What’s inside the issue?
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Letter from the Editor
Earlier this year I had been telling myself that I want to spend at least ten minutes outside in the mornings, drinking my coffee, breathing in fresh air. I know that if I tell myself I just need ten minutes, then I’ll end up staying longer—maybe twenty or even thirty minutes. I just have to get myself outside.
But mornings are hard for me, and as much as I kept telling myself to do it—even as much as I wanted to do it, I just couldn’t. Especially after a relapse of MS in 2022 made it hard for me to get up in the mornings—I would wake up and feel behind.
Those are the words I used inside my head, nearly the first thing I said to myself when I woke up was, “I’m already behind.”
Sound familiar?
And, because I was “already behind,” I had to get right to my computer, my email, my work for the day and, of course, I couldn’t afford to spend even ten minutes outside with my coffee.
Do you see the vicious cycle I was in?
It wasn’t until I shared this predicament in a group coaching program that I experienced a shift. The coach said to me:
“What if you’re right on time?”
My doctors had been telling me to sleep and rest as much as I needed, to let my body continue to heal and repair. The coach reflected this back to me. As that sunk in, all I could do was nod. She continued by saying:
“What if whatever time you get up is exactly the time you’re supposed to get up? What if instead of being behind, you’re right on time?”
And do you know what happened?
The next morning I sat outside in the sunshine with my coffee.
It’s been two months and, although I don’t enjoy my coffee outside every morning because of weather or doctor appointments, I do treat myself to outdoor time most mornings. I also started using the time I’m sitting outside to journal.
I’ve been sharing this new perspective with everyone I know, because who says that after 9 a.m. is too late to start my work day?
ME. The only person is me.
The same goes for you and that story you’re working on. Your writing. Your book project. Your querying/submitting. Your publishing path.
It’s all right on time.
Just like the stories in this issue, contemplating themes of perspective, identity, loss, and hard relationships—they all arrived in our queue, were accepted, included in this issue, and were sent to your hands—each of those steps happening right on time.
Let this be a gentle reminder that sometimes all we have to do is allow the terms, the schedule, the timeline to be whatever it needs to be and keep moving forward.
You—and your own story—are right on time.

Janna Marlies Maron
Editor & Publisher
Contributing Authors
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Nancy Barnes
Nancy Barnes
Go LightSometimes I think about what I will lose if my vision gets worse, I mean a lot worse. Not if I go blind, which is unlikely. But what if low vision steals the world I treasure? Ten years ago, when I first wrote about having macular degeneration, my symptoms were insignificant. Fear crept in only when I thought about what the future might hold, and possible losses arrived like snapshots—the woods I’ve known since childhood, greens shining with rain, white birches washed clean. These pictures were drawn from some vault in my mind. They left me immobilized, tears running down my face.
The visions that came to me were imagined—the wet green of ferns in the woods. Or perhaps I should say reimagined, images of experiences I had had—the very thought of losing them made the images sharp as needles. Today, that response seems sentimental, almost maudlin. After all, I still see pretty much as I always have. Yet today the loss is not imagined.
Nancy Barnes is a cultural anthropologist and teacher, now writing personal essays and stories. Her work has been published in Hippocampus, The Citron Review, Pangyrus, and other journals. A native New Yorker, she and her partner divide their time between New York City and Northampton, Massachusetts.
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Krista Puttler
Krista Puttler
One Boot in Front of the OtherWarehouses crowd the cement pier. Metal tracks wind along the ground. I step over the tracks, walk around an idle forklift, and enter a narrow path between a warehouse and a row of shipping containers. The afternoon light fades into the shadow of the building. My hardhat slips down my forehead, my safety goggles fog. I pause, fix my hardhat, readjust my seabag on my shoulder, then continue down the path.
“This way, Surgeon,” the Medical Admin Officer, my escort, gestures.
We step out of the shadows, blinking in the July afternoon sun. The grey ship rises to meet us. The hull of the aircraft carrier is an immaculate, haze grey—there is no visible rust. The flight deck towers over the pier and for a moment it seems too high, as if the whole ship might topple over. I lean back and glimpse the top of the island, the superstructure on top of the flight deck. I wonder if the Captain is already on board. I wonder when I will meet him.
I think I remember the correct sequence for boarding the ship. I don’t want to look like an idiot, even if everyone on the ship doesn’t expect much military bearing from their medical department, only medical competence, but as the lone Ship’s Surgeon I want to set a good example.
Krista Puttler has called many places home, including the Philippines, Guam, Hawaii, Japan, and a stateroom on an aircraft carrier. Her writing has appeared in As You Were: The Military Review, Collateral, Cagibi, and Cleaver Magazine, among others. A medium-roast coffee gal at heart, she is pleasantly surprised by how much she loves Italian espresso. She lives outside Naples, Italy with her husband and three daughters. You can read more at kristaputtler.com
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Jennifer Pinto
Jennifer Pinto
DriftingI lay in bed listening to the steady whooshing and whirring of my husband’s new C-pap machine. I miss the staccato snorts of his snoring that had punctuated our nights for the past thirty years, sounds I hadn’t realized I relied on as my personal white-noise machine. He lies on the opposite side of our king-sized bed in a spaceage cocoon of blankets, hoses and mask. On my side of the bed, I’m restless, unable to sleep. I haven’t slept undisturbed for a full night in years. I spend my days in a sleep-deprived stupor, walking around slightly off balance, banging a knee on the coffee table, dropping the butter dish on the kitchen floor.
When my daughter was a little girl she would ask me to trace lines lightly around her face to put her to sleep. I remember the feel of her soft skin as my finger brushed across her forehead, down her nose, around her cheeks and back again. Around and around until her breath slowed and she fell asleep. I try tracing lines on myself, but it tickles and makes me want to scratch my nose.
Jennifer Pinto is a clinical psychologist who writes fiction and creative nonfiction. She lives in Cincinnati with her husband and Goldendoodle pup, Josie. She has three adult children who are scattered across the country. She enjoys making pottery, cooking Indian food, and drinking coffee at all hours of the day. Her work has been published in journals, including SunDog Lit, The Citron Review, Lunch Ticket, Halfway Down the Stairs and Does It Have Pockets?
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Allison Macy-Steines
Allison Macy-Steines
The Peak of GloamingFrom the backyard of my childhood home, I watched while dusk dropped down around me. Hints of mauve and tangerine streaked this way, that way, spilling across a pewter sky. Crickets chirped. Bullfrogs bellowed. Clouds dotted in the distance like scales.
This was late August in Roscoe, Illinois, a small town outside of Rockford, a Rust Belt Midwestern city once dominated by manufacturing. I was twenty years old— spinning and directionless—and I’d recently moved back home for the duration of the summer, before starting my junior year of college. My auburn hair bobbed against my shoulders. I wore cutoff shorts, a strappy tank top with a flannel tied around the waist and no shoes.
I picked up my wine glass from a nearby Adirondack chair on the back porch and took a sip. Then another. Sips became swallows and cabernet raced down my throat. I felt my body liven and hum with a buzz. I set my empty glass down and walked through the grass to the spot where our yard merged with forty-five acres of field. Tall blades of grass tickled and itched at my ankles. Flat field stretched to the horizon, where I became hooked, moored, unable to look away.
Allison Macy-Steines writes prose and poetry. She earned an MFA in writing from Pacific University and holds a BA in journalism and media studies from UW-Milwaukee. Her writing is published in The Missouri Review, River Teeth, Southern Humanities Review, and elsewhere. For the last decade she has worked in nonprofit communications and community engagement. Recently, she began teaching writing classes and leading writing workshops. Allison lives in Oregon with her husband, kiddos, and pup.
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Daniel Couch
Daniel Couch
It's Music Time“Next time won’t you sing with me.”
I paused to take a breath.
“A-B-C-D, E-F-G.”
She told me I had been singing the alphabet song on repeat for days.
“H-I-J-K, lolla-lolla-P.”
This next time, however, I stopped midsong.
“Momma,” I asked, “what word starts with ‘lolla-lolla-P’?”
My mother reminded me of this anecdote when my own son began to recognize letter shapes and sounds. It’s one of those stories parents enjoy telling about their children, a humblebrag only barely excused by the disarming naïveté of the child. Stories like these reassure us that the kids are alright. We’re never sure if it’s despite or because of us, but in each retelling, we trust our parenting a little bit more.
Daniel Couch is a professor of literature and composition at Chemeketa Community College. He is the editor of Your Guide to College Writing and co-author of a book on Bob Mould for Bloomsbury’s 331/3 series. His writing has appeared in PopMatters, The Smart Set, The Under Review, and elsewhere. Currently, he plays drums with Damon in the socially conscious punk band, Scontro.
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Jean-Marie Saporito
Jean-Marie Saporito
For Us to WitnessAfter dinner at the Thai restaurant in the center of Taos, I suggest to my date that we drive to the Rio Grande Gorge Bridge, a so-called tourist site. He’s from out of town and has never been there.
I head west on a two-lane highway shouldered by acres of blanched mesa and withering sage. This steel-deck bridge stretches across a chasm lined with unforgiving cliffs of jagged basalt created by eons of volcanic eruptions. I’ve pressed my breastbone against the railing, hung my head towards the whitewater below. I’ve felt the hum of the Rio Grande across my cheeks, a dirge that rises past layers of ash and bits of bone and flesh. The handset that hangs from the defunct suicide call box twists in my memory—it’s coiled around my DNA.
As I drive, I decide against telling him about the two Taos kids I knew who jumped. I want to think about sex, not their suicides, or my younger brother’s. Though Richie died in New York, and not Taos, the memory of my brother hovers in the backseat and clicks his seatbelt. I blink to squeeze the tears from my eyes and focus on the quivering double-yellow line. I don’t know why I’m drawn to this thing that terrifies me. I’m prone to such momentary lapses of the rational.
The sun sinks behind the mountains. A white haze smears across the sky. The road crests, then the bridge comes into view. Red lights flash a too-late warning. A sheriff’s car blocks the way. Two state troopers lean against its hood. No ambulance among the emergency vehicles. The drunken noodles rock hard in my gut.
“Accident?” my date asks.
“Someone just jumped,” I say, brandishing my authority as a Taos local.
Jean-Marie Saporito is a writer whose prose appears in River Teeth, Blue Mesa Review, Bellevue Literary Review, and elsewhere. She’s the recipient of the AWP Kurt Brown Prize, the Taos Resident Award, and has been nominated for a Pushcart. Her novel, A Brief Intermission with the Angels, is based on her experience as a cardiothoracic nurse. She’s currently writing a memoir that spirals around her brother’s suicide. She holds an MFA from Vermont College of Fine Arts.
Contributing Artists
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Between the Shadows, Sander Vos
Sander Vos
Between the ShadowsSander Vos is a Dutch photographic artist with a background in art direction. He uses photography to create visuals that explore the space between the real and the surreal. The dreamlike quality of his images emerges through a careful interplay of light and shadow, with negative space providing a foundation for his graphic compositions. By layering digital and analog collage techniques, he constructs harmonious, multidimensional works that invite viewers to explore their depths.
His work has been recognized with international awards, including the Graciela Iturbide Award and honors from Lensculture and The Independent Photographer. He has exhibited at venues such as Photo London, the Florida Museum of Photographic Arts, and the Center for Photographic Art. His images will appear in the upcoming Shape of the Light exhibition at the Arlington Museum of Art alongside works by M.C. Escher.
sandervosphoto.com
@sandervos
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Floating Fortune, Rebecca Aldernet
Rebecca Aldernet
Floating FortuneRebecca Aldernet is a Canadian visual artist with a background in marketing, art direction, and entrepreneurship. Now working full-time as a painter, she captures the quiet poetry of daily life along the Atlantic coast. Her work explores the relationship between people and place, using expressive color and gesture to reflect the rhythms of the tides and the emotional resonance of everyday moments. Through her textured canvases, Rebecca invites viewers to find beauty in the familiar and meaning in the seemingly mundane.
rebeccaaldernet.ca
@rebecca_aldernet_art