What’s inside the issue?
Click the links for a teaser excerpt of each piece…
Letter from the Editor
Janna Marlies Maron
Why Beauty Matters
I’ve been feeling a little helpless and a little hopeless since the news about Russia invading Ukraine broke.
I feel helpless because I wonder whatI can do that will even make a difference. Sure, I can make a donation (and I did), but it’s still hard to know how much of an impact that will actually make.
I feel hopeless because I start to think about the work I’m doing and question whether it really matters. If people on the other side of the globe are dying, fleeing their homes, fighting every day for their lives, uncertain of whether or not they will make it through the day, even unable to get bread, then why does it matter if I publish another issue of Under the Gum Tree? If I travel to the Association of Writers &Writing Programs (AWP) annual conference in Philadelphia this year? If I host an off-site reading there featuring writers that we have published in our pages?
Why does any of that even matter?
Maybe you’re feeling the same way about your own writing or story.
When people are suffering on such an extreme level, and we see it in our news feeds every day, how can we justify indulging in our art?
Then I saw this post on Instagram that said “Why beauty matters in wartime.”
And it reminded me why beauty and art matter, even when things seem bleak. In fact, that’s why they are even more important. We need beauty to remind us that war and destruction are not the only things that exist in this world. That humans are capable of so much more.
It reminded me of why I do the work that I do—especially with supporting and making space for true personal stories, like the ones we publish in every issue.
This issue the stories remind us that humans are capable of dealing with the awkwardness of an uncontrollable bladder, the discomfort and frustration of hearing loss, family tensions including expectations of parents and the complications of love.
The news may be a lot right now, but when the conflict ends—and it will end, because nothing lasts forever—we will have so many stories of what humans are capable of: making it to the other side of something horrible.
That is not to discount the suffering and loss and grief, just to remind us all that both joy and pain are a part of what it means to be human.
And that is why, in a few short weeks,I will travel to Philadelphia for AWP, I will host our off-site reading, and I will continue to publish stories in these pages.
Janna Marlies Maron
Editor & Publisher
Contributing Authors
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Ben Lewellyn-Taylor
Ben Lewellyn-Taylor
EmptiedIf I was reading, writing, with people, in a movie, in class, at the store, in my car, asleep, waking up, trying to do anything at all. It didn’t matter—I needed to go, all the time. It was consuming my life.
I mean to be, that I am twenty-five years old and have an appointment with a urologist. Is she doubting this? Is this normal? Behind me, the people in the waiting area appear to be in their sixties or older. One is with a younger companion, who I assume is there to help him. The rest, like me, are alone. Though my back is to them, I sense their gaze.
I take a clipboard with forms to complete and turn to the room. No one is looking at me. Some watch the Kardashians on the wall-mounted television. Others stare at nothing. Underneath the TV is a coffee station and a water filter. I think I should start drinking water so that I am ready to provide a sample, but I worry that I will be waiting a long time for Dr. Ryan and will need to go before he calls me back. I pour a cup of water and drink it slowly, trying to focus on the TV screen—as Kim works with designers in her store—trying to ignore that everyone must be wondering why I am here.
Ben Lewellyn-Taylor lives in Dallas, TX with his spouse Meg. He is an MFA student at Antioch University, where he works on the lunch Ticket staff. Ben co-hosts Book Cult, a virtual indie book club, with Cristina Rodriguez. His work can be found at benlewellyntaylor.com
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Tim Bascom
Tim Bascom
Notes on Being Half-deafTo become deaf is isolating. Being unable to hear takes away a main means of connection. Even if I see you talking, I can’t tell fully what you are saying—can’t sure what you are thinking, or what you want, fear, hope. Not unless you write it down and wait for me to respond—which is exactly what I once did with the deaf father of a friend.
I was at a house party with a lot of cheerful talkers, and I felt sorry that this fellow was limited to his daughter’s sign-language, so I wrote on a napkin, “Where is home for you?”
“SW Kansas. Near Dodge.”
“Do you work there?”
“Farm.”
Whew, I thought. At least farming was something that could be done in a solo fashion, although I wondered who helped him negotiate grain prices or buy implements. I wrote one or two more questions about cattle and soybeans, but then, because conversing in this fashion felt cumbersome, I gave up. Even though I was half-deaf myself, I went back to the larger discussion, chipping in my reactions to a recent film—“It worked for me. Everything but the soundtrack, which seemed like it was constantly telling me how to feel.”
I’m fortunate. Unlike that deaf farmer, I still get half of what is being said by people around me, even more when I am in quiet settings. During one-on-one conversations, I probably don’t seem too distracted or obtuse. However, I still have to do what others who are hard of hearing do. “Sorry, could you repeat that?” I ask. Or if I am really struggling, “Do you mind spelling that word?”
I’m self-conscious at such moments. I remember what it is like to be a person who hears well. I know how frustrating it can be to try to talk with someone who has bad ears. As a child, I actually had good ones, but my father didn’t. He was the half-deaf one, the one who had trouble hearing me in the car or in restaurants, asking me to repeat and repeat and repeat.
Tim Bascom is author of a novel, two essay collections, and two prize-winning memoirs about years spent in East Africa as a youth: Chameleon Days and Running to the Fire. His essays have won editor’s prizes at The Missouri Review and Florida Review, and have been selected for the anthologies Best Creative Nonfiction and Best American Travel Writing. His fiction has appeared in Zone 3, Mainstreet Rag, Lalitamba, and Briar Cliff Review.
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Rae Haight
Rae Haight
That’s What Kids Are ForI wonder what you thought the day I was born.
You said you feared you might lose me before I even was, before the air of this world burst into my lungs and my cries swelled and retreated. I, your daughter—the child you named—weighed, measured, and checked for good health.
There I was in your arms, the lights bright and the blankets soft. My head rested in your hand as you gazed down at me. Maybe you thought: She’s going to take care of me one day; that’s what kids are for.
Rae Haight lives her life in pursuit of truths as the bold expression of experience. Rae grew up under the Montana mountains, earned an MA in Psychology from San Diego State, and is an MFA student at the University of Wyoming. Her work has been published in River and South Review and Pollen Magazine. She serves as coordinator of the UW MFA Reading Series and is co-founder of The Meadowlark Review. Know her better at rae.wiki
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Linda Murphy Marshall
Linda Murphy Marshall
The ScarabA tiny scarab charm, the size of a large teardrop. A solid-gold Egyptian beetle. A microscopic, undecipherable hieroglyph engraved on the back. I found it a few days after our trip ended, wedged under the backseat of my beat-up red Chevy Vega—the car jammed with suitcases, blankets, clothes, books, toys, snacks, two car seats, and a purse. My two small children and I had barely fit.
Linda Murphy Marshall is a multilinguist and writer with a PhD in HispanicLanguages and Literature and an MFA in Creative Writing. Her essays and stories have appeared in the Los Angeles Review, The Catamaran LiteraryReader, Under the Gum Tree, The Ocotillo Review, Flash Fiction Magazine, and numerous others. She was runner-up in Blue Earth Review’s 2021 Flash CreativeNonfiction Contest
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Debbie Chase
Debbie Chase
Djembe PowerThey danced traditional rhythms that celebrate harvest and rites of passage. I yearned to share the experience.
And so began my son’s love of dance.
“African dance is my passion,” he told me, at age seven.
As his love for African dance grew, I was intrigued to discover what inspired him. I would sit in a corner of the dance studio, editing documents, watching the beauty and power of this dance. They danced traditional rhythms that celebrate harvest and rites of passage. I yearned to share the experience.
“You must learn to dance like your son,” the instructor told me, after one of my son’s classes. His smile was kind and engaging. “You will feel good in your body. You will feel free.
Debbie Chase is a strategy and development consultant for nonprofits and universities focused on social justice. She has been playing the drums for over ten years. She lives in St. Louis, Missouri, and writes personal essays about the experiences she has in the world, the people she meets and the joy that relationships bring
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Rikki Li
Rikki Li
To Peel a Difficult FruitTo peel a mangosteen, you must be gentle. Though the smooth purple exterior is hard to the touch, it takes only a squeeze to reveal the soft, perfumed bulbs inside. Hold the fruit between both palms and press—if ripe, the skin should give slightly, like an avocado. Apply pressure on both sides until the shell cracks. Careful not to press too hard, or you’ll bruise the fruit inside and stain your fingers magenta.
For a while after I came out to my parents, I felt like I was squeezing a mangosteen. No one had energy to fight, so we simmered in silence. Somehow, that was louder than the screaming. My girlfriend and I stopped calling every night. When I went out to meet her, I just said I was “going out for a while.” At most, my mom would reply with a curt, “hum.” My dad said nothing at all
Rikki Lii s a writer from Philadelphia whose works often revolve around themes of food, cultural identity, and queerness. She completed her master’s in journalism from Northwestern University in 2020 and began working at the University of Pennsylvania’sGene Therapy Program as a science editor. Her works have been previously featured in Forbes & Fifth, Moly Review, and Young Memory Anthology. If not writing, she spends her time baking cakes and caring for her beloved monstera plant.
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Danielle Thien
Danielle Thien
Skin TroubleMy mother is right. I am paranoid. I worry, and I fret, and I break down the intonations of my father’s voice like I would break down a musical score, but I cannot allow the mania to escalate to the point where we must have him institutionalized again. To the point where he hurls fury at me until I’m left dry-heaving on the side walk in front of the hospital, uncertain of how to breathe.
My father has always been thick-skinned.He can slice into his fingers and brush up against scalding pots without wincing. He had two major bike accidents when I was growing up. The first time, he got a stone lodged in his forehead, damaging a nerve so that he could only lift his arm to a thirty-degree angle for months. The second time, he blacked out and the asphalt razed the skin off his face like a cheese grater.
Danielle Thien is originally from Vancouver, Canada, but now lives in Geneva, Switzerland, where she is finishing up a PhD on the role of translation in the creation of nineteenth-century Shakespearean opera. Outside of her academic activities, she writes, translates, and plays in a piano quartet. Her work has appeared in Cimarron Review and The Dalhousie Review and she was awarded the 2019 Geneva LiteraryPrize for Nonfiction. She is currently working on a memoir.
Contributing Artists
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Photo Essay, Carole Rey
Carole Rey
Photo EssayCarole Rey is a photographer based inThe Netherlands. Her work often uses flowers and light to create images that balance aesthetic beauty with harmonious combinations of decay and freshness. This combination of disparate elements into a cohesive ensemble is in homage to Japanese Ikebana art, or flower arranging, which is an influence on her work. She has published a book of her photography, entitled Metamorphosis, and regularly teaches photography workshops.
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Cover and Visual Art, Taylor Daum
Taylor Daum
Cover and Visual ArtTaylor Daum is a Dallas-based painter whose work is motivated by the connection to self, others and nature.