Scapegoat Review Fall 2023

POETRY

Grace Phillips
On Group Therapy

Jess Pulver
How We Talk

Anne Rankin
The growth of the quiet
Another Thing I Learned Too Late about My Ex
the cold universe that birthed you

Jennifer McKeen Rodrigues
Ode to Rejection

Dee Ó Dálaigh-Rónáin
Dear Splenda

Annette Sisson
Late

Christian Ward
The Anxiety of House Keys

Diane Webster
Keep Things Long Enough

Ty Zhang
I will wrap my arms around

Joe Bisicchia
Visiting the Funeral Home

Rohan Buettel
Aged Care

Emily Castellon
04/19/23

Butuhan Dedde
When the Sky Dresses Up in Gray

David A. Goodrum
Everything on Day One
Egg Timer

Lela Hannah
Wheel of Life

Bob Haynes
Someone Else’s Story

C. Baert Miller
Bad Apple

Gad Kaynar-Kissinger
I Sometimes fancy

Demree McGhee
A Girl Without Money Is Nothing




ART

FLASH FICTION

Ken Edward Rutkowski
Blind Sides
Beast

Joe Bisicchia

Visiting the Funeral Home

She tries a coffin on for size.
Has done this through the ages.
Wiggles her being.
Sits up to take a swig of ginger beer.
Sets it aside.
So many people call this a parlor.
But, isn’t a parlor supposed to be
next to the kitchen?
Or the ice cream place down the street?
She wonders if there is a preponderance
of evidence
that when we die, we die.
And why would this be called a home?
She tries to nudge herself comfortable.
Sits up to take another swig of ginger beer.
And falls fast asleep for a slow while.
Tomorrow, she will visit the flower shop.
And rather than choose some stems,
she’ll see a sale on marigold seeds.
And will be brazen enough to plant them
aside the funeral home, next to the kitchen.
Cloudiness always eventually slips away.
She shall again sing life as unending
as suns collect on her pathway, and
reacquaint themselves with her song.
She’ll wiggle her being as she walks by.
And shall count all her Thanksgivings.
Each time, ever grateful she is, like
at the ice cream parlor, mint chocolate chip.
Preponderance of evidence of being alive.
She is everyone who has ever lived.
Sure as the sun itself, but even more.

Joe Bisicchia writes of our shared dynamic. An Honorable Mention recipient for the Fernando Rielo XXXII World Prize for Mystical Poetry, he has written three published collections of poetry, as well as over two hundred individual works that have been published in over one hundred publications. His website is www.widewide.world.

Rohan Buettel

Aged Care

My father, not the sentimental kind,
within two days of leaving the family home
for respite care, said “I like it here,
I think I’ll stay” and so he did.
Different to my mother who insisted
“No way you’re dumping me in a nursing home.”
Stage four cancer, husband in hospital,
a broken arm from falling in the night
and there was no alternative.
Not the place they would have chosen,
not fancy, yet well-suited to their kind of living,
in adjacent brick veneer rooms
matching the style of their home,
a verandah to sit in the open air,
good care and meals and activities,
my father happy to be looked after,
comfortable in no time,
my mother had no time.

Rohan Buettel lives in Canberra, Australia. His haiku appear in various Australian and international journals (including Presence, Cattails and The Heron’s Nest). His longer poetry recently appears in The Goodlife Review, Rappahannock Review, Penumbra Literary and Art Journal, Mortal Magazine, Passengers Journal, Reed Magazine, Meniscus and Quadrant.

Emily Castellon

04/19/23

The news of your death
reached me as I was watering
the dove orchid you gifted me
on our last anniversary.
It withered away between the first/last
time we kissed and the final
birthday I spent alone.
The perspiration of dead leaves
crunched gruesomely
under my clenched fingers.
I notice absently the coral pink
you loved painting my nails
with. I coated my ragged nailbeds
with it in pathetic desperation two nights ago, trying
and failing to feel some form of you.
A birthday present I never gave
you is collecting dust
in the back of my closet,
under solidified memories
I could never throw away.
You would’ve liked it, the sunset I painted your smile in.
My chest feels like it, the burning
of a thousand sunsets,
the ones I never got to share with you.

Emily Castellon is a senior at Bonita Springs High School. She is currently dual-enrolled at Florida Gulf Coast University. She loves all types of poetry but her favorite form is prose poetry.

Butuhan Dedde

When the Sky Dresses Up in Gray

Kadıköy, Istanbul
A gray Saturday

There’s half a joint left over from the night before and some boredom still lingering from long ago, they walk into the room arm in arm and stand in front of me. In front of my thoughts, my ideals ... my desire to get out of bed and get myself together—emasculated ... As soon as I see the ashtray, as unemptied as my heart, I feel like smoking one more. This half joint a gift to the memory of what I’ve lost and to the presence of alienation. The sky is gray, a tropical climate prevailing in the geography of my face, a sanguinental climate in my soul. Summers dry and hot, winters lonely and bleeding. Thorny eye-ish plants grow all around me. And if some Roman bastards will tag along, I’ll declare myself the Messiah. A son left to his own devices by his father, while the holy spirit is left a paralytic …

The day of the week may be Winter. The season may be Saturday. God may be wearing his gray clouds today. Everywhere pitchblack, like the universe’s battery is dead. Faces pitchblack, hearts pitchblack.

Barbed wire in my head …

Let a hand put some pressure on my lungs and my breathing cuts out. With as much strength as I happen to have, I put these cuts back together and make new me’s.

On a Saturday that belongs to Winter, if the sky’s put on its gray clouds, my hands will seek a name in the phonebook—could be a dealer, could be a lover. Everything comes back to haunt me, everything I’ve laid waste to without meaning to. And I’m not even a Mongol …

End Level Boss:
Richard Bona - Dina Lam

translated by Donny Smith

Batuhan Dedde was born in Istanbul in 1987. He has published several books, including his collected poems Biz Ona Şiir ÖğretmedikBu Ona Yakışmaz Da—36/69 (We Have Not Taught Him Poetry, Nor Is It Meet for Him (36:69)). His work updates the modernist poetry of Turkey with more open explorations of political and theological problems and much, much more raw emotion.

Donny Smith was born in Nebraska but teaches at a high school in Istanbul. Books he has translated include I Too Went to the Hunt of a Deer by Lâle Müldür, Pigeonwoman by Cemal Süreya (with A. Karakaya), and If Cutting Off the Head of the Gorgon by Wenceslao Maldonado.

David A. Goodrum

Everything on Day One

Hugh snowflakes. Peas of mushy hail.
Sheeting rain. Bleak sun.
Half efforts and still not yet midday.
Freezer-burned bread overstuffed in the toaster
unplugged before sticking in a fork.
Tea over-steeped and bitter, the string
pulling cooled liquid up and over the cup’s edge,
soaking the tag, beading on the kitchen counter,
all because of watery cohesion.
The bowl of melted snow on the deck railing
freezes a thin crust each night
but sippable by noon by corm hunting squirrels.
Still, a single crocus announces its bright yellow arrival
below the cherry tree yet to bud, surrounded
by surface moss damp all winter, lining
the tree-shaded sidewalk edges, sheltered.
The garden I abandoned two years ago
is reverting to grass around a rusty rake.
By tomorrow blades I’ve just walked on
will have sprung back from my steps
and there’ll be no trace of me on it.
Perhaps I should dig into the unturned
compost pile of all I have discarded this winter.
But dusk has me reeling with
returned condensation, a few flakes
hovering, a few rising, the rest of the world falling.

Egg Timer

Hard-boiled egg dropped unnoticed
on the kitchen floor not three minutes ago.
She brings shell fragments
one at a time to her mouth, feeding
herself as if a mother bird her chick.
I hear the first couple shell bits
crunch between her few new teeth
and strong milk gums; and I try to pry them
from her hand and reason with her, no don’t eat
just give to daddy. She’s adamant
and fights ‘Da’ off with curled fists
and flailing arms, screws up her face
grinning gum wide. Her teeth and shell flecks,
stark white within her mouth, form
a jagged smile, as she picks stray
yellow from between her fingers
and angles towards my mouth.

David A. Goodrum, writer/photographer, lives in Corvallis, Oregon. His poems are forthcoming or have been published in Tar River Poetry, The Inflectionist Review, Passengers Journal, Cathexis Northwest Press, Wild Roof Journal, Eclectica Magazine, among others. Additional work (poetry and photography) can be viewed at www.davidgoodrum.com.

Lela Hannah

Wheel of Life

My grandmother and I watched
Wheel of Fortune in the 90s
with the volume muted,
English, a language not fully understood.

Our time was measured
in R, S, T, L, N, E,
a new car, a trip to Puerto Rico.

Vanna White was a household name.

My grandmother and I watched
Wheel of Fortune in the 2000s,
volume muted,

time reduced to
three consonants and a vowel,
bankruptcy, lost turns.

Vanna White
was the favorite celebrity
of the hospice nurse.

I watch
Wheel of Fortune,
volume all the way up,
time measured in silence.

Lela Hannah's poetry has been published in Typehouse Literary Magazine, The Light Ekphrastic, Beltway Poetry Quarterly, The Ekphrastic Review, New Note Poetry, and elsewhere. She holds a BA in Integrative Studies from George Mason University. Lela is a neurodivergent writer and poet living with ADHD.

Bob Haynes

Someone Else’s Story

Most of the chatter in our marriage
isn’t out of boredom, but when
my husband tells a story in which
he’s played no part: let’s say someone
else’s story overheard at the Rotary
or whispered at the barber shop,

it’s not that he doesn’t have
tales to tell, or that his stories repel
or fall short as a moral or a thought
he isn’t intrepid enough on his own. No,

he loves the stories he finds
abandoned on life’s dusty shelves,
old books closed and catalogued
in vaulted archives, heard once
maybe twice, then filed away.

He loves hushed undertones
of lives he’s never lived. Most
of the time, he’s effacing enough
not to over-embellish a nuance
of the world he’s stepped into

like the follower of some scripture
brought to life again, resurrected
in the rescued details and laid
into the world anew, usually after
a drink or two, when he feels
he might be smaller than he seems.

C. Baert Miller

Bad Apple

He tells our mutuals I fed him a bad apple
as if I am some witch of the wood—but what else should I expect
from someone who breathes his own poison breaths, inhaling
each noxious exhale after every lie—I want him to choke.

Men: heroes of stories—I never saw myself in the witch’s role,
always a princess. Always the young lady waiting for love’s first sigh
—medicinal vapor, aphrodisiac to true love’s kiss.
I am not so young anymore.

I hiss. He blames. Arguments are becoming of us—
are we even an us? Just two unfortunate actors playing some part
in some unnamed play: as if some college student had plagiarized
the Brothers Grimm and only wrote of how blood falls on snow.

Maybe it’s the aftertaste of my flesh on his breath that’s the poison,
or maybe I just don’t understand fairy tales anymore.

C. Baert Miller lives in Eastern Washington with her cat and chihuahua, where she works as a copyeditor and page designer at The Spokesman-Review. She received her BA in English and art with a minor in ancient, medieval and early modern studies from the University of Alaska Fairbanks. In May 2023, she graduated with an MFA in creative writing with a concentration in poetry from the University of New Orleans.

Gad Kaynar-Kissinger

I Sometimes fancy

I sometimes fancy I'm an unforgettable line
In someone's autobiography but
The light always circumvents me
Like a run-over cat.

We circumvent each other as reluctant
acquaintances at the therapist’s door.
Making light gestures of I
Don’t exist and you never saw me. In fact, that’s all
what the gnat inside Titus’ head had said:
Pardon, I hate to interrupt your work,
But the exit sign is off, yes, that’s
Where the temple is, no, I have no matches,
It’s awfully dark in here, you never saw me, I
Don’t exist, how do I get out of here, the light circumvents
Me, burn something so we see something.
What’s the point of making history?
A run-over cat.

I sometimes fancy I'm an unforgettable line
In someone's autobiography
Like a rare disease.
With a magical tropical name.
And incurable.

Translated by Natalie Feinstein

Gad Kaynar-Kissinger (74) is a retired Associate Professor from the Theater Department at Tel Aviv University. His poetry was published in major Israeli literary periodicals and supplements, and compiled in seven books, including a bi-lingual Hebrew-Spanish publication Lo que queda (What Remains). For ADHD he won "The General Israeli Writers' Union" Award (2010). Kaynar is a stage, TV and film actor, and translator of 70 plays from English, German, Norwegian and Swedish. For his Ibsen translations he was designated in 2009 by the Norwegian King as “Knight First Class of the Royal Norwegian Order of Merit.

Natalie Fainstein has an MFA in Theatre Arts from Tel-Aviv University.. Since her graduation, she has taken part as an actress in a variety of theatre shows directed by Israel’s most prominent directors. She has expended her fields of expertise “in all things drama” by perusing additional careers in teaching, translating and writing. Natalie is also a voice-over artist with her own home recording studio, specializing in book narration. She is delighted and constantly challenged by Prof. Gad Kaynar’s poetry and considers it a great honor to be the English translator of his poems.

Demree McGhee

A Girl Without Money Is Nothing

my mom, the waitress, conjured tips
by painting her nails green, bleaching
her teeth. She said families held
her name in their mouths

in the revolving door, men
would grasp her wrist, as if
they were drowning, whisper,
I like you.

with their pricks, boys know
they can stick it in, drive
hollow out and I guess
a girl just echoes

like a Coinstar—
a ringing post for
lack. when we came home,
my mom and I capsized coins

from our pockets right onto the floor,
paving the carpet silver and bronze, cold like water
beneath our step.
at my friends’ houses—white girls—there

was never any money in sight,
they kept it in plastic, housed
in plaster and brick, while I clinked,
wishing fountain girl

overflowing with want, but they desired too
to skim the surface of what opened to us,
the skin we heard our own voices in.
I wished for a coin purse

to fold me in, fasten and latch,
and muffle the ringing.

Demree McGhee is a writer from San Diego, CA. She holds a BA in Literature and Writing from UCSD. Her poetry and prose has been featured in Lunch Ticket, Wax Nine Journal, SORTES, The Spectacle, and more. You can read more of her work at demreemcghee.com.

Grace Phillips

On Group Therapy

My lover wakes me in her mother tongue,
presses her thumbs to my lips until I’m no longer a mouth
with holes in my gums where teeth should be.
When it’s time to leave, she does not come with me to the hospital,
but she rises with me anyway, wearing her honeybee overalls
and going out to the garden.
When I depart, I imagine all of us grieving people
shoving alternate versions of ourselves from
the backseats of our moving cars, the crunch of gravel
between their teeth echoing in our ears
while their tongues leave skid marks of saliva along the highway.
The parts of us that survive reach the hospital, and we gather in a circle.
We take turns convincing ourselves every violence was – is – necessary,
that even Jesus whipped,
even Jesus flipped tables.
I once kept a pill bottle full of my baby teeth on my nightstand.
My cousin shook the bottle until the teeth
split in two.
In dreams my teeth fall out of my head
and my double gathers them up,
shaking them in its hands until each one splits in two
and it returns them halved to my head.
We sit in a halved circle, now, while the psychologist tells us
it’s normal to have dreams about swallowing your teeth
but asks me twice if I still see my other holding tooth halves across the room.
I say no, and run my tongue over my teeth to count them one by one,
then again one by one,
until I’m certain nobody’s stolen them, and nobody’s coming to rattle my skull
to make me swallow my teeth
my lover’s word for teeth is zähne.
When I get home, she has buried my baby teeth in our front garden
and tells me I can find them again in the mouths of the snapdragons.

Grace Phillips is a poet and MFA student from Indianapolis, Indiana. Some of Grace's favorite writers include Billie Tadros, Ilya Kaminsky, and Laura Kasischke. More of Grace's published work can be found at gracewritesbooks.com.

Jess Pulver

How We Talk

we named you Leo
but you have cerebral palsy

so even though you’re five
your mouth says Ee-haw

you call our car Keye
a passing plane, Arr

your grandmother, only Guh
though she holds out her soft arms

to you every Tuesday morning
her blue eyes wet, waiting for a word

ball, box, bunny, bat.
nobody understands you –

nor me, at my wit’s end
for ways to connect

your tongue to my heart
my heart to your future

they say I’m an angel
they say you’re lucky to have me

well I’ve learned your lexicon
but I don’t like it

it never settles – a frantic fledgling –
it pierces and rips me inside

until bullshit, I spit
despair at you when no one’s there

why can’t you talk I cry
and I make you cry.

Jess Pulver is a therapist and mother living in Maine. She has recently returned to the writing life after majoring in creative writing over twenty years ago at Swarthmore College. Her non-fiction essays and poems have appeared in The Good Life Review, Waccamaw, Literary Mama, and Kaleidoscope. In her free time, she tends a large garden.

Anne Rankin

the growth of the quiet
for Connie Rankin

when you’ve been alone this long, silence

has an echo that aches,
takes on a different meaning
in the dictionary of the soul. maybe

the stars are the only ones who hear
you in the belly of 3 a.m.
as you cry between the sheets,

the breathy whooshhh of the white
noise machine the only witness
who can speak to your distress.

no one heard you in childhood either. why
did you think things would change?
between your now and your then, only

more longing to be known
as deep as your roots, and the growth
of the quiet taking over your life.

here in late december, light can’t reach
the day until the clock hits 7. then,
you can rise, go stand inside the buzzing

busy of the outside world, be distracted
by the voices talking ’round you, try and
drown out just how loud

your daily dose of silence can be. no wonder
you’re happiest now at the bottom
of your dreams. in the blackness of this

space, it’s the only time you get to forget
that no one’s listening to who you are,
and you’re unable to hear a thing

over the soundness of your sleep.

Another Thing I Learned Too Late about My Ex

In the dream, they return from the walk empty-
handed. He’s blank-faced and unconcerned he’s lost
the dog’s collar. The leather collar with the brass
nameplate I special-ordered for this once-in-a-life-
time dog. The too big for my lap
(but still climbed up on) dog I’d often called
my Little Brown Dog. Sweetest of chocolate
Labs. The Dog of My Heart.
(Though of course I loved the others.)
My soul mate, this dog.
Not the ex, who lost stuff.
Who was careless with what counted.
The ex, the Great Compartment-
alizer, the only man I knew who could blasé
his way through the deepest heartache.
The two miscarriages didn’t hit
him anywhere close to his heart,
and even the future deaths of all three dogs—
dogs I knew he was deeply fond of
(or needed, need being the thing
closest to affection for him)—even those losses
didn’t add up. Sadness didn’t sink in.
He’d walk away from anything frownish,
refusing to compute the cost.
How many times did he leave
me at my worst, abandoning my sorrow
to pursue his pleasure? And why
did it take me so long to understand

someone who won’t feel your pain
will only cause you more?

the cold universe that birthed you

other than nightmares about my parents, I dream most often of my sister.
second-born, starry sky of a girl, she sometimes caught our mother’s eye—
though this was not the same as a mother’s love, only the narcissist’s fickle glint.

as the eldest, I didn’t get how it was my younger sister—never me
(pale less-than-a-crescent moon barely glowing under cloudy skies)—only K.
shined for our mother. and though I saw my sister’s light

could be distant and prone to flickering, I also failed to understand
how this green-eyed girl who played third like nobody’s business cared so little
whether our mother noticed her relative luminosity.

how I looked up to her! not my mother, of course. no, not my mother,
with her can’t-support-human-life heart and her steeped-in-night
darkness. no, not her.

the one I idolized was my carefree, too cool for a mother’s on again/off again
(sort of) love sibling, this one-year-younger but three-inches-taller quasar
of a sister who brightened to the pulse of her own galaxy.

with her 36 adjectives to describe lightness of being and her resolve to revolve
away from our maternal black hole, K. (who gave back her given name in high school)
showed me it was doable to dream of surviving on one’s own.

it was even in the realm of possible to thrive, to gravitate somewhere beyond
your barely glowing self, all the while struggling against the deep-as-genetics
planetary pull of the cold universe that birthed you.

Anne Rankin won first prize in Sixfold’s Summer 2014 Poetry contest. Her poems have appeared in The Healing Muse, The Poeming Pigeon, The Awakenings Review, Hole in the Head Review, Passager Journal, and Atlanta Review. Her poem, "left unsaid," was a finalist at the Belfast Poetry Festival 2022.

Jennifer McKeen Rodrigues

Ode to Rejection

We regret to inform you we read your poem
We thank you for your work but will decline
There is no place here for your words
We only publish artists who do not write like you
We gladly take your money, it allows us to continue to reject
We hope you fall off the open tailgate of a flatbed truck
driving down a dusty dirt road
Thanks, but no thanks, please do not submit again
Our robots will respond to your submission as fast as humanly possible
You did not select all the boxes with pictures of traffic lights in them
This journal will never publish you. Please subscribe

Jennifer currently lives on the sacred Powhatan land of Fairfax, VA. She is trained as a certified yoga therapist & trauma informed yoga teacher, military spouse, & mom. She has been published in The Muleskinner Journal, tiny frights, Amethyst Review, The Martello Journal, & Bluepepper as either poet or photographer.

Dee Ó Dálaigh-Rónáin

Dear Splenda

Things aren’t working out between us.
Don’t try to deny it
And claim that everything is nice and sweet.

You know why I first gravitated towards you.
Honey was a mess,
And I didn’t need a nutritionist to know
Sugar was bad for me.

You, on the other hand?
You seemed perfect.

Everything about you was soft.
Soft hair, soft hands,
Those soft looks we exchanged at breakfast time.
Our secret morning ritual.

From my first coffee to my evening tea,
You were always there to sweeten
Each bitter step of the day.

But I am now aware
That cloying goodness belies your true nature.
You are artificial, and the more I learn about you
The less I want you.

Dee Ó Dálaigh-Rónáin is an Irish poet studying Creative Writing at the University of Galway. His work has been published in MAW Poetry Magazine and The Elevation Review. Alongside his poetry, he is currently writing a play based on his experience with the Irish healthcare system.

Annette Sisson

Late

My mother presses the vein
on the top of her hand, asks

if I regret the abortion.
Her voice hovers, eyes

fixed on the kitchen window.
I stir the soup again,

replace the stainless lid,
gnaw the membrane inside my lip.

Many years ago
I heard her breath clutch—

silence on the phone line
as she pictured me splayed

on a bare table, the trickle
of blood. For thirty years

she hadn’t asked. Nursed
this ghost, banded it in certainty.

Mom, I was never pregnant.
My period finally came.

She releases the fusty air
from her chest, lays down

the wraith of raw belief
she’s carried like a blade.

Annette Sisson’s poems are published in many journals, most recently Valparaiso PR, Birmingham PR, Third Wednesday, and Glassworks. Her first book Small Fish in High Branches was published by Glass Lyre (5/22). Recently her poems have received five nominations for Best of the Net and two for The Pushcart Prize.

Christian Ward

The Anxiety of House Keys

You wake shivering
the wrong month off your skin.

The shower is grotto-cold,
you brush your teeth with cereal.

You slurp houseplant food,
gnaw on Lego bricks.

Unpaid bills stain the dining table,
you feed other people's pets.

Important emails scream
from the confines of your inbox.

Colleagues treat you
like a fracture that never heals.

Every birthday is a piñata
of disappointment,

people fling looks like hail.
You collect them like baby teeth.

You always get crumpled swans
instead of cards. They never fly.

Once, you dropped the house keys
in the aquarium to see what might hatch.

Christian Ward is a UK-based writer who has recently appeared in Dodging the Rain, Blue Unicorn, The Seventh Quarry, The Dewdrop, Bluepepper, Tipton Poetry Journal, The Amazine and Rye Whiskey Review.

Diane Webster

Keep Things Long Enough

Teenage girls at the mall
wear hip hugger jeans I could never keep up;
I had no hips,
and I didn’t want my body to show
between my shirt and pants.
Didn’t want anyone looking
at me like that.

But bell bottoms, wide belts
with studs and metal holes,
yes, I remember those.
I wore a leather belt with end fringes
dangling down my thigh
on my blue and white stripped pant leg
and my white blouse was full with puffy sleeves
as my long, straight blonde hair brushed my waist.
Dingo boots helped strut my stuff.

No platform shoes for me
to hobble like a foot-bound geisha.
A slave ring laid in my jewelry box
instead of in my nose or worse.
I committed to re-inking the peace sign
on my skin daily
with no thought of a tattoo.
Teenage girls at the mall
let me smile 1970’s memories.

Diane Webster's poetry has appeared in "El Portal," "North Dakota Quarterly," "New English Review" and other literary magazines. She had a micro-chap published by Origami Poetry Press in 2022, and one of her poems was nominated for Best of the Net.

Ty Zhang

I will wrap my arms around

It's been 99 days since I last saw you and so much of me has fled. Another year went by in the days we weren't together. The last time we knew each other we had alcohol for breath and slept in our jeans and skin. Dignity and respect are the furthest thing in my mind right now and the furthest from what our bodies resemble. What I tell you isn't true unless you can picture me trembling as I say it. When you think of me, think of an empty table with no food or chairs. I wish you would track snow into my house again. I wish you would insert hope into my mouth again. I'd shiver still. I'll die if I'm with you again and I'll die if I'm not. I feared anything resembling the end before I met you. Now I fear nothing I say or feel will be real until earth lies over us. That earth will be dark and rich and sweet. We will whisper secrets for worms to know. We will sleep only when our skulls have filled with soil. I will wrap my arms around you tight so that I will be the first to disintegrate.

Ty Zhang is a Thai-Chinese-American law student, writer, and political organizer based in Ohio. He writes in a range of mediums including poetry, prose, and screenplay. He is an alumnus of the Scholastic Art and Writing Awards and was a finalist in the Boston Screenplay Awards. He is on Twitter at @khanombang and on Substack at samsaradays.substack.com.