at UNAM. I have attached her contact information here. Where did you find the text?


Kovacs invented some source for the manuscript, but waited to contact Escobar.


It was now New Year’s Eve, 1999, and, without a clear path forward, he began hoping that after the turn of the millennium the jig would be up, that he could safely reveal the true author of Opus, and the novel would come to be regarded as one of the last great advances of the bygone computer age. This would simultaneously excuse him from any fraudulent claims regarding the authorship of Opus and absolve him from the expectation to pen a second novel. But, as we now know, the millennium turned, and little changed.


“I was really starting to lose it,” Kovacs told me. “I knew I couldn’t actually write a novel. I mean, that was totally out of the question.”


Kovacs began writing a software patch that might enable Author to perform the translation of the manuscript into English, or possibly Spanish. He worked like a man possessed (his turn of phrase), and in late January, 2000, Kovacs ran the patch through Author. The software responded with an error message.


Kovacs reached out to Escobar. After a few brief exchanges, he agreed to send her the manuscript, which the linguist displayed an eagerness to attempt translating.


“Agreeing to this proposal,” Kovacs said, “was my first mistake. But I was in too deep.”


 For the next few weeks he got radio silence from Mexico. During this time, Kovacs resumed traveling for his book tour.


When Escobar reached out again, contacting Kovacs by telephone at a hotel he was staying at in Berlin, it was to inform him that she had met with a number of fellow linguistic scholars in Mexico City and wanted, if Kovacs would agree, to develop a small task-force to translate the text.


“I was desperate,” Kovacs explained, “to get the book translated into English so I could give it to my publisher. I didn’t even want to repeat what I’d managed to do with the first book anymore, I just wanted to deliver on my deadline and wash my hands of the whole thing.”


In order to begin, Escobar told him, she and her team needed to know the manuscript’s origin. Kovacs was in a bind. He understood that it was paramount to an accurate translation that the translators be let in on his secret, but he wasn’t sure he could even trust the professor, let alone the dozens of other scholars who would be involved in the process. Kovacs decided that he had no choice but to tell them everything, but told Escobar that he could only do so once he had met the team in person.


“We’re eager to get started,” Escobar said in an email dated March 2, 2000. Sighting medical complications, Kovacs cut his book tour short and flew direct from London to Mexico City on March 3.


“I had no idea what I was dealing with,” Escobar told me by telephone when I reached her in Mexico City for comment. “Obviously it was some ancient logographic language, but no one on my team could place it beyond having South American origins. Past that, we really had no idea. We’re making a little more headway now, but it’s too soon to tell if we’ll actually be able to decode anything substantial.”


Kovacs’s arrival in Mexico City was kept secret to the extent that, according to him, he slept on a cot in Escobar’s faculty office at the University in order to avoid registering his name at any hotel. Kovacs met with the team of translators on March 4 and, in a discreet conversation with Escobar, revealed his predicament. Escobar agreed to keep the secret of the Author software, but asked Kovacs if he understood that she would have to share the information with her team. He said he did, and the two drew up nondisclosure agreements for everyone on the team to sign. Kovacs canceled the rest of his book tour and stayed on in Mexico City at Escobar’s request to assist with the translation process in a consultation capacity.


“There really wasn’t anything for me to do,” Kovacs said. “Every night I slept on this cramped cot in that woman’s office and every day I would go into the research facility where the team was working and just hang around. No one ever asked me anything. They were all so busy and excited and academic and utterly stupid. I saw clearly, much more clearly than they did, how the whole thing was a fool’s errand.”


In August of 2000, Kovacs was hospitalized in Mexico City with severe ulcers. The following month, he flew back to Moscow to recuperate at home.


“At this point I knew it was hopeless,” Kovacs said. “I knew that Author couldn’t perform the translation, and Escobar and her team weren’t making any headway, and the whole thing was going to kill me.”


Kovacs called Escobar and told her to hang up the project, to which the linguist adamantly refused.


“It had become, for me, a scientific matter,” Escobar explained when I asked her about her transgression against Kovacs’s wishes. “There was no way I was going to stop just because of that man’s defeatist attitude. We had separate interests, and separate problems.”


That same week, Kovacs was awarded three major literary awards. He was absent from all three award ceremonies. This absence, and rumors circulating of his declining health, attracted the attention of the press. Kovacs, unsure of how to proceed and beginning to panic, did not leave his apartment for three weeks, ceasing all communication with the outside world, except his doctor, who continued to fill prescriptions for increasingly more powerful antidepressants and painkillers.


Near the end of September, an anonymous source on Escobar’s team leaked the secret of Opus’s production to the panel of the Berlin Award, and the linguistic mystery of the second manuscript to the Associated Press.


“To keep this secret means to go against everything I believe in,” the whistleblower said in a statement, citing “good scholarship” and “authorial integrity”.


“The funny thing,” Kovacs said, “is that I can’t blame them. In all likelihood, I would have done the exact same thing if I were in their position. I know how difficult it can be to watch one of your peers enjoy success.”


But once the truth about the Author software had been revealed, Kovacs’s success was not long for this world: Every literary prize he had been awarded was revoked, and a debate sprang up as to whether or not the prizes should be re-awarded to the Author software itself (a debate that is still underway at the time of this publication); Kovacs’s publishing contracts were voided, with both publishers citing his knowing infringement of the plagiarism clauses therein, and he was sued for the generous advances they had given him at signing. Kovacs’s busy schedule over the last year had prevented him from spending much of the money, which he readily returned. He weathered all of these setbacks surprisingly well, saying in a public statement that everything he had been forced to relinquish were things he had never expected to attain in the first place.


“All the while,” he told me “I was secretly hoping that the computer science community would sort of save me, that at least they would still recognize my innovation and redeem me of the whole scandal.”


But when Kovacs was fired from the University of Moscow in late 2000, he realized the naivety of this expectation. In January of 2001, his Russian visa was revoked.


Following these losses and his excommunication from the literary and academic industries, Kovacs returned to California. He drifted between family and friends’ homes for a few months, before settling in the San Francisco Bay Area, where the status of his housing and employment remain unclear. When I asked him about his prospects, Kovacs said, “It’s obvious no one will ever hire me again, at least not in any legal enterprise.”


Whether or not this means that Kovacs could – or has – found employment carrying out illicit activities is unsubstantiated, but the demand for competent computer programmers in international espionage has only grown in recent years and it is easy to imagine ways in which a sequencing software such as Author could be extremely useful for predicting the outcomes of something decidedly non-literary, such as military action. One can only imagine that the price a government or foreign interest would be willing to pay for such a software would well exceed even the most robust publishing contract. But this is merely speculation.


A Russian Intelligence raid of Kovacs’s vacated Moscow apartment turned up five laptop computers and one mainframe hard drive, none of which contained any trace of the Author software. Kovacs claimed to have destroyed the program before leaving the country, though it is possible that traces remain.


“When you work on something for so long,” Kovacs said, “it becomes a part of you.”


Even if the Author software no longer exists, the outstanding question now is how the product of its brief existence has already irreparably impacted literature. Both the North American and European publishers of Opus have made public statements claiming that they will no longer print the book, while several libraries around the world have issued contradictory statements that they will continue to make the novel available as an historical and scholarly document. Opus is being used as a sort of Rosetta Stone in the effort to translate Author’s second manuscript, which has become an international endeavor headed by Escobar.


It is, of course, too soon to tell how Opus has actually impacted novels and novelists themselves. Since no human writer is capable of working with the speed and diligence of the Author software, we have yet to see what a novel written post-Opus actually looks like. Surely, some writers will attempt to outcompete the program, while others will see the status of Opus as a defeat and hang up their literary ambitions. Still others will not have read the book at all – some will have managed to miss it altogether – and go on writing with no sense of comparison whatsoever. As Kovacs himself pointed out, it is impossible for a writer to read everything. But I am sure that the works of literature to come – those which result from the reading of Opus and those that do not – will be the ultimate proof of Kovacs’s hypothesis that greatness can be reduced to the most recent entry in a sequence. Or perhaps his theory will be disproved by a deviation from the sequence so great and unexpected it could not be anticipated by the Author software or any other computer program: The result of chance.



Julian Berlinsky, San Francisco


Max Blue writes about the visual arts and modern culture. His criticism has appeared in SF Weekly, the San Francisco Examiner, and Art Practical, among others. His fiction has appeared in Your Impossible Voice and Mount Hope Magazine, among others. He lives in San Francisco.

Heavy-Set: A Fairy Tale by Jude Dexter

Heavy-Set: A Fairy Tale by Jude DeXter 


Trigger Warning(s): Body Shaming, Homophobic Language; Child Abuse

When he sat in the dirt and picked at the worms, his grandmother would kick at his fat thigh with her toe, nicking it with the yellow toenail that hung over her shoe, and say, “Git from there, boy. You’ll mess your clothes and eye ain’t fixin to do a load today” and when he went running through the weeds in the backyard, his skin damp and salty-sweet, sweat pooling under his breasts, she would holler across the yard from the back porch, “Don’t you dare come in this house with no bugs stuck to you or eye’ll tan you!”


She would swat the back of his hand if he reached for a cookie in the icebox and would throw all the food away before he could get himself seconds, scolding, “You’re getting fat, Jeb boy, looking like a big ole hog, eating all these sweets and drinking all those Coke-colas,” poking at the folds of fat beneath his dirty shirt with her spatula or with her fan. He believed her when she told him this; the children his age snorted like new piglets at him, and if both his grandmother and his classmates thought he was fat, it must be so. And really, Jeb reasoned, he could not see himself, except when he looked in mirrors, and even then he worried he was not getting a full picture; so maybe it was true—he was husky, heavy-set; his grandmother hissed it like a swear word.


And so the grandmother punished his fatness and his dirtiness and his sweatiness, as if she hated the stinking grime that could not be scrubbed from his body no matter how hard she tried. If he ruined his clothes or got the new rug dirty or spoiled his appetite by sneaking a Little Debbie cake or belched or sweat through Sunday clothes, she would swat at the back of his legs with the square blue fly swatter that hung near her stove.


Though the women in her church knew her as a lady who never had a run in her pantyhose and whose Bible was worn from use, privately she was a mean woman, with a voice like a grinding hacksaw. She was very ugly and she always wore dresses instead of pants because her left leg swelled; the boy did not know how old she was but was convinced that, however old she was, her meanness would keep her alive forever. She was fervent in reading her Bible and praying and told Jeb that, in punishing him so severely, she was teaching him the way of the Lord. “Spare the rod,” she would chant at him while whipping him. “Spare the rod, spoil the child.” She would whip him hard or soft, depending on the crime: a sliver of a rip in his new britches earned him only a paddle that ended quickly enough but a smelly belch in front of the minister earned him a wallop that left his legs red and fat with welts. “Eye won’t be the laughingstock of my church because my own family doesn’t know how to behave in front of the pastor!” she screamed at him once. “Eye made that mistake with your daddy!”


She liked to bring up Jeb’s father often. She never said anything nice about him; she would usually tell people he was dead, even though he wasn’t; he was living two towns over, on Route 5, with a woman Jeb did not know but had seen once, when she peered at him through the window of the car the day Jeb’s father left him, promising to come back after the weekend was through. Jeb was five then. She did not know that Jeb even existed, his grandmother told him, you could tell it by her face. Jeb’s father was too ashamed of his mistakes. “She’d run screaming if she knew,” his grandmother wagered. Jeb thought she was pretty enough; he wondered if she was nice. He thought about her often. She’s not heavy-set, he thought to himself, so that must be what she don’t like, staring down at himself. Heavy-set, she called him, as if it were the most unfortunate fate a boy could suffer.


That next year, as Jeb turned nine, the grandmother died, clutching her chest while bathing, and he found her in dirty water up to her saggy breasts, her eyes staring blankly at him, her jaw slack. Jeb ran to a neighbor’s house who phoned the police and gave Jeb a Coke and cookies while they wheeled her out. Jeb did not cry at her funeral; he only noticed how bloated she looked. She would have hated the dress her sister chose for her. That dress always made her look heavy-set, she’d say.


So Jeb went to live with his father, who agreed, rather reluctantly, to take him in. He had heard his father talking with his new girlfriend, who had introduced herself as Brandi with an I.


“You have to take him, Leroy, he’s your boy!” She had a thick Southern accent that made her sound stupid but Jeb imagined that she was plenty smart. She was very pretty.


“My aunt Beverly agreed to take Jeb-boy in for a while. I’m just not fit to be a father.” Jeb had only met Beverly once at the funeral.


“He’s your son!” Brandi repeated and later she took him out for ice cream to try to explain. “Your daddy’s just a hardworking man, is all. He loves you so much. He thinks you’ll be happier this way.”


“I know how much he loves me,” Jeb said plainly, which was to say not at all.


But then, after a few days, Jeb’s father relented. Jeb did not know what had happened, except maybe Brandi had talked some sense into him. He would learn later that when his mama’s will was read, Jeb’s daddy found out that she had set up a rather large trust for him, with payments to whomever took care of Jeb until he was 18.


Jeb’s father had a rather large farm out on Route 5 and to tend it, he paid some of the little neighbor kids a dollar a day to pick the cotton, which was grueling work indeed. Jeb watched them from the window as they’d move down the rows of white fluffy cotton. Some of them were only a few years older than him, had dropped out of school to go to work and support their parents. Picking cotton required you to firmly grasp the entire boll and pull or else you would leave some behind. Jeb’s daddy would holler at them if they left any behind and they’d have to rework that row while the other kids got to go home.


Jeb’s father also owned several chickens, and Brandi did an excellent job cooking their eggs for different meals. Jeb ate and ate and Brandi would smile at him. She didn’t make him feel gluttonous, neither did she call him heavy-set. She’d just look at his empty plate worriedly and say, “Are you still hungry, Jeb-boy, there’s plenty!” But before he could move, she was on her feet, scooping more eggs and fresh bacon onto his plate. He wasn’t heavy-set here. He wasn’t whipped when he got dirty. He didn’t have to sit in no smelly old church. He was afraid to pass gas in front of Brandi because she was so pretty but once it happened on accident and she exploded with laughter.


Jeb liked to watch the chickens strut about. When he first arrived, they would stroll up to him, curious, and inspect the new boy. He would pet them and they were really very nice to him. One of them he named Betty Chicken and he loved her the most. She had beautiful white feathers and a vivid crimson orange beak and dainty feet. Jeb thought she laid the most delicious eggs and he would go out to the coop to pet her and hold her like a baby and thank her for the delicious food; he did not know they were her babies. He would grab extra grain from the feed bag and feed her by hand, which Jeb’s father hated; he warned Jeb that once chickens got too fat, they weren’t good for laying anymore and could lose him money.


Jeb took a liking to Betty because she was heavy-set like him. He had heard his father use this exact word one morning. He was helping his father clean their cages, which meant you had to scrub their shit and dried blood and dirty feathers. It took several hours and made you stink but Jeb wanted Betty’s home to look nice for her.


When Jeb’s father picked Betty up to take her out, he whistled and said “Goddamn, Miss Betty, you sure are getting to be a little heavy-set girl.” But he didn’t spit it at Betty the way Jeb’s grandmother would hiss that word at him. It seemed to be almost desirable. I’m heavy-set, Jeb said to his reflection, whistling like his father did.


He loved Betty and took extra care of her. He’d feed her extra every morning so she could maintain her voluptuous figure. He rigged up a leash so he could walk her but she took such a liking to him that, before long, he didn’t need to use her leash; she would just follow right behind him, waddling after him. He would read to her the books Brandi helped him pick out and he painted her picture with the watercolors Brandi wanted him to have.


Jeb’s father had fought that one. “He ain’t fixing to lounge around all day paintin’ like some queer. He’ll work in the field soon as he gets a little taller and can see over the stalks.” But Jeb continued to paint and Brandi hung his pictures of Betty in her room.


“Always that damn chicken,” his father said disapprovingly. Jeb was spying on them as he often did and he saw his father shaking his head at the chicken painting. Jeb had several times noticed his father watching as he fed Betty or walked her or petted her, staring disapprovingly at the two of them.


“He’s just lonely,” Brandi said.


“Plentya other playmates than that goddamn fat chicken.”


And every few days when he would see Betty, Jeb’s father would lick his lips at her and whistle at her, “Goddamn Miss Betty you sure are getting nice and plump!” Like it was a good thing. So Jeb kept feeding her and petting her. His heavy-set girl.


Jeb’s father tried to convince him to play a sport, or work in the field, or hunt like Jeb’s father did. He offered to take him fishing or to take him to church so he “could get some pretty girls” although he wasn’t sure what to do with them after he got them. Jeb’s father bought him a small gun and made him wake up at the crack of dawn to go shoot small fowl like pigeons or doves; sometimes he’d shoot a squirrel or rabbit. He liked it enough not to make a fight but when he got home, he’d march out to Betty’s cage with a book or with his kills so he could show her the tiny animals wrapped up in paper for Brandi to cook. He always made sure Betty had enough to eat and he’d lie back and talk to her.


Soon Jeb tired of being forced to go hunting. It hurt his knees and his back and he didn’t want to stand all day or traipse out into the mud to retrieve the poor dying animal. He hated the metal smell of the blood, and the cold of the early morning, and the long walks while his father talked about hunting. He would always lie around with Betty afterwards. She’d poke about the yard and when she got close to him, she’d stop for a pet. He started spending all his time trying to teach her how to walk backwards and to play a tiny piano he had found at a yard sale. He knew he could do it: he was an excellent trainer of course but Betty was smart.


This infuriated Jeb’s father. One afternoon, when they came back, Jeb went to wash up for dinner while Brandi cooked. He wanted to say hi to Betty but he had to shower first, as he was covered with blood and guts. He had caught a fat rabbit and was excited for Brandi to cook it.


He ate quickly. After he bathed, he saw that his father had fixed up the rabbit he brought home with a nice sauce of onions and peppers fresh from their garden. Sautéed, Brandi called it. The dead rabbit laid in small, pale pink pieces on their dinner table. Jeb’s father tore into it ravenously, even before grace had been said, and Jeb noticed that Brandi kept her eyes on her plate. Throughout most of the dinner, she was silent. Brandi did not even laugh at him when Jeb shoved two small bones under his lip and pretended to be a walrus. The rabbit was good; Jeb enjoyed it very much. This time, she did not say, as she always did, “Jeb baby if you’re hungry there’s plenty.” But he ate more while she quietly cleared the table and went to bed. Female problems, Jeb’s father explained clumsily.


Jeb awoke the next morning extra early so he could get a head start on training Betty to walk backwards. He had missed a whole day and didn’t want her to get lazy.


But she was not in her cage, nor did he find her waddling around the yard. He ran back into the house where Brandi was cracking eggs and whisking them, stirring in pepper and milk to make them extra creamy.


“Where’s Betty?” he asked her and for a moment she didn’t respond. “I said where’s Betty? I went out to see her and couldn’t find her nowhere. I’ve been teaching her how to walk backwards.” Brandi didn’t respond. She looked away.


At that moment, Jeb’s father walked in, carrying two sacks full of vegetables he was taking to the mercantile in town to sell. Brandi looked back at Jeb’s father and said plainly: “Leroy, Jeb wants to know where Betty is.”


Leroy laughed and then said, “You ate her, Jeb boy. Last night. She was delicious.”


Jeb felt like he had been punched, like he was in a dream. “That was rabbit,” he said angrily.


“Wasn’t no rabbit,” Jeb’s father replied laughing. “No rabbit I ever seen is that fat.” 


“That was rabbit,” Jeb insisted angrily. He looked to Brandi who avoided his eyes; hers were filled with tears. “That was rabbit. So where’s Betty?”


She began to mouth “I’m so sorry” but Jeb’s father saw her and only laughed once again. 


He explained: “Sometimes chickens get too heavy-set and they can’t lay eggs no more and then they’re only good for one thing. Now come on, son,” he said as he slapped Jeb’s back, “go fetch the other bag of vegetables out back and bring ’em to my truck and let’s see what we can sell.”


Jude Dexter lives in the South. They have published fiction and poetry elsewhere and can be found at twitter.com/batyehudit

“Year Four” by Grace Shelton

Year Four by Grace Shelton


They’re going to have three good years together and a kid. She goes by Becky now, the little devil, but in the future she’ll go by Beck. And he, beside her in the bedclothes, is Mickey, who will mellow into Michael. They’ve just met at a rock concert, where Mickey’s shirtsleeve got caught in one of her pins. Neither has much impulse control. Things devolved from some gas-station cocaine to the back of Mickey’s pickup truck to the bedroom in Becky’s apartment. Mickey breathes heavily against Becky’s collarbone as he pumps in and out of her, more like a mechanical bull than a passionate lover. But the way he looks at her, the way he looks—she cannot bring herself to mind. She lies back, pupils blown. Lets it happen. She has never wanted anything so much.


The house that Beck and Michael share is just a three-year drive down the road, where Beck puts the baby to bed and clicks on the baby monitor. She hears their child’s peaceful breathing crackle over the line. Michael gets home from work in less than an hour. He’ll eat dinner straight from the fridge and crawl in beside her with no more than a goodnight. He’s tired, she reasons. She goes through his dresser drawers every night, like she might find evidence of another woman besides her. Never anything there.


Becky palms Mickey’s cheek as he finishes. They fall with each other, backs on the navy-blue sheets. There’s not enough room for them both in Becky’s twin bed. Their shoulders overlap, his over hers, as awkward a position as could be mustered. Becky doesn’t even care. She’s still riding the high of the concert, the cocaine she snorted off the shitty gas station sink, the jackknifing of the music in her ears. He could scream and she wouldn’t hear it. He turns his head into her neck, sucking bruises into the soft skin. For three years, it’s going to be this good. Becky doesn’t hear crying over the baby monitor. Mickey is on top of her again, kissing until their lips sting with each desperate pulse. 


Michael comes into his bedroom as predicted. He strips his suit without any dramatic flair and hangs it back in its plastic for the dry-cleaners tomorrow. Beck’s wrapped up in their queen-size comforter, listening for the baby. Watching the trees blow around through gaps in the blinds. When Michael puts a hand on her back, she says she’s exhausted, that she wants to go to sleep, and part of her is sad, because Becky never needs to sleep. Becky loves Mickey because Mickey is big and new and exciting, and Michael is Mickey with the volume turned down to a reasonable level. When you get older, you have to worry about your eardrums.


Michael and Mickey lean down as one, their lips hovering over their respective lovers. They are different people. These couples get three good years together and a kid. Beck peels the incoming kiss from her skin, and Becky reaches up to press it somewhere else. 


Grace Shelton is a Spanish major at Susquehanna University, where she gains inspiration from late nights and music played on loop. Her work has appeared previously in Rivercraft, The Lumiere Review, and Hushed Heartache Literary Magazine, among others, and her first chapbook is forthcoming from Treehouse Editions.