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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:
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  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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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
    Flash Fiction
    Hannah Marshall
    March Of Grief
    Prose Poetry
    Saramanda Swigart
    Snacking
    The Blind Feast With The Deaf
    Thelma Zirkelbach


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


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