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Letter from the Editor
Janna Marlies Maron
Unimaginable Resiliency
By the time you read this it will be nearly one year since I experienced a major relapse of MS in August 2022 that caused debilitating neuropathy throughout my body. It continues to persist sporadically, but is the worst in my hands, preventing me from accomplishing everyday tasks like opening packages, fastening buttons, doing my nails, and—worst of all—using the computer keyboard.
Needless to say, the past year has been a struggle. Not only because of the things I’m not able to do, but also because I have been feeling an enormous amount of stress and pressure (that, let’s be honest, I’m mostly putting on myself) to make decisions about what to DO WITH MY LIFE.
I have had to step back from working like I am used to. I have had to rely on additional support from both loved ones and hired assistance. I have had to spend many days in a row doing nothing, which is so, so hard. I have been quiet for a long time because I feel like I don’t have much to say.
Don’t get me wrong, I am thankful that I have the privilege to take this time off; that I have a husband who can support both of us financially; that I run my own business and can take extended time away from work without it detrimentally affecting my career or the possibility of returning.
Still, it’s been a strange year and for a responsible-oldest-daughter type like me, rethinking what to DO WITH MY LIFE in the context of my physical limitations has been straight up weird. Like, existential-crisis weird.
Like, who am I if I can’t, you know, write?
Yes, I can type by dictating, which, for the record, is talking and not the same as writing.
I don’t have any answers yet, and I may not for a while.
But I am practicing trusting the energy of the Universe, which may sound a bit woo- woo, and I’m okay with that. Because what I’m learning is that there is strength and power in waiting and allowing things to happen as they are meant to unfold instead of trying to force and control the outcome.
So while I am sitting quietly waiting on the Universe, I continue to be committed to personal storytelling. If there is one thing I know for sure it’s that our stories always demonstrate an unimaginable resiliency—even what I’ve shared in this letter I never would have imagined that I’d be surviving, until I actually did. You’ll see the same in the stories we have included in this issue: the resiliency of growing up with an abusive mother, of being raised in a closed-minded culture, of overcoming grief, oppression, and loss.
Let these stories invite you into a stillness that allows space for admiring and acknowledging your own resiliency.
Here’s to telling stories without shame,
Janna Marlies Maron
Editor & Publisher
Contributing Authors
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Kristina Ryan Tate
Kristina Ryan Tate
Wolf Mother; Mother WolfLegends cross nations and span entire peoples; every civilization has linked women and wolves.
La Loba is an ancient wolf woman—la que sabe—The One Who Knows. Some say she lives in the granite slopes of the Tarahumara Indian Territory; others have seen her in the bed of a pickup in Mexico; while others say she is buried in Arizona, near a well.
She is hairy and fat, moves with precision, and avoids people. In the desert, La Loba collects the bones of creatures— deer, antelope, rattlesnakes.
But her specialty is the wolf.
She searches the mountains, bluffs, and arroyos—dry riverbeds—for the parts of this sacred animal. When she has them all, she lays them out and builds a fire. She sings over its brittle bones, her song floating up into the wide desert sky. The leg bones connect to the hip bones, the rib bones find each other, the arms cross over them, the skull fuses together, and the creature becomes whole— swelling with flesh and fur, its ears perk up, and its eyes reflect the flame.
Kristina Ryan Tate is a writer and traveler originally from Phoenix, Arizona. Her work has appeared in Narratively, Guernica, Proximity, Rumpus, BOMB, and elsewhere. A graduate of Columbia University’s MFA program and Arizona State University, Kristina lives and works in Portland, Oregon. She’s currently working on a novel.
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Ali Saperstein
Ali Saperstein
ChiropteraLittle brown bats fly at speeds of 4-21 mph, the wings beating 15 strokes per second.
A gust across my cheek startled me awake. On instinct, I hid under the sheet and tried to remember where I was, and why. I had fallen asleep alone, limbs flung wide, my body an X marking the bed a treasure. A place just for me. But someone had since joined me in the room.
These wayward bats are usually young pups just beginning to fly.
When I turned on the lamp, the bat stopped swooping in wide U’s and disappeared. Poor thing. Lost, tired, wondering how things had gone so terribly wrong.
I dropped, cheek to dusty floor, to peer under my high school writing desk. Opened the hollow closet to palpate the spare quilts, neatly folded. Pulled the bookshelf, heavy with boxed-up memories, away from the wall. Nothing. Palms came to rest on love handles. I nodded in admiration. When it came to hiding, I’d been outdone.
Confine the bat until nightfall . . .
All day I worried about the disoriented creature, imprisoned in a room filling with midsummer heat and humidity. Yes, I made the peanut butter sandwiches and watched my son and nephews playing in the yard. But covertly, I read about bat life cycles and behavior on my phone. Chewed my nails. Folded my arms across my chest. Unfolded them and ran sweaty palms down my thighs.
Ali Saperstein is a writer, editor, and hit-and-miss urban gardener based in the Pacific Northwest, but her fingertips are still tinted with the wild blueberries of her childhood in Maine. Her work has appeared or is forthcoming in Hippocampus Magazine, Humana Obscura, Ruminate, Miracle Monocle, Watershed Review, and elsewhere.
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Kathryn Leehane
Kathryn Leehane
Love and Healing in the Produce AisleWe stood on opposite sides of the screen door. Though fifty-three years her junior, I recognized myself in my Aunt Ramona.
We had the same hunched shoulders. The same sunken expression. The same red, swollen eyes. Her wrinkled, crooked fingers grasped a silver walking cane and personified the brokenness I felt inside.
She had recently lost her husband of seventy years, and I, my older brother. Though our collective grief wracked our bodies and spirits, her face brightened when I arrived.
“Can we go to the grocery store today, Dearie?” she asked. “I need to pick up a few things.”
I pictured my own refrigerator—wilted vegetables, expired yogurt, barren shelves. “That’s a good idea.”
•••
Months earlier, standing at her husband’s coffin, I promised him I’d look after his widow. It was a lofty pledge considering I spent the second half of the funeral debating which cocktail I’d drink that afternoon to calm the anguish in my gut. But my aunt had no immediate family left; she needed someone. Perhaps I did, too.
Kathryn Leehane is an award-winning writer, speaker, and humorist. Her work has been featured in several anthologies and a variety of publications, including The Washington Post, Hippocampus Magazine, McSweeney’s, Redbook, and Ms. Magazine. Kathryn lives in the San Francisco Bay Area with her husband, two children, and a menagerie of rescue dogs. kathrynleehane.com
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Suzanne Lewis
Suzanne Lewis
Bowing out of TexasIt was my grandmother who insisted on naming me Gay, a word that in her day meant lighthearted, brightly colored, and carefree.
My father, who loved anything French, preferred Suzanne, so he compromised with his mother-in-law, and Gay became my given name. This pleased my grandmother, though my parents ended up calling me Suzanne.
Maybe they wanted to save me from, “Hi, I’m Gay.”
I grew up in Texas.
My father became the florist of choice for conventional occasions: decorating weddings, debutante balls, and barbeques at the LBJ Ranch. Daddy’s customers were the type of women who could afford to order flowers weekly, long before you could buy a six-dollar bouquet at the grocery store or a cheap aspidistra at Home Depot.
“Are we rich?” I asked him one day. He was watering in the greenhouse that stretched half an acre behind our flower shop. The damp soil aroma of recently- watered caladiums drifted over us.
Suzanne Lewis is the author of the children’s picture book, A Penguin Named Patience from Sleeping Bear Press. After a career in advertising art direction and commercial photography, she worked as a bookseller for many years at A Clean Well-Lighted Place For Books, in San Francisco. She has a memoir in progress, is a visual artist, and lives in Mendocino, California.
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Tawnya Gibson
Tawnya Gibson
Everything to EveryoneIt was the smell. I probably wouldn’t have noticed it had my son not mentioned it. Asked what that smell was. Wrinkled his nose.
I barely noticed the scent, so familiar as to be a permanent part of my cells— easy and available—ready to transport me back to a time that doesn’t seem as long ago as it really was.
Incense.
The answer seemed to confuse him, a bit. I had to explain what it was. My husband seemed surprised I used to burn it. It’s nice, sometimes, to surprise the person with whom you’ve spent nearly half your life. Even when that surprise is something trivial and throw-away, like the benign burning of incense.
The smell was exact, precise, from when I would frequent the store in college. Same store, different location, and still the same smell. What a magic trick, to pull that off. I wondered if it was newly burned or left over from the nineties, so infused into the walls that it will always smell as though The Spin Doctors just released a new album.
Tawnya Gibson is a freelance writer who grew up in the high desert of southwest New Mexico. Her work has appeared in Sky Island Journal, New Plains Review, and Zibby Mag. You can hear her monthly in her slice-of-life essay column for Utah Public Radio, entitled “She Goes On.” She currently lives and works in the mountains of Northern Utah, but her New Mexican roots still occasionally bleed through her work.
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Alex Noelke
Alex Noelke
Airport CodesThe agent checking IDs glances from my driver’s license photo to my face. I can tell she’s searching for something she can’t quite place.
I’m squeamish. The photo and gender on my ID don’t match how I present myself; it feels like I’m chancing being caught in a lie I didn’t consent to. I mentally flex my gender assertion muscles to see if I have any strength left over from fighting off yesterday’s microaggressions before I consider saying something to break our awkward staring contest. Fear of giving her a reason to stop me from getting to my destination saps the strength I have left. Eventually, she hands me my license and motions me to pass.
I wear a pair of Birkenstock clogs, sweatpants four sizes too big in the waist, and a long, hooded shawl cardigan, to obscure my shape and communicate that I’m neither male nor female. As I place my cardigan and clogs on the conveyer belt next to my luggage and watch them disappear, I am stripped of my gender identity and expression. All I have left is the body I don’t identify with.
Alex Noelke received their BA in English from Adrian College and has spent several years serving in various editorial posts in higher ed publishing. They are passionate about sharing their experiences as a bisexual and nonbinary person through creative nonfiction. Alex lives in the greater Ann Arbor area with their wife and two kitty kiddos.
Contributing Artists
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The Brigadoon Dispatch, Ryan Taylor
Ryan Taylor
The Brigadoon DispatchRyan Taylor is an artist and designer based in Toronto. As an artist, he publishes “The Brigadoon Dispatch,” a collection of “vintage photographs from the future.” Also known as synthography, The Brigadoon Dispatch is a playground for exploring A.I. generated images that are accompanied by human generated short stories.
With a background in the visual arts, and having studied photography, sculpture and digital media, Ryan mixes his appreciation of art and design into various forms. When not delving into the A.I. subconscious, he is busy designing real objects, lighting and home accessories under the brandname object/interface.
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Anchor of Stars, Seth Pitt
Seth Pitt
Anchor of StarsSeth Pitt is a self-taught artist based in Thomas, West Virginia. The majority of his work focuses on “small magic” and the things humanity finds camaraderie in. Many of his pieces include his own poems. He enjoys writing, looking at clouds, marveling at the innate brilliance of common things and having small parades with the fine people he’s been lucky enough to come to know and love. He considers daydreaming essential, wonder imperative and an unyielding reverence for life boundlessly indispensable.