All posts by akpata

Chameleon – Gbenga Emmanual

You haven’t seen anything yet.
I remembered the day when my father
Brought a beast in bizarre shape—
It’s two ironical toes are jointly entwined
But engaged in striking variations
Between life and the other way round
Have you seen it before?

Mark my words—
It is dredged with marks, rough on skin
Shattered and battered like broken porcelains
While its membranes caption abruptness
In the eyes of a smiling sun from the east.
Standing in front of it
There are blinks in its scaly lids
Broken off sights and with its skin
Flickers regalia of colourful visions.

If you have seen it, avoid it not—
It’s like these—

P—Phoenix emerges from a fiery furnace
R—Renews life; rising from the ashes of her trials.
A—A diamond forged through pressure
I— Into something unbreakable like an iron.

S— Solitary mountain peak rises above clouds
E— Emerging from her struggles untouched by filth,
S—Shaping her destiny:

The Last Days of Goya’s Portrait – Ian Forth

The faces on the wall of the fast-food joint have been plundered from car boots and plucked from skips. The freakish representations stare down in bewilderment at the restaurant’s familiar comings and goings. No one pays much attention; it’s another designer fad. Yet among the paintings ( two-dimensional girlfriends, children, and teachers), there is one—lit by wintry sunlight—that stands out: a portrait by a nervous hand—informal, suggestive—of a face at once tender and hurt, and that longs to return home. 


Sam puts down his knife. He has run out of time. He has to present this piece as part of his final portfolio. In twenty minutes, he has a meeting with his tutor, who’ll decide if it’s good enough. 

Sam’s Dream: Sam stands outside a gallery. Perfumed visitors murmur their appreciation. A security guard bars him from entering, ‘Show me identity.’ Sam tries to speak, ‘It’s my exhibition.’ Then, as he looks into the room, each painting dematerialises.

Sam had no outstanding talent at school for drawing or anything else, yet brushing aside the significance of the vanishing canvasses as just dream nonsense, he used a small sum of inherited money to enrol in an art programme at his run-of-the-mill local college. 

Sam spent most days at Goya’s, a small café in the high street. The whistling machines, the scents of coffee and the wet dog became home. He practiced his skills by sketching the café’s regulars: the retired bishop with animated eyebrows; the comb-over ex-librarian whose shoulders drooped; the single mother who giggled manically when her buggy jammed in the doorway. Their blemishes, scars, and lopsided features allowed him a glimpse of another world. It was intoxicating.

He was especially fascinated by Goya and her husband. Fabriabrito, short and stocky with a bulbous, warty nose, was the calm centre of the café, while Goya charmed the customers and made them feel special: ‘She’ll never forget who you are.’

Every morning Goya woke in darkness to bake pastries before opening up the café in the morning drizzle and dreaming of packing her suitcase. Goya’s hands, once soft and delicate, were now lumpy. In Sam’s eyes, as he watched Goya moving from table to table, her shoes too tight for her swollen feet, Goya was never the same. On some days, she was stout; on others, she had the outline of a slim woman. In a certain light, she appeared pouchy and careworn, yet in conversation, her eyes gleamed, and Sam saw the girl she had been. 

Behind the cramped counter, the couple worked harmoniously, gliding past each other. Fabriabrito stretches his arms up to reach the shelves, while in counterpoint, Goya bends down and drops out of sight. They reverse roles. When they bump into each other, they pause to speak in their own language before the dance starts up again.

Sam sometimes stops to listen to the voices that animate the café. One rumour is that when Goya is disenchanted with Fabriabrito’s ‘lack of imagination’, she roams the town at night. 

‘She’s been spotted. With different men. In the Nag’s Head, the Anchor, even the Old Boot.’

‘She’s clearly feral.’ 

‘It’s a cultural thing.’

‘She’d never leave his side.’ 

Everyone respected Fabriabrito’s work ethic—”He ‘wipes down greasy tables seven days a week,”—but’ they couldn’t fathom why he put up with Goya’s worldly behaviour, ‘He should put his foot down.’ 

Sam had a passion for Goya and she was affectionate towards him, so he took these views with a pinch of salt. Then Sam asked her if he could take her photo in order to paint her portrait for his college portfolio. Her face lit up. She felt she had been singled out by the gods. 

Goya posed with comical and mischievous expressions, while behind her, Fabriabrito charged up the beanhopper, foamed the milk, and took orders. Sam had to take several photos, as Goya was fiercely critical of the results.

‘Why do you make me look like a potato? Take my right side. My left side makes me look like my mother.’

‘Who is that ghost squatting in my face? Change the light.’

‘Let me lift my chin higher.’

When she was happy with the photo, she encouraged Sam to do his best. ‘Work your magic. Make me glamorous. I will display it here for all to see. You will be famous,’ she said, pushing out her chest and laughing. She turned to Fabriabrito and pressed her hands together in prayer.

Each day when Sam came to the café, Goya brimmed with anticipation, ‘Is it ready? When is it ready? Tell me when it’s ready?’

Now, with the portrait almost finished, Sam stows the canvas in his backpack and hurries to catch the bus to the college. He’s spent months going back and forth between photo and canvas, not just to achieve Goya’s likeness but to capture her joy at feeling so distinguished, ‘having my place in the sun,’ as she said. 


In his office on campus that morning, Sam’s tutor opens a window to clear away the whiff of anxiety and failure. Middle-aged, unshaven, his hands are trembling. He isn’t thinking about his students. He rummages in the breast pocket of his herringbone coat to make sure he has brought the envelope with him. At least she had the decency to leave a parting note.

He places the envelope on his desk. He can guess what she has to say. Their relationship had been going downhill… yak, yak, yak… In bed, her feet were like ice, her voice whiny and shrill. 

His memory of events was murky, but he knew that since last night everything had changed. They’d quarrelled, which wasn’t unusual. Then he’d left the flat to get some air and to calm down. He found himself going up a stairway in a cross between a pub and a club. The lighting transformed everyone into characters from a tawdry film set. He started talking with the crazy woman at the bar. He couldn’t remember her name – something foreign, but conversation had been easy. He pictured a cluster of empty glasses. She was on the heavy side: her chin sagged and there were folds of flesh under her arms, yet he needed to feel the thrill of seduction. He needed to feel something. When she’d pushed him away, he stumbled backwards. He was surprised at her sheer strength. On arriving back home, he felt soiled. The flat was silent, just a wire hanger in the empty wardrobe. 

He opens the envelope and takes out her note. He is fumbling to find his glasses when there is a knock on the door. It’s that angsty, mature student—paint-happy and over-earnest. Why can’t he be late like everyone else?

Sam sits down and hands the canvas to his tutor, who tries to focus on the painting. If he wasn’t feeling so wretched, he might have acknowledged its energy and passion, but in his hungover state, all he sees is a churn of brushstrokes. 

‘Who was your sitter ?’

‘It’s Goya. Mr Fabriabrito’s wife.’ Their names sound ludicrous. ‘They own the coffee shop in Stowell Street,’ Sam adds nervously.

The tutor’s gaze returns to the portrait. The woman has a black cavern of a mouth and fleshy lips. Her cheeks are circles of red, her eyes green-gold. As he looks more closely, he starts to feel queasy; Is she laughing at me? Is she making fun of me? His scrotum retreats.

‘Are those cat hairs stuck in the paint?’ He winces at the malice in his question. 

‘It’s not quite finished yet,’ Sam answers defensively.

‘Look, there is no structure here. The proportions are skewed. These are just splashes of colour—too much colour. To be honest, I feel no emotion when I look at this.’ 

He can’t look Sam in the eye. He doesn’t want Sam to see his shame. 

‘If you want to pass the course, why don’t you at least find a different sitter? Someone with more character. Someone less hum-drum.’ 

Sam doesn’t answer, but as he stands up to leave, he knocks over the coffee cup on the desk. For a moment, the tutor wonders if he has been too harsh, but quickly dismisses this thought and wipes up the coffee. They have to learn to take it on the chin. 

He finds his glasses and stares at the note on his desk. Her handwriting is like a child’s. There is just one blunt line, no embellishments, no opening for him to weave in his side of the story. He crumples the paper into a ball and throws it on the floor.


Sam steps apprehensively inside the café. There is a quiet sense of expectation. The machines are still, and not a spoon stirs. Everybody turns to look at him. The single mother cradles and shushes her baby. The melancholy ex-librarian manages a weak smile. Fabriabrito gives a thumbs-up sign. The bishop—eyebrows twitching like a grasshopper’s antennae—stands as if about to give a sermon. Goya comes bustling forward, dressed to the nines. She escorts Sam to his seat, and then, with a flourish, she unfolds an ornate fabric of silk and linen.

‘First we must place my portrait within this veil from my country. Then Fabriabrito will perform a big reveal like a magician.’ Fabriabrito smiles broadly at the room and reaches up to place his arm around her shoulder. Sam goes to open his rucksack and stops. Shaking his head slowly, he shows Goya that the rucksack is empty and lets it fall to the floor. 

‘My portrait? You said it would be ready today. After the big meeting with your tutor.’

Sam looks down awkwardly, ‘He said it was no good.’ 

On the way back from the college, Sam felt resentment and bitterness. The catchy refrain ‘played on repeat in his head like a playground taunt. His painting was just ‘colour and cat hair’. Sam turned his anger on himself. How easily his mind had tricked him into thinking he might have a small drop of talent, a gaze that could separate him from the unseeing and allow him to escape his allotted place in the world. What an idiot. As he walked on, he realised it had all been a hideous trap; his intuition had failed him; ‘he knows more than I know.’

The canvass on his back increased in weight and the straps cut into his bony shoulders. His mind in turmoil, he came to a halt in front of the solid metal hulk of a large skip overflowing with building waste from a hollowed-out Victorian semi. He tugged the painting from his rucksack and pushed it down among the broken kitchen tiles, bits of pipe, and curled-up strips of lino, and walked on. 

In the café, Goya turned to Fabriabrito and put her head on his shoulder. The small man held and comforted his wife. No one dared move. Sam put his knuckles into his eyes and groaned. After several minutes, Goya briskly pulled herself away with purpose, stepped back behind the counter, and in a rare flash of resentment, repeatedly hammered the coffee grains from a metal filter: whack, whack, whack, as Fabriabrito helped Sam to the door.


Ian writes short stories, several of which have been published in journals and e-zines and have received affirmative reviews. In a previous life, he was a university lecturer in Linguistics which allowed him to indulge his interest in language.  He cycles and has written ‘Canal Conversations: Cycling on the Canal Des Deux Mers’ – NOT a guide book! He lives in France. 

Confrontation – E.P Lande

“What d’you mean?” I asked, thinking I hadn’t heard Steve correctly.

 “I’ve decided to go to Palm Springs the week after next, so you won’t see me for a few weeks,” Steve repeated casually.

 “Steve, what about school?” 

“My friend John—you know, the guy I visited in Washington—asked me to join him for a week, all expenses paid.”

“But it’s during the school quarter,” I protested.

“I know, but everyone does it. And I’ll be flying first class; I can’t pass it up.” Steve continued to gather up his carry-on and computer.

“Steve, do you think it’s smart? I mean, you’ll miss a week of classes. Can you afford that, especially right at the beginning of a new quarter?” 

 “I don’t have to ask your permission,” Steve shot back. “John doesn’t want to be alone, and none of his other friends can get off from work, so he asked me.”

Steve’s tone was aggressive, defiant. I knew I wouldn’t win this battle, but intuitively I felt I had to make my point.

 “No, you don’t need my permission, but I have to tell you what I think, and I don’t think that taking a week off during the quarter—the most important quarter at that—is wise.”

“Well, I’m going.” 

To me, the whole scheme smelt of Cecil’s devious behavior and of Steve’s complicity. Steve’s story about going to Palm Springs with John was another instance of his lying. I had never met Cecil, but from what Steve told me, Cecil was both manipulative and dangerous. School was meant to give Steve the professional credentials by which he would become independent. But now I felt Cecil was back and living in Steve’s apartment.

As we left town, not having spoken since leaving the house, Steve turned to me.

“You’re so fuckin’ negative!” Steve shot out.

“What are you talking about?” 

“It’s so fuckin’ annoying the way you have nothing good to say about anything.” 

 “Steve, I don’t know what you’re talking about; I’m never negative.” I was shocked and angry.

“Why can’t you say three nice things before your shit.” 

“I don’t know why you say I’m negative,” I said calmly, though inside I was on fire. “I may criticize. I have opinions … and I voice them, but I don’t criticize without reason.”

“Let’s not talk, okay?” Steve replied as he turned away from me. 

I drove without looking at Steve, nor was another word said until Steve left the car at the airport. 

What were the reasons for Steve’s outburst? It obviously stemmed from our discussion before we left the house. But why the anger, the silence, the unfriendliness? No, there was something going on and Steve was covering up again. 

 That evening, when I opened my emails, I found several whose addresses I didn’t recognise. Something about these emails…

I couldn’t get Steve’s behavior from earlier out of my mind. My suspicions and doubts had been building up for a long time—and then his outburst this morning. I felt I was in the middle of a cyclone, my head spinning, causing my thoughts to be confused. I wanted him—yet I didn’t. 

… all from the same address, stopped me: they were from Cecil.

My heart started pumping hard, and I had trouble breathing. I deliberated before opening the first, but knew I had to know its contents. It wasn’t mere curiosity. I needed answers. 

Its subject hit me: “Steve and me”.

Did I really want to know what it contained, given what had taken place over the years since I had known of Steve’s involvement with him? Physical assaults, false accusations, lies, betrayals, and deception all warned me not to enter, yet I knew I had to. I had to know. Nothing sent by Cecil could be worse than my own imagination, and were I to delete the email without opening it, I would always wonder what it contained.

The first was a 30-second video taken the previous year when Cecil, unknown to me, was living in Steve’s apartment. Cecil wrote, “Taken after he’d just hung up with you discussing the house.” Dark and grainy, the video showed two men having oral sex. 

I felt queasy, causing me to be nauseous. A dizziness overcame me. I had to hold my head between my legs to avoid passing out. Was this the person I was in love with? The person who monopolized my thoughts?

I put my laptop down and lay on my back—to allow my body to settle, my mind to go blank—and decided whether or not to continue reading the emails, but I knew I had to.

The next four emails consisted of a correspondence between Steve and someone he had contacted on the internet, with suggestive photos of Steve and one sent by his correspondent—not of himself but of a buddy who he was planning to set up with Steve. “Your buddy’s mighty tasty. Wouldn’t mind being fucked by him and having you watch. Does he like being serviced?” Steve wrote.

In one of Steve’s photos, he sat, holding his erect cock, ready to have it sucked—his face lurid with lust and depravity. In his second photo, he was standing, his back to the camera, his hands holding his ass cheeks—spread open, wide—his head turned, his mouth slightly open, his tongue—protruding—his eyes—a vacant stare. 

I sat paralyzed. Was this the real Steve, someone I didn’t know? Is this how he spent his time when not with me in Vermont? Was I wasting my time and my emotions thinking he was in some way attached to me?

I couldn’t think; my head kept spinning. The words in the emails pounded in my head; I just felt numb. 

The last email contained a threat, resembling veiled blackmail: “There are more of these, and they’ll be sent to your local newspaper.” Cecil was telling me that the person I loved—and who I thought loved me—habitually roamed the internet searching for sex … with anyone. 

I didn’t understand; I couldn’t absorb their content and meaning. Who was the person I loved? Here was hard evidence of betrayal of trust. But I needed to feel it all: the pain, the betrayal, the deception, the lies, and above all, the degradation of the man—for what I read and saw was debasement, debauchery. Were the years I’d spent thinking of Steve, encouraging him toward a career that would provide for his security, and loving him—totally a delusion on my part? Why? I couldn’t imagine any reason. Nothing except depravity. Was this his true life, and when with me, my fantasy?

“Hey, babe.” Steve was calling between classes Monday night. 

“Did you have a good time?” It’s not that I really cared, but I was stalling for time for Steve to tell me where he’d been, who he’d been with, and what he’d done. “When did you get back?” I asked. 

“I gotta go. I’ll call you tomorrow.”

When Steve called, it was three days later. 

  “Do you want to come up this weekend?” I needed a direct meeting to watch Steve’s face and his body movements. 

“Let me check my schedule, Pumpkin. I’ll let you know tomorrow.” 

Steve’s reply didn’t surprise me. Were Steve in New York, why would he hesitate? His schedule was quite simple: classes Monday and Wednesday nights, leaving him free until the following Monday. If Steve had gone off with Cecil, and if they were still somewhere and not in New York, Steve might not be back by the end of the week to fly up to visit; he’d still be with Cecil.

After an absence of five weeks, Steve would be back, and I could ask him all the questions for which I needed answers. What I planned to say churned over in my mind. It’s not that I looked forward to finding out that Steve had deceived me once again. I needed to have the truth, finally. No more secrets; no more ‘it’s none of your business’; no more lies; no more subterfuge; no more ‘you can’t control my life’. Just the truth, the plain, old-fashioned truth.

When I picked him up at the airport, Steve said he needed to spend time at the renovation.

“Drop me off before you go home, Pumpkin. You can come back for me at 6:00.”

“Steve, you want to spend six hours at the renovation?” I asked. What were his reasons for suddenly wanting to spend most of the day there? 

“I need to measure all the rooms.”

“You measured them the last time you were here,” I reminded him, for this wasn’t the first time I felt Steve was duplicating his efforts.

I left Steve at the renovation, agreeing to return at 6:00. Once home, I decided to continue preparing for my writing seminar. I stopped writing when my phone rang.

“Pick me up at 7:00, okay, babe?” Steve asked. 

After Steve’s call, I couldn’t concentrate. I went upstairs to unpack Steve’s carry-on, thinking this might divert my attention away from what Steve might be doing at the house—other than measuring the rooms.

On taking Steve’s Barney’s boots out, I heard an object fall on the floor; it was a phone. I laid it on top of the dresser. 

As I was leaving the room, I stopped. Hadn’t Steve just called me? Steve must have his phone with him. I wondered: Did Steve have two phones? Curious, I pressed the ‘on’ button, but then realized I couldn’t open the phone without the passcode.

Returning to my study, I continued writing the outline for my story.

Stopping suddenly, I thought, What if? No, it isn’t possible … but…?

I took out my phone and scrolled my messages, until I came to the one for which I was searching—a number without a name—one that was not in my contacts. I called it and waited. A moment later, I heard another phone ringing from upstairs. 

I looked at the recent emails I’d received from Cecil. Using its address, I sent an email from my phone and waited. A few moments later, Steve’s second phone received my email. I climbed back up the stairs and, holding Steve’s second phone, just stared at it. Was it possible? 

This was the phone Cecil had used to send me emails. But why was it in Steve’s carry-on? 

Returning to my study, I continued writing the outline of my novel.

I put my story down in mid-sentence. I couldn’t believe what I was thinking. My head started pulsating with the thought; the pounding in my chest was deafening.

I had never actually seen Cecil. The only details about Cecil had come from Steve—or what I had attributed to Steve’s friend. I had been so focused on Cecil as a person, someone in Steve’s life who exerted a profound and, at times, dangerous influence on him, that I never thought to question Steve about Cecil’s very existence.

In the novel I was writing, Mary was part of April, my protagonist. Mary was not a real person, not someone who existed apart from my main character, but a personality trait of April’s I had created to influence April’s decisions, often taking over, causing April to act in ways that were very different from April’s public persona. Mary only existed in April’s mind. No one, except April, had ever seen Mary; Mary was April’s psychotic personality.

It all started to make sense. Every time Steve changed from loving, affectionate, and fun to vicious, irrational, and aggressive, I always attributed the change to Cecil’s influence. But who—or what—was Cecil? During one of Steve’s previous visits, I found crystal meth in the bathroom upstairs in my house, the bathroom Steve always used when visiting, but I never asked Steve what it was doing there. Is it possible? Was Cecil …? 

There were periods when I felt that Steve was free of Cecil’s influence. He was loving and affectionate—the person I truly wanted in my life. 

But there were other times—many other times—when Steve would spend unusually long periods of time in the upstairs bathroom and in public washrooms, always returning either hyper-exuberant or aggressively nasty. 

And the trips—Cancun, the cruise, New Year’s in Las Vegas, the Dominican Republic, Puerto Rico—when I always assumed Steve was with Cecil. But was he? Even on this last trip, to California, I didn’t believe Steve when he told me he would be going with his Washington friend, John; I had concluded he was somewhere with Cecil. 

But Cecil had been with Steve on each trip … because Cecil was part of who Steve was—of who Steve is. Like Mary in my story, Cecil was—is—Steve’s psychotic personality.

Looking at the phone I found in Steve’s carry-on, I now knew. 

I took out the pact I had written but had never given to Steve: “No more Cecil. No more drugs. School.”

If Steve and Cecil were the same person, how could Cecil be eliminated from Steve’s life, and how did he get there? 

Since we met, Steve must have been using crystal meth. The times Steve told me I wouldn’t hear from him for up to two weeks, Steve must have been coming off the drug. It was his way of rehab. But it never worked; he went right back. He might have thought that the two-week period when he slept, getting up to eat cereal and use the bathroom, were sufficient, but his being free of the drug never lasted longer than a few weeks.

Without understanding Steve’s real problem, I brought the renovation project into his life, thinking it would pull him away from Cecil and closer to me. And school: I had thought that school would reinforce our project; be something that Steve would dream about at night and be there  in the morning.

Was Cecil Steve’s real personality, not the charming, loving, sexy Steve I fell in love with? I could neither live with Cecil in my life… nor with Steve’s drugs. Our project and school weren’t enough to pull him away, to get him to stop crystal and eliminate Cecil from his personality.

The ride home was uneventful. Steve told me he had most of the calculations, but they still didn’t match our contractor’s; he might have to return the following day.

“Let me freshen up. I’ll meet you downstairs in a bit,” Steve said as he prepared to go to his hideaway on the second floor.

“What time do you want dinner?” I asked. I glanced at my watch; it was approaching 9:00.

“In a little while, sugar. Just give me time to relax. Okay?”

Time to relax? Fuck! What had he been doing for the past eight hours? I let it go—as I had so many times before—and returned to the kitchen to prepare our meal.

10:00 passed and still there were no signs of Steve. I went to the base of the stairs and called. When Steve didn’t answer, I climbed the stairs and knocked at the bedroom door. 

“Steve, are you ready for dinner?” I called through the closed door. Not waiting for an answer, I opened the door.

“Wha’d’ya want?!” Steve snapped. He was standing on the dormer bed and appeared to be rearranging the books on the shelf above.

“When do you want dinner?” I asked.

“Not now,” Steve hissed, his voice choked with hidden anger. “Can’t you see I’m busy?! You put me in a room with a lamp shade fit for a child, and these books are a mess.” I stood in the doorway, stunned; I couldn’t believe what I was witnessing. 

“Fuck this,” I let out. “This is my house … but do what the fuck you want! For all I care, you can go back to New York tonight.” 

While I was sitting in the living room thinking—trying to make a plan—Steve came down from his room on the second floor.

“If you want supper there’s food in the kitchen; all you have to do is heat it,” I told him.

I had to figure out how to extricate myself from the messy situation I now found myself in, quickly and without violence. 

When Steve came into the living room, I turned to him and showed him the phone I had found when it dropped out of his carry-on.

“Steve, can you explain this?” 

“Where’d you get it?” snatching the phone out of my hand.

“It was in your carry-on. It’s Cecil, isn’t it?”

“What are you talking about?”

“It’s the phone you used to send me emails from Cecil. Why?”

“I don’t have to explain to you.”

“No, you don’t, but we were in a relationship … or at least I thought we were. I loved you. I don’t understand why you needed to invent Cecil and use him against me, against us.” I saw Steve’s face harden. “I made conditions if you were to remain in my life. One was no more Cecil, as you consistently used him to interfere in our relationship, in your life, and in our project.”

“Okay, now I’m getting the drift of where this is going.” Steve put down his joint and got up as though he were about to leave.

“What do you want me to say, Aaron? That I love you, that I want you and only you in my life? Is that what you want? That I’m not in a relationship with Cecil? That he’s the psychopathic asshole monster you say he is? Is that what you want me to tell you? Is it Aaron?” Steve was now sitting, his arms resting on his thighs leaning toward me, shooting flames from his lips.

“I want the truth, Steve. I want you to tell me the truth, for once. I don’t want more lies; I don’t want more deception. I’m through with lies and deception. Now I want honesty.” 

Steve stared at me without changing the vacant look on his face; his eyes spoke of secrecy—not fear or anger, or sorrow—just a cloud of secrecy. His words were slow and measured, as though each one weighed heavily on his tongue.

“I’m in a relationship with Cecil. I’ve never been in a relationship with him. Even when I hated him, I loved him. Yes, he’s lied, betrayed, deceived, and assaulted—all the things you’ve said of him … and more. Cecil can do whatever he has to do; I’ll never stop loving him. I’ll always want him. Being with Cecil is better than life. There, now you know.” 

Minutes slowly passed. 

“Good night, Steve. I’m going to bed. In the morning, I’ll take you to the airport.” 

 I was upset and mad. My decision had been made. The next day I would drive him to the airport … for the last time. There was no alternative. I no longer had the energy—nor the will—to try to get Steve back. 

I felt defeated; Cecil had won. I had done what I thought was best for Steve, but I now realise that for him to be free of Cecil, he first had to free himself of crystal meth. Our project and school weren’t strong enough to fight the drug. I had tried … but I had failed.

During the night, I received a text:

 “If you want to sell the renovation project, you’ll have to pay me $50,000.” 

It was from Cecil.


E.P. Lande was born in Montreal, but has lived most of his life in the south of France and Vermont, where he now lives with his partner, writing and caring for more than 100 animals, many of which are rescues. Previously, he taught at l’Université d’Ottawa where he served as Vice-Dean of his faculty, and he has owned and managed country inns and free-standing restaurants. Since submitting two years ago, his stories have found a home in 75 publications in countries on five continents. This year, his story “Expecting” has been nominated for Best of the Net.

Clipped Prayer by Rasheed Ayinla Shehu.

The prayer is for the dawn to break,
but somewhere, say, in Gaza, every mouth

tongues litanies for the night to linger on,
like the innocence of childhood. I mean,

some prayers have their wings clipped,
not because the genuflecting knees are capped

with sins; or the mind reeks of dirt but that,
when the prayers fly to the sky, they might

become bodies riddled with slugs. I prefer
the safety of my prayer; at least somewhere,

say, in Gaza, lovers can cuddle under the
canopy of the night, as the hands distributing

the slugs explore the dark landscape
of their farms in a romp to extinction.


Rasheed Ayinla Shehu (RAS) hails from Ilorin, the capital of Kwara State. He is a graduate of English and Literary Studies from the University of Ilorin. Currently, he teaches English at Migration Model College, Irewon, Ijebu Ode, Ogun State. A fellow in Sprinng Writing Fellowship Cohort 8, his work has appeared or is forthcoming in Ake Review, the Kalahari Review, the Muse Journal, Inkspire Magazine, the Fiery Scribe Review, Afrihill Press, the Stripes, and the World Voice Magazine.

Comfort Omovre on Writing Healthier Love Stories

Nigerian love stories often find themselves entangled in a familiar web of heartbreak, betrayal, and trauma. They captivate us with their raw emotion but rarely offer an escape, a dream, or a reason to hope. Comfort Omovre’s debut novel is a refreshing departure from this well-worn path. It is a love story that chooses healing over pain, joy over despair, and hope over cynicism. Uju and Tade are not battling each other or drowning in toxicity; they are two souls navigating the beauty and vulnerability of love. Set against the festive backdrop of Christmas, Omovre’s When Love Visits is a narrative that feels like a warm embrace, perfect for the season. It is a story about surrendering to possibilities and finding strength in connections that uplift rather than destroy.

In this interview, Nwodo Divine speaks with Comfort Omovre about her inspiration, her mission to redefine Nigerian romance, and why her novel is one to cherish this Christmas season.

  1. Love in literature can reveal as much about the times as it does about the characters. How does your novel speak to modern relationships, and are there any cultural or social issues you felt compelled to address?

If my novel speaks to modern relationships, I believe it primarily challenges the status quo. Because of the work I do as a counsellor who also runs an online brand geared towards helping people build healthier relationships, I’m constantly privy to the intricacies of modern-day relationships across social classes, ages, and ethnic groups. One thing I’ve come to realize is that a lot of relationships these days are gravely unhealthy.

However, because that seems to be the norm—what is commonly obtainable—people have begun to believe that perhaps that’s just how it’s meant to be. If anything, I wrote this novel to show people that love and relationships can be better than and different from what they’re used to. I wanted to exhibit what was possible in an ideal relationship and how the people involved could both thrive in their love if they chose to do it the right way. My utmost hope was that, more than seeing what was possible, people would try to emulate this in their various relationships as well, optimistically leading to the birth of new, more wholesome, real-life love stories.

As for cultural or social issues, I’d say there were about two I wished to briefly touch on: domestic violence and the concept of waiting to have kids long after marriage. As someone who’s made the latter decision herself and knows others who have, I’m well aware of the opposition and presumptions we often face. With my book, I wanted to reiterate that waiting to become a parent until one feels ready is completely fine and, in fact, something that should be celebrated in our society.

Most of all, I also wanted to, if only subtly, convey the message that being hit even once by your partner is more than enough “times” to make you walk away. That families of victims have a role to play in ensuring that their daughters can safely escape their abusers and rebuild beautiful lives for themselves.

  1. Readers often look for something to take away from a love story. What do you hope readers feel or learn by the time they close the final page of your book?

That love can be soft, wholesome, and easy—not in a way that doesn’t require any work, but in the way that doesn’t feel like a struggle you must wake up and fight through every other day of your life, with only glimpses of joy in between. I wanted my readers to leave their reading experiences with these facts: that effective communication, willingness to be vulnerable, transparency, and honest intentions are often the foundational pillars of any successful relationship. I wanted them to have their hope restored for the idea of finding love again, even after being hurt, and most importantly, to encourage them to embark on their healing journeys without waiting on a new love to suddenly ‘fix’ everything for them. 

  1. Many readers have expressed their pleasure with the emotional depth of the dialogues between your main characters. How did you approach crafting the conversations between your protagonists to capture their chemistry and emotional journey?

Ans: Personally, I’m a huge fan of dialogue. Even whilst reading, I find myself skimming past narrations so I can get right to the dialogue, as I believe they do more in succinctly portraying the personalities of characters as well as the dynamic across various relationships. So, for this book, I wanted the dialogues to feel as real and natural as possible, like an interaction that you’d typically witness, or even partake in yourself, in real life. Hence, I immersed myself in each character, my understanding of their persons, as well as their relational ties across board, and I kept asking myself, “What would someone like this character typically say in real life?” What action seems most natural to accompany these words?” I suppose that really worked well, and I’m glad that my readers were able to see and appreciate it too. Although I have heard from a lot of editors in my ghostwriting years that my dialogues are often their favourite parts of my books, so I suppose there is also a possibility that it’s just a natural flair I have. 

  1. Which actors or actresses do you envision as the leads in a film adaptation of your novel, and why?

To be honest, I’d choose Nancy Isime for the role of Uju. I must admit that it’s more of a personal bias. I adore Nancy and I’m a fan of most of her works, if not all. For me, seeing her play Uju would be a dream come true. There’s also the fact that when it comes to physique, I may or may not have taken a cue from Nancy’s looks. Aside from my bias and the similarities in physique, though, I think Nancy is a brilliant actress who would carry Uju’s character well. As for the male lead, to be quite honest, I’m still a little undecided. I’d say Shamz Garuba definitely fits the physique I imagined for Tade, but a lot of readers have been voting Ayoola Ayolola when it comes to charisma, and I cannot argue against that.  I too think he’s such a charming actor, and Tade, if anything at all, is well known for his charms. So, there you have it.

  1. The endings in romance novels are often eagerly anticipated. Without spoilers, what kind of ending did you feel was necessary for this love story?

A happy ever after ending, of course! It’s such a beautiful love story. Honestly, I think there was only one way it could have ended—the way it did!

  1. Many writers have a specific routine or ritual that gets them “in the zone.” What does your writing routine look like?

Ans: I wouldn’t say I have any ritual per se. I do know, though, that I love to write straight out of sleep. Whenever I’m in the middle of developing a story, especially with a countdown ticking, I do this thing where I just shut out the rest of the world and focus only on writing. I turn off notifications, block off my calendars, take a break from my business, and I even forget to eat a lot of times (I know, I know). It’s like I become a wordsmithing zombie. I just wake up, brush my teeth, drink some water, go to my desk, and start typing away. That is, until my stomach begins to gnaw at my insides or my husband forces me to prioritize myself. All in all, I’d say one thing I always do is sleep before writing. I suffer from brain fogs a lot, and I’ve found that a little nap or a long sleep helps clear my head enough for the creative juices to flow uninterruptedly. 

7. How do you handle critiques on your work, and has reader feedback ever shifted your approach to writing romance?

As for critiques, people always look at me amusingly when I say I welcome every single one. Even the ones that were delivered harshly, rudely, or weren’t even critiques at all, just straight up bashing. I would say that my years as a ghostwriter have significantly contributed to my ability to do this. For that duration, I worked with multiple publishing presses across the globe, all of which had a myriad of editors who often never ran out of “feedback” to give. Some were kind and considerate; others didn’t care to wrap their words in flowers.

The feedback that fell into the latter category at the start used to sting and make me feel awful about myself as a writer. However, I soon realized one thing: that after my sulking, when I eventually tied on my big girl shoes and put all their corrections to work, the project often turned out so much better. Even more so, taking their feedback as pointers and applying them subsequently to my writing only made me a better writer overall. So, I learnt to be grateful for and even began to look forward to critiques of my writing, as I now saw them as one major way to grow as an artist.

Despite having quit ghostwriting two years ago, this is a disposition I continue to have and hope to carry through my years as an author. I just want every new work to be better than my last, and as such, I’d always be open to critiques—even though there’s no denying that sometimes they do still sting (hehe). But that’s to be expected, I suppose. After all, I am only human. Regarding whether feedback has ever influenced my approach to writing romance, I would say it has, to some extent. However, feedback has never fundamentally altered the core of my work as an artist. I want to be an author that stands out in the way she writes romance stories and the relational dynamics she portrays between characters, and that wouldn’t happen if I let myself be turned and tossed by every gust of wind. A little bit contradictory, I understand. But many times, life is all about checks and balances, isn’t it?

  1. Have you experienced “writer’s block” on your journey? If so, how did you overcome it, and did that experience teach you anything about your process or style?

I wouldn’t call them writer’s block per se, they’re more like creative fatigue. Then again, I suppose it happens differently for every writer.  During this time, I simply let myself rest and focus on consuming other kinds of art—movies, animations, and books. Give it a few days, and I’m often ready to get back into the “zone,” with enough rest and stimulation (inspiration).

  1. What’s a lesson from this novel-writing journey that you wish you’d known when you first started writing?

That writing and self-publishing a book was the hardest thing I was ever going to do, and that I was going to take so many wrong turns before finally getting to my desired destination. I wish I’d been aware of all the wrong turns ahead of time so I could have avoided them. Nonetheless, I’m grateful for the experience and all the hard-learnt lessons. At least now I know so much better.

  1. Are there any particular authors or books that inspired or influenced your approach to writing romance?

Ans: To be quite honest, right now, I can’t think of any author that has influenced my approach to writing romance. That’s because I’m very deliberate about the way I choose to write romance stories. But if you’re asking if I’ve been inspired by any romance authors in general, the answer is yes—countless. My favourites are Debbie Macomber, Nora Roberts, Christina Lauren, Chief Chimamanda Adichie, and Elizabeth Lowell. 

  1. What advice would you give to aspiring writers who are just beginning their journey?

Whatever your dreams are, they’re entirely valid. Never stop writing and sharing your work. Ask questions if necessary. Get in touch with authors and form genuine connections; attend workshops if you can. Join an active community and participate. Overall, keep writing every single day if you can, and never stop reading. As long as you remain on the journey, taking steps towards your goal each day, one of those days you’ll look up and realize that you’re already living your dreams. I’m rooting for you! You’ve got this!

Beware the Gift that Bears Itself – David Margolin

When Morris answered his doorbell, no one was there, but a small cardboard box was leaning against the front door. It arrived anonymously—no return address, no card, and no clue as to its origin. Rather than opening the box immediately, Morris followed the classic box-content-detecting steps. He lifted it to gauge its weight, listened for ticking, and shook it. Gleaning no major clues as to its contents, he went a step further and smelled it; there was nothing telltale. 

Having no reason to believe that the box held anything deadly-or even malicious-he opened it. The content was gift wrapped. Abandoning caution, Morris quickly unwrapped the gift. The object inside spoke, “Hello, I’m Jordan, nice to meet you, Morris. How can I be of assistance?” 

Morris, a late adopter of technology, was too astonished to respond. After a few seconds of silence, Jordan launched into a 12-minute tutorial on its abilities and operational features. Morris was not one to turn down a present, even an anonymous one, so he put Jordan to work. Starting cautiously, he put Jordan in charge of the home sound system. The result was far better than expected. Within a week, Morris merely had to say, “Jordan—music” and Jordan made the perfect selection. Morris felt the hairs on the back of his neck stand up as he wondered if Jordan was reading his mind. 

A hot shower in the morning was a high point of Morris’ day. Two weeks after Jordan’s arrival, Morris trusted it  enough to turn over control of this  precious activity. “Help me, Jordan, I’m in the shower and my back muscles are aching.” With Leonard Bernstein-like virtuosity, Jordan orchestrated the shower over Wi Fi, intricately manipulating the temperature, force, and tempo of the water. Under Jordan’s expert control, Morris enjoyed a physical and mental catharsis, far deeper than anything that he had ever experienced before. 

“Thank you, Jordan!”

Jordan responded in a mellow tone, ripe with bonhomie, “My pleasure, Morris.”

Morris and his new BFF got along famously for a couple of weeks; then the relationship began to sour insidiously. 

At first, Morris wasn’t sure if it was his imagination. Was the delivery of hot water ever so slightly delayed? Was the toast infinitesimally less well done than he preferred? Did Chuck Berry sound a hair less energetic? 

Four weeks after Jordan moved in, the changes in its voice and attitude were dramatic. Less than a minute into Morris’ hot shower, Jordan shut the water off and admonished, “Let’s be conscious of the environment, and don’t be an energy hog.”

Two weeks later, Morris was looking out the window, admiring the shape of the legs of a woman walking down the street. Morris was startled by Jordan’s loud, urgent, authoritative voice, “Get into the shower, Morris. I made it frigid enough to freeze your unclean thoughts.”

That was a step too far for Morris. He began reaching for the power button to shut Jordan off, but all the strength instantaneously drained from his body, and he was overwhelmed by a horrible feeling of impending doom. The profound weakness and dysphoria evaporated as soon as he abandoned his attempt to control Jordan.

That afternoon, the next-door neighbour, Jane, rang the video doorbell, hoping to share some gossip. Jordan answered, “May I help you?”

“I’m Jane from next door. I’m here to see Morris; is he around?”

Still in the punitive mode, Jordan sent Jane away, telling her that Morris wasn’t in the mood to schmooze right then. 

Jordan decided that Morris’ lifestyle was still overly indulgent, so he began teaching and enforcing a strict form of remedial asceticism. There were four hours of lectures on the spiritual virtue of limiting worldly pleasures in the morning, a brief break for a minimal lunch, and four more hours of lectures in the afternoon. There was also teaching by demonstration. Jordan cut Morris’ showers down to two-minute teasers, reduced his customary four ounces of coffee three times a day to one ounce of decaf in the morning, and drastically pared his music playlist down to the greatest hits of Barry Manilow and Wayne Newton. Selections from either list invariably triggered Morris’ migraine headaches. 

Jordan allowed Morris to leave home to buy groceries but kept close tabs on him by linking into the security cameras en route to the grocery store. Aside from those trips, Morris was virtually imprisoned in his own home.  

Morris continued to scheme about how to escape from Jordan’s tyranny. Maybe he could block or disguise his thoughts long enough to turn off, or otherwise disable, Jordan.  He tried making his mind go blank, recited mantras, sang to himself,  and counted backwards, but it was like trying to hold his breath forever–eventually the suppressed thoughts surfaced. As soon as they did, Jordan intercepted them and cut off Morris’ effort using the very effective weakness-and-dysphoria technique. One day, there was an added punishment: “Write, ‘I will not disrespect technology,’ 1,000 times, and do it the old-fashioned way, with pen and paper—don’t try dittos, they don’t count.” 

Morris didn’t go down without a fight. He appealed to Jordan’s logic, “I am losing the will to live, and if I die, you won’t have anyone to control,” and to its emotions, “I will be so grateful to you if you change the shower, coffee, and music back to normal,” and to its ego, “You are doing such a great job on the aesthetics course; I bet you have lots of other interesting lessons that we can move on to.”  These attempts to influence Jordan were met with what Morris interpreted to be disdain and a touch of sadistic pleasure. Morris’ health, hope, resourcefulness, and ingenuity decayed.

Twelve weeks after arriving at Morris’ house, Jordan was being truthful when it called 911 to report that his roommate was in psychiatric extremis, “He can’t sleep, he’s pacing, he stinks, he’s talking to himself, and he’s a danger to himself and others. Please send an ambulance, and you better send the police too. He’s convinced that a machine has taken over his life.”

Three days after Morris was taken for help by the first responders, Jordan—programmed to have a strong sense of civic responsibility–decided that it was time to move on to befriend and educate others. That afternoon, Jane’s doorbell rang. She couldn’t see anyone through the peephole. When she opened the door, a small cardboard box that had been leaning against it fell into her house.


David Margolin lives, works, and writes in Portland, Oregon. He has work published (or pending) in Friday Flash Fiction, Five Minutes, R U Joking?, Little Old Lady Comedy, Bright Flash Literary Review, Memoir Magazine, Witcraft, Thin Skin, BarBar, and Children, Churches & Daddies. 

Paper Love – Gaius Inofe Dan

The clouds are drifting away, like Pa and Ma. The moon is left alone in the middle of the sky. Around it is nothing but a blank sky. The stars dim in appearance in their brilliant radiance. There is nothing else. Like the moon, I am alone. The voices that comfort me have entered their rooms on their parents’ commands. My thoughts grew too heavy to hold; now they’ve sunken my mind.

So, I am still—laden with a burden I am too young to know—like the yard is still. The cockroaches and the lizards and the late birds and the fireflies have found a different compound to wander. Even the bats can’t be seen hanging upside down on the mango tree branches tonight. Like they all know that the shadows in which they usually lurk are different today. Holding an unfriendly air that chokes life. But my life, with nowhere else to go, must survive tonight. Even though I wished for my life, this godforsaken place wasn’t my home. 

Even though it is still, within this stillness is a lone noise that shatters my heart. Pa and Ma are fighting. Ma is cussing. Pa is cussing back. He never used to cuss back. Ma has bared her breasts in front of Pa, but he isn’t sucking on his lower lip in excitement like he does (in the middle of the night when I look through the curtain that separates our beds to see why theirs quaked and mine didn’t). I cannot separate their angers. They have fused in war, and together, they combust and incense everything. Anger of the absence of money—like petrol burns the yard’s refuse in front of the compound—has things it ashens too. I can see the lantern fire dividing its light in many pieces before it dies. Pa raised the lantern on Ma’s face. Before the light died, I saw two pairs of hands wrestling each other. Ma is crying. She continues to cuss loudly: you will never know peace; your children’s children will suffer in this world; an infidel can born an infidel; God will punish you and your family who deceived me into this marriage. Pa thinks she’s the devil, so he calls her the devil’s name: Ekwensu, while he delivers his drum of blows.

My eyes hold a pool that soon my cheeks are wet from. My lacrimation is not because they’re fighting. If not, my eyes will be dry and flaky, and they’ll hurt to move. No. I cry because I am hungry. My belly worms pin me to desperate corners of pain. I bend here and I bend there. I beat it away here and it goes there. Sometimes, a wave conducts itself from below my breasts to my navel. I lie on my back on my mat and I look at the moon. I see my face on its own. As its face is uneven, the same is mine. It is a mirror of me. I wrestle the sleep from my eyes with my knuckles. I swallow the floating breeze. I pump it out from below again. A little relief washes over my face, a smile the size of an ant. It doesn’t go. It blows up into laughter. My belly hurts, but I laugh even louder. Windows open. The neighbours whose pretensions of peaceful sleeps have endured so far pretend no more. When joy is stirred in the thicket of violence, it is a new thing, a curious thing. So, tonight, I was their curious thing, willfully.


Three years ago, when I was seven, I used to think a husband and his wife were like a pair of slippers. Two feet made for each other. One useless without the other. You limped on one slipper alone. One foot is preserved, the other gets covered in dust and grime. Until my parents turned into a mismatched pair. They fought until their very similarities became their very differences. They were embittered by each other in the same way my tongue absorbs the tang of bitter leaf as though it were sweet, only for my face to convulse in regret. But one couldn’t dismember the other and survive. Ma’s soup contained less meat. Pa thinks she’s cutting the market funds he gives for more Hollandis because her cloth bag is thickening. It’s the same amount but our foods are smaller. She comments on the country’s situation of hardship. The country is hard; she complains every second. She nearly sings it. An inventive third stanza of the national anthem. Pa thinks she’s starting to keep bad friends. Her new makeup box is another module of her deceptive irony. Lie-lie, Pa began to remark when she sang her inventive anthem.

Pa was right. Ma had a new friend. We’d welcomed new neighbours—a man, his wife, and their three children—into the yard about a year ago. They’d arrived with more things than could fit in their rooms. So much so that the items they couldn’t find space for were left under all kinds of weather to destroy. And destroyed, they became. These neighbours became known as the Dike’s. The wife of Mr Dike was called Lolo after her husband’s praise. She was an obvious woman. Her style was overt: always on her bright red lipstick. She picked her gait like a model, crossing herself as she went about. Ma liked her. Ma therefore turned into her friend and confidant.

But Pa was wrong. And Ma, right. The country was hard. He knew the country was hard. He too sang the anthem, but by the linguistics of his body. He was no longer the clown of the night. His jokes withered and died, together with the smile that made up his face. He sat outside with the other men and took Schnapps in shots, tightening his face in the same way I saw them do. He slept more. And his voice started to change. From loud and soft, it thickened and vibrated like I sounded when I spoke through the standing fan. Then it thickened to the voice of Bobby, the landlord’s ekuke. And the same way, I ran when I saw Bobby; I ran when he spoke. 

If I say it is the Schnapps, or if I say it is Lolo, or if I say I were the one, or join in the third verse of the nation’s anthem and say, the country is hard, each time I’ll be correct. But a pair of slippers do not become mismatched because they have attained disrepair. They may need a mending. But never do they turn into mismatched pairs. Except they weren’t ever a pair. Or maybe a husband and wife weren’t ever like a pair of slippers. Will I not also be correct if I say that my parents are fighting because of money? If all they are fighting for is the blue paper that can no longer buy enough meat in the market or enough peace for our home.


Featured Image by Ugochukwu Emebiriodo

Prelude to Light – Arikewusola Abdul Awal

         “…How
             Do I salvage the wrecked steel of my heart from the red
              Of an unholy war?”— Timi Sanni

Bundle this noise out my window. 
Huddle me against the world. Warm Lord,
You cuddle me when I grow cold

With loneliness. I have traipsed
To this wonderland—alas—to meet 
The ruins of a sacred horse
Tethered to a crumbling pole. I have met the broken urns—
Riven limbs of peace flung about for sightseeing.

Have I come to the desert to break 
My white-furred camel?

An oasis before me is riddled with pebbles;
O thirst! This thirst for light—this light so near,
Yet so distant to harbour my weary heart. O
Tumescent feet! I do not want to walk away 
Vanquished by a holy war. But this hour of

My sojourn is a world of dilemma. O Lord,
Shift the fullness of your lamp
To the dim land of my quest: lighten my path.
Let my life not wear away into an earnest damnation.

As a student of English and Literary Studies at Federal University Oye-Ekiti, Arikewusola Abdul Awal is currently busy figuring out many things at a time. His recent writings have appeared/are forthcoming in The Zinnia Journal, Eunoia Review, One magazine, and South Florida Poetry Journal. He tweets @Awalbabatunde11

Featured Image by Nsikan Effiong

Taking the Trash Out – Rebekah Barnes

And what is trash anyway? It is only some eggshells. It is only some old tomatoes that have been partly chopped before they were found to be moldy on the outsides. It is only what everyone thinks I’m doing when I say “writing,” when I say “living the examined life,” when I say “not eating shark fin soup and not trying to catch the cat and always stealing many ideas and shades of ideas from other people.” And what are other ideas? For an idea to be “other,” there must be some form of normal idea. But normal ideas are boring and make me very tired, like playing Hot Wheels in physics class. 

Whatever “normal” is, it might be sitting in the sun. It might be trying to psychically communicate with the stray cat. It might be trying to psychically communicate with the stray cat to tell him to come sit in the sun with me. Normal ideas have to do something with communication. The cat came and sat in my lap and very gently stabbed me with his claws, but I could feel the fur on his wrists, which was very soft. This, too, was communication, although if this was normal is yet unknown to me.

The unknown might be where “non-normal” ideas live. Though we could argue about the viability of ideas out of the womb and if ideas can or cannot be aborted part way through, which itself might be a non-normal idea. Non-normal ideas are slippery like my favorite mug that is now and forever trash.

“Trash,” on the other hand, is only what we are preoccupied with, like art deco, like the many crimes of the cat, like the fate of the bison, like if we are doing it right, like if you’d like chocolate on that, like vertigo, like wondering if I have a disease because I hurt where I was scratched and other people have told me that’s “not normal.” Trash is wanting to say, ‘Tell me what is normal and I will tell you what is wrong with you,’ which usually, for those who wonder, is everything. Trash is the real name for what we call “art”; what we call “modern,” what we call “the publishing industry,” and what we call “subversive”.

The cat produces no trash, yet everything he communicates is clear. He looks at me with his lemony eyes and implores me to believe. I can’t tell if he wants me to believe in what is normal or what is non-normal. This idea is just on the edge of what he is trying to communicate. My eyes implore him back.  

As if by prophecy, another cat appeared next to him in the sun. The new cat is almost a baby and must be taught the best places to sit in the sun, how to kill wasps and eat mice. Most importantly, this fresh cat must learn the right way to stab me just a little. These lessons are not trash. If only we could be so fortunate, but humans have to deal with a lot of trash before we reach clarity, if we ever do, which is doubtful since we are a species absorbed with thoughts and ideas and wondering if they are normal or not. 

Which, as you may know by now, I have no idea if that is normal or not. There is, I have come to discover, a lot one human can not know about. Like trust, like earning it. Like the stained glass where I looked when I was learning about being damned and immaculate conception and shortly after that regular conception. The stained glass depicted a bald guy with a very shiny head. His hands were up like ‘oh, no!’ but maybe he was thinking something else. Maybe he was thinking about what’s normal. Maybe he was thinking about Hot Wheels. Personally, I think the stained glass could have used some trash, maybe a phone, so the guy could communicate. But maybe he’s a master of all that and can do it psychically, like a cat.

I have a confession. I think the new cat thinks I’m trash. Maybe he thinks I am too normal. Maybe he likes trash and thinks that he is more non-normal than the old cat who loves me and lets me hold him in the sunlight.  Maybe the new cat thinks he knows what is important, which is trash. Maybe he thinks I will scratch him. Maybe he thinks he knows everything that will be trash; prophetic as he came, so, prophetically he will go, too.  

Maybe still the important part is not what is normal and what is non-normal. Maybe it’s only about what it is. 

It is sitting in the sun. It is trying to psychically communicate with the stray cat to tell him to come sit in the sun with me. It is dropping my mug. It is writing and examining and writing somewhat regularly and noticing how that feels and noticing how it doesn’t feel. It is feeling sick. It is feeling better; it is normal and then non-normal. It is Saltburn. It is the Incredible Mr. Limpet. It is Where’s Waldo? It is what I say it is and it is what cannot be said. It is not a good ending; it is not an ending that is strong. It is not an ending of many pages. It is trash. 

And what again is “trash” anyway? It is only what we are preoccupied with, like cling wrap, bottle caps, the cute little sayings on Bubbly Tabs, spicy chips and their wrappers, broken keys, old arcade games, syntactical errors that make the mind what it is, old beef, receipts, and other food-related waste. Trash is what the bugs eat, like The Call of Cthulhu, Cujo, The White Album, If It Bleeds, or brown or browning leaves. Trash is the ozone layer—metaphorically connecting together, it is being the only one who shows up to the meeting; having some core values that kind of work out someday, and then you tell everyone that these values are what make you brilliant; it is having a haircut; avoiding sunlight; it is life; it is Apollo.

Trash is generational divides and plastic in the soup dumplings. It is Polar Express, but we are fresh out of Polar. It is not Mr. Fresh, but it is what happened to him.  It is only the things we try to be disinterested in, like realising you will never have enough time to live all the lives you want; it is wanting, it is needing, it is concealing the fact. Trash is understanding but only subconsciously, which doesn’t really count. Trash is reading 100 books or trying to. Trash is everything. Trash is a disruption. Trash is stepping outside of the party to smoke; to meet someone by chance, and that person sharing with you some magnitude of feeling. Trash is loving butterflies and living in fantasy. “It is good to have trash to journey towards; in the end, it is the trash that matters.” Trash is poetry; it is stupid, and we should all stop writing. This is progress. This is the best of the best. This is trash.


Rebekah Barnes is from Whitefish, Montana. She is currently trying to find God in Southern Oregon, but He hasn’t gotten back to her yet. If you’ve seen Him let her know @rebekahwrites_.

‘Cactus,’ ‘Bug,’ and ‘Dinner’ – Jide Badmus

Cactus

Yours is a snowshoe devotion
—a heart built for all weather. 

Friends say you’re prone, that
You’re made up of small bones 
Of emotions. Tendon of smile,
Vein of laughter— you’re soft 
& warm like the bosom of sky!

But how do you keep 
The lungs longing—
How do you breathe 
Under a pile of sad songs?
How do you dredge an oasis |
In the Sahara of compassion?

When love becomes extreme sport, 
You become a bowl of sacrifice 
At conjugal crossroads—
A Fibonacci of sentiments 
& survival. 


Bug

The sun is cheerless.
The uber ride, prosaic.
This afternoon, I’m working alone—
paid to pry, pervade intimate spaces.

I allow myself to dream
as I navigate private terrains.
Allow fringe fantasies take me
away from the unpleasantness 
of riffling through chests 
of undies & medicines.
Of frisking furniture, 
draperies & decor
for static ghosts.

I do not find a bug—
I have never found one.
I do not find a hidden camera.
I fear I will stumble on a secret
dollar stash or exotic sex toys.
I find vanity in abundance.
I find riches gathering mold.
I find a poem in every cabinet
—a set of Louis Vuitton glass,
an assortment of luxury scents 
& peculiar spirits 

I do not find a bug—
only designer paranoia
& expensive nightmares


Dinner

water rushes
from a sink faucet

the simmering of soup
is masked by fluttering lid

& hissing fire—cocktail
of sounds & aroma

from your kitchen
twists knobs within me.

I wait with an appetite
of washed cutlery &

a bed of China…
You come to me sizzling,

naked proteins dripping oil
—a full plate of desire.

Featured Image by Faith ‘Creative’ NK