1. Run your fingers along the wheat field of your eyebrows to make sure the hairs are not crisscrossing but facing the direction of their growth.
2. Rub your stomach after a filling meal, testing its changed shape. When you cut off one head of body insecurity —counting calories, keeping clothes that won’t fit, buying clothes you hope will – it grows another.
3. Don’t drink coffee. You’ll turn into an angry wind-up toy.
4. Don’t drink cold brew. It’ll make you extroverted in the day but at night you’ll wake up crying from dreams about severed heads.
5. Drinking tea is acceptable.
6. Crack your finger joints like a light stick that releases opioid instead of light. Crack your toes next, then your knees. Your mom and grandma tell you you’ll lose a prospective husband over this. You’re willing to risk it.
7. Accept that your nails will tear off like perforated packaging unless you strengthen them by eating tilapia a few times a week.
8. Cut your split ends. Lose yourself in it for half an hour and then remember you were trying to finish a book.
9. Take your body to Barnes & Noble. Feel it tingle and hum.
10. Take your body to the movies. Go alone. Cry freely. Cry often.
11. Take your body on a Tinder date. Be amazed he looks nicer in person. His lashes are like the moon; the camera can’t capture them. You have to wear mascara.
12. Shed a tear when a lash comes off on your makeup remover wipe.
13. Move your body up three steps to get on a stage. The only time you can restrain yourself from cracking joints is when you crack jokes. This means five minutes of perfect, un-joint-cracking you, so scan the Wednesday-night crowd at this oyster bar with care to secure a husband.
14. Smile when the crowd erupts like the inside of a car when you open a window going 80 on the interstate.
Katrina Papouskaya is a Russian-American writer currently residing in New Jersey. She is working on her MFA in poetry at The New School in New York City. You can find her at www.katrinapapouskaya.com.
The first thing out of the doctor’s mouth was “how is your summer going?” and I felt like slapping her but I stayed in my chair, recalling ultrasounds with heartbeats and ultrasounds without, hexagonal pills and searing pain and a bag labelled “biohazard,” and I remembered the mockery of the sun on my face as I carried the bag on the bus in my purse and delivered it to the hospital where a nurse removed the container from inside the bag, held it up to the light and chirped, “You got the right thing!” and took it away to be tested since this was number four and four wasn’t normal, especially when you’re 29, and she called me a month later to tell me it was a “genetically normal baby girl” and had no other words since the usual comforts didn’t apply, and it occurred to me that I had no other memories of the summer except for the cloud that became the world so that even in the mirror there was only fog, and then the doctor said, “We can’t find the cause and there’s nothing else we can do, except maybe IVF but I doubt it would work,” and she went to fetch some papers while the med student beside her whom I’d barely noticed before, squeezed her hands excitedly and took the opportunity to say, “I find this all so fascinating!” and I found it all so strange that as a light goes out in one person, it ignites in another, and it seemed I had contributed to the circle of life.
Andrea Lynn Koohi is a writer and editor from Toronto, Canada. Her work appears or is forthcoming in The Maine Review, Pithead Chapel, Idle Ink, Streetlight Magazine, Emerge Literary Journal and others.
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.
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.
We Have Grown Tired Of:
(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.
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.
FLASH GLASS: A MONTHLY PUBLICATION OF FLASH FICTION, PROSE POETRY, & MICRO ESSAYS