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  • about
    • history
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  • Current Issue
    • read Issue 30
    • letter from the editor
    • looking glass spring 2025
    • interview with Dale M. Kushner
    • interview with Jessie vanEerden
  • submit
    • submission guidelines
  • looking glass
    • spring 2025
  • editorial content
    • book reviews
    • opinion
    • interviews >
      • Dale M. Kushner
      • Jessie vanEerden
  • flash glass
    • flash glass 2025
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GLASSWORKS
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Entropy by Andrea Rinard

5/1/2021

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I need to make myself smaller. I need to not take up so much room. I suck the oxygen out of the house, this family. I’m busy shrinking myself when she comes into the only room in the house with empty hinges.

​Mom has those eyes, and I know she’s about to say again (and again, and again) “Did you take your meds?”

Yes. It’s always yes. I swallow the pills every morning, round like a buoy. I do what I’m supposed to do even though nothing keeps me afloat.

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Those eyes walk away, but they’ve rent my skin, and I seep, the blood rising. I try to unfurl my wings to fly away because the window still works, but my wings are sticky, and I can’t rise. A single feather falls. More will follow unless I’m very still, so I fold in on myself and try not to look up.
~
I need to make myself smaller. I need to not take up so much room. There’s not enough space, enough air for me in this house, in this family. Mom walks through the doorway to the open portal to where I live, the only room without a door.

Her eyes swallow me, and she digests me at a glance; I’m getting better at being small. 

​“Did you take your meds?” she asks. I nod because I need to take away the sadness, a darkness over the hope and the love. If I’m smaller, I won’t cast a shadow.
​

​Besides, it’s always yes. I swallow the pills every morning, but I’m still the heaviest thing in the house, in the world. I will sink us all, and Mom’s eyes say she knows that, but she will always reach out her hand and let me drown her.

​Mom’s eyes walk away, and I look at my window. I will be able to fly away, far, far, far, and Mom’s eyes won’t see me. I imagine I have wings, but I’m not a bird. I’m an anchor. My only view is the bottom, and I will sink down, down, down. 

~
I need to make myself smaller. I need to not take up so much room. I am a vacuum that takes every breath meant for others. Mom pauses where my door used to be. 

​
They all stop when they pass, but Mom is the one whose eyes hurt. She asks me in the only language we now speak, “Did you take your meds?”

​
Yes. It’s always yes. The pills are round like a seashell, but I can’t hear my own voice no matter what I press my ear to.

​Mom walks away, and I’m tired. So, so tired. I think of sun. The beach. A single gull that circles the sky. I want to find that child who collected shells, holding them out to her mother who put them in a bucket like treasure. It’s too far away to see clearly, but I keep looking out the window.


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Andrea Rinard is a native Floridian who wears shoes against her will and has mastered the art of hurricane preparation. She has work in Cease, Cows; The Jellyfish Review; Lost Balloon, and Spelk among others and has been nominated for Best Small Fictions and Best of the Net. Her first novel, a YA manuscript that won the Key West Literary Society’s 2020 Marianne Russo Award for a novel-in-progress, is currently on submission. Andrea lives in Tampa with her three adult kids and her 1988 Prom date. You can find her at www.writerinard.com.
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Postcard from Waterloo by Kathleen McGookey

4/1/2021

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Dear Mother, our guide brought us this postcard showing the “types of wives which have contributed to the construction of the hill” after Edith and I woke with headaches. Is it a joke? All three women look stocky and miserable, no mistaking that! Black and white does not flatter anyone’s complexion. Edith figures she is the short one with closely set, glowering eyes. Are those baskets on their backs, or three separate fortresses they have constructed? Our perspective surely lacks depth. Right now our guide is smoking and reading Le Monde in the hotel lobby. Yesterday the clasp on Edith’s new gold necklace broke and instead of sulking, she pretended it was an offering to the blood-soaked fields. Tomorrow, our guide promises an expanse of meadowsweet. Edith feels sure those dear little flowers will not make her sneeze.
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Kathleen McGookey has published four books of prose poems and three chapbooks, most recently Instructions for My Imposter (Press 53) and Nineteen Letters (BatCat Press).  She has also published We’ll See, a book of translations of French poet Georges Godeau’s prose poems.  Her work has appeared in journals including Copper Nickel, Crazyhorse, December, Field, Glassworks, Miramar, Ploughshares, Prairie Schooner, Quiddity, and The Southern Review.  She has received grants from the French Ministry of Foreign Affairs and the Sustainable Arts Foundation. 

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Postcard from Edgewater Beach Hotel Flower Shop by Kathleen McGookey

4/1/2021

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Dear Mother, Yes, the glossy green and black tiled floor is sophisticated. Yes, the counters are bursting with baskets of roses and lilies and mums, all tied with coordinating silk ribbons. The air is so heavy with fragrance it could make a girl dizzy. But now there’s no pleasing Edith. At breakfast, she was dissatisfied with her soft-boiled egg and lukewarm tea. Even though she was not supposed to, she left lipstick stains on her cloth napkin and crumpled it by her plate. She says this flower shop, though small and brightly lit, with its cascade of daisies by the cash register, trumps all the gardens we toured yesterday. Because everything here is for sale.

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Kathleen McGookey has published four books of prose poems and three chapbooks, most recently Instructions for My Imposter (Press 53) and Nineteen Letters (BatCat Press).  She has also published We’ll See, a book of translations of French poet Georges Godeau’s prose poems.  Her work has appeared in journals including Copper Nickel, Crazyhorse, December, Field, Glassworks, Miramar, Ploughshares, Prairie Schooner, Quiddity, and The Southern Review.  She has received grants from the French Ministry of Foreign Affairs and the Sustainable Arts Foundation. ​
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We Have Grown Tired Of by Kathleen McGookey

4/1/2021

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We Have Grown Tired Of:
  1. Assigned seats
  2. The prix fixe meal
  3. Rinsing out our stockings in the hotel bathroom sink
  4. Monogrammed cloth napkins
  5. The hand at the small of our backs, steering us; the sleek voice, purring, ladies, this way
  6. Our sensible, low-heeled, black leather pumps, which crouch like sewer rats under our beds
  7. Fifteen minutes in every gift shop following the tour
  8. Our dark wool skirts which disguise stains.
  9. The soft-boiled egg at breakfast, its top sliced off, the runny yolk simmering like a tiny, sulfurous lake


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Kathleen McGookey has published four books of prose poems and three chapbooks, most recently Instructions for My Imposter (Press 53) and Nineteen Letters (BatCat Press). She has also published We’ll See, a book of translations of French poet Georges Godeau’s prose poems. Her work has appeared in journals including Copper Nickel, Crazyhorse, December, Field, Glassworks, Miramar, Ploughshares, Prairie Schooner, Quiddity, and The Southern Review. She has received grants from the French Ministry of Foreign Affairs and the Sustainable Arts Foundation. 
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March of Grief by Thelma Zirkelbach

3/1/2021

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“April is the cruelest month,” T.S. Eliot said, but in my life March has always been harsher than April or even December.

On March 25, 1987 at 2:00 a.m. the ringing of the phone that jolted me from sleep was the bridge between innocence and awareness, the link between my years as a daughter and my fatherless life. That night my father’s heart stopped beating. Half dressed, my sister and I sped through darkened streets to St. David’s Hospital. Never before had we faced the death of someone so close to us.
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By the time we reached his room, he had returned to life, and so we stepped back from the wobbly bridge and waited. I wanted to ask him, “What was it like to be dead?” but I didn’t. Perhaps he wouldn’t have known because those brief moments of lifelessness had been a rehearsal.

He was moved to ICU where my mother, my sister and I sat stoically waiting for the few minutes twice a day when we could visit him. I suppose we could have done something else taken a walk, taken a break—but we stayed in place, planted there like the spring flowers blooming in the yards outside, but without their colors. I missed him already. He was my hero, my cheerleader, my confidante. I pictured the breakfast room table with an empty chair where he always sat. What would I do without my Daddy?
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My mind flashed back to my childhood on Yom Kippur, the Day of Atonement. I was ten years old. It was late morning, time for the Yizkor service, when Jews remember the dead. My mother looked around nervously and shooed me out. Children did not attend Yizkor services. I scurried out of the sanctuary and hurried downstairs where other kids and adults who had not lost family members were gathered.

I wondered about the mysterious ritual going on upstairs. I could easily have found out because the service was in the prayer book, but I never looked, even at the first line. I didn’t really want to know. Knowing might have been bad luck. My friends and I went outside until it was safe to go back upstairs.
~
Visitation time for ICU patients came and I tucked my childhood memory out of my mind and followed my mother and sister into Daddy’s cubicle. “Where have you all been?” he asked. Those were the last words I heard him say.

The next day Mother left to get her hair done. So she could escape? Or so she would look nice for the funeral? Who knew?

On day three the doctor said my father’s kidneys were failing. “We can move him out of ICU so you can be with him.”

My mother shook her head no. He died alone.

It happened that night.

I went in to see him for the last time. I don’t know where Mother was but I know she wasn’t with me when I whispered my goodbye.

My sister had gone home to rest. I called and told her he was gone and then I waited in the hallway for her to appear. When she rounded the corner and walked toward me, I watched her take her first steps on the bridge I had already crossed. Together we would grieve, and together we would help our mother maneuver the rocky road she would have to travel without our dad.

That year, 1987, on the day of Yom Kippur, my sister and I said Yizkor for the first time. Afterward, we visited our father’s grave. In accordance with Jewish custom, we each left a rock on top of the stone to show that we had been there and that, for us, his memory was a blessing.

Thelma Zirkelbach has published micro essays, prose poetry, personal essays, memoir and romantic suspense. She enjoys writing short pieces that reflect her life. A native Texan, she lives in Houston.
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The Blind Feast with the Deaf by Saramanda Swigart

2/1/2021

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After his death, my grandfather’s easy chair remained at the edge of the Black Sea, just over his property line, in the middle of the Yıldız’ small stretch of coast. He set it there to spite Gülben Yıldız, with whom he enjoyed a rivalry so bitter and ancient that no one quite remembered its origins, though it appeared to predate the fall of the Ottoman Sultanate. The two men had engaged in silent warfare for every decade of ​my youth in the form of theft, libel, and sabotage, springing leaks in one another’s boats, spreading ruinous rumors, and undercutting the other at market. When the two of them were old and unsteady on their feet, the rivalry culminated in my grandfather’s chair slowly rotting in the Yıldız’ sea air. Afternoons he smoked hand-rolled cigarettes there on their property, afghan on his lap, pointedly ignoring the entire Yıldız brood, who gathered atop the bluff to glare at him. If they started to throw things—fruit and driftwood—he put up the umbrella he brought for the purpose and remained still, smoking and watching the waves. ​For whatever reason they never tried to move the chair.

When grandfather died, old Gülben took over the seat. Gülben didn’t smoke, so his wife Nilgün started bringing him his fishing nets to repair there. Their children had one by one moved away, to America and Germany and Dubai. He hardly had to look at the nets while he worked, his expert hands a blur. I watched him from the edge of his land. The next afternoon I watched again. And the next. I wanted to see how his hands worked so fast. One evening he motioned me over. I sat next to the chair and watched his hands. He didn’t say a word to me but angled the seat so I could see better. When Nilgün brought his dinner she brought a plate for me too, and a small glass of Rakı. When it was time to turn in,Gülben rose and stretched. Before leaving he rested his hand on my shoulder and left it there a long time. I looked up and saw that he had tears in his eyes. We watched the sea together. He is gone now, and so is the chair. But whenever I return to this coast I can feel that hand, its skill and gravity, resting on my shoulder.


Saramanda Swigart is thrilled to be writing fiction exclusively after years of writing advertising copy and corporate literature. She completed an MFA in creative writing from Columbia University and a supplementary degree in literary translation. Her short fiction and poetry has appeared or is forthcoming in Reed, The Alembic, Border Crossing, The Broken Plate, Caveat Lector, Clarion, Diverse Arts Project, East Jasmine Review, Euphony, Fogged Clarity, Glint Literary Journal, Green Hills Literary Lantern, The Grief Diaries, Levee Magazine, The Literati Quarterly, OxMag, The Penmen Review, The MacGuffin, Ragazine, Superstition Review, and Thin Air; her work has received an honorable mention from Glimmer Train and a 2017 Pushcart Prize nomination. Saramanda is working on translating some of the more salacious stories from Ovid’s Metamorphoses. Saramanda teaches at City College of San Francisco.
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Snacking by Hannah Marshall

2/1/2021

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(with Blueberries for Sal by Robert McCloskey)
1991, for my mother

She can’t hold my hand once it starts, the metal-free room, the buzz and click of the machine. My small form, swallowed by the white tunnel, the pale, toothless snake. I am barely a bite.

She sits beside the MRI and reads aloud, the sound of her voice to keep me still. Today, she will not break open in the anxiety of me, her daughter, five years old and a cancer survivor. She opens Blueberries for Sal and reads as if we are snuggled in the upstairs twin bed, the peeling wallpaper and the maple tree breeze whispering into this cold, aseptic chamber:

“We will take our berries home and can them,” said her mother. “Then we will have food for the winter.”

Last winter, when the IV had slid into my small hand, I made not one sound. So brave, said the nurse, but it wasn’t bravery. I had endured these metal proddings for as long as memory. It’s not bravery if the pinch is expected, a part of what it costs to be alive.

Her mother walked slowly through the bushes, picking blueberries as she went and putting them in her pail. Little Sal struggled along behind, picking blueberries and eating every single one.

The garden we planted on a neighbor’s farm: onions, potatoes, three children digging in the dark mud, sun reddening my fair shoulders through a hand-me-down t-shirt, the hose water drunk which we would later learn was non-potable. So much can kill, yet so little does.

It was a mother crow and her children, and they stopped eating berries and flew away, saying, “Caw, Caw, Caw.”

What did my mother reply to the congregants at our church, to the fragile way they glanced at my thin blonde hair? The other children knew nothing of my scars. A six-year-old boy kissed me beneath a folding table; we held hands and promised to one day marry. How far away is the future to this boy? Can he guess the pain it takes to love someone this much?

Little Sal’s mother heard Little Bear tramping along behind and thought it was Little Sal. She kept right on picking and thinking about canning blueberries for next winter.

And when my brothers and I turn to beasts in the autumn leaves out back, when the cocker spaniel dives and chases and we are all one pack, will my mother notice the ferocity of life in my shy face? Always so many dishes, so many ​dirty clothes.

—a whole pail of blueberries and three more besides.


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Hannah Marshall lives in south-central Illinois, where she works as the advising editor for Greenville University's literary journal, The Scriblerus, and as the poetry editor for Converse College’s literary journal, South 85. Marshall’s poem “This Is a Love Poem to Trees” will appear in The Best American Poetry 2021. Her poems have also been published in Poetry Daily, New Ohio Review, The South Carolina Review, North Dakota Quarterly, and elsewhere. She received her MFA in creative writing from Converse College.

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    FLASH GLASS: A MONTHLY PUBLICATION OF FLASH FICTION, PROSE POETRY, & MICRO ESSAYS


    Categories

    All
    Andrea Lynn Koohi
    Andrea Rinard
    Becky Jeeves
    Birthday Bear
    Entropy
    Family Tree
    Flash Fiction
    Hannah Marshall
    Heather Bourbeau
    How To Live In This Body
    Jer Xiong
    Karen Toralba
    Kathleen McGookey
    Katrina Papouskaya
    Life Goes On
    March Of Grief
    Meredith Sullivan
    Micro Essay
    Molly Andrea-Ryan
    Postcard From Edgewater Beach Hotel Flower Shop
    Postcard From Waterloo
    Prose Poetry
    Roses
    Saramanda Swigart
    Shoshauna Shy
    Snacking
    So What Now With The House Gone?
    The Blind Feast With The Deaf
    Thelma Zirkelbach
    To Feed The Children
    We Have Grown Tired Of
    What My Father Was Doing When He Learned That I Existed
    Yellow


    COVER IMAGE:
    ​"Bolt of Energy" 
    Britnie Walston
    ​ISSUE 22


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