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Category: 2016
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A List That Never Ends
Short Memoir by Sarah Elizabeth Schantz
When it was time to burn my mother she wept two red tears. I drove her to the crematory and watched my place of origin turn to white ash and silver mica.
Adderley was my first death—my best-friend’s little sister, I was only seven and Addie was only one: Sudden Infant Death Syndrome: Suddenly. Infinitely. Disappearing. Then came my grandparents, one after another, they were gone by the time I was fourteen. The same year my paternal grandmother died, so did another baby that I knew—she too suddenly disappeared forever; she was buried in a tiny pink casket and her mother, Mindy, cried during the entire service. Yet Mindy survived, somehow, and had another daughter—but life is never fair, and Mindy was killed in a car accident around the time I moved back to Colorado.
Little Bob had a hernia and it frightened me the one and only time we had sex. That night, I slept in his bed, and while I slept, he drew my portrait. After he showed it to me, he buried it in the backyard and refused to tell me where it was, although he did give it to me later once we knew I’d never love him like he loved me. Rendered in pencil on watercolor paper, this sketch remains taped to the inside cover of my journal, dated: 1995. Little Bob was not an artist, and yet, he captured me. And he is the only person I have ever kissed at the very top of a Ferris wheel. A decade later, Little Bob died from a hotshot of heroin, eleven days before I was married. Friends came from his funeral in Minneapolis to my wedding in Colorado, and Little Bob hitched a ride—in all the pictures taken, I am a bride surrounded by a swirl of light. His ghost still visits me from time to time, usually when I’m alone and driving a back road late at night.
After J.P. died from pancreatitis, I almost hit a coyote driving home on Valmont—it was the middle of the day. Three mornings later, I stepped into my yard and saw a coyote standing in the field. It was dawn and the pasture still a harvest gold beneath the veil of a cold white frost. The coyote stood and stared at me before he turned to walk away. His back leg was broken and he limped as he headed east to be reborn.
Everyone thought my mother was going to die on my thirty-fifth birthday. Pancreatic cancer spreads to the brain but the doctors forgot to tell us this. After a period of extreme psychosis, she fell still and silent and she hadn’t stirred in days. Because she was starting to swell, I was forced to remove her wedding band. I was prepared. It seemed fitting that she would die on my birthday, but she didn’t—Jamie died instead. Jamie was J.P.’s little brother and the last time I’d seen him was at my wedding; J.P. died on Jamie’s birthday just the year before. When they were kids, they were in the skate punk band called, Old Skull—airtime on MTV, talk show interviews, media buzz. Jamie hung himself from a tree in Lynchburg, Virginia and April had to cut him down.
April lost her leg hopping a train out of Dinky Town when she was nineteen. I used to massage her phantom leg, but only when we were stoned. April was in love with Cabbie back when we were young. One day, Cabbie bought a pair of Gingher sewing shears; expensive stainless steel, the shine was dangerous when he cut off his ear—he need to make room for the wingspan of a hawk tattooed across his face. Cabbie stored his ear in my freezer for a year; he wanted to get it bronzed like people do with baby shoes, but I think Little Bob sewed it to a dead chicken-rat instead.
Later, April and I ended up living in King Salmon, California. The “beach house” had been built on a fault line less than half a mile away from a nuclear power plant. This house is where Cabbie carved out his tongue because he didn’t want to tell lies anymore. In my bedroom, I had a futon on the floor, and not much else, and this is where he sat as he cut it out. I was at the bar but he bled all over my travelling doll, Anangka. Cabbie bled all over the house and up and down the front walk. When I came home, the house was like the aftermath of a massacre. When I went to see him in the hospital, he could still talk. Eating ice cream, Cabbie had a lisp when he explained: “To stop talking, the vocal chords must be removed.” When I was fifteen, there was a bearded homeless man in Boulder who wandered the streets at night in a long gray trench coat. He was towering tall and I swear he had a music box inside his chest by the way he sometimes would break into song. His name was Tom and I’m sure he’s dead by now.
April has a tattoo on her face like a game of connect-the-dots; a constellation of stars, sporadic lines. I wish this was the map to find Cabbie who disappeared in 1998 the year I almost died. $15,000 continues to sit in his bank account unaccounted for and April refuses to make the withdrawal. Cabbie made this money on the fishing boats in Alaska; he wanted to buy utopia. April thinks he went into the woods to castrate himself. He was only trying to be whole again. Maybe Cabbie bled out. After all, he was the closest thing we had to Christ.
There were others too: Marcus on his motorcycle, fragments of bone left on the asphalt like stars. Jeremy, whose middle name was Rainbow, died shooting up in the Denver bus depot bathroom. Marcel had an asthma attack doing speed and Micah, waltzing with a train. These four were all fathers when they died, their children young—J.P. was a dad too, and his son looks just like him.
Sobriety and Patch chose the shotgun tunnel into the afterlife, and Liz owed me $30.00 when she died from dope. Couch took angel dust and jumped off the roof of 5005, and it was the worst kind of luck when he didn’t die. Casey died from AIDS-related complications and Uri died like Marcel and Oakle, my stepdaughter’s uncle, left this world one November night via Oxycontin, also known as Hillbilly Heroin.
There was Kendra who I knew growing up; a few years older than me, she was her parent’s youngest, and our families were friends. Little Bob might have been the first person to ever serve me tuna mac, but Kendra was the first to ever make me mac and cheese from a box. Kendra was living in Canada in 1994 when she purchased a one-way plane ticket back to Colorado without telling anyone. She just left a rent check for her roommate, and when she landed in Denver, she didn’t go home. Every time I drive into the city, I see the tall round hotel where she went instead, and I have to wonder which window was the window from which she jumped. Kendra, who was so determined not to let her suicide be an inconvenience to anyone, did not leave a note and while others long for an explanation, I always thought her actions said enough.
Thorn was only three when his parents had to pull the plug. When Donovan came home from the hospital, I made salmon, and after we had eaten, I watched him carve a turtle urn for his son while Fish walked up and down the Mississippi, crying. And now Donovan’s the one in the hospital—intensive care—over a decade later, some wounds never heal. Caitlyn died from cancer with Shelley by her side and Meghan, who I used to babysit, died in her sleep—something to do with the spina bifida; her split spine. Jenny, who was always so much fun, used to say she was a member of the Die Young Club on account of having Hep C, yet she was nearly forty when she died, and her death was due to heroin. She’d been clean for years, Eddie wrote to me, instant-message, Facebook. But what kills me, he said, Is that her daughter was the one who found her. Jenny’s daughter was thirteen, same age as mine, same age as Little Bob’s little girl.
All I have of Bob is the drawing he drew of me and a dirty scrap of his Chicken Shack T-shirt. Anangka sits in the cup holder of my car to keep me safe; made from a sock she still wears Cabbie’s DNA. I have a letter Micah wrote to me, postmark Nova Scotia. Blue ballpoint pen, careful capital letters, he wrote: The other day I went to Eagle’s Cave where it’s all white sandstone inside and I drew some pictures to remind myself what I am. Eddie and Leona named their son after him. Micah like the mica in my mother’s ashes, her mountain mermaid scales. From Marcel, I have a letter he wrote to me from jail. I need to get out of here, he said, and on the envelope seal, he drew a grinning skull. Fish has Marcus’s old backgammon board and scrawled across the case, J.P. wrote: Go play your little games.
Cremated on a bed of quartz, wearing a pair of rock star leather pants, Jamie’s ashes came out green and course like crumbled jade whereas J.P. was naked when he turned into something soft. Something pure and terrible, his remains are like the China White we once injected along the banks of the River Styx. Rationed out to friends and family, I have a little of each brother. Side by side, they sit on my dresser and I can see them from my wrought iron bed. They sit on a black pool of Scrying glass with my mother’s death mask—the one I made with my daughter using plaster, gauze, and water. There they all watch over me, and speak to me through dreams, a list that never ends.
Sarah Elizabeth Schnoz lives on the outskirts of Boulder, Colorado in an old farmhouse surrounded by open sky, cattle, century-old cottonwoods and owls. Her short fiction and essays have appeared in Third Coast, The Los Angeles Review, Bombay Gin, Hunger Mountain, Alligator Juniper, and many others. In 2012, she won the Fall Orlando Prize in Short Fiction. She holds an MFA in Writing & Poetics, and her first novel, Fig, was published in 2015 by Simon & Schuster.
Image courtesy of Len de la Cruz, via unsplash.com
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Eggs
Flash Fiction by Patricia Cosgrove
At the end of the lane, beyond the scrags of gorse and fuchsia and the fields dipping to the sea, the spring tide surged and broke on the shingle. The woman sat on an upturned fish crate in the shelter of the gable wall, eyes closed, counting the wet suck of each ebbing wave on the shore.
‘Mammy, can I have an egg?’ The child had snuck out barefoot, still in his pyjamas.
‘In a minute. Get back inside – you’ll catch your death.’
She slopped the dregs of her coffee under the crab apple tree, its branches gnarled and stunted from the salt winds. The April gusts had felled the blossom, drifting white petals through the cropped grass. She followed her son into the sagging lean-to at the back of the house, pressing her weight against the warped door, and wedged it shut behind her with a breeze block.
The child splashed his feet through the puddle in the middle of the cement floor.
‘Don’t do that!’
He cowered when she picked him up.
‘Please, Sean, don’t do that again,’ she said, stripping him of his sodden pyjama bottoms. She held him on her hip and stroked the small of his back. ‘Mammy doesn’t like that.’
She perched him bare-bottomed on a kitchen chair and scuttled through the pots on the draining board, found the blue saucepan. A greasy scum rimmed the inside and she scoured it. The water spluttered then gushed from the tap. It pooled in the plughole and wouldn’t drain. She took the rubber plunger from under the sink and siphoned out broken strands of spaghetti, chunks of tomato. She’d reminded her husband to scrape the plates before he washed them last night, but he’d forgotten. Cathal always forgot what she asked.
She chewed her lip and stared out at the washing sagging and jerking on the line. The wind snapped the sleeves of Cathal’s shirts into mock salutes and she thought of the tedium later; collar, cuffs, arms, yoke, the hissing tip of the iron nosing smooth between the nub of buttons.
Sean dragged his chair over to the shelf beside the fridge, stretching to reach the purple carton. He opened the lid, did eeny-meeny-miny-mo over the six brown eggs.
‘This one,’ he said. ‘And one for you.’
A small grey feather clung to a shell and he lifted it between his thumb and forefinger and blew it like a kiss at his mother.
‘Get off that chair before you fall!’
He clambered down and sucked in his cheeks as she sparked the blue flame on the stove.
‘I suppose you want dippy soldiers with that?’
He nodded and rummaged through the bottom drawer for the egg timer, stood beside her as she slotted bread into the toaster, peeled back foil from a half block of butter.
‘Move, Sean! You’re always under my feet!’
His thumb went into his mouth before he could help himself. His mother smacked his hand away.
‘Don’t do that,’ she said. ‘Mammy doesn’t like that.’
A squall passed over the sun, darkening the kitchen and a sudden shrapnel of rain drummed the slates, gobbed melts of ice against the windows. The washing, she thought, all the morning’s work undone.
She hurried into the garden, the wet grass soaking through her slippers. The line pole pitched to and fro and she grappled it with both hands, the rusted iron streaking her palms orange. She tugged at a shirt hem, felt it spinnaker away as the fraying rope unsnarled itself free from the branch in the apple tree. The washing trailed in the ground, muck-spattered. She put her fists to her eyes and counted the waves beyond the wall.
The eggs rattled in the pot. The child held the timer up to his face, watching the pink trickle of sand until the last grain fell.
‘Mammy,’ he called. ‘Maameee.’ The door of the lean-to banged in the wind.
He went towards the stove, looked up at the steaming pot and reached for the handle. His scream, the pure clear hurt of it, spliced the wind.
Patricia Cosgrove comes from a small coastal town in North Dublin, where she still lives. As a child, Patricia was told that her constant tale-telling would turn her tongue black. Undeterred, she continues to make things up. This is her first published piece of fiction.
Image courtesy of Helena Bjork
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The Mourning of the Russian
Flash Fiction by Agustín Cadena, translated by Patricia Dubrava
He wasn’t Russian, of course, but that’s what they called him because he had nearly white blond hair and looked like Ivan Drago, the Russian giant who fought Rocky in the movie. A dozen years of lifting weights had given him an impressive physique.
He liked the nickname. Actually, he thought any nickname was preferable to his own name. Florentino. And the problem wasn’t the name itself, but its diminutive, which certainly wasn’t masculine. In school he’d had to beat to a pulp the few who dared call him “Flor.” That’s how he got used to fighting. Flower. He hated that name, even for women. So he always introduced himself: “They call me El Ruso.”
In the neighborhood everyone knew he worked for the secret police. That’s how things are in a small community: the secrets of one are the secrets of all. No one had a reason to betray him: he was a silent and solitary neighbor, but agreeable. He’d been seen helping some woman carry her groceries or scolding children who played on the block without watching for cars. The girl at the store found it endearing when he came to make his purchases, because, since he didn’t even have a girlfriend (only a cat, and who knows if it even had a name) he took one of each: a bread roll, a tomato, one beer, one apple. And of course, milk and a little bag of kibble for his cat. A wonder it didn’t occur to him to buy in bulk, which would be cheaper and more efficient. He always paid and thanked the girl without smiling. Perhaps he wanted to hide that he liked her, because with the other neighbors he became a little more expressive.
In his work he was different: there he couldn’t be nice. He knew that it was because of his physique, more than any other reason, that the other officers had made him a dark legend. They used him to terrify those they arrested, often without even needing his presence. “Leave him alone,” they would say, tired of beating some suspect. “If he doesn’t sing, we’ll let the Russian interrogate him.”
So it was. But this story is about when his cat died, not about any of that. No one knew what happened. Perhaps the cat was very old, that’s all. The fact is, one day the Russian appeared in the store with the face of a chastised child and didn’t buy one of each thing, but several of each, as if making provisions. Except kibble.
“And you’re not getting anything for the cat?” the girl asked him.
“The cat died,” he responded. He put money on the counter and left without waiting for his change.
He didn’t go out all day. The girl told the story of the cat to all the neighbors who came to buy something, and by nightfall, the Russian’s solitary grief was the main topic of gossip. The nosiest busybodies loitered at the door of his apartment and watched the light of his window in the night. The Russian didn’t appear. Nor did he go out the following day. Who knew what he did with the cat’s body: perhaps he was mourning over it. The trash truck guys said it didn’t come to them.
On the third day, curiosity had become a vague, undeclared anguish. The neighborhood felt unprotected without its guardian. Someone said they should knock on his door to ask if he was O.K., but no one wanted to risk making him angry. They drew straws. The dry cleaner guy lost, the biggest coward of all. Arming himself with courage was a waste of effort: the Russian didn’t open the door. At last, a schoolboy had the brainstorm needed: he began to shout “Flor! Florecita!” from the street.
Only then did the Russian come out. He came out angry, ready to pound the insolent idiot, whoever it was. It seemed to him that many pairs of eyes were watching him, hidden behind curtains, but he didn’t find the person who dared disturb his mourning. And his mourning ended there.
The life of the neighborhood returned to normal.
Agustín Cadena was born in Ixmiquilpan, Hidalgo, México. He taught at UNAM; at Austin College, Texas; and currently teaches at the University of Debrecen, Hungary. Essayist, fiction writer, poet and translator, Cadena has won numerous national prizes, including those for short fiction in 2004 and 2005, and for poetry in 2011. He has published twenty-six books, among them collections of short fiction, essays and poetry, three novels, and four young adult novels, most recently La Sed de la Mariposa, 2014, and Fieras adentro, 2015. His work has been translated into English, Italian and Hungarian. The three short short stories submitted here are from a manuscript called Dibujos a Lápiz, (Penicl Sketches) to be published in 2016. Cadena blogs at elvinoylahiel.blogspot.com
Patricia Dubrava chaired the creative writing program at Denver School of the Arts, where she also taught Spanish. She has two books of her own poems and one of stories translated from the Spanish. Recent translation publications include stories by Agustín Cadena in Aldus, Winter 2013, and Café Irreal, August 2013, 2014 and 2015. One of her translations of a Cadena story is in New Border Voices: An Anthology, 2014. Her translation of a Mónica Lavín flash fiction appeared in Norton’s Flash Fiction International, 2015. Dubrava blogs at www.patriciadubrava.com
image courtesy of Henry Lornzatto, via unspalsh

This story will appear in the anthology 20 Tall Tales: Weird and Wonderful Stories. 
