“Charles Garjian, Pa. German Toy Bird, c. 1939, watercolor, graphite, and gouache on paperboard

My Mother Caught on Fire

by Marston Hefner

The fire extinguisher was locked behind a glass case outside our apartment’s door and I hit the case as hard as I could with my thick coat. Still, the glass pierced and was accompanied by a searing pain in my left elbow where the shard protruded. Having no time to think about my now molested fur coat, I screamed and I ran, which was synchronized to my mother’s screaming and running (you know how mothers and daughters are) as my father shouted something from my neighbor’s room, the neighbor being his new lover and confidante.

            I must have sat down because I found myself on my ass, sobbing uncontrollably at the foot of the door, when the door to our apartment shot open and my mother rushed out, saw me crying, and ran over me, kneeing me in the face before hopping down the stairs, hoping to extinguish the flames that engulfed her. By now the apartment was also on fire as I wailed, and by this time, I must be honest, at what I wailed at I was not completely certain, it just seemed like it had been such a bad week. What with my father moving in with our effeminate neighbor and then my adopting of said neighbor’s cat, which turned out to not be a cat at all.

            That was when, as I lay on the ground losing blood, the once thought to be cat but now understood to be dangerous and timid child rushed in, from God knows where to steal whatever was within reach: towels, Tupperware, clean bed sheets, anything your standard vagabond would want from a family who had trusted and attempted to nurse back to health. And there is me utterly crushed, fetal positioned, crying now, not just because of my garish elbow and the loss of my cat but also because of the boy’s stealing my favorite parakeet plushy. The one that my father had bought when I was six. The one that I gave up two other toys for in order to have that one because that one was so expensive. And when I saw the boy run off with that I fell very hard inside. It felt like my stomach was bottomless, because right then I knew that no matter how much one could love, cat or human or whatever it may be, no matter how nice the groomer was or how expensive the treats were, that that being could and ultimately would turn on you.

            I more slid than crawled down the stairs and into the alley, and I laid on our couch which had been left by the boy who could only carry so much.

            It was then that my father came out of our neighbor’s back porch with one arm around the waist of said neighbor. What the hell is going on here? he exclaimed. And I called him over with one curled and bloodied finger and I told him the truth, that that which was the cause of all of this, this misfortune and tragedy that had befallen us was due to him and his neglect. To which my father replied, how could I forget? He said that a tragedy such as this was random, how could he have caused his sole daughter, the love of his life, this misfortune? Then I remember our neighbor getting upset, saying something like, what’s that you just said pussy cat? About love and life? And I remember my father turning to my neighbor, consoling him, letting him know he loved him, kissing him, and me, me a mere husk. My neighbor said something like, choose, choose, choose, as my mind grew foggier and foggier due to the blood running off and into the alley’s rivulet. My father pet my neighbor and said it wasn’t something he needed to worry about. And that’s when I knew, I knew that that boy from before would be back, he would be back for my couch, he would be back for my body, and no one, not even own my father, would stop him.


Marston Hefner is a writer from Los Angeles.

Death of a Daughter-in-Law

by Judith Lichtendorf

Like she’d done something wrong, like it was her fault for taking them out of the freezing-cold city, treating them to a week in Florida, in February, the height of the season, in a motel directly on the beach.   Her son, Steven, was a consultant for start-ups in the communications field, but he wasn’t very busy.  Lisa didn’t work.  They didn’t have a lot of money; this would be a treat for them.  When she suggested the idea, Steven loved it but Lisa thought it would be hard for little Nora, it would throw her schedule off track, she wouldn’t be able to sleep in a strange place, the ocean is too rough for her, she gets sunburned very easily…

            The first day they never even got to the beach.  First, the plane was late.  Then they got bogged down at the airport trying to attach Nora’s car seat in the rental car.  When they got to the motel there was no possibility of switching to rooms on the ground floor the way Lisa wanted; the motel was fully booked.  By now it was four o’clock.  The clerk at the desk paged the porter twice but he never showed up, so Steven lugged all the suitcases up the stairs.

            Well, let’s see what the rooms are like, Beatrice said. 

            Lisa said, but why did you get them on the second floor and not the first? 

            I wanted us to be next door to each other.  These were the last efficiency suites they had left.

            It was too far to walk to restaurants.  They would have to carry little Nora–it was too long a walk for her.  And there would be nothing at any of the restaurants for a picky three-year-old to eat.  And it was too far to walk to the supermarket.  But they needed to get there because Nora needed carrots, bananas, chicken tenders, Cheerios, and Lisa and Steven needed coffee. 

            The bed the motel brought in for Nora was too high, it had no guardrails, she could fall out of it. 

            If they were on the ground floor, they wouldn’t be lugging beach chairs up and down the stairs. 

            Lisa was the one complaining.  Beatrice’s son, Steven, didn’t say anything except once, when he said, Lisa, we have the rental car–we can drive to the supermarket.

            Beatrice tried to ignore it, and watched Nora, who was exploring.  Look mommy, we have two couches.  Look mommy, there’s a big bed for you and daddy and another bed for me.

            The equipment in the little kitchen was old and dirty.  There was no dishwashing liquid or sponges.

            And there was no beach chair for Nora.  And the ones in the closet looked nasty.

            Tomorrow, they could only stay at the beach for two hours; the sun was too strong.  Nora would get sunburn even though Lisa was using spf 50 on her.

            Finally Beatrice said, I think I’ll go to my room and unpack and rest up before dinner.

            Nora said, Wait, Grandma, I want to see your room.

            Lisa said, No, you need to stay here.  Grandma wants to rest.

            It’s fine, Beatrice said, she can come.   That’s why I wanted rooms next to each other.

            Beatrice, please. Don’t contradict me.  Nora, let go of Grandma’s hand.  Come help Mommy unpack.

            Nora said, what does contradict mean?

            Around six, the phone rang; it was Lisa.  Their TV didn’t work–did hers?  Beatrice tried her TV; it was fine.  She resisted the urge to ask Lisa if hers was plugged in, and suggested she call the front desk.  Lisa made a big sigh sound. 

            Could you please call them? I’m changing Nora’s clothes.  

            Beatrice called.

            While they were out to dinner, the TV would be fixed. 

            But now it was too late for dinner.  Nora’s whole schedule was being disrupted. 

            Steven said, Maybe we could get a pizza delivered?

            No, never mind, it would take too long for a pizza to arrive and Nora needs to eat right now.  It’s faster just to go out.

            They drove to the main street and finally Lisa settled on a burger place, where Nora could at least get some French fries.  If they don’t have a vegetarian burger, I can’t eat, Lisa said.  There was a vegetarian burger on the menu, and chicken tenders, and a beer for Steven, and a wine for her.

            Beatrice said, Nora, may Grandma have one of your French fries?

            No.

            Why not?

            They’re mine.  

            Lisa said, Nora, give your Grandma a French fry right now.  Here, Beatrice.

            It’s fine, Beatrice said.  Put it back.  Sometimes none of us wants to share.

            By the time dinner was over, Nora was rubbing her eyes.  Lisa said, I think you and Steven should go to the supermarket, and I’ll get Nora to bed. 

            Good plan, Lisa, Beatrice said.  I’m sure Nora’s cranky and tired.  Actually I’m sure all of us are.  In the morning, we’ll all feel better.

            Beatrice paid.

            At the supermarket she trotted next to Steven, who was following a list Lisa had written at the restaurant on a paper napkin.  Don’t you want anything, Mom?

            She took a bag of chips and two bottles of water. 

            That’s all?

            We can come back tomorrow for more if we want.

            I hope she’s not making you too crazy, Mom.  She’s stressed out and this is how she gets. 

            Okay. 

            Beatrice paid.

            She had packed seven Xanax pills and she took one.  If Steven hadn’t married Lisa then she wouldn’t have lovely Nora.  But he could have married someone else, and she would still probably have a grandchild.  Or maybe a few.  Lisa didn’t want any more children. 

            Six more days, she thought.  Six more days.


            Most of the time Beatrice didn’t actively miss Joe–it was five years since he had died, and she had figured out her life without him.  But she woke up with the thought that he would have known what to do, how to make everyone relax and have fun.  He was good that way.  But he had never met Lisa–maybe even Joe would hate her like she did.  It was the first time the word hate had consciously occurred to her. 

            Lisa thought the complimentary breakfast was disgusting.

            Beatrice didn’t think the complimentary breakfast was so bad.  Little Nora had orange juice and half a bagel, the coffee was strong, and there were rolls, Danish pastries and tables with steam trays holding grits, scrambled eggs–yes, probably from a container, bacon–undercooked, true, individual boxes of dry cereal, milk, cream, a selection of tea bags–and then Steven said, hey everyone, it’s ten thirty, it’s gorgeous outdoors–let’s go to the beach.

            Yay, let’s go to the beach!  We’re going to the beach!

            And so, at last, they did.

            Yes, they did have to lug the beach chairs down the stairs–actually Steven carried all three.  Lisa held Nora’s hand as she carefully went down, step by step, Beatrice carried Nora’s two pails and shovels, Lisa’s beach bag, and her own.

            The beach was almost empty–a young couple, another family with much older kids with boogie boards, two older women who were perhaps sisters, both reading books. 

            Wow, Mom, Steven said.  This is awesome–it’s like we own the beach.

            Lisa said, Beatrice, don’t you think there should be a lifeguard?

            They have them at the public beaches.  This is a private beach.

            Nora broke away from Lisa and started running to the ocean.  Lisa caught her, and said no water until you have more sunscreen on. 

            Finally, everyone was coated, and they all walked down to the water’s edge.  The sand was powder soft.  The ocean was warm and calm, the few waves broke almost silently.  Steven and Lisa took Nora’s hands and slowly walked her out until the water came up to her little knees.  Jump, Steven said, as little wavelets trickled towards them.  Jump me, Nora shouted.  Jump me more.  Beatrice felt herself relaxing–this was how it was supposed to be, this was what she had envisioned.

            Jump me.  Jump me.  Grandma, watch.  Jump me.  Jump me.

            After a while, Beatrice said, I’m going back to my chair and read a little.

            Eventually, they came back, too.  Lisa wrapped Nora in a towel and gave her the pails and shovels.  Steven said, I’m going to take a walk, see what’s been washed up.  Lisa, want to come walk with me?

            Lisa said, no, not really.  You go, have fun.  Maybe I’ll go swimming.

            Okay.  See you in a bit.  Steven walked down to the water’s edge and turned left, slowly walking, watching the wet sand, looking for special shells. 

            Lisa said, Beatrice, would you mind staying with Nora–I’d like to go swimming.

            Sure.  Fine.  That would be great.

            I want to go swimming, too.

            No, you’re going to stay with Grandma, and you’re going to build a sand castle. 

            Don’t let her back in the water, she’s had enough.  And if she starts getting pink put on more sunscreen.  And if she’s thirsty, there’s water in that thermos.  And there’s some apple slices and carrots in the baggie.

            Got it, Beatrice said.  Go swim, I’ll take care of her.

            Lisa walked down to the water and waded far out, but still the water came up only to her waist.  Then she leaped like a seal, and started swimming towards the deep water.

            Grandma, do you know how to make a sand castle?

            Beatrice watched as Lisa, now a tiny thing in the water, turned right, and started swimming parallel to the beach.  

            Beatrice walked back and forth bringing pails of water that Nora poured into the hole she was digging.  Then Nora scooped up the wet sand from inside the hole and tried to shape it into something more like a pyramid, but it was good enough to be called a castle. 

            More water, Grandma.

            You forgot the please, delightful Granddaughter.

            More water please, delightful Grandma.

            Each time Beatrice walked down to the ocean she looked for Lisa.  A tiny thing, a black thing far out, lifting water as she stroked.

            And then she didn’t see her. 

            She blinked, and looked again.  Nothing. 

            Well, her eyes weren’t as good as they had been.  And Nora was waiting.  So she filled the pail and walked back. 

            Where is Steven? she wondered.  How long can a walk take?

            She looked out at the horizon.  Nothing.  No movement. 

            She looked at the other people on the beach.  The young couple was gone.  The boogie-board family was gone.  The two older women were folding their lounge chairs, getting ready to leave.  There was no one else around. 

            Grandma, I need more water.

            Okay, in a minute.

            After all, why was she worrying?  Lisa had been on the swim team in high school, she was a strong swimmer.  She, with her weak eyes, she just didn’t see her.  But there’s no need to panic.  Nothing’s wrong.  Calm down.  Get the little one another pail of water. 

            She walked down slowly, filled the pail, walked back slowly.

            Again, she looked out at the horizon looking as far right as she could see.  All the way out were two Jet Skis.  Nothing else.

            What now?

            She had brought her phone. At least, she was almost sure she had–yes, there it was in her beach bag. Perfect–call Steven.  But the phone wouldn’t turn on.  Think.  Think.  Come on, Beatrice, you know how to turn on your phone–press the power button, idiot.  The phone turned on.  Go to Contacts.  There he is:  Steven.  Ringing.  Ringing.  Aw Nuts!  Your call has been forwarded …

            Should she do something?  Go to the desk in the motel?  Wouldn’t it be 911 in Florida?  Perhaps she was making a mountain over a mole hill.   Joe used to say that.   After all, how long had it been?  Steven was still walking.  She was worrying for no reason.  Or was she?

            Grandma?

            Yes, sweetheart?

            I have to make cocky.

            And now what to do?  Where was Steven?  Leave the chairs and the beach bags and run back to their rooms and a toilet?  Keep looking for Lisa, find her, is she still swimming?  Call the police?  No time for that now, the little one needs a toilet, this is not something you can delay.

            Okay, cutie, come on.  We’ll just run back to our rooms and then we can come right back, okay?  Come on, let’s go as fast as we can.

            And they’re off–the three year old as fast as Beatrice–cocky coming, run run run to Beatrice’s room, quick to the toilet, pull down the little bathing suit, pick up the little one, set her down on the toilet.

            Grandma, you have to hold me up–I can’t sit.

            Why can’t you sit?

            Mommy says it’s dirty.  I can only sit on the toilet at home.

            It’s clean in here, Beatrice said, I cleaned it myself.

            Out came the cocky.  Also some peepee. Beatrice wiped her, pulled up the bathing suit, come on, we have to go back to the beach–we left all our stuff there. 

            Nora said, let’s run!

            When they went through the gate there was Steven at their chairs, holding a big pink conch shell.

            Hey Mom, where’d you go?  Where’s Lisa?

            Oh, Beatrice said.  Nora needed the toilet, and Lisa went swimming.

            Oh, sweet, Steven said.  Look Nora, look what Daddy found for you.  If you hold it to your ear you can hear the ocean in it.

            Nora put it to her ear.  I don’t hear anything.  Hold it for me, Grandma.

            Beatrice said, you forgot the p word.

            Please, Nora said.  Daddy, will you help me build my castle?

            Yes, I’d love to help you build your castle, Steven said. What should I do?

            Take this pail and get me water.

            Okey dokey. 

            Beatrice watched him walking to the ocean with the pail.  Her son, her lovely son.  She looked, blinked her eyes to make them clearer.  A black dot, swimming right, parallel to the beach.   Nothing.

            Should she say something to Steven?  What would she say?   Would he think she was crazy?  Or maybe he would call the police.  Or she would be scaring him for nothing.  It had to be close to lunchtime.  Very soon Nora’s castle would be finished.  And soon Lisa would be back.  Of course she would.  It was getting to be time for lunch.   Lisa would stop swimming, she would come walking back along the wet sand, waving “hi” to them. 

            Steven walked back.  Here’s the water, Nora.  What should I do now?

            You have to pour it in here.

            Steven poured.  Mom, what’s up?  Why don’t you sit down and enjoy the sunshine? 

            Oh, Beatrice said.  I guess I feel a little restless.  It’s hard for me to concentrate on my book.

            Mom, you don’t have to read your book.   Who said you have to read?  

            Steven’s phone buzzed.  He looked at it.  Mom, you called me?  Why did you call me?

            I’m sorry, Beatrice said.  I was checking if I got reception here and pressed you by mistake.   It was a mistake.

            Oh right, I’ve done the same kind of thing, Steven said.  Mom, why don’t you just stretch out, close your eyes a little bit, take it easy.  Just relax.  Everyone’s having a great time, thanks to you.

            Daddy, you’re not paying attention.

            Well, now I am.

            You sit here Daddy.  This is your shovel.  Dig here, where I’m showing you.  But don’t dig any place else, okay?

            Okey dokey. 

            Beatrice watched them play.  Her big boy, her darling granddaughter, and the little one is the boss.  Really adorable.  She should take a photograph of them, but it seemed too much effort to dig through her bag and find her phone. 

            Steven was right, Beatrice thought.  Of course she should relax. 

            She sat down and leaned back in her chair. 

            Nora said, no, Daddy, you have to put the dirt right here.

            Beatrice stretched out.  

            Relax, she said to herself.  Relax.

            Nora and Steven were digging and talking.  Nora was trying to put her foot in the hole.

            The sun was lovely.  Her chair was positioned so Beatrice could see the water, but if she closed her eyes, she couldn’t.


            Judith Lichtendorf writes fiction, memoir, and creative nonfiction She has taken workshops with brilliant writers, among them Lore Segal, Rick Moody, Teddy Wayne and Phillip Lopate. Her work has been published in Mom Egg, Stonecoast Review and Podium, the Unterberg Poetry Center’s literary magazine. She has lived all her life in Manhattan, and tries to be kind.

Living with Molly

by Sam Fishman

One time Molly grabbed my face in both her hands and said: One day you’re going to get bored of me because I’m fucking boring, Sam. One day you’re going to send me away from you because you’re a scared little boy who never had to learn better, and I’m gonna live with my parents and get a shitty job and you’re gonna go on with your rich boy life and I’ll never see you again. You’re going to miss me you dumb fuck, and by then it’ll be too late.

           Molly, you thought you were so fat, that’s why you ate popcorn all the time. You’re not fat, the truth was right there on the mirror. But I liked that you were always eating popcorn. It made me feel like I was a movie worth watching.

           I got mirror problems too, Molly—I see my dad’s face and a heart attack coming soon. I know it wont matter how many good things happen to me because it’s already been settled—I’m going to end up in a very still and brutal place: You’ll be fat and I’ll end up dead on the floor of a mental asylum. You’ll need a ladle to wipe your ass and I’ll be discovered by an orderly who will find our son’s number under a puddle of barbecue sauce. He’ll get a phone call early in the morning just like I did.

            So thank God for Molly and thank God for Molly’s butt too. Thank God for Molly’s brother, who is the school janitor reading in the utility closet. Thank God for Molly’s mother who is sitting, right now, behind the bar of a bowling alley outside Cleveland, Ohio. Her name is Lisa if you want to say hello.

           Thank you for being in my life, Molly. Thank you for being the nicest face to turn to while I’m driving. Thank you for being scolding hot and burning holes in my plastic life. For turning all the music into Molly music. My bedroom to Molly bedroom. This square is my life and it belongs to you.

           I’m still here with all your ghosts, Molly. I’m just a sitting memory of you. These days, the only thing that’s my own is the garbage covering my desk: the hot sauce packets and big plastic cups that used to hold ice-cold Cherry Cokes. I’m still in the room we made together but you aren’t here anymore.

         One day I’m going to step on the baskets you wove. I’m going to mangle them beyond recognition. When I’m standing before the biggest garbage can there is I will hold them high above my head. I will feel so wrong but not know what else to do but throw them in. Very soon I’m going to be free and it will make me so lonely.

           I wish I hadn’t been on my computer all the time, Molly. I wish I’d closed my laptop when you were sitting next to me. I wish I hadn’t spent my life nursing all my anxiety and pain. I wish I knew when I needed a hug. I’m almost a fully-grown man now, Molly, and all the shitty little things I did to get by have cauterized and become my personality. I’m just a courteous piece of stone.

           Why didn’t anybody say something? Why doesn’t anybody stop anybody?

           Good stories are attached to your voice like arms, Molly. They are sprawling and dexterous and never stop coming out of you—How the Amish used your grandmother’s garden like a vegetable bank and kept coming and taking shit from her big backyard in the name of God and never gave a dime or a thank you, how they paid her in pastries she hates because they don’t bake with sugar.

           Molly, it seems like every second more good shit is leaking out of your pretty head.

           We were living in the same room for months, drinking the coffee I made and eating the lasagna you did. When you left you packed the freezer full of lasagna. After a while it grew eyes, Molly. I can no longer touch that door—I absolutely refuse to open it.

            Right now, you’re sitting on the bed we made together. You’re lying under the mustard linen sheets we slept on and you’re just like these linen sheets because you’re one more nice thing I’ve never had before. You bought me a duvet cover from IKEA and a pillowcase made of satin to prevent the styes I get so often. You prevented all the bad things from happening to my body that I’ve never tried to stop before.

           You turn the lamp on because it’s nighttime, Molly. The big ugly ceiling light is off and I’m getting ready to join you for bed. I take off my t-shirt and my sweatshorts and my boxers. Then I stand there naked and tell you a joke, Molly, and you don’t even laugh, not even a little bit.

            You only start laughing after I am standing there for a while. You blow bubblegum snot out of your nostril and point at my body. You’re laughing because my breasts are puffy and my belly is big and gentle. You’re laughing because I look maternal. You’re laughing so hard that it makes me want to be a mom.

           All I want to do is dance for you, Molly. So I let my hand down behind my back, so you can’t see my next move. I slowly uncurl my index finger and become the mother who is growing a wormy little boner. I make heinous sounds of arousal because I love you. I am dancing naked just for you. 

            I wish I could be silly with you all the time because I never can but look at me go it’s happening right now—I’m becoming someone I’ve wanted to be my whole life. I am a shameless lover who has opened up to you.

           When I lay down next to you we kiss like people are meant to be kissing. Molly—When I am here with you, I don’t have any secrets. It feels like the first time.


Sam is a writer in Los Angeles. Read more here: https://neutralspaces.co/samfishman/

On One Hundred Years of Solitude

Richard Z. Santos

No novel needs a recommendation less than Gabriel García Márquez’s One Hundred Years of Solitude. The novel floats above every novel, perfect and removed like Remedios the Beauty, while simultaneously serving as a foundational piece for the Latin American “boom,” modern family epics, and somehow both realism and magical realism. 

            I don’t feel the need to defend García Márquez or to introduce his novel to a new reader. People tend to find this novel when they need it. But I do want to explore how García Márquez pulled this off.

            One Hundred Years of Solitude is a demanding book that requires your full attention. Of course readers get swept away by the Buendia family and find themselves immersed in Macondo. Still, I doubt even its staunchest supporters would call it a breezy read or the kind of book you can knock out in a couple days on the beach. 

            The novel requires you to read its long sentences slowly and then to reread as the narrative jumps from person to person and across the generations all within a few pages. Whose head am I in? Which Aureliano is this? The novel casts off less attentive readers with its branching story and assertive narrator who seems to spend as much time describing what the characters are feeling as showing us. 

            This narrative structure has been called circular, recursive, branching, atemporal, and compared to spirals and tree roots tangling underground. Imagine anything complex and interlocking and you’ll find someone somewhere comparing it to One Hundred Years of Solitude.

            Countless dissertations have been written on García Márquez’s masterpiece and how it achieves its unique power, but I want to focus on how each chapter begins. I think there’s a lesson here for writers and readers. If you can, read them aloud:

  1. Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice.

  2.   When the pirate Sir Francis Drake attached Riohacha in the sixteenth century, Úrsula Iguarán’s great-great-grandmother became so frightened with the ringing of alarm bells and the firing of cannons that she lost control of her nerves and sat down on a lighted stove.

  3. Pilar Ternera’s son was brought to his grandparents’ house two weeks after he was born.

  4.  The new house, white, like a dove, was inaugurated with a dance.

  5. Aureliano Buendía and Remedios Moscote were married one Sunday in March before the altar Father Nicanor Reyna had set up in the parlor.

  6.   Colonel Aureliano Buendía organized thirty-two armed uprisings and he lost them all.

  7. The war was over in May.

  8. Sitting in the wicker rocking chair with her interrupted work in her lap, Amaranta watched Aureliano José, his chin covered with foam, stropping his razor to give himself his first shave.

  9. Colonel Gerineldo Márquez was the first to perceive the emptiness of the war.

  10. Years later on his deathbed, Aureliano Segundo would remember the rainy afternoon in June when he went into the bedroom to meet his first son.

  11. The marriage was on the point of breaking up after two months because Aureliano Segundo, in an attempt to placate Petra Cotes, had a picture taken of her dressed as the Queen of Madagascar.

  12. Dazzled by so many and such marvelous inventions, the people of Macondo did not know where their amazement began.

  13. In the bewilderment of her last years, Úrsula had had very little free time to attend to the papal education of José Arcadio, and the time came for him to get ready to leave for the seminary right away.

  14. Meme’s last vacations coincided with the period of mourning for Colonel Aureliano Buendía. 

  15. The events that would deal Macondo its fatal blow were just showing themselves when they brought Meme Buendía’s son home. 

  16.  It rained for four years, eleven months, and two days.

  17.   Úrsula had to make a great effort to fulfill her promise to die when it cleared.

  18. Aureliano did not leave Melquíades’ room for a long time.

  19. Amaranta Úrsula returned with the first angels of December, driven on a sailor’s breeze, leading her husband by a silk rope tied around his neck.

  20. Pilar Ternera died in her wicker rocking chair during one night of festivities as she watched over the entrance to her paradise.

            The whole novel is in these twenty sentences. 

            The first sentence alone contains the patriarch, his powerful son, and a reference to Melquiades, whose gypsies bring marvels to Macondo and whose words we read. From there we have the children, their spouses, women who are definitely not spouses but are treated as such, war, death, and, over the final six sentences, Macondo’s slow decline. 

            The sentences themselves call back to each other.  The tenth sentence echoes the first. The twelfth sentence reminds us of the marvels of ice but with the melancholy awareness that the  “marvelous inventions” (electricity and the train) will only speed up the town’s decline and the novel’s ending. The nineteenth sentence sweeps in full of hope only to be thoroughly extinguished by the twentieth and final sentence. 

            These sentences are a chronology, of sorts, and a family tree. They’re also a gift from García Márquez to himself and this is the valuable lesson for writers. 

            García Márquez starts each chapter with a specific character going through a specific event. After establishing an anchor in space and time he has permission to spiral around and back because he put a stake in the ground and knows where he must return. Usually these parameters exist within the same chapter, but sometimes, as in the first sentence, it’s much later. 

            García Márquez created a beautiful and complex book and I’d never claim to completely understand how he did it. But a key to the book’s internal logic lies in these beautiful sentences.


Richard Z. Santos is a writer and teacher in Austin. His debut novel, Trust Me, was published in March 2020. He is a Board Member of the National Book Critics Circle and served as one of the 2019 Nonfiction Judges for the Kirkus Prize. Recent work can be found in Texas Monthly, Awst Press, Kirkus Reviews, CrimeReads, and many more. In a previous career, he worked for some of the nation’s top political campaigns, consulting firms, and labor unions.

Camellia-Berry Grass’s Hall of Waters

Elizabeth Deanna Morris Lakes

About six months ago, right before everything really shut down, my kid found my copy of Camellia-Berry Grass’s Hall of Waters, which I had just had Grass sign. He became fixated on it. He liked the cover, liked the author photo in the back, but most of all liked saying Berry Grass’s name. “Berry Grass,” he’d say, “Blueberry Grass, Blue Grass, Berry Trees, Berry Leaves!”

            My kid is right to push and pull at Camellia-Berry Grass’s name like this. Grass loves puns, which one can see on their Twitter, but they also like taking one thing and pushing and pulling it, twisting it, lighting it up from unexpected angles. Hall of Waters does just this. It’s a book of essays, but just from its heft, you might guess poetry. I do not say this to say, “Oh, they’re essays but really they’re poetry.” What I mean is: Grass takes a form and transforms it. Many of the essays in their book are only one page, but those pages demand you sit with each sentence, one at a time.

            Take, for example, the book’s opening essay, “Accountability,” which begins, “Let’s get to the point, like water does, rushing to fill all the spaces: this is about liquidity.” The essay takes up half of one page, but each line—dare I say—holds its own water. They ask us to consider spaces empty and filled, places occupied and not.

            The essays are looking at Grass’s hometown, Excelsior Springs, how the town loved to erase Indigenous people and Black people from its history, how Grass’s personal history was written there, and how the water in the springs was the town’s greatest selling point and greatest lie. The essays are unflinching in how they are both critical and empathetic to the town and the townspeople, both pointing out the cracks in each story the town tells while also explaining how the cracks got there.

            The book’s essays continue to think about space, not just within words, but with how they themselves take up space. Look at “The World Reduced to One Truth, Science, Such as It Is,” a letter to Donald Judd, an artist from Excelsior Springs that, as Grass writes in an earlier essay, “nobody really speaks of” in Excelsior. “Maybe it’s because you got out,” Grass wonders to Judd. In “The World,” the essay starts like a letter, directly addressing Judd, who died in 1994. But the main body of the essay reads like a poetic litany, each sentence a new line, defining “good art.” By the end, Grass pivots back to Judd, asking a series of questions about the way he made his art. Judd’s art reflects onto Grass, and the water of their words reflects back.

            In “True or False,” Grass arranges quotes about the springwater across the page like their own tiny stanzas. They don’t provide any more analysis at this point. Instead, each quote hangs like a water droplet at the end of a branch, and the reader must decide if it will continue to cling or fall.

            But best of all, one of my favorite things in this book, the thing I always mention to people, is Grass’s “hermit crab essays,” a term coined by Brenda Miller that describes essays that use borrowed, non-literary forms. These essays use a literal form: the Architectural/History Inventory Form from the Missouri Department of Natural Resources State Historic Preservation Office. Grass fills these forms out for their own childhood home, for example. Boxes are checked, and answers written briefly in the small space the box allows (“31. Chimney placement: Offset left”), but Grass also answers the questions in the dream state an essay allows (“11a. Historic use (if known): Horror and refuge. It was wet with booze breath & then verdant with rootgrowth. Less desperate than it was. Decorated.”) These hermit crab essays are thrilling: they let Grass press the mundane right up against trauma and love. They move the reader procedurally through a process of grief in the way that many of us must move through grief, at least initially—by having to fill out paperwork. And then, in the “cont.” sections of some questions, the essay floods the page, filling in the gaps the best that Grass can.

            Hall of Waters is both a book I could never write and the book I wish I could have written. It proves that one might not require much physical space to intensely investigate a place and a history. Each small essay—each sentence—creates a swell inside you; until at some point, you burst.


Elizabeth Deanna Morris Lakes was born in Harrisburg, PA and has a BA in Creative Writing from Susquehanna University and an MFA from George Mason University. Her book, Ashley Sugarnotch & the Wolf, is out from Mason Jar Press. She has appeared in Always Crashing, The Rumpus, Cartridge Lit, Crab Fat Magazine, and SmokeLong Quarterly. She is the blog editor of The Rupture. She is one of two buds on The Smug Buds podcast.

The Light the Light the Light the Light (One + Two)

Margaret Yapp


The Light the Light the Light the Light (One)

I’m trying to pray to
god so I can stop thinking about
god & about the first uncut dick


I ever saw & tenderness & about how
horny I am & how tenderness
doesn’t matter today & won’t matter tomorrow.


I got a nosebleed during sex with a new lover.
The world’s literally on fire & we were born
into the middle. The middle of


the light. I’m sorry
for talking about birth & sorry
for talking about sex. I’m distracted &


busy & waiting for a text back. The new lover
made me squirt & then I cried
about my dad … what does abject mean?


I’m an animal in my middle.
I’m an animal digging against my middle.
Tenderness doesn’t matter only coincidence.


I don’t have time to pray. I’m busy
sending nudes to my entire contact list. I have an iPhone 6S
& I’m covered in bruises.


I want to tell you I’m kinky but I’m only anemic
& we can only witness from far away: the light


The Light the Light the Light the Light (Two)

I don’t know how to start a fire.
I only know why one might end.
Sex is only a small death


if you actually come.
I’m addicted to wondering
about my unconscious & I continue


& continue to try to find the light.
I pray to god for the light.
There is no reliable


name for any of this & we have established language
is impossible. I pray to
god my new antidepressant


makes me less horny. Am I in love
or am I just smoking weed every night?
Am I in love or am I


eating a particularly good orange? No matter
how fast we burn
I wouldn’t want to be


caught dead in the middle of a war
alone like this.
From here on out I promise


I’m only going
to let hot people hurt my feelings.


Margaret Yapp is from Iowa City, Iowa. Her poems and essays have appeared in Peach Mag, Apartment Poetry, The Minnesota Review, and elsewhere. Margaret is an MFA candidate at the Iowa Writers’ Workshop. Find her on the internet @bigbabymarg.