Before Thirty by Patrick Ramsay I streak through a golf course in nectarine light and self-destruct a little bit. Not in a Salamander Letter type of way, but like an old truck whose engine blows right after the warranty is up. I cancel the party. Detonate my relationship. Call in sick. Call my old therapist with the tattoos. Ask him if he’s still engaged. Send up a flare. Can’t believe it’s taken me this long to realize the word hello and help are one autocorrect away from twinhood. I kiss everyone. Kiss goodbye to my savings account. Greet one thousand new hobbies with the fervor of a young dog. Tongue out. I only have so much time left to be reckless in my twenties. I was twenty-eight the first time a twink told me he loves older guys. This. This is why all the queens call thirty gay death. I feel too young, too childless, too cut loose to be someone’s daddy. But maybe he was right. My mortgage, the chicken coop, the poodle-mutt rescue dog. I used to be stupid. Gloriously, aimlessly stupid. But at some point along the way: A bungalow, a career, a real live-with-me, go-to-weddings-and-farmers-markets-together partner. Someone must have tricked me. Tricked me into learning what a 401k is. What a deductible is. How to become interested in interest rates. I’m going to be sick. Sick and grown up forever. And thirty is a perfectly fine age. It’s the death of the I did this in my twenties thing that I’m mourning. Who damned me to grow up this fast? To man before I really was done boying. This is the part where I’m supposed to assure you that a job can be a dream, and mowing your own lawn, also a dream. But gut laughs, mushroom trips, occasional sex with strangers—also, also a dream. I know I know, that growing older grows on you, but youth is a temporary meadow with soft scruff, and I guess this is the long way of saying I’m afraid of losing something I didn’t know was worth anything. Anyway, call me when you get this. Need to borrow your drill again. Share: Facebook X (Twitter) Copy link Back Back to First Issue This unpublished poem came out fully formed, like a platypus frog or a nervous confession. I was one week from turning thirty and wrestling with what that meant. As a gay man, aging is such a prickly arena, and many men treat thirty like a sunset of their dewy youth. This poem reflects on all the glorious stupidities of my twenties and what it means to realize (maybe a little too late) that you might just have become a man before you were really done boying. And I still don’t own a drill. .................................................................................................................................................................................... PATRICK RAMSAY is a queer poet & owner of the indie shop Happy Magpie Book & Quill. He explores land, community & heart in Ogden, Utah. patrickramsaypoet.com Next - Still Life with Mormons in My Living Room by Paul Fericano Next

July for Dylan, April 20, 1989 - July 7, 2013 by Shanan Ballam April isn’t the cruelest month. That would be July, the month you died, when asphalt gleamed heat and construction cones lined the lanes on the break-neck freeway— I slumped in the back like a sack of trash as our sisters and I raced tear-blind to the scene, bodies flung side-to-side as we whipped in and out of traffic, tires screeching, only to stand stunned, worthless, gagged with Dad’s cigarette smoke— oh—I can still hear him sobbing in the scorching garage. In April, crocus spear through soil, open pale purple, thin as tissue paper, lacewings luxuriating in the saffron like cats rolling on their backs in the sun. In April, the lilacs’ tiny blossoms, hard as oysters, begin to soften, and when they open, iridescent frills the color of pearls, their fragrance drifting through the windows, sheer curtains shimmering. Maybe if I’d called you to say I’m worried, I love you, You could have said Help me. Dad won’t. In the cement basement I saw the message you scrawled on the wall: Why won’t it rain? I saw your self-portrait in black spray paint. You blacked-out your own awful eyes. The anniversary creeps closer, hobbled, like a baby buggy with one wheel missing. July is cruelest because I still must drive past the hospital where the doctor pronounced you dead, past the chapel, its gold and crimson windows, past the Wal-Mart and the Maverik where you bought your beer and cigarettes, past the woman with the dead baby’s footprints tattooed on her breast, and down there near the tracks: sagebrush, vodka bottles, and a single sego lily, basin blushed ruby red. Oh July—you emergency! July with your wildfire heart. But I drive past the field silvered with sprinkler mist where the two painted horses bend their graceful faces to the grass, their black manes shining in the falling sun, shining like your black hair in the obituary picture. This time I’ll stop the car, and we will walk to horses who know only this emerald field, its musky soil, know only the sky spreading its deep indigo, and we’ll pull up clumps of silky grass. See how they move toward us, bodies glistening as the day disintegrates. Together we'll touch the sleek gloss of their manes, their velveteen noses, see deep into peace, their wet ebony eyes. We'll stand together in the lavender light as the horses pull sweet grass from our hands. Share: Facebook X (Twitter) Copy link Back Back to First Issue My youngest brother Dylan Thomas drank himself to death at age 24. This poem is my favorite unpublished piece because it takes so many surprising turns and utilizes different tones—panic and calm. It contains surprising comparisons: the anniversary of his death compared to a baby buggy with one wheel missing and comparing July to a wildfire. I like how it contrasts April and July—extreme heat and early, raw spring—and uses connotations from Eliot’s famous poem, “The Wasteland.” .................................................................................................................................................................................... SHANAN BALLAM is the author of the poetry manuscripts The Red Riding Hood Papers (Finishing Line Press, 2010), Pretty Marrow (Negative Capability, 2013), Inside the Animal (Main Street Rag, 2019), and the chapbook first poems after the stroke (Finishing Line Press, 2024). shananballam.org Next - Missa Brevis by Kimberly Johnson Next

Sacrament Meeting Started the Three Hours of Church on Sunday by Natalie Padilla Young A friend taught her how to pass the time: flip through the hymn book and add “in the bathtub” after any song title: How Great Thou Art…in the Bathtub Now Let Us Rejoice…in the Bathtub Did You Think to Pray in the Bathtub? Know This, That Every Soul Is Free in the Bathtub. An hour of speeches broken up by hymns, prayers and eating Christ’s blood and body (blessed, white Wonder Bread and a doll’s cup of water for each worthy member). She no longer sits through church meetings or questions her questioning, though often hums those hymns around the house, slips holy ingrained choruses into a tub of hot water. Ears immersed, she can hear the sounds of her own choir. The heart’s bahdum, bah-dum bahdum, too fast for its own good. Rejoice a Glorious Sound Is Heard…in the Bathtub. From a gurgle to a shout, rustling empty stomach. Whooshes of breath tunnel in and out. Hard enough to simply sit still, then left to a porcelain amphitheater— Where Can I Turn for Peace? In the bathtub thoughts thud and whirl. Come Along, Come Along With All the Power of Heart and Tongue. Maintenance of this submerged body too tough, too much Master the Tempest Is Raging. Not enough still, small whisper: Ye Simple Souls Who Stray Let Us All Press On. Share: Facebook X (Twitter) Copy link Back Back to First Issue First published in The Wax Paper and All of This Was Once Under Water (Quarter Press, 2023). I’m terrible at picking a favorite of almost anything, so I chose this previously published because I am proud of the craft. It does a lot of lifting to fill what was a gap in the manuscript/book, combining humor and religion, while helping to flesh out one of the main characters. .................................................................................................................................................................................... NATALIE PADILLA YOUNG co-founded and manages Sugar House Review . Author of All of This Was Once Under Water (Quarter Press, 2023). natalieyoungarts.com Next - Teddy Thompson Croons Leonard Cohen by Natalie Padilla Young Next

The Concrete Poet by Jim LaVilla-Havelin I. this is the first trans mission of the con crete poet report on exhibit at co-op gallery no press release no postcard no crackers no brie II. the alter native paper critic who is sometimes too smart for words but still uses them found her way there wrote: “_______ has found an alphabet of disaster.” III. somewhere between the calligraphic epics of Cy Twombly the incised mud-silica of Dubuffet the Rosetta Stone and J.G. Ballard’s CRASH IV. was this my fifteen minutes of fame? hiding in the basement while the police streamed through the sleek gallery asking everyone my name, my des cription, my whereabouts V. the art critic for the daily who also reviews restaurants, books, and covers the auto show describes them as “a grammar of happenstance or perhaps mishappenstance” VI. I don’t know when I first began to see them as messages scraped by metal onto barriers stories in stone VII. out with the truck with the pneumatic lift cones, flashers the jackhammer and the blow torch it comes to me we’re not in art school any more more dangerous than pastels VIII. it is the opposite of graffiti I remove de-construct re-contextualize present an outlaw aesthetic that makes art-speak go tongue-tied IX. I am so tired of the language meta phor I went to the wall to escape words I hacked out these sections of barrier to see silence as much as any markings deaths or near scrapes with it may have left I’m not telling stories I’m hammering away at walls Share: Facebook X (Twitter) Copy link Back Back to Current Issue THE CONCRETE POET is the third volume of a five-book sequence. Though this section was written in 2010, the book is just now (2024) reaching its conclusion. This was the first section I wrote. It’s a favorite because it lays out some of the extent of what the long poem will include. A road map? A first shot of a voice? A catalogue of possibilities. .................................................................................................................................................................................... JIM LAVILLA-HAVELIN is the author of eight books of poetry, including two forthcoming in 2025, Mesquites Teach Us to Bend (Lamar University Press, 2025) and A Thoreau Book (Alabrava Press, 2025). He is the co-editor of the Houston University Press, Unsung Masters volume on Rosemary Catacalos (2025) and as Literary Executor for Catacalos’ estate, he is assembling her unpublished work for a volume Sing! . An educator, editor, and community arts activist for over 50 years, LaVilla-Havelin coordinates National Poetry Month activities in San Antonio. Awarded the City of San Antonio’s Distinction in the Arts for Literary Art, he teaches at The Cyndi Taylor Krier Juvenile Correctional Treatment Center for Gemini Ink’s Partners Program, teaches senior citizens in the Go Arts Program through Bihl Haus Cultural Arts, and high school students as Poet in Residence at the Young Women’s Leadership Academy. Next - Bruce by J. Diego Frey Next

Foley Catheter by Kimberly Johnson I clean its latex length three times a day With kindliest touch, Swipe an alcohol swatch From the tender skin at the tip of him Down the lumen To the drainage bag I change Each day and flush with vinegar. When I vowed for worse Unwitting did I wed this Something-other-than-a-husband, jumble Of exposed plumbing And euphemism. Fumble I through my nurse’s functions, upended From the spare bed By his every midnight sound. Unsought inside our grand romantic Intimacy Another intimacy Opens—ruthless and indecent, consuming All our hiddenmosts. In a body, immodest Such hunger we sometimes call tumor; In a marriage It’s cherish. From the Latin for cost. Share: Facebook X (Twitter) Copy link Back Back to First Issue Originally published in Poem-a-Day on January 15, 2020, by the Academy of American Poets. From Fatal (Persea Books, 2022). I’m not sure this poem qualifies as a “favorite,” frankly, because it deals with such difficult material. But I think that it’s effective in its willingness to reflect honestly on the combination of tenderness and brutality that eventuates when we choose to enter into relationship with others. Love brings along with it the opportunity, the promise, of one party seeing the other into their death, bearing witness to the horrors of that inevitability as well as the intimacies it produces. .................................................................................................................................................................................... KIMBERLY JOHNSON is a poet, translator, and literary critic. Her work has appeared widely in publications including The New Yorker, Slate , The Iowa Review , PMLA , and Modern Philology . Recipient of grants and fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the Utah Arts Council, and the Mellon Foundation, Johnson holds an M.A. from the Johns Hopkins Writing Seminars, an M.F.A. from the Iowa Writers’ Workshop, and a Ph.D. in Renaissance Literature from the University of California at Berkeley. Kimberly Johnson lives in Salt Lake City, Utah. kimberly-johnson.com Next - Among by Cynthia Hardy Next

Nancy Takacs < Back to Breakthroughs Issue SWEET PEAS Nancy Takacs 00:00 / 02:00 SWEET PEAS Nancy Takacs Some would say just a noxious weed taking over that bare space where I put some seeds two summers ago in the meadow beyond my garden. ~ This year vines crazy with rosy heads, each blossom scored like two wings over labial hoods, seeds held under, hidden, waiting to drop. ~ I cut some from tangled vines for my kitchen table, to breathe their cool fire on the cloth embroidered by a Croatian woman, her flowers in purple floss straight-stitched, faces with eyes in between wide-open butterfly wings. ~ Her tablecloth swirls under my salad – the woman, her daughters and sisters living in that small wild country I flew to, its border fought over for decades, its past and its future haunted by torture and rape. ~ Each frigid winter our tour guide Marija said women embroider, embroider hundreds of daisies, sweet peas, bees, and Monarchs, prick fingers, careful their blood does not ruin the linen. Tablecloths like my Hungarian grandmother once made, just twenty, thirty dollars blowing on clotheslines on the bank of the Danube. A crucifix around each woman’s neck as they exhale cigarette smoke, some holding babies, bartering with us, begging us Buy another! to dress our foreign tables with their blossoms and wings. ~ I buy five with dollars they hold close, empty my suitcase so I can fit them in. How can I not fly them back across the dark waters of our terrifying world? This poem came to me long after a solo trip to countries near the Danube. It has gone through many revisions, but I always kept the ending. In a sense, the poem is connected to my love of embroidery that my Hungarian immigrant grandmother taught me. Little did I know at that time, this art was a way for women to make a living, and that the Hungary she left when she was sixteen, to come to America, was a scary place, easily taken over and over again. I learned this much later on. The embroidered cloths are emblematic of the women’s protection of their families, earning money to keep the wolves away, or if possible, to travel to “safer” places. They depend on tourism to live, getting their beautiful artful cloths into the hands of other women. The breakthrough comes as the poem progresses, a realization by the speaker that her privilege is fragile. She must support women any way she can. Dominion over women around the world is happening in devastating ways now in our own country, and sadly, it is imminent everywhere. Previous NANCY TAKACS 'S newest book, A Whispering Beetle (Broadstone Books), will be published in 2027. Her latest book is Dearest Water (Mayapple Press, 2022) . She lives in Wellington, Utah. nancytakacs.org Next

ALIEN EXCHANGE PROGRAM - HOST APPLICATION by Naomi Ulsted It’s extremely important that we choose a good host match for our aliens. This is the inaugural year of our Alien Exchange Program where we hope to facilitate mutual learning and understanding of these new neighbors we’ve discovered. Please answer the following questions honestly. 1. Do you plan to turn over your exchange student to the Federal government or any other for-profit or not-for-profit organization planning to conduct experimental exploration on our exchange student? Yes (you may turn in your application now) x No (go on to the next question) 2. Even if they offer you extremely large sums of money? Yes (you may turn in your application now) x No (go on to the next question) 3. How did you hear about the Alien Exchange Program? It was at the mall. Which is odd because I hardly ever go to the mall. I find the mall suffocating, with the cloying Cinnabon scent, the crowds of women flocking Bath and Body Works, the teenage boys cruising the walkways with slouching bravado. Not to mention that since our species have taken to using semi-automatic weapons with bump stocks to gun down large numbers of each other in public spaces, I’ve been especially reluctant to visit the mall, a concert, a movie, or any other crowded area. If I had the money, I’d pay for the virtual reality mall, where I could turn off the Cinnabon smell and if someone gunned down my avatar, I could just respawn somewhere else. But like most people in my social circles, I can’t afford that luxury. I won’t tell my alien how we like to kill each other here. That day I was in desperate need of a new pair of sand boots, so I threw my Glock in my purse, hefted myself into my bullet proof vest and headed out to the mall. I found the Alien Exchange Kiosk right next to the kiosks where young, beautiful men call out to middle-aged women like myself, offering samples of lotion and salt scrub. They’ll apply it themselves if you let them, rubbing your skin with their smooth hands. They can always sense their customer. We’re the ones wearing jeans from a decade ago. Our faces show we haven’t grasped the concept of contouring. We’re the ones with credit cards with high limits. If I could afford the virtual reality mall, I’d use a male avatar carrying a broadsword. Those lotion guys wouldn’t mess with me then. As it is, I try to walk in the aisle far from them, pretending I don’t hear them targeting me. As I passed by the Alien Exchange Kiosk, it placed images of the aliens’ planet into my mind. The planet’s surface was iridescent green and lush, not parched and withered like this one. As I came closer, the Kiosk’s smooth marketing voice resonated in my head asking, Do you have a thirst for adventure? Do you want to connect with another world? I thought about the words. I wanted to connect. 4. Have you experienced inter-stellar travel? (We know that only the top 1% of the country can afford inter-stellar travel. Or a house in the suburbs. Or post-secondary education. So if you choose, you can speak to international travel in your response to this question, as opposed to inter-stellar travel.) I have not experienced inter-stellar travel. When I was in college, I took out extra student loans so I could drink my way through a series of European pubs, but since I’ve grown older and more mature, I’ve redistributed my debt to involve less travel. Not less alcohol, mind you, but expenses in the form of living quarters, an iPhone, elementary curriculum feeds for the kids. Every day is planned and routine. When I traveled, I didn’t have plans. I woke up and perused a map over coffee. I shouldered my backpack and delved into the unknown. Now, when my alien comes to stay with me, we’ll have coffee in the morning. I don’t know if my alien wants scrambled egg protein for breakfast. I don’t know if my alien will even eat or if she’ll have an enlarged forehead and horizontal ovals for eyes, like in the old science fiction movies. I hope my alien isn’t slimy, but if she is, I’ll put a towel down on the kitchen chair. Come to think of it, I don’t even if know if my alien is female. Even we are evolving past binary constructs, but still, part of me hopes she’s female, like I’m still identifying. But I do know that as we regard one another in my kitchen, it will be like looking at that map in the morning, shouldering my backpack and hiking into the world of possibility. 5. While your alien is staying with you, we’d like him/her/them to feel as though he/she/they are a part of the family. Unless your family is completely dysfunctional, which may cause the alien to deliver a negative report about humans to his/her/their superiors. In what family events do you plan to involve your alien? In my extended family, there are no more weddings. The siblings have been married at least once, sometimes twice. Actually, we’re excited about a pretty big divorce happening soon. I’m hoping my alien can attend our divorce party after the trial. She can help me roll canapés and pour champagne to celebrate a new beginning. She can give us an alien blessing of some kind. A special symbol from her culture of a new start. She can stand or hover or whatever she does, in the circle with us, exchanging hugs. Of course, if the trial doesn’t go well for us, then I’ll keep my alien away from that function. My sister will return home to seek solace in one of her many online worlds. She’ll don her dragon slayer skin or a pull up her sexy spy avatar and forget about what just happened. My other siblings will sit and scroll through their phones like normal. But I will come home to my alien to see her playing Connect 4 with my children. We’ll make root beer floats and play charades and I will laugh and laugh, and forget the world is burning around me. 6. We want our alien participants to enjoy their time with you and the wonderful attractions our world has to offer, although we don’t want them to enjoy our world so much that they decide to come down here and colonize us. Can you speak to the types of attractions you plan to show your alien? Over a decade ago, I spent many afternoons downtown. I rode the city bus to the bookstore where I worked alongside the bookstore collie dog, re-organizing the New Age section and looking for attractive book covers to face out. For my lunch, I brought my cheese and pickle sandwich out to the park square. The benches were shiny burnished metal. The water from a bronze fountain depicting two leaping salmon sparkled in the sunlight. A pigeon gave me the side eye and cooed questioningly at my sandwich. Across the street, the theater marquis advertised the current production. I only made minimum wage at the bookstore and couldn’t afford shows, but being downtown in front of the theater, in the midst of the park blocks surrounded by sharply dressed business professionals made me feel like I was a part of something important. I would like to show my alien that place. She could relax in the bookstore, the dog sniffing her curiously. I’d buy her a book on chakras. She could reach her hand, or her appendage or appendages, out to the water in the fountain and splash with the children who wouldn’t be afraid of her, because they’re children who don’t fear things yet. I’d like to take her there, but it’s different now. I unplugged my children from their entertainment feeds recently and dragged them down there to see an actual show with real human actors in that theater I can now afford because most people prefer to escape home through their virtual reality systems. Bookstores are long gone and only Outside Dwellers have real dogs, since most people can afford a virtual pet. After the show, a nostalgic production that featured an old-style public school before institutionalized public education put children’s lives at risk, my children dragged me toward the salmon fountain. The water hasn’t run in it since the shortage years ago. Pigeons scavenged through the cracked and grimy tiles of the fountain without giving us a second thought. There were several Outside Dwellers lounging around the park square. Most Outside Dwellers are harmless. Scruffy and stinky for lack of water or dry soap, bare feet black with city filth, muttering stories that make sense only to themselves. That day several of them shared a six pack of 4 Loco. But you never know when a group of Outside Dwellers may be shooting up, not just smoking weed. Or when the story one of them is living in his mind may paint you as a threat. My kids wanted to play with the pigeons and my boy jumped from bench to bench, until I dragged them both away from the city square and the Outside Dwellers. We went back home where I hooked them up to their entertainment feeds again, nice and safe. If I took my alien there, she probably wouldn’t be afraid, like I am. She’d likely even sit down next to one of those Outside Dwellers, joining him on the grungy bench and sharing a 4 Loco. Maybe with her next to me, I’d be brave enough to hang out with the Dwellers, sharing stories and watching the light change as the sun dipped down into the smoggy sky and then dropped behind the towering skyscrapers. Twilight would fall like it’s fallen every evening, regardless of who is sitting in the city square, be it an Outside Dweller, an alien, or me. 7. There are hundreds of applicants for the Alien Exchange Program. In what way are you an especially good fit for this program? As I sit here in my living quarters, inputting these answers, I guess I can think of lots of people who might be a better fit. The families with money to take the alien to the places in our world that are still beautiful. Places with waterfalls, lakes, and piped in rain. I ’ve heard they still exist in some areas and the top 1% get to immerse themselves in those lakes, feel the spray of the waterfall on their bare arms. But when I was 13, I watched E.T. in the movie theater. Later, I watched more gruesome depictions of extraterrestrials, like those in Aliens, but my heart stayed with that waddling big-eyed, neck-stretching E.T. At night, even though I was 13 and knew better, I held up my finger to the window and searched the sky. I imagined my finger lighting up like Elliot’s and I reached it up toward the stars in search of an alien. Decades later, I know she’s up there, her own finger shining brightly. Please send me my alien. I need to meet her. Your application will be reviewed, and you will hear from us in four to six weeks. Should your application be selected for further consideration, alien placement will be contingent upon a home visit to ensure you can provide adequate facilities. This includes a fully functioning hydration pod, as aliens cannot adjust to our arid climate. You will also need to demonstrate bandwidth and networking links capable of reaching the alien’s home planet. Your signature will be required on our “Liability Waiver Contract” where you will agree to indemnify and hold harmless the Alien Exchange Program should you personally befall any harm from or as a result of actions taken by the alien. Thank you for your interest in the Alien Exchange Program. Share: Facebook X (Twitter) Copy link Back Back to First Issue Originally published in The New Guard . I love this piece because even though it's been five years since its original publication, it still feels just as relevant, both to the state of our society and to me personally, as it did then. It still feels as though we are searching for a connection that has proven difficult to find in this environment of fear and distrust. I had so much fun diving into this darker theme using the format of an application. .................................................................................................................................................................................... NAOMI ULSTED writes young adult fiction and personal essays. She is the author of The Apology Box (Idle Time Press, 2021). naomiulsted.com Next - A Twist of the Vine by Naomi Ulsted Next

Acrostic Lifeboat Take words with you and return to God. Hosea 14:3 by Maureen Clark The bug zapper flashes Morse code, A spark for each dot and dash - saying - pay attention. Words are being Kindled from these fried insects. The rise and fall of empires depend on Each death. Our elliptical orbit brings another year of language. Why would you take words to return to God? Why not bundles of wheat? Oil in clay jars? Fresh baked bread. Why not take salt? Red wine, purple cloth, things more like worship? Depending on the alphabet is risky with its creation of ambiguity Scratched onto vellum, paint on papyrus, so much lost in translation. Poems Written on napkins and grocery receipts. I can’t deny that I’m compelled, enticed even, To thrust my fingers into a bowl of letters and return Holding on for dear life, writing ‘lifeboat’ just in time, Yielding to the possible safety of the right word. Only language can tell our stories. Some letters generate echoes of the Utterly haunting past, mistakes, the resonance of the earth. Any word can be a talisman. I’ve always wanted to Nail down how civilization evolved into writing. I want to write the word Dromedary because the cadence mirrors the way it moves. Ridiculous of course, but I’d ride that one-hump camel to the oasis any day. Even the unvoiced desire can eventually be put into words, and spells To cure warts, whip up a tempest, make a magic potion. Unless words carry different weights like numbers and can be Rounded up or down. Someone show me the runes! Never mind, I’ve wandered off again, Too full of questions that can’t be answered Overwhelmed with finding a word to rhyme with orange, Grappling with the alphabet, the number of syllables in a perfect line, One too many or needing one less. It’s futile. Please take my words God, Do whatever it takes to return to me. Share: Facebook X (Twitter) Copy link Back Back to Current Issue First published in Utah Lake Stories: Reflections on a Living Landmark (Torrey House Press, 2022). I like to try different poetic forms. I had never tried the acrostic in a serious endeavor, but I found it to the be right fit for this poem and the idea of creating words as a means of returning to God. I also liked how it allowed me to turn the phrasing around so that God needed to return to me. .................................................................................................................................................................................... MAUREEN CLARK retired from the University of Utah where she taught writing for 20 years. She was the director of the University Writing Center from 2010-2014, and president of Writers@Work from 1999-2001. Her poems have appeared in Colorado Review , Alaska Review , The Southeast Review , and Gettysburg Review among others. Her first book is This Insatiable August (Signature Books, 2024). Next - The Afternoon on the Sava by Scott Abbott Next

< Back to Breakthroughs Issue THE LONG HAUL Shanan Ballam The black ribbon of highway unfurls before us. It is well past midnight. The stroke and I are driving a semi on a three-year road trip. We are exhausted, sticky, smelly and stiff from the long, stale ride. We haven’t been out of the truck for hours and hours. We haven’t had a chance to stretch our legs. We are both wearing black plastic AFO’s that makes our right legs numb. Our bladders ache. We have no idea if or how it ends. We don’t know where we’re going. We just know we must drive. Because that’s all we know how to do. We must keep moving. But we don’t know why. The situation is so confusing. Every time I turn my head when I think I see the answer it dissipates like smoke. The stroke is driving. Bleary-eyed the stroke turns the wheel over to me. The seat is warm where the stroke sat. I take the sweaty wheel in my grip. We’re hauling precious cargo, dragging its heavy load behind us like a tail. In the trailer we carry all our grief. We can’t afford to lose this load. I drive carefully through the night. The stroke sleeps in the passenger seat. I drive until the white morning sun seeps through the cab windows. I glance at the stroke. She has brown hair and is wearing my red shirt. When she lifts her sleepy head I see she has my brown eyes— my nose and my mouth— she even has my four moles high up on her cheek, that look like the basin of the big dipper. She is me me me. She has been me all along. We know what we have to do: together we unhitch the heavy trailer of our grief. We leave it at a grimy truck stop in the middle of nowhere. The stroke says I’ll drive— but the words come from my mouth. I have written several poems about my stroke, comparing it to a horse that falls on my chest, a rat, my abusive stepfather, my drunk brother-in-law who molested me. The stroke is always an enemy. This poem was the first time I saw that the stroke was actually me—had always been me. This idea was a breakthrough, to see the stroke not as an adversary, but as myself. Previous SHANAN BALLAM is the author of the poetry manuscripts The Red Riding Hood Papers (Finishing Line Press, 2010), Pretty Marrow (Negative Capability, 2013) , Inside the Animal (Main Street Rag, 2019) , and the chapbooks first poems after the stroke (Finishing Line Press, 2024) and My Paper Boat (Moon in the Rye Press, 2026). shananballam.org Next

Nano Taggart < Back to Breakthroughs Issue CHALK-WHITE, CANYON-DEEP Nano Taggart 00:00 / 02:29 CHALK-WHITE, CANYON-DEEP Nano Taggart The nightmare isn’t darkness. And in this version, I’m frail enough to fall all the way down the precipice I’d skipped along the edge of since well before the fear was named. It’s white. So white I can’t distinguish its corners, its edges, its end, or its source of light; but my feet sink into something— having fallen from wherever it was that was was before. The fear doesn’t freeze, exactly, it’s the scared-to-to-trembling sort where I can smile, even laugh in a suddenly social setting. Anxiety strikes just as memory powers down. But only Natalie can tell. (The trembling is my schtick?) Then someone wants to know what I think about some dire whatever, and all that I can offer is, “I don’t know. But I think she sells sea shells by the sea shore.” People laugh, because I’m funny sometimes, and thankfully, the conversation moves on, moves past me and the nightmare-white I’m inside. Or—like accretion—that I’m supposed to be. How planets form. Little bits stick together and collide then stick together again-n-again- n-again; and even here, in here , addled with too many pronouns, I’m terrified of my voice’s pale echo or not-echo. Like I’ve gotta hide that my path crossed Rakim before “Ode to the Wind.” I’m walking around like—we’re all walking around like—like these blank pages are a way out. Out of here, out of the dream I can’t leave: it was a room that’s so white I can’t see its corners, just one incandescent band burning from under what must be a door with its otherwise-undetectable edges. That’s it, that’s the nightmare. Then the sandy dryness in my mouth and throat. So dry I can’t swallow, or call for help, or discern if that place (this place?) would allow—or cause—my voice to echo. One of the byproducts of my mental health struggles is crippling creative anxiety. This combined with my belligerent inner critic makes it difficult for me to write. Naming and acknowledging these things, and addressing them directly, has been a topical breakthrough. It's kind of a cheat code to be able to write about these devils, and it's a deep to be panned. "Chalk-white, Canyon-deep" is a breakthrough in its confrontation of my childhood nightmare and the anxiety of influence. Previous NANO TAGGART is a founding editor of Sugar House Review , and would like to meet your dog. Next

The Organization of Bones by Joel Long Let’s rearrange the bones by size while the goat looks on. Let’s line them up to cardinal points so shadow tells the time. The double doors may open for me to look over your brown shoulder, your dark hair that covers your skull where the rivers are falling and the trees are green with birds. Start with the bones of the ear, small sand, then move to the tarsals, these glyphs made for waving the hand, the hinge in the dark circuit of the blood, but here they are soldiers at May Day, such precision, such a proud song. The goat begins to hum and nibbles the threshold, fur bristling like vellum before the monk takes out the blade. The warmth of your body is so quaint against the arrangement you’ve made, a relic of what you are, the past so filled with warm bodies and singing goats, a thousand setting suns indifferent to the coming night. Share: Facebook X (Twitter) Copy link Back Back to Current Issue I was moved by Salgado's photo, Children Playing with Animal Bones, Brazil, 1983 , the three children in their own bodies rearranging the bones into symmetrical lines, making sense of the bones in some way. Of course, the light in the photograph is beautiful in its arrangement as well. With any ekphrastic poem like this, I hope to find release from the artistic image so that the poem finds its own voice tinged with the atmosphere of the trigger artwork. .................................................................................................................................................................................... JOEL LONG'S book of essays Watershed is forthcoming from Green Writers Press. His book Winged Insects won the White Pine Press Poetry Prize. Lessons in Disappearance (2012) and Knowing Time by Light (2010) were published by Blaine Creek Press. His chapbooks, Chopin’s Preludes and Saffron Beneath Every Frost were published from Elik Press. His poems and essays have appeared in Gettysburg Review , Ocean State Review , Sports Literate , Prairie Schooner , Bellingham Review , Rhino , Bitter Oleander , Massachusetts Review , Terrain , and Water-Stone Review , among others. He lives in Salt Lake City. Next - Storms, Maybe a Metaphor for Us by Kase Johnstun Next

The Problem with Mrs. P by Michael Shay First problem: nobody was home to help. Not her two daughters, off to school. Not her husband Robbie, who hadn’t been home for weeks, probably right this minute at that whore Gloria’s house. Second problem: she was seven months pregnant and bleeding like crazy. She pressed a cream-colored towel against her crotch; it bloomed with a red chrysanthemum of her own blood. She stood in the bathroom doorway, eyes sparking, knees shaking. Third problem: her damn husband had the car. Not that she was in any shape to make the seven-mile drive into Cheyenne, ten if you factored in the hospital which was downtown. Fourth problem: the telephone was dead, thanks to Robbie not paying the bills like he was supposed to. She had her own prepaid cell phone with a few minutes still left on it. But it was downstairs on the kitchen table. Just the thought of negotiating the stairs brought a throbbing to her abdomen. Fifth problem, or maybe it was the first: she and her baby boy might be dying. She tried to bite back the tears, but they came anyway, raining down on her nightie, the blood-soaked towel, the tiled bathroom floor. It was all so ridiculous. Why had this happened? She should have known better than to let him back into her life, even if it had only been two weeks. He came back to her, all humble and lovey-dovey. She took him back into her bed and then he was gone again and there she was, pregnant again, standing in the doorway, bleeding to death. Her main problem was getting down the stairs to the phone. Clinging to the wall, she made her way out of the bathroom and down the carpeted hallway. To the left was her daughter Kelly’s room. She grabbed the doorknob of the hall closet as she slowly passed. There were only twelve stairs but it looked like a million. Maybe if she just sat on the top step, and bumped her way down….She sat, a good thing since a swoon was coming on. She waited for her head to clear, then carefully slipped down the carpet onto the second step, then the third one. On the next one, her left foot caught the hem of her wool nightgown. She fell back, then felt herself slipping down the stairway; her feet, her butt, her shoulders bumping with each step; wincing in pain as the vibrations traveled to her belly. When she came to a stop, she noticed the quiet of the house. There was some sort of noise coming from outside the front door. She didn’t know what it was but she stood and, after letting her head clear momentarily, stepped slowly through the sparsely furnished living room toward the door. Which led to the morning’s sixth problem: she passed out, sliding to the floor like a wet sack. * * * Mrs. P! Mrs. P! She opened her eyes. A big hairy head swam in front of her. Maybe she was dreaming. Mrs. P! Mrs. P! It was the big head’s voice. For a minute she thought it was Robbie but her husband was thin and had a buzzcut in keeping with his role as a punk musician on the make. Who was it? And where was she? For a minute, she hoped she was safe in bed. But then she felt the rough carpet under her, the stickiness between her legs. There was a big hand on her shoulder, shaking gently. Mrs. P! The hairy head’s voice again. She wanted to say: My name is Liz, short for Elizabeth, and not Mrs. P, short for Politazzaro, Robbie’s last name which he had hung on her, presumably forever, and which everyone seemed to want to use in the abbreviated form, making her seem old before her time. She could see the man now. It was Big Ed, her landlord’s goofy son. The Retard, Robbie called him, as if he had a right to call anybody that. Big Ed was a lumbering overgrown kid, slow, who probably had a birth defect or something. But, last summer, he had been dedicated to mowing the weeds that passed for their lawn. That winter, he had pursued the snow with a vengeance. He unclogged toilets and hauled the trash. The girls had been afraid of him at first. Six-foot-five if he was an inch, and built like one of those no-neck linemen you see on NFL football. And that hair, a mass of wavy red curls that framed that moon face of his. But one summer afternoon he came over driving the tractor with the haywagon attached. He asked the girls if they wanted a ride and they said yes and they tooled around the property as she watched from the kitchen window. A few hours later the girls came in screaming, waving something that looked like a rope above their heads. Snake! Snake! they yelled, then told her how Big Ed had whacked the head off a rattler with a hoe and skinned it right there on the spot. He gave the girls the skin and the rattles. This is one big freakin’ snake, Mommy , said Kelly, the youngest, sounding just like her father, New York accent and all. Mrs. P? What are you doing here, Ed? Heard you yellin’ while I was shoveling the snow. Was I yelling? He looked puzzled. Somebody was. Call the hospital, Big Ed, she said weakly. I’m bleeding to death. Hospital , Big Ed muttered. It was strange voice that blended a kid’s cadence with the huskiness of a man. She felt his arms slide under her and, next thing she knew, she was being transported through the living room and out into the cold bright winter day. You’re light , he said, pressing her in his arms. Get my towel, Ed , she said. And I need the phone. Don’t have a phone , he replied. Big Jim took it away. Said it was costin’ him an arm and a leg. Big Jim was his father, their landlord, a big fat guy who seemed eternally pissed off at his slow son. Get my cell, she said, motioning back to the house. It’s on the kitchen table. And the towel, Ed, for the blood. I know where the hospital is, he said. I drove Big Jim there. Remember that time the tractor rolled over on him? She didn’t remember and it didn’t matter anyway. Big Ed had plans and there was nothing she could do. Die on the bathroom floor. Die on the way to the hospital. She opened her eyes and saw ice crystals glinting in a blue-drenched sky. She heard the crunch of Big Ed’s boots in the snow. The wind slapped her bare, bloody legs. I’m cold, Ed. Get you in the van and warm it up, he said. They stopped. Ed’s right arm shifted and she heard a door being pulled open. Crud , he said. Gotta move some things around. She could feel his indecision. This might be too much for him. We can still call 9-1-1 on my phone . No need , he said briskly. She felt a tug, then Ed was arranging something on the ground. He put her down on something cold and plastic, then placed a covering over her. Tarp and sleeping bag, he said. My camping stuff. I keep it in the van. Camping? Well, she was getting warm on the snowy ground. She could see Big Ed shove his body in the van’s side door. His shoulders moved like a machine. She had seen this van dozens of times. Usually she heard it first as it came down the county road and into the dusty drive, its rackety Volkswagen clatter floating in the window across the open Wyoming prairie. She had often wondered why he had this old hippie van and not a huge mud-spattered pick-up like his dad. Ed, I can sit up front , she said. We do need to get to the hospital. Take a minute, he said. Got a mattress in here and everything. She wanted to laugh. There was a racket of shifting and moving. Then she was up again, fitting neatly through the van’s open door. She was on the mattress, which was comfortable and didn’t smell, which surprised her. She looked up and saw Big Ed smile as he covered her with the sleeping bag. Hurry, Ed, she said. Please . A look of concern flashed across his face as he slammed the door shut. Another door opened, and she felt the van shift to the driver’s side. Big Ed was on the bus, taking her to the hospital. They would be there soon and all would be well. She wouldn’t die and the baby would be born and she would call him anything except for Robbie and maybe she would get a divorce and go back to work at a grocery store where she used to make pretty good money. Crud . That was Big Ed. What’s the matter? Van won’t start. Don’t worry. I know what’s wrong. So she was going to die? Don’t worry, Mrs. P. This happens all the time. She heard him fumbling around in the front, obviously looking for something. Then he said Ah-ha and she looked up to see him brandishing a foot-long screwdriver. The sun glinted off its metal shaft, giving it the look of a knife. Go ahead, she thought, plunge it right into my heart and get it over with. The van leaped up as it lightened its load. She heard his boots crunch the snow, then a couple of grunts. The van shifted slightly, and she figured he was underneath, groping for some gizmo or another. Then came the dreaded word again—Crud— and after a few grunts and groans, he was back with his head shoved into the driver’s side. Got a problem, he said. Need you to turn the key as I do this. Do what? Bridge the solenoid. What the hell, Ed, she said. I’m bleeding to death here. Hospital , he said. Gotta get the van started. She breathed deeply. She had a tom cat for a husband. Her father abandoned her decades ago. Now her life depended on this dimwit? Men were such worthless creatures. And she was going to give birth to another one? It didn’t make any sense but she would be damned and damned again if she would stay here and die. She wanted to be with her girls. She wanted to be anywhere but here. Mrs. P pushed herself off the mattress. Fireflies danced in front of her eyes. Her big bloated body felt as if it belonged to someone else, or something else, like an African elephant or one of those strange looking sea lions she had seen at the zoo when she was a kid. But she moved, slowly, inching her way out of the van and onto her bare feet in the snow. Where you goin’? asked Big Ed. Inside to call the ambulance. Or walk to town. Anything but this. You can’t. I can. She still was bleeding, that was a fact, but she knew from experience that she wasn’t in labor, which was good, because the last thing she wanted to do was deliver this baby two months early in the snowy yard with only Big Ed for assistance. Although she hadn’t felt any of the baby’s trademark kicks this morning, intuition told her that he still was alive. The house was a hundred feet away and if she could just reach the door and get inside, she could get to her cell phone, call the ambulance, and then take her chances. But those chances were better than the ones she had now. She walked five steps—she was counting each one— before a whole flock of fireflies filled her vision and the house kicked up at a strange angle, flying off into space, leaving her on her side in the snow. * * * She was nineteen —that wasn’t even ten years ago—and home from college for Christmas break when she had met Robbie. He was bass guitarist for the group that was playing at the local bar on New Year’s Eve. She was with her high school girlfriends. They all thought the band guys were hot so they hung around after midnight and bought the band some drinks and at 5 a.m. they found themselves at some dumpy house in Jericho, she and her girlfriends making out with the band guys. Robbie was a good kisser. He wanted more, of course, but she wasn’t that looped and she liked him when he didn’t press her. He even gave her a ride home in the band’s van, startling her mother when she sashayed into the kitchen, carrying her shoes in her hand. I’m in love, she said, which surprised her and made Mom cry. The tear ducts really opened once she learned that Robbie was a rocker with pierced lip and nose. She shared that last part with her mother, just to see if the response would measure up to her expectations. It did. She was two months pregnant when they got married that June. Nobody knew yet, except her mom and maybe one or two of her closest friends. Robbie’s band, The Spectral Losers, played at the reception. The honeymoon was short. Robbie was awake all night banging away at her, even when she was dozing off from the champagne. She shouldn’t have been drinking. Her mom told her to cool it a couple times. She promised that she would quit right after the reception, which she did, except for a couple little sips of wine now and again. The morning after she puked her guts out with morning sickness while Robbie snored away in the motel’s vibrating queen-sized bed. Not a terrific start to their marriage. She and Robbie were split up when Katie was born. She was living with her parents and her mom took care of Katie when she went back to work a few weeks later. She was just getting back on her feet when Robbie came back into her life and she turned up pregnant again. That’s when her mother kicked her out. She and Robbie found an apartment closer to the city, so Robbie could go in nights and play at the clubs and not come home until dawn. She could not believe they were in that apartment for three years. Robbie brought home most of his pay. She was working, although a good chunk of it went to daycare for Katie and Kelly. Still, they were making it. Taking the pill helped put a damper on any more baby-making. Then Robbie came home one day and announced they were moving to Wyoming. She about hit the ceiling. One of Robbie’s friends owned a music store in Cheyenne. He liked the idea of going West. So they had moved cross-country and here she was, bleeding in the snow like some pioneer woman from the olden days. But she wasn’t in the snow anymore. She was moving along on some vehicle that wasn’t the van. She shifted her body and felt the crunch and crackle of something underneath. She opened her eyes to the bright sunlight. Hey! It was Ed’s voice. She pushed up on her elbow. She was stuffed in a sleeping bag, surrounded by a tangle of hay stalks. Weathered gray boards marked the wagon’s periphery. She craned her neck to the front to see the massive frame of big Ed bouncing on the seat of a green tractor. The tractor’s engine had a throaty roar that actually sounded good to her. At least they were moving. Got your cell phone, he yelled. What? Phone. Big Ed jerked a thumb over his right shoulder. She looked down and saw the cheapo black cell phone resting on the dark-green sleeping bag. Her mother had sent her a gift certificate and she had used it to buy this pre-paid cell phone which she kept hidden from Robbie, especially after the regular phone service was cut off. She picked it up. The plastic phone was cold in her hand. She dialed 9-11. It rang twice before a mechanical voice said from somewhere very far away: Your Celluphone pre-paid calling service has expired. Shit , she said. Had there been more minutes on her phone? Or had she just imagined it? What? yelled Big Ed. The computerized female voice said: Dial one if you want to add minutes to your service with your credit card. Fat chance, she muttered. Dial two if you wish to talk to a customer service representative to renew your service. She punched two. A few clicks followed. Then she heard a new voice: All our customer service representatives are busy. Please hold on and one will be with you shortly. Canned music came on the line. She felt like heaving the phone into the prairie. She imagined it sailing over the barbed wire fence and falling into a patch of snow-whipped weeds, right at the feet on those blankeyed black cows she always saw wandering the open fields. But not today. She liked the little phone. It was her only link to the outside world, which was very remote. She suddenly realized why Robbie had moved them so far away from town. She and the girls were isolated, dependent on him. He had the car 90 percent of the time. Got a gig, babe, he would say, then be gone for a week. They would be down to their last crust of bread when he would magically arrive laden with grocery sacks. Junk food, mostly, heavy on donuts and ice cream and chips. His idea of dinner was warming up some macaroni and cheese, maybe cutting up some hot dogs, mixing them in. She got queasy just thinking about it. Dinner would be over and Robbie would be off again to a gig or recording session or God knows where or, maybe, she did know where. You okay? shouted Big Ed. Just fine, she said. Just dandy, using one of the westernisms she’d learned since coming to Wyoming. She was not going to cry, no matter what. I am not going to cry, she said out loud. I am not going to cry. What? called Big Ed. Nothing, Ed. What? They moved slowly down the rural road, but she felt each bump. The clouds were traveling faster than they were. Any increase in velocity and she might go flying from the haywagon. A man’s voice finally came on the other end of the phone. Thanks for calling Celluphone, he said cheerily. How may I assist you today? She almost laughed at that. Assist? Hah! Get me off this wagon and into the nearest hospital. Hello , said the voice. Hi , she said weakly. I’m here . I see that I am talking to a Mrs. Politazzaro of Cheyenne, Wyoming. Yes , she said. Nice Irish name, he said. Listen…. Call me Mark , he said. Mark Aloysius Kincannon is my full name, but they tell you to use only your first just in case we piss people off. Listen, Mark, I’m in a bit of a fix here…. We have a variety of payment plans to fit your needs. A wind gust rocked the wagon. Mark, are you reading that? They give us a script, if that’s what you mean. Where are you, Mark? Denver , he said, in a little airless, windowless room in the basement of a gray building. Guess where I am, Mark? In a cozy kitchen baking cookies? Don’t hang up, she said. Please. I got a real problem here and I’m asking for your help. There was another pause. This is real, isn’t it? His voice had changed, serious now. It’s real. She gave him a condensed version of the morning’s events. A haywagon? he said. Riding to the hospital in a haywagon? Down a nice country road, she said. Nice winter day. Can you go faster? It’s an old tractor, Mark. Are you passing any houses? You could stop at one and get some help. Nice suggestion, but Big Ed won’t stop. He’s determined to get me to the hospital. He’s a little slow, in the head. Is that what you mean? That’s right. You’re not going to make it. That’s right, she said, trying to imagine, for the first time, what Mark might look like. Okay , said Mark, suddenly businesslike. Give me your position and I’ll call it in. Promise? Promise. Now, where are you? On a country road north of town. Which one? What do you mean, which one? Listen, uh, what’s your name anyway? Mrs. Pol……… Your first name. Liz. Listen, Liz, there’s got to be more than one road north of town. What’s its number? She raised her head and looked for a sign along the side of the road. Nothing but fence posts. Hey Ed! she yelled, taking the phone away from her ear. What? he said, turning to her. His shaggy red hair billowed like a wind-whipped fire. What road is this? She could not see Ed’s face, but she imagined it scrunched up in some sort of thoughtful look. But this thought was taking its time and she was running out of it. Ed! she barked. Some call it the Old Chugwater Road. The Old Chugwater Road, she repeated into the phone. What about a number? She cursed under her breath. Does it have a number, Ed? Don’t know a number. No number , she told Mark. She heard chatter on the other end. Look , said Mark, coming back on the line. I’ve got another CSR on the phone to the Sheriff’s Department and the dispatcher says there are two Old Chugwater Roads. Two? Yeah, one still goes to Chugwater and the other doesn’t. Which one are you on? It’s north of town, she said brusquely. It’s where you go out north on Yellowstone Road and it turns into a two-lane and you come to a stop sign and you keep going out that rural road another five miles or so. Our little farmhouse is just before you come to that big curve…. Hold on, Liz, Mark said. More chatter on the other end. County Road 237? If you say so. We should tell the ambulance to look for a tractor pulling a haywagon, right? Can’t miss us, she said. Green tractor, with Big Ed driving. Me bleeding to death in the haywagon in the back. He laughed. Not so funny, Mark. Right. I’m sorry. More chatter on the far end on the line in Denver. The ambulance is on its way, Mark said, almost breathlessly. No joke? No joke. Stay on the line and talk to me. Okay, sure, I’ll talk to you. Then he was so quiet she thought the line had gone dead. Got a family, Mark? she said weakly. Got a five-year-old boy who lives with my ex-wife. That’s nice, she said. Think we’ll get our names in the paper? Ha ha, she said. Names in the paper. She removed the phone from her ear. Ed! What! Big Ed answered. Ambulance on its way. What? At least that’s what she thought he said. The wind shredded the words on their way from his mouth to her ears. Waaa , it sounded like. Then wawa , just like the word the girls used for water when they were toddlers. We want wawa Mommy , and she would get them water in those little paper cups she kept by the kitchen sink. The girls would spill it and there would be wawa everywhere. W awa , she said to the wind, the sky, the wagon. She was so thirsty. Her head ached. The cold crept through the folds of the sleeping bag. She heard a voice and didn’t know if it was Ed’s or Mark’s or the lowing of a cow or something she had never heard before. Waaaaa! she heard, wondering if it was just in her head or maybe, just maybe, was the distant wail of an ambulance. Share: Facebook X (Twitter) Copy link Back Back to Current Issue I wrote “The Problem with Mrs. P” for my first collection, The Weight of a Body (Ghost Road Press, 2006). It was included in a 2010 Coffee House Press anthology, Working Words: Punching the Clock and Kicking Out the Jams . It’s about a real event that happened to a friend. I transformed it into a short ction with invented characters. It’s set during winter in Wyoming, a season for adventures and misadventures. When I read it in public, I like that it elicits both laughter and gasps. .................................................................................................................................................................................... MICHAEL SHAY writes short stories and essays. His work has appeared in many magazines and anthologies including Working Words: Punching the Clock and Kicking Out the Jams from Coffee House Press. His first book of short stories is The Weight of the Body . He recently completed an historical novel set in 1919 Colorado with the working title Zeppelins over Denver . Next - That Time We Got Married at a Tent Revival by Michael Shay Next