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BECAUSE I LOVE HER by Erica Plouffe Lazure

Because I love her we will cross four states and a time zone to find a Waffle House, because it reminds her of home, but “only the good parts.” Because I love her we will order the hash browns scattered, covered, chunked, and smothered, with a side of waffles as big as the browns themselves. Because I love her we will sit on the same side of the booth, hold hands under the table, and down the hours-old coffee that holds a dull black pall even after six creamers.

ALL THE CHINESE FOOD IN THE WORLD by Sue Mell

I’m always sad when the gig ends. Three grueling weeks with a showroom crew I only see each spring and fall, preparing for the home textile market. I’ll especially miss the Flower Marys—a jubilant self-named group of gay men who fashion stunning floral arrangements. Peggy, Mary, Louise. Men whose real names I never learned or have long-since forgotten. Over time, a musician among them will marry the showroom designer. Others vanish into illness, addiction. The displays shrink, the crew downsize with budget cuts. But this warm spring evening, in the early aughts, it’s all still in place, and I’ve got one night left in New York, where old friends, commercial photographers soon to be forced from the city by hostile buyout, have graciously lent me their tiny West Village apartment while they’re out of town.

NEUTRALITY by Yasmina Din Madden

Yasmina Din Madden lives in Iowa and her short fiction and nonfiction have appeared in PANK, The Idaho Review, Word Riot, The Masters Review: New Voices, Hobart, Fiction Southeast, Carve, and other journals. Her story "At the Dog Park" was shortlisted for The Masters Review Anthology: 10 Best Stories by Emerging Authors, and her flash fiction was shortlisted for the Wigleaf Top 50 (Very) Short Fictions of 2017 and Pulp Literature's Hummingbird Prize for Flash Fiction. She teaches creative writing, literature, and women's and gender studies at Drake University.

FRESCO by Joan Larkin

want to be that featureless dove

tucked in the saint's armpit.

I want to nest where his hand

presses me to the rough cloth

as his round wound looks out.

THE HOUSEKEEPER by Sydney Smith

You can live with something right under your nose, say a dot of mustard, without ever seeing it. Well, at least for a day.

It’s like when you forget what shirt you’re wearing or if you’re even wearing one, terror absorbing you until you look down to find, just the same as this morning, you’re dressed in that blue half-sleeved puffy thing you never wear, and that’s why you felt an eerily unfamiliar cotton-graze on your elbow right before that moment of clarity.

 

SHIFTLESS by Jason Irwin   

“He doesn’t want to work. He just wants to get drunk and grow his hair long.” I could hear my grandfather’s mocking voice as I stood beneath the rusted ass of a machine that roared and spit cranberry residue. It was the end of summer. I’d just returned from California, a cross-country one-sided love affair with a hippie woman and her dog that ended in disgrace when we settled in with her stunt pilot boyfriend in a San Fernando bungalow and I realized I was the third wheel.  I was twenty-six and going nowhere, back home and living with my mother, who worked nights at a nursing home. After a few weeks I was hired at a juice factory through a temp agency.

RABBIT, RABBIT by Andrea Jarrell

On the first morning after our return to the old house, I listen to Brad sleeping beside me, his full-bodied inhale and exhale bubbling slightly, like water coming to a boil. At first, I forget where I am. But fresh paint, its sharp scent in my nostrils, reminds me of this new beginning we’ve made. As I open my eyes, I remember the boxes stacked high in the living room waiting to be unpacked.

AMANDA IS MOVING BACK TO MONTANA, ALTHOUGH SHE VOWED SHE’D NEVER DO IT by Raima Larter

Snapshot One: Graduation, Three Forks High School. Amanda wears a dark blue cap and gown with honor cords. The photo is out of focus and off-kilter since it was taken by Daddy who was probably drunk at the time. The principal is handing her a large envelope, which will turn out to be a full-ride scholarship to Mountain Valley State College in Billings. Granny is impressed, but Mama will say she doesn’t understand why Amanda would accept such a thing, since the money is from people they don’t even know.

 

JUST YOU WAIT by Stefani Nellen

Malu's daughter Lotte and Lotte's friend Charelle were playing their favorite game: Mutant Vampires. They pressed their arms against their ribcages underneath their tight, glittering t-shirts so only their hands stuck out of the lacy sleeves, and stumbled through the kitchen groaning blood, blood, blood. They were both eleven years old.

DARK HALLWAY by Jacqueline Doyle

“Mom,” I call, “Steven’s sick!” It’s nighttime and I’m standing in the dark hall outside my bedroom, a long corridor that connects my room to my little brother’s. I am nine years old, and Steven is seven. The light is on in the bathroom at his end of the hall, it’s bright, the bathroom very white in the darkness. He’s thrown up in the hall just in front of the bathroom door. I woke up to the sounds of him heaving and the acrid smell of vomit. I hug myself, trembling in the cold.

DISPATCHES FROM DEAD CITY by Marie Baléo

“Billboards?” William asked over the phone. His voice seemed small, reaching us, I imagined, from somewhere inside his mother’s house in the mountain, where he liked to play the grand piano and persecute the help, whom he refused to by their names, calling them only that: “the help.”

ZOË by Brigit Andersson

Born with multiple spinal malformations. Missing ribs on the left side—only flesh to guard the collapsed lung. One right lung won’t keep a baby breathing. Slice her throat, insert a trach and attach her to a ventilator. Construct a chest wall with the Vertical Expandable Prosthetic Titanium Rib. Insides on the outside. Red balloon, dark blue tether. Breathe.

THE WAITING ROOM by Joshua Rysanek

I sit in the waiting room of an animal hospital, holding my phone in my lap and my head in my hands. I tap my feet and rub the dust between the tile and each shoe’s worn sole. Magazines cover a table beside me—Popular Mechanics, Martha Stewart Living, Highlights—all months old. I grab my book from under my chair and spread it open. The characters are dead on the page, interred in type. Nothing can change what befalls them. There is no “is,” no “will be”—only what was. If only my fate were so determined.

FENCE by Michelle Geoga

On a February afternoon, overcast and promising but lying about snow, we pull into the long driveway, slow past the patch going natural with volunteer cedar and white pine, slow along the wide frosty lawn dotted with Norway and spruce, down the driveway, so happy to be here, snowless winter or not, since crackly woods, big sky and a morning walk alone on the beach await.

WHAT WILL GROW YOU UP REAL FAST, HE SAID by Will Schick

A man dressed as a rooster, mask and all, was in the parking lot doing the worm, the moonwalk, the Bernie, twirling a poster board shaped like an arrow with the words “Super Pollo Rico” printed on it. I thought, What’s this Rooster Man doing out there? He should be on a professional dance team or something.

PUNCH by Josh Denslow

Until recently, I'd only traded in one Punch Voucher and that was the time I hit Chuck Mellon in the nose when we were kids and broke his glasses. He didn’t make crying noises, but his eyes sure watered. We stayed best friends, though. Right up until he hanged himself.

LINES ON THE WAY TO A MARCH by Dan Kraines

My sight breaks up; orange rivulets
drop down my eye; against my chest,
a pain thwacks and clocks.
I am holding a book. I am holding a book.
Passengers clutch cardboard signs, as if my ears
were blocked, as if they were trying to tell me
something that I cannot bear to hear.

A CONVERSATION WITH STEPHAN SALISBURY, AUTHOR OF BRITT & JIMMY STRIKE OUT. Interview by Sue Laizik

Stephan Salisbury has been a cultural writer for the Philadelphia Inquirer for more than three decades. Britt & Jimmy Strike Out, his first novel, is a dystopian, satirical quest story about branding, live streaming, social media, and commercialization of lived experience. Britt and her friend Jimmy set out into a blighted urban landscape to find answers when Britt’s online brand starts to fail, friends start disappearing, and mysterious men show up at her home to intimidate and threaten her for not getting in line with the President’s brand. Ken Kalfus describes it as the “first great novel of the Trump Era.” Stephan Salisbury is also the author of a non-fiction book Mohamed’s Ghosts: An American Story of Love and Fear in the Homeland about the anti-Arab hysteria after 9/11 and its devastating effect on people’s lives.

ALL FOR NOTHING, a novel by Walter Kempowski, reviewed by Tyson Duffy

Every self-professed American optimist should read the oeuvre of Walter Kempowski—not that they ever will. The chronicler of brutality was never given a fair shake even by his fellow Germans, and despite strong book sales, by literary award committees. Kempowski had plenty of reasons to be angry—angry at his Nazi father whom he betrayed, at what the agonized Sebastian Haffner once called the “moral inadequacy of the German character,” at the literary world for snubbing him, and at every center of power involved in WWII: the Russians, British, Germans, Europe itself. The triumphant Soviets—without whom WWII could not have been won—were responsible for imprisoning Kempowski as well as his innocent and elderly mother.

BESOTTED, a novel by Melissa Duclos, reviewed by Lisa Johnson Mitchell

Book cover for Besotted

Melissa Duclos’ debut novel Besotted is a lyrical, urgent love story about two young American women, Sasha and Liz, who run away to China to try to find themselves. Sasha has fled all the trappings of her privileged life, including her father who disapproves of her sexuality. Liz, the object of Sasha’s desire, has packed up and left her predictable existence and Amherst-educated boyfriend, having grown tired of being an afterthought of his otherwise-enchanted life.

INTO THE WOODS: What Fairy Tale Settings Can Teach Us About Fiction Writing, a Craft Essay by Dana Kroos

Consider the phrase, “We’re not out of the woods yet” meaning “we are still in danger.” This phrase can refer to innumerable types of danger. A doctor may say to the loved ones of a sick patient: “She’s not out of the woods yet;” or in the middle of a trial that seems to be going well the lawyer may say to his client, “We’re not out of the woods yet;” in a traffic jam that seems to be moving again, a driver may say to a passenger, “We’re not out of the woods yet.” The insinuation is that those involved are thinking about being out of the woods—there is a light at the end of the tunnel, a glimpse of something safer, better, or in their control—but it is not yet certain that they will reach that light; there is still a chance that the threat—the woods—will overcome.

A STAB IN THE DARK, poems by Facundo Bernal, reviewed by Johnny Payne

One imagines this first existing as a notebook, non-committal if tending toward provisional completion, then, as Stein might put it, becoming what it became. In his most explosive work, Trilce, César Vallejo’s more formally complex poems are not necessarily more ambitious than those done in prose, in which he tends to offer greater immediate clarity, yet equal force. In fact, some of these explorations are more heightened and exploratory than the often-sentimental and casually conventional Human Poems.

BUILDING MY AUTHOR PLATFORM WITHOUT A SMARTPHONE A Craft Essay by Mallory McDuff

“I hope you’re working on your platform,” wrote my agent last year after I sent a substantive revision of my manuscript. I had previously published three nonfiction books with small presses, but I typically spent more time following other writers on social media than promoting myself. That might not be unusual, but I did have one unique challenge: I needed to build online visibility, but I didn’t have a smartphone—a conscious decision. I wasn’t sure how to boost my social media presence without carrying a screen in my back pocket. But I was determined to try.

THE ROAD TO UNFREEDOM, nonfiction by Timothy Snyder, reviewed by Susan Sheu

Since 2016, many journalists—as well as academic, political, and literary writers—have been sounding the alarm about the future of American democracy. The writers trying to shake Americans out of their manifest-destiny stupor are a diverse cast, ranging from activists who wouldn’t hesitate to label themselves members of “the resistance,” like New York Times op-ed columnist Charles Blow, to people like David Frum, former speechwriter for George W. Bush, who is still reviled by many on the left for his role promoting the Iraq and Afghanistan wars.

 

I’M FINE. HOW ARE YOU? a chapbook by Catherine Pikula, reviewed by Robert Sorrell

A few days after I finished Catherine Pikula’s chapbook I’m Fine. How are You? I read the following sentence: “I would like to make a book out of crumpled-up pieces of paper: you start a sentence, it doesn’t work and you throw the page away. I’m collecting a few … maybe this is, in fact, the only literature possible today.” The sentence came in the last hundred pages of The Story of a New Name, the second book in Elena Ferrante’s Neapolitan novels. And while the “today” referenced above was Italy in the 1960s, the description was oddly reminiscent of the small, thread-bound chapbook published in 2018 that I’d recently put down, I’m Fine. How Are You?

THREE SECRETS TO CREATE THE WRITING LIFE YOU WANT, a craft essay by Lisa Bubert

The question is a familiar one, full of angst and hand-wringing, one I often asked myself but never out loud: How do you do it? How do you become a writer?

There are more questions contained in this question—Where do you get your ideas? What should I write about? Where should I start?—and all these questions lead to the ultimate question: Is there a secret to this thing that I am not privy to?

Yes and no. Yes, there are secrets. It wouldn't be an art if there were not. But no, they are not secrets you couldn't be privy to. It only takes knowing who to ask and learning that the person to ask is ultimately yourself.

SACRED DARKNESS: THE LAST DAYS OF THE GULAG, a narrative by Levan Berdzenishvili, reviewed by Ryan K. Strader

“As with any book, my book had its own special fate—it was born by mistake,” claims Levan Berdzenishvili, in the opening chapter of Sacred Darkness. Levan wakes up in a hospital, sick and disoriented, with a high fever. He realizes he has some debts to pay before he can jaunt off to Hades. Levan is a specialist in Greek literature, so he doesn’t talk of “dying.” He refers to “my departure to Hades.”

THE BAREFOOT WOMAN, a novel by Scholastique Mukasonga, reviewed by Rebecca Entel

The Barefoot Woman opens with the author’s mother, Stefania, imparting knowledge to her daughters. “Often in the middle of one of those never-ending chores that fill a woman’s day,” Mukasonga writes, “(sweeping the yard, shelling and sorting beans, weeding the sorghum patch, tilling the soil, digging sweet potatoes, peeling and cooking bananas…), my mother would pause and call out to us.” Much of the book proceeds from this image: we learn the details of her mother’s life and rituals through her endless work and we learn the kinds of things passed down from a Tutsi mother to her daughter—one of only two of eight children to survive the 1994 Rwandan genocide.

ASK JUNE: Dogged Romance and Beach Trouble

Ask June Cleaver

Would it be settling if I married him? If so, is it okay to settle, or should I hold out for some sort of great romance—which seems pretty silly to me at my age? And is there anything wrong with preferring your dog’s company to other people’s most of the time? 

RE-, poems by Andrea Blancas Beltran, reviewed by Hope Fischbach

Andrea Blancas Beltran, associate editor of MIEL, experimental poet, and proud fronteriza, made her chapbook debut in July 2018 with the poetry collection Re-. In it, Beltran stitches together a brimming handful of nostalgic recollections, inviting the reader to ponder the role of memory, the eerie beauty of forgotten things, and depth of emotion that can be found in everyday life.

PANIC YEARS, a novel by Daniel DiFranco, reviewed by Allegra Armstrong

Panic Years, Daniel Difranco’s debut novel, is a hyper realistic account of a band on tour. Told from the perspective of laconic Paul, Panic Years follows indie bandmates Paul, Laney, Gooch, Jeff and later Drix across the country’s dive bars and clubs. “I’d joined Qualia because they were a good band with a shit-ton of underground buzz,” Paul muses on page five, setting the band’s intention for the rest of the tour: build Qualia’s indie fame to a record deal, or some serious label recognition.

IN DEFENSE OF TELLING, a craft essay by Scott Bane

Almost anyone who has taken a writing class has encountered the sacrosanct dictum: Show; don’t tell. The late Wayne C. Booth, Professor Emeritus of the University of Chicago led me to question this doctrine in his influential book, The Rhetoric of Fiction (1961). I like books about rhetoric, so when I came across the book at my local Barnes and Noble, the title hooked me. Professor Booth is a warm and clear-eyed guide. And while he occasionally feels compelled to cut through thickets of scholarly debate, he always manages to keep his focus on the rhetorical devices that make fiction work.

NARRATOR, a novel by Bragi Ólafsson, reviewed by Katharine Coldiron

Narrator is brief and quirky, rich and absurd, metatextual and extremely simple. It’s a walking narrative (in reality, a stalking narrative), which means it depends upon the motion of the narrator in order to go anywhere in particular. However, this book’s range is only within the mind; Aron’s and G.’s movements throughout Reykjavik are completely uninteresting, encompassing mostly pubs and shops of little consequence. But G.’s thoughts circle neurotically around his family, his failures, and Aron’s ex-girlfriend, Sara, for whom G. pined. In this way, and others, the vertical dimensions of the book are much more compelling than its movements through horizontal space.

PRETEND WE LIVE HERE, stories by Genevieve Hudson, reviewed by Ashlee Paxton-Turner

“College people like getting greens with soil still on the stems. It makes them feel real in a world made mostly of plastic and propane.” This is what the first narrator, a 13-year-old Alabaman girl with a rotten tooth, tells the reader in Genevieve Hudson’s debut collection of short stories, Pretend We Live Here. This type of humor and keen observation peppers the entire collection of fifteen stories.

DRAWING A BLANK by Emily Steinberg

DRAWING A BLANK
A Visual Narrative
by Emily Steinberg

Pipe bombs to 14 in the mail.
11 Slaughtered at a Pittsburgh synagogue.
Kroger grocery, 2 dead.
Domestic terrorism.
Hounds of hell unleashed
But Beto might win over Cruz!
But...Kavanaugh
and Javanka are still in the White House.
Civil War 2.0?
Election on Tuesday.
I can't look.
Holding my breath.
So we had a Blue Ripple.
100 women elected to congress!
Next day, insane post-election presser.
Acosta banned, press pass pulled.
Sessions forced to resign.
Whitaker in?
Who the hell is Whitaker?
WTF?
Creeping authoritarianism.
Then, Thousand Oaks shooting.
Then, California burns.
And then, Florida recount.
Again? Seriously?
Then, more house wins!
Blue advance?
Then, in France, no-show at cemetery due to rain?
Veterans Day, no Arlington visit.
And Saudis get a pass?
Have you no decency, sir?
The state of the union is fragile.

THE GRAVE YOUR AMBITION DIGS FOR ITSELF by Gabriel Welsch

The ridiculous dissatisfaction with good fortune
begins in shade, when every bit of luck pops up
like a harlequin jammed in a jack-in-the-box,
and the hue of the lip is wrong wrong wrong—
ignoring for the moment the creepy leer of clowns,
or the gut twist borne of a springed lurch, or
the clatter of the trap click and clack when it opens—
and though the arms of the clown spill forth

ANGELS IN THE ARCHITECTURE by Dawn Davies

It’s twilight on the fifth floor of New York-Presbyterian Hospital and a weak light seeps from the underside of the plastic-lined blackout curtains. It is growing dark against his wishes, yet Jacob Silbergeld no longer has the voice to catch the attention of a passing nurse who could adjust the transitioning of light he has hated for most of his life. Twilight is when slippery things happen, when one can be led by the hand to unwanted places. Twilight is when buildings surge in the skyline and become otherworldly, a time when one loses control. Jacob had fought against its demons for years with distractions of all sorts: films, friends, or when all else failed, a good book and a single malt scotch, but he is no longer in control of his environment, and the coming of night frightens him. He brushes his left hand over the blanket in search of the call button.

WITH EACH PASSING DAY, THE MORE by D.R. Shipp

I realize I do not wish to fall to the bottom of a well. With no one
to hear my screams (and screams are all we hear). Light is a pinhole.

Dark days, kept on a catheter, a transfusion of blood, poured into beakers,
baked on a Bunsen – I purge the present from the protoplasm.

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