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Letter from the Editor
Robin Martin
Dragonfly Spirit
On a little pond down the road from my house, a tall Great Blue Heron spends his days fishing, and Mallards and Mergansers hide their chicks from the resident Bald Eagle in the tall reeds at the water’s edge. Flocks of migrating cedar waxwings with a stripe of yellow at their tail gobble up winter berries in the brush.
These days, I’ve been spending a lot of time birdwatching, and working with a client in the ecology field. He’s been teaching me about cycles in water, about transitioning it from unhealthy to healthy, a process of cycling excess nutrients into a beneficial, balanced, ecosystem. It’s amazing science.
One of the signs that water is healthy is the prevalence of dragonflies. It might be cliche, but I have always loved them: squirming larva born in water who emerge to metamorphosize. Folklore has it that when a person needs to find a new perspective, they should call on the dragonfly spirit.
I’ve been experiencing transitions of my own, of late. What does it mean to cycle into a new phase of womanhood, post-menopause? Beyond the physical changes, the wattle, the wild hairs, the waistline (what waistline?), maybe it means that for the rest of my life, which might still be nearly as long as my memory of the past, I will be, somehow, who I have always been meant to be.
What does it mean to move into a different kind of mothering, empty nesting? When a laboring pregnant woman enters transition, her cervix rapidly expands, the baby is coming. The mother who accepts this, who surrenders, suffers the least. This seems also true as my young adult son enters life with his mama at the periphery. I am still Mama, but cycling into a differently balanced ecosystem.
What does it mean to have a changing sense of my role as daughter, wife, collaborator, friend? Perhaps it involves moving beyond self-imposed limitations. I wonder. So I’ve called on the dragonfly spirit. The dragonfly’s transformation is stunning in its beauty, yes, but also in its starkness—the absoluteness of it.
How close the words “transition” and “transformation” are!
Every story in this issue struck a chord with me, illustrating moments of transition, and transformation. In particular: Joanne DeMieri-Kennedy finding solace in a swooping hawk; Melanie Malinowski channeling her inner fourteen-year-old at a Tom Petty concert—I’m wondering
with her when she writes, “When did I become fifty fucking one!” Katarina Wong’s reflections of her mother’s grit and resilience; and Jennifer Ochstein’s fear of being at her mother’s deathbed, walking away, and finding solace in nature’s gentle forces.
Like water, the dragonfly spirit would have me believe, with careful stewardship, I have in me the natural power to be as beautiful and clear as I want to be. I hope this is true, and wish the same for you: fresh perspective, and great clarity of purpose.
Keep writing, revising, and telling your stories.
Robin Martin
Managing Editor
Contributing Authors
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Joanne DeMieri Kennedy
Joanne DeMieri Kennedy
Homeschooled by HawksTwo weeks into my confinement, I noticed more raptors cruising the big blue. The spectacle had become a welcome respite from the awful daily death tolls and case numbers given by Governors Cuomo and Murphy on the television.
Did seeing more birds have anything to do with the lack of jet planes landing at our area’s three major airports? Or that most people took the stay-at-home order to heart, leaving their cars idle, or that buses were fewer and businesses were closed? A TV reporter commented that during COVID-19, birds, not overwhelmed by constant noise interference, communicated more with each other. She had footage to prove it.
I analyzed my growing obsession as a calling. A born-again birder christened within the walls of her eight-hundred-square-foot sanctuary.
By the third week, I spent breaks from work Googling information, typing in hawks, New Jersey, lifestyle, and coming up with sites like Audubon, The Cornell Lab of Ornithology, and my favorite blog, Birdchick. Homeschooled without the pressure.
Their mating season begins in March. Right around the time my friend came visiting to cruise potential partners from my window’s ledge. Broad-tailed hawks practice courtship feeding by delivering food to each other before they commit. A mouse here, a chipmunk there. Gourmet flirting. Watching pairs sky dance day after day was pure rom-com material. I no longer needed Netflix. I had them.
Joanne DeMieri-Kennedy is a writer living in Montclair, New Jersey. You can find her work in The Write Launch, Books by Hippocampus (“Dine”) and other publications. She has also spent time as a Macy’s Thanksgiving Day Parade elf, voice-over scriptwriter for German and American documentary filmmakers, and student exchange program manager for French and American students. She is currently working on a novel set in the inner Hebrides and a short story collection.
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Serrina Zou
Serrina Zou
Li(f)eMy name is a distortion, a misspelling botched in Sharpie, bleeding on a birth certificate issued minutes after I tumbled into a life christened with pandemonium. If spelled correctly, Serrina would be Spanish for “serenity,” soft to the touch and synonymous with peace.
Perhaps the Sharpie merely slipped and unconsciously voiced the fear my mother could not bring herself to confess: that she would lose her only child to a country whose earliest visions had no place for our ancestors, whose manifest destiny our yellow ancestors cultivated brick by brick only to have their bodies carted across the sea once again, unwelcome and unwanted. Perhaps misspelled, it meant that the native Mandarin she grew as a second skin would eventually drive a great wall between her and me, that her child would eventually fall in love with the perverse beauty of an English she stumbled to tame under her tongue, its pronunciations and grammar sticky and viscous, trapped. On the news: “Spit On, Yelled At, Attacked: Chinese-Americans Fear for Their Safety,” and “Couple names newborn twins Covid and Corona” are trending from halfway across the world; the greatest fear, confirmed.
If I had a child, I would name them Cielo, after the sky and heaven I have always feared most of all. Someday I will tell them stories about la pandemia, about how I wished this life to be a lie. Someday, I will tell them that in naming them after my greatest fear, I gave them the chance to forge their greatest strength.
Serrina Zou is a Chinese-American writer from San Jose, California, a 2019 California Arts Scholar in Creative Writing, a 2020 Foyle Commended Young Poet, a two-time Scholastic National medalist in Poetry, and a 2021 National YoungArts Finalist in Writing/Poetry. Her work appears or is forthcoming in National Poetry Quarterly, Tinderbox Poetry Journal, Rust+Moth, and elsewhere.
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Jennifer Ochstein
Jennifer Ochstein
Cathedral of Dread“I cannot watch you die.”
This melodramatic cowardice, this catastrophizing, has permeated my outer edges and floated along the periphery of every decision I’ve ever made:
Don’t tell your mother how much it hurts when she leaves so she will come back; attend the same university as your brother so you don’t have to be alone; don’t move away from the Midwest because you’re a terrible writer and you won’t make it; marry your second husband almost immediately after divorcing the first; beg both to stay even though they’d both been unfaithful; don’t tell anyone so they don’t remind you how stupid you are for staying, for following, for worrying, for being needy.
My confession is the only time I remember not blaming my mother for who I am.Many people I know have said that they didn’t regret dropping everything to be with their loved one as they died. I’m not one of those people. I dropped everything to get away.
Jennifer Ochstein writes essays, plays with poetry, teaches, and has been shaped by the wide open spaces and flat lands of the midwest. She’s published work in Sojourners, America Magazine, Hippocampus Magazine, Lindenwood Review, Connotation Press, Brevity, and more. much of her work has been conceived while hiking the Cathedral of the Outdoors and urban trekking to wherever her terrible sense of direction takes her. Getting lost is never out of the question.
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Lynn Mundell
Lynn Mundell
Upon Receiving The California Department of Fish and Wildlife Angler UpdateMemory is like fishing.
Out of the murk it swims; we pull it up, keeping even what’s too small to sustain us. In May the new motor fell into the Pacific and we floated, you and I, waiting to be towed. I carry an image of our catch hooked to the links of the heavy silver stringers until they made strange necklaces, the bass like charms, following our boat back to land. You said you’d never seen anything like it, the way the mullet jumped out of the ocean all around us that afternoon. I recall little of that day. The rest you told me. All I know for sure is that I had a bucket hat with a real starfish sewn onto it. That when I was a kid you sometimes fried up fish for breakfast.
Lynn Mundell’s writing has been published in SmokeLong Quarterly, Five Points, Tin House, and elsewhere, placed in the Wigleaf Top 50 Very Short Fictions short and long lists between 2017 and 2020, and earned the 2019 Lascaux Prize in Creative Nonfiction. She is co-editor of 100 Word Story and its anthology, Nothing Short Of: Selected Tales from 100 Word Story (Outpost19). Read more of her work at lynnmundell.com.
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Katarina Wong
Katarina Wong
Of Mangoes, Memories, and ExileThe many varieties—bowling ball-sized Tommy Atkins, green Kents that blush red just on top as they ripen, skinny Ataulfos with their sweet, mellow flavor—beckon like tropical sirens.
But this year we are in lockdown, my mother in Florida and me up north. Enjoying fresh mangoes with her is just a shimmer of a memory. There’s no possibility of me visiting. There’s no discussion of us going to Cuba to see our family whose trees are dripping with the fruit. The pandemic has rendered me too fearful even to wander over to my grocery store for an imported one.
Instead, our mango adventures take place by phone. One day my mother tells me she’s cooking marmalade, and I envision the thick orange bubbles popping in the pot. On another call, she says she’s freezing slices of mango for my next visit. My next visit, when will that be? My heart surges— then sinks when I realize it may not be until the new year. She tells me she’s sending me chupa chupas—our nickname for a type of mango so stringy they can’t be eaten, only sucked dry.
Katarina Wong is a writer and artist based in New York City. Her work has been published in the New York Daily News, the Miami Herald, Entrepreneur, and the Bronx Memoir Project Anthology [Vol. 3], among others. She is currently writing a memoir about reclaiming her Cuban identity through renovating a century-old apartment in Havana. Katarina has an MFA from the University of Maryland and a Master of Theological Studies from the Harvard Divinity School.
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Melanie J. Malinowski
Melanie J. Malinowski
Tom's American GirlNobody says Baby in song quite like Tom: Oh, Baby, don’t it feel like heaven right now? What? Don’t it feel like something from a dream?
Insert your dream. Insert might feel like. Fuck. I was a naïve, chaste, very innocent freshman girl with naïve, chaste, very innocent friends. Yet we had secured Tom Petty tickets and delivered our sweet and beautiful selves to him. I know he saw us, five pretties up front dancing and singing and flirting. I never thought then how close in age we were, fourteen to twenty-nine. He was a rock star; we were new teens, still just girls, the brevity of youth a bloated thing surrounding our angsty, arrogant bodies and haughty alluring faces and we had no idea that life unmoors us from this attractive flash of perfection and moves us along. We sang and swayed, arms linked, hair flowing and soft in the light from the stage.
As the years passed, it seemed to me that Tom was always surprised by his own success or good fortune or luck. Tom, his courage, his willingness to sing our hearts, babied his way through all of our lives. Oh, Baby, don’t it feel . . .” I would turn the knob on my mom’s Jeep all the way to the right when Tom came through the speakers.
This has always been the conflict of my addled mind and my more convoluted trickle-down heart: how? How can I inhabit the music? The music, sexy and full, nonjudgmental, nonthreatening, a haze of narrative webbed together with guitar and keyboard and drums and delicious vocals sat on some front porch, waiting, waiting for me.
Melanie J. Malinowski earned a PhD in Creative Writing and Literature from the University of Houston, receiving the C. Glenn Cambor Fiction Award, an mA in English from the University of New Mexico, winning the D. H. Lawrence Fellowship, and a BA in English from Penn State University. Her essay “Stone Cold Fox” was published in Hippocampus Magazine, and her essay “Arena Rock” won the nonfiction Prize for the Don’t Talk To me About Love contest. Her short story “Girl Weds Dog: Same Old Story, Same Old Song and Dance” won Opossum’s short fiction contest and is forthcoming in the publication.
Contributing Artists
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Photo Essay, Christopher Yu
Christopher Yu
Photo Essay -
Cover Art and Paintings, Janna Watson
Janna Watson
Cover Art and Paintings