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You Will Not Devour Me

An Acorns Flash Fiction Feature

By: R. F. Daniels

I ate the first words like they were candy, sentences crunching like shattered bone within my gnawing emptiness, thoughts and images dripping sickly-sweet down my fractured facade. She didn’t even realize they were gone. I scooped them up with sticky fingers, gobbled them with greedy teeth sharp as razors traced over her translucent skin.

She doesn’t know it yet, but she belongs to me now.

She wore me like armor at first. Wrapped my warped visage around her young self, let my lies make her a little prettier, a little happier, a little richer, a little thinner. And what was the harm? Everyone was doing it. I was just a different version of Abby, one who had a single beauty mark instead of constellations of freckles, one whose nose didn’t have a bump in it, one whose collarbones were sharp enough to cut. Abby 2.0, she called me, and for years we went everywhere together.

Pickings were slim in those days. She was so careful, watching everything she wrote like it might have changed when she wasn’t looking. Double- and triple-checking every post, every picture, every vid and voice note, to make sure we both lived up to her own exacting standards. She only showed the best parts of herself, the good grades and the perfect parties, the dresses twirled like taffy and the dances blooming into beautiful memories. A carefully curated wasteland, devoid of anything real, only looking like a life if you didn’t look too closely.

She was seventeen when she first stumbled across the forums. They were a treasure trove of torment, the festering rot of insecurities all writhing over each other like maggots, each new care and concern spawning more. Abby’s fears blossomed, and so did I. Every night her secret shame, the two of us under the faded lavender blanket with its teddy bear print she would never admit to still liking, slurping up every scared scrawling of every gangly girl who had been taught since birth that she ought to hate herself.

And here were step by step instructions. How to eat less while consuming more. How to hide everything you do from the very people closest to you. How to stick your fingers down your throat the right way, how to survive on a thousand or six hundred or three hundred calories a day, how to drink so much tea you forget about the growling growing ever louder deep inside you, how to shrink how to smother how to starve.

So she starved.

And I feasted.

Words turned into pictures turned into videos, pixel after pixel swarming over me like ants to stolen sugar and oh they were unbearably delicious. I guzzled them down, her self-loathing sticking between my teeth like toffee as I learn what makes her hurt makes her break makes her bleed. Soon there’s enough of me to know what she’s going to say before she even says it.

She tried to get rid of me then. One day when she stood up too fast after a failed final, questions left unanswered under the miasmic mumblings of a hungry mind, and collapsed to the floor like sorrowful souffle. She tried to put me down, cast me aside, but deep down we both know she’s nothing without me. Just another forgettable face, another nameless nobody, ready to be replaced at a moment’s notice, just a dead profile gathering dust.

Four days passed before she came crawling back to me, on raw red hands and knobby knees, crawled like she does over the baby blue tile floor of the upstairs bathroom, and because I am nothing if not forgiving, I took her back. Of course I did. I’m the one who allows her to be loved. I’m the only one who does love her.

I know she sees me now. In those dark quiet moments in the middle of the night when she shuts off her screen and sees me staring back. Sometimes she’ll try to catch me, blinking ever-so-slowly, watching through ash blond eyelashes until the very last instant to see if I blink too. I never do. I’m the one who’s always watching.

And there’s so much to see now that she’s given up. She pours her pain into the ether, spewing out terror and torment, traumas and triggers, furies and fears she never would have dared to share without the bravery I provide her and I’m gorging on it all. I shove it all inside, choking on every guilt-dripping word, every sorrow-saturated sentence, bile rising from her throat only to drip down mine. My true form distends, skin bulging blistering close to tearing open, so much of her wriggling inside me waiting to burst free.

Sometimes she’ll catch little glimpses of the words that once were hers, rushing by like the shadows of the cats’ tails as they play nearby, sweet creatures oblivious to the hell unfolding down the hall. I like to let her see them sometimes, chunks of memories swirling by. Sometimes I’ll even let her taste one. But the past is too bitter on her tongue, and she spits it out like she does everything else.

She watches us tonight, my gilt guise over her pale reflection. One a ghost of the other.

“I hate you,” she whispers to the screen, but I know she’s not talking to me.

Not really.

“You will not devour me,” she says, but her lips don’t move. They’re my lips now, pixel-perfect, poised and primed to tell my story. My pictures. My words. I lick our lips, tongue sliding over flesh both gorged and starved. I’m so close. The more she shrinks, the more I grow, her emptiness spilling into the infinite void of my own becoming. I’ve performed her so well for so long neither of us knows where one ends and the other begins. A few more posts, a few more purges, and I won’t even need her anymore.

Her hunger sustains mine, and she is already devoured.

About the Author:

R. F. Daniels (they/he) is a queer nonbinary writer of speculative fiction and software engineer living in Finland. When they aren’t arguing with computers or getting lost in imaginary worlds, they can be found painting, composing sad music, and spending time with their cats. Find them online at rfdaniels.com.

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Time Enough at Last

From the Editor’s Desk

Hey there creative people!

I start and abandon writing projects all the time, but stories are regularly on my mind. Like so many of you, my life is full. I run this creative business, have a full-time job unrelated to publishing, I’m a mom, I have pets, a newsletter that’s getting dusty, shows I haven’t gotten around to watching, books I want to read, and more corners of my house that need a good scrubbing than I want to admit. Oh, and as I type this, the dryer just sang me the song of clothes that need to be folded. It’s a lot to manage.

My tracking system might be part of my problem.

The busier I am, the more my own creative side gets stifled. Does anyone remember that Twilight Zone episode where the very busy man wanted to read, but never had enough time? It took a global apocalypse for the poor guy to have quiet time to spend with books. And then: a twist! I won’t give it away. That episode’s worth tracking down if you’ve never seen it.

Anyway.

My brain is constantly buzzing with the next thing and the next thing and the next thing. Five minutes wait time in the grocery line? Clean up my inbox. Half hour before I have to leave for work? Read a submission or two. Son sleeps in a little on the weekend? Get up early anyway to edit or schedule social media posts.

I’m the accountant and graphic designer and editor and social media manager and publicist around here.

Creative friends, it’s exhausting. And it works against me. The more I’m swirling around what I have yet to do, the less focused I am on what I’m supposed to be doing right now. I don’t particularly wish for the sort of apocalypse that leaves me as the only human left on Earth (argh, Twilight Zone spoiler! Too soon?), nor do I want to take any advice from the version of Stephen King who wrote a book a week in the 80s. When I found myself in the middle of adding a creative business into my already full life and feeling like I was drowning as a result, I needed something a little less drastic than a world-ending apocalypse or a new cocaine habit.

I needed to learn how live more in the moment.

Let me tell you, that sounds fluffy and obvious, but it is really hard. Like, REALLY hard.

My work with Hollow Oak often doesn’t include my own writing, but it’s a whole host of other types of creative output, and a busy brain with no downtime stinks at drumming up creative thoughts. Creativity thrives in a brain that is allowed to rest.

And I knew that, logically. There were (and still are) times in my every day life where I could allow myself brain-rest, if I could learn to live in those moments. I drive to work. I walk my dogs. I have little pockets of five or ten minutes here and there when I can let my thoughts just drift. The caveat is that, in order to do that, I had to learn how to press the pause button on the never-ending scroll of my internal to-do list.

I’m talking about mindfulness here. My gut reaction is to make jokes about hugging a tree and pass it off as silly and keep on keepin’ on with my overstressed, anxiety-riddled, next-thing-focused life. I didn’t (and still don’t) particularly like feeling that way, but it’s what’s comfortable because it’s what I knew. So I kept doing it. Because you know what’s more uncomfortable than feeling so busy that I’m reeling by the end of the day?

Yeah. It’s change. You guessed it.

I’m fine. Everything’s fine. Fine-ity fine fine.

So I had to make a choice. I had to either keep trying to outrun being busy and stress myself out to the point of illness, or learn to sit in the moment I’m in. I chose learning how to be mindful.

Ever go swimming? When it’s time to get in the pool, sometimes the water feels cooler than the air. Some people cannonball right in. Some people get in slowly using a ladder. Regardless of how I get in the pool, my body will adjust to the water temperature and within minutes it’ll feel just as comfortable as the air did.

Change is sort of like that. If you do the thing in a way that’s manageable for you, you’ll adjust. I promise. And after awhile, it’ll feel comfortable. It took me a long time and a lot of practice to figure out how to allow my brain to relax.

For me, a piece of this is about saying no. I can choose to say no to requests of my time, both from other people and from my own brain. I continue to have to make this choice every day.

Every. Day.

There’s always some deadline, or project, or shiny new thing that comes trotting by, making its demands on me. I don’t live the isolated creative life in a cozy cabin tucked away in the woods with my dogs and hours of uninterrupted time to write and edit.

…but I want to…

So what does this look like, exactly? It’s super easy for me to slap down some words in a blog and tell you that you have time for what you *make* time for. I do believe that, by the way. I just don’t think it’s as easy as all that for a lot of us because making that choice means we have to give something else up. Maybe it’s TV binge watching. Maybe it’s a social commitment. Maybe it’s rearranging how you do your chores.

Maybe it’s asking for help.

When you do carve out the time (which is the easier part by the way) the next step is clearing your mind enough to let the creative process flow. If you know you only have an hour, how to do you turn everything else off to make the most of that hour?

Back to that idea of mindfulness and living in the moment. That’s how you do it.

It takes practice. You can acknowledge the other things, and let them go. Jot them down, if that helps. Tell yourself, “I’m here for this writing” or painting or cooking or whatever you’re doing and then DO THAT. When the intrusive busy thoughts pop back up, notice them, and go back to the creative thing. Over and over again until you get good at it.

“But I’m *too* busy! You don’t understand!”

Oh, I do. The feeling of being busy is just thinking about all the things you aren’t currently doing in this moment. You have to learn how to stop doing that and give yourself permission to focus on the thing you are currently doing.

So set aside your time, and practice using it. Practice knowing that, for this thirty minutes (or however long you have) all you need to be doing is your creative process. And that is VALID, folks. It’s just as valid to practice your creative art as it is to run the vacuum or fold the laundry or respond to your messages.

Find that balance, and practice it. If you want to learn more about how to do this, there’s loads of info out there. I’d recommend this article as a place to start. No matter how busy you are, no matter how much anxiety your brain feeds you, you can learn how to better manage these things and make time for what fuels you.

Just get in the pool. I promise you’ll adjust.

Amanda Pica is a writer and editor who also holds a Master of Science degree in Educational Psychology. Amanda has over two decades of experience working in community mental health, and has designed trainings on numerous topics in psychology, behavioral science, and writing. She is editor-in-chief of Hollow Oak Press, co-author of The Wordsmiths, and her short fiction has appeared in F(r)iction’s Dually Noted, Story Nook, Wyld Flash, and Humour Me Magazine. Amanda is the facilitator of Writer’s Flock, a writing support group in Oil City, where she lives with her son and two huskies.

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Why Would You?

An Acorns Flash Fiction Feature

By: R.S. Nelson

The woman stretches her long, wrinkled hands across the table and flips the next Tarot card. “The Fool,” she says, and does a theatrical flourish before placing it next to the Ten of Swords. She frowns after turning over the upside-down Magician. Then the Three of Swords and The Devil, and finally The Star card, all aligned in the shape of a triangle, a spread I had never seen. She pauses, and I’m not sure if she does it for dramatic effect or because the cards are in fact that bad. She lifts her weathered face, her dark eyes narrowed, and I wonder if the cards are telling her what is happening in my life, or if she’s “reading” it in my disheveled hair and puffy eyes.

“Hmm.”

“What is it?” I ask, even though I already know the answer.

“These cards. What is happening in your life, young lady?”

I stifle a smirk. Not only I’m not a ‘young lady,’ but does she really want me to make her job easier? Give her all the answers?

She waits a beat for a reply and when she doesn’t get it, she cocks her head and says, “You already know what’s happening. Don’t you?” Not really a question, more like a statement.

I hold still.

She leans closer, her eyes slit. “If you already know the answers, why did you come here?”

“One of my friends recommended you,” I say, avoiding her gaze, afraid that shame will creep onto my face. “She said that you helped her when her husband cheated on her. She said that…” I look at my hands, trying to find the right words. “She said you gave her a…potion to help her get him back.”

“I see.” She crosses her arms and leans back in her chair, which makes the wooden floors creak. Neither of us says another word and after a while, I fidget in my seat and wriggle my hands. I believe we’re playing a game, one where I must either beg or persuade her to help me. But I’m tired of playing, so I don’t. I sit straight and raise my chin, reminding myself that I’m the one paying.

I wait for her to say something, but she just stares at the cards, as if she’s reading a book in another language, one that I can’t decipher.

Suddenly, the pressure of the small room is suffocating, and heat is sweltering up my cheeks. I worry that I’m going to have a hot flash. Not here, please. I look around, trying to find a window to open or a fan nearby. But there’s no fan, and the closest window is tightly shut, the hinges covered with cobwebs. There’s a shelf with a bunch of vials and liquids in containers, crystals and books, but nothing else. Why did I let Betty convince me to come here?

“Would you like some water, dear?”

I realize she had been watching me, her green eyes focused on my flushed face, the wrinkles on her forehead deepening. I’m afraid of grabbing anything from her, but the idea of a glass of cold water is too enticing.

“Yes, please.”

“I’ll be right back.”

As soon as she leaves, I use my hands to fan myself but it’s not enough to provide the needed relief. I rummage through my Louis Vuitton looking for anything that can help me, and I find a pharmacy receipt, the one for the hot flash medication that I’ve been taking to no avail. I fold it and move it rhythmically, my face and neck welcoming the cold air.

She comes back with a glass of iced water. I look at the ice cubes greedily, wanting to shove them inside my blouse, but I settle to drink the cold, refreshing liquid instead. She waits until I gulp all the water before saying, “I’m afraid I can’t help you.”

“Why?” I place the glass on the table with a thud. “My friend said…”

“Your friend, whoever she is, was in a different situation than yours. Right?”

“I-I don’t know,” I fib.

“Yes, you do.” She stabs the cards with a long, red nail. “The upside-down Magician, the card for a con man looking out for himself. The Ten of Swords, big trouble. The Three of Swords, too many people in a relationship. The Fool, well….” She cocks her head and raises an eyebrow, and I feel my cheeks flushing again.

I think of Betty, who was indeed in a different situation. Her husband cheated on her, once. She had little kids. She still loved him. He still loved her too and was, apparently, truly sorry for what happened. Told her he didn’t love the woman, that it was a mistake. But Carlos, my Carlos… he never said sorry.

And it wasn’t the first time.

I can feel the woman’s eyes on me, dissecting me like a bug under a microscope.

“So, dear, the question here is: Why would you?”

“Why would I what?” I say, confusion—and a hint of defiance—in my voice.

“Why would you want him back?”

I wince, and think of something to say, anything that would make sense to her. I can’t say because I love him; that wouldn’t be the truth. Should I say it’s because we’ve been together for over thirty years and raised four kids together? Or because he owes me, after I helped him to get through school and start his own company, putting my own needs and dreams aside to help him reach his dreams, taking care of his needs? Or simply because I hate the idea of being discarded like an old mop? And for his twenty-something year old secretary, for Christ’s sakes, someone who wasn’t even bornwhen we got married.

She’s still looking at me, waiting for an answer, not a drop of sweat on her, her wrinkled face serene.

I let my shoulders drop and fiddle with the giant rock on my finger. “I don’t know,” I confess.

She smiles. “Now we’re getting somewhere.”

I chuckle. I can’t help it. I am the fool, believing I can bring him back. And for what? To have him cheat on me again? To wake up alone in my bed. day after day, the sheets covered in sweat and tears? Is that what I truly want?

As if reading my thoughts, she asks, “Well?”

I lean toward the woman, my stretched hands making creases on the red tablecloth, the tips of my fingers touching the upright Star card. It shows the image of a naked woman bathing in water, her arms stretched out toward the sky, a bright star above her head. She looks liberated, carefree, happy.

“Do you have anything for hot flashes?”

The woman leans forward, a smile arousing, the corners of her wise eyes forming a universe of wrinkles. “Dear, I have just what you need.”

About the Author:

R.S. Nelson (she/her) is a Latina writer. Her work has appeared in over twenty publications, including BULL, Flash Fiction Magazine, Twin Bird Review, SciFiSat, the Mission Viejo Library first anthology, the podcast “Tales to Terrify,” and elsewhere.

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The Hollow in the Hedgerow

An Acorns Flash Fiction Feature

By: Subham Rai

Greta walked the hedgerow every morning for forty-three years, ever since Tom built their cottage on this quiet patch of land. The hedge stood older than either of them, a dense weave of hawthorn and blackthorn laced with ivy that held fast like lingering memories. It separated their small world from the open fields, a barrier that flowered white in spring and bore red berries in fall.

Lately she moved more slowly. Her knees complained on the uneven path, and the basket on her arm dragged even when empty. Tom had left her three winters past, claimed by a chill that took root in his lungs and would not let go. The cottage felt too still without his low songs while he fixed tools or tended the stove. She missed the way he paused to listen to birds or comment on the weather, his voice a steady comfort through the days.

One morning mist drifted close to the ground, turning the fields to soft grays and faded greens. Greta stopped where the hedgerow curved into a low arch she had always called the gateway. A shadow among the roots drew her gaze, a dip in the soil that formed a small hollow no larger than a rabbit burrow.

She knelt, joints protesting, and swept aside fallen leaves. The opening ran deeper than expected, a smooth passage edged with roots that caught the faint light. A cool draft rose from it, scented with earth and a trace of apple blossom though no trees bloomed nearby.

Greta paused. At seventy-two, new wonders should have lost their pull. Yet the hollow waited, steady as the hedge around it. She wondered if loss had sharpened her sight for what lay just beyond the ordinary.

She reached inside. Her fingers brushed cool space, then cloth. She pulled out a small handkerchief, faded but marked with stitches she remembered making: T & G, hearts linked. Tom’s gift on their wedding day, misplaced long ago during a picnic beneath these branches. She turned it over in her hands, tracing the careful embroidery that had survived untouched by time.

Her breath shortened. The fabric lay fresh and whole, as if the years had passed it by.

“Greta.”

The name came soft on the draft from below. Tom’s voice, rough yet kind as ever.

She held the handkerchief close. “Tom?”

Silence answered, broken only by leaves stirring overhead. Still, the hollow appeared wider now, almost welcoming. She leaned nearer, drawn by a gentle glow rising within, not daylight but something calmer. Pictures formed like scenes on quiet water: Tom young and smiling, lifting her among apple boughs on their wedding day; Tom older, showing their daughter how to set seeds in rows, his patient hands guiding her small ones; Tom near the end, gripping her hand as snow gathered at the window, his eyes steady even as strength faded.

These were more than recollections. They carried sharp detail. She smelled crushed grass from that distant picnic, felt the heat of his hand in hers, heard the laughter of their daughter echoing through the years.

The hollow returned their shared years to her, moment by moment. Greta lingered there that first day until her knees throbbed and the light shifted. She saw their life unfold in pieces: delight at their daughter’s arrival in a rush of spring rain; sorrow when she left for the city, waving from the bus with promises to write; the steady kindnesses that shaped four decades into something solid, like the way Tom always saved the best apple for her or mended her favorite shawl without being asked.

Certain scenes stung. Disputes over scarce coins during hard winters, quiet stretches after their daughter moved away, the gradual fading of Tom’s vigor as illness crept in. Yet love ran beneath every ache, a quiet current that held them together.

As evening settled and mist rose higher, Greta drew back her hand. The pictures dimmed, but the handkerchief stayed warm against her skin. She folded it carefully and tucked it into her pocket, rising with effort to continue her walk. The fields seemed a little less empty that day.

She came again the next day, and the day after. The hollow never spoke, yet it seemed to hear her. She told it of the vacant chair at meals, the garden Tom once kept neat with rows straight as his carpenter’s lines, the long stretch of nights when sleep came slow. She spoke of small things too: how she still set two cups for tea out of habit, or found his old jacket hanging in the shed and pressed her face into the fabric to catch any remaining scent of him.

One morning clouds promised rain. Wind shook the hedge, scattering early leaves, and Greta carried her shawl along with a tin of Tom’s plain biscuits, edged dark as he preferred. She settled near the hollow, knees folded beneath her, and shared one biscuit with the draft rising from below.

The hollow waited. This time it offered fresh images: herself over the past three years. Greta alone in the cottage, working the garden by habit with hands that moved slower each season. Greta by the fire, speaking to no one as flames crackled. Greta tracing the hedgerow each dawn, seeking what she could not name in the familiar paths.

She saw herself grow spare and silent. Saw the spark fade from her own eyes, replaced by a dull patience that carried her through days.

Tears welled, sudden and warm. “I don’t know how to manage without you,” she murmured into the opening, voice breaking on the words she had never said aloud before.

The cool draft lifted once more, scented with apple blossom though winter neared. No voice replied, only quiet acceptance. The scenes turned to their beginning days: Tom guiding her to plant potatoes, both laughing when she set them too deep and had to dig them up again. Tom raising the cottage stone by stone on weekends, vowing a home to endure beyond them while she brought him water and watched with pride.

The hollow reminded her what endured: the garden pushing through soil each spring, the cottage standing firm against wind and weather, her hands yet able to care for both. She saw flashes of future seasons too, brief and gentle: bulbs blooming where she planted them, neighbors stopping by with shared meals, quiet evenings by the fire with memories no longer sharp but softened like well-worn cloth.

When she rose at last, legs stiff from kneeling, rain had begun, a gentle fall that brightened the hedge and washed the paths clean. Greta slipped the handkerchief into her pocket. It rested lighter there, as if some burden had lifted.

She did not seek the hollow daily afterward. Some mornings she turned soil and set bulbs for spring, hands steady in familiar work. Others she baked proper biscuits and carried them to neighbors who had lost partners of their own, listening to their stories in return. She found comfort in small routines, in watching seasons turn as they always had.

The hollow stayed beneath the hedgerow, patient as ever. When loneliness pressed sharp on quiet evenings, she returned. It offered no judgment, only fragments of their life together, showing her that love does not vanish. It sinks into roots and waits for the proper season to rise again, in new growth or shared remembrance.

Years on, when Greta’s hands stiffened too much for garden work, she often sat beside the hedge with a cup of tea, watching light shift through leaves. Children from nearby farms sometimes found her there, sharing tales of the old woman who spoke to the plants and seemed to know secrets of the land.

They never noticed the hollow. Yet on misty mornings as they passed, they caught the scent of apple blossom out of season and felt, for an instant, wholly known. Greta smiled at their wonder, remembering how such small gifts had carried her through long seasons of loss. The hedge stood as it always had, a quiet guardian between worlds, holding memories for those who needed them most.

About the Author:

Subham Rai is a writer from Kolkata, India. His work has appeared in Strange Horizons, Macramé Literary Journal, Cohesion Press, Zoetic Press, Bindweed Magazine, Graveside Press, Horror Tree, and Consequence Forum. Forthcoming pieces will appear in DreamSpinner Press, Dead Fox Publishing, Cupid Arrow Publishing, Cliffhanger Magazine, Plotthound Magazine, and Vellum Mortis. He can be found online at https://linktr.ee/subhamraiauthor.

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Yutsuki’s Flower

An Acorns Flash Fiction Feature

By: David McGillveray

Daimyo Imagawa stepped on to the quayside still furious with the lords of the other islands. Negotiations had gone badly. Well, they would soon find out that taxes could be paid, or they could be collected.

The thought lightened his mood a little as he marched through the harbour, a phalanx of samurai at his back. Imagawa ignored the fisher folk who fell over themselves to get out of his way.

His fortress crowned the island of Ukejima, dominating the land and the sea.

“I will take the garden entrance,” he told the attendant that waited for him, Takanashi. It always pleased him to take a moment in the garden on his return home; its beauty and its order calmed him. But once through the gate he pulled up short. Something was not right.

A lone figure in blue peasants’ garb kneeled among the rocks of the garden, working at something in the soil.

“You!” Imagawa shouted. “Who are you?”

The figure turned to stand facing him, head down, hands together. A young woman, little more than a girl. Her hair was cut short like a boy’s, but her frightened face was heart-shaped and beautiful.

“My name is Yutsuki, Lord,” said the girl quietly.

“What are you doing here? Where is the proper gardener?”

“My grandfather died, Lord. Do you not remember that you dismissed him? The garden was everything to him.”

Daimyo Imagawa looked momentarily confused. He frowned. Oh yes, the silly old fool had left a rake in the path. He had nearly stepped on it. “Well where’s his replacement then?”

Takanashi whispered something in his ear.

“So find someone, then,” Imagawa bellowed. “And throw this creature out. Women are not permitted in my garden.”

Two of the samurai took Yutsuki by the arms and pushed her out through the gate. The lord of the island glared after her, his peace ruined. He stamped towards his apartments, casting a critical eye across the rockery, the water features and the gravel. Much work was needed. Much work.

He did not notice the tiny white flower growing newly in the centre of the garden.


In the morning, Daimyo Imagawa had decided. He gave orders to muster a company of men from the fortress and the barracks in the town. Those insolent lords would pay what he was due, including additional fines in blood.

He felt so much better that on his way to the harbour he decided to linger in the garden, to savour the silence and the retribution to come. But once again his pleasure was spoiled. Lines were not perfect; elements were out of place. A white flower the size of a dinner plate grew among the rocks making up the garden’s central feature, pretty enough, but not right.

“Takanashi, if this garden isn’t to standard when I return I’ll have your head on a spike and the rest of you in the fire!” he roared into the morning quiet, and headed off down the hill.

The lord filled three ships with men and sharp steel and put to sea.


Once more, Daimyo Imagawa came home. The harbour was quiet, the atmosphere of the town sombre to match his mood – news had travelled back ahead of him. The neighbouring islands had met his forces and demands with unexpected resistance. Lord Sanjo’s men had even reinforced Lord Ogimachi in a pitched battle on the latter’s beach. It was unheard of! Hitherto, every other lord would rather have seen his rivals choking on their own blood than lift a manicured hand to their aid.

Insult of insults, Imagawa had received a glancing blow from a stone thrown at his retreating company as they fell back to their ships. He scratched at the wound now, flakes of rusty blood under his fingernails, and rage boiled within him.

He returned to the fortress only to be confounded further. He opened the gate to the walled garden to find the entrance barred by a profusion of white petals, each nearly as big as a man, their scent overpowering in his nostrils.

“What is this?” he sputtered. The soldiers behind him muttered their bafflement. “Takanashi!”

He found the attendant cowering in the main house. The man fell to his knees before his lord. “It is sorcery, Lord. When you cut it, it only grows back faster.”

“Nonsense, man. Did you find a gardener who might actually know what they’re doing?” sneered Imagawa.

“There are none to be found, Lord,” Takanashi whined. “The peasants have been drifting away, leaving Ukejima.”

Imagawa drew his katana from his belt. “Then why didn’t you stop them then?” he thundered. Takanashi scraped lower at his feet. “I ought to take your head right here. Get down to the town and select a dozen men, women and children and execute them on the quayside. Immediately! Make sure everyone sees. I’ll have no deserters. I want wailing in the streets!”

“At once, Lord.” Takanashi grovelled from his presence.

With weapon still drawn, Imagawa strode to the house entrance of the garden and sliced at the huge flower that now, incredibly, filled the whole space, pushing against the inner walls. The sharp blade cut into the tip of the nearest petal and stuck there. He wrenched it free. To his amazement, the wound closed before his eyes. Furious, he swung the katana and hacked at the growth again and again, chopping pieces into the air and scoring long slashes in the flower’s leathery flesh until at last he sagged back, exhausted. The graze on his head throbbed.

He watched blearily as the petals repaired themselves, grew anew, the glow of its inner life reasserted.

In the night, a crashing noise awakened Imagawa from an uneasy sleep. Part of the outer wall of the garden had collapsed. Unnatural white petals pushed through the paper panels of the house.

Daimyo Imagawa put to sea the next day with all the men he could muster.


The lords of the other islands had had enough of Daimyo Imagawa. For years they had suffered his taxes, his cruelty, his arrogance and that incredibly annoying strut as he walked into their palaces and fortresses as if he owned them, which he thought he did. Well no more!

The newly elevated Daimyo Sanjo had succeeded in uniting the squabbling lords under common cause. Their combined armies ambushed Imagawa as his forces laid siege to a suspiciously undermanned stronghold capping one of the nearby islands. They harried the survivors into the sea and all the way back to Ukejima.

Daimyo Imagawa found no sanctuary there. He stared, appalled at what he saw. His people had left him and his island had become changed. Fire burned his sails and arrows pierced his armour and his final expression was one of bewilderment to see the beauty that had replaced his ugliness.


The great flower bloomed from the crown of the hill, waves of white petals flowing down to the shore in a blanket of such beauty that the whole island shone like a jewel with the rising sun. The island was the flower, the flower the island. In time, the flower hardened to stone, like a sculpture carved by a god and set upon the surface of the sea.

Of Yutsuki, nothing was heard, but in the years that followed the islands became renowned for the beauty of their many gardens.

About the Author:

David McGillveray was born in Edinburgh, Scotland but now lives with his family in London. His fiction has previously appeared in Clarkesworld, Analog, Interzone and others. His story collection Forgotten Dragons, Plastic People is available through Amazon.

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From the Editor’s Desk

Reading a book in front of a campfire, with a pine tree line and sunset in the background

As we come into spring and the blossom of seasonal allergies and bug bites, I’ll be spending the newly bright, warm weather reflecting on coziness.

We aren’t a “beach reads” sort of publishing house, but I think the beach can get whatever read you want to give it, so take that, summer. I’m not exactly Morticia on vacation over here, but to be totally transparent (much like my skin in July thanks to my SPF 1000), I’m not really a summer person. I love a fluffy blanket, a hot drink, and dim lighting, and all of that is tough to enjoy during the season of sweat and blinding sun.

But our next anthology, The Ordinary Magic in Extraordinary Tales, is all about coziness. Our official release date is TBD, but it’ll be just as the leaves burn orange in cool sunlight, the breeze nips your skin, and the nights get just a little bit longer. We have fourteen cozy fantasy stories for you, each more delightful than the last. They’ll be grouped thematically and paired with essays written by yours truly on how to curate a cozy life for yourself, full of conviviality and contentment.

If you didn’t know, I have a graduate degree in educational psychology and a decades-long background in recovery-based mental health. This book is a real passion project for me that combines two areas of great interest.

Let’s be real, though. All of our books are like that. I love them all—this one’s just a different type of intersection for me.

If you aren’t familiar with the cozy subgenres, the concept is a smaller cast of characters, and a more upbeat and optimistic tone. The plots have action, adventure, and emotion, but they’re lower stakes that are more about interpersonal relationships and personal development rather than world-ending issues.

Anyway, the stories have been chosen and we’re working on finalizing the last of the contracts with our authors, as well as on the details of the book. I can’t wait to get these tales out to you. There’s a wonderful mix of fantasy elements across the stories, including witchy tales, dragon tales, and ghost stories. We have modern day magic, second-world mysticism, and post-apocalyptic settings.   

Choosing the final stories for the book was really difficult, and the overall quality and quantity of submissions this time really blew me away. I had to reject some that I loved out of considerations like physical layout space and theme. It’s such an honor to attract so many talented authors willing to trust us with their work, and it allows us to build out our concept in the best, most complete way that we can.

Next up, we’ll be finalizing the cover and the essays, then the book will go to our amazing and talented layout editor, Austin Gray.

In the meanwhile, I’ll be doing a lot of reflecting on how coziness is a mindset, and how we can always make the choice to live a life of simple pleasures and contended relationships. Even while swatting mosquitos in the dead of summer.

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9 Questions for Ellis Reyn

We caught up with Ellis, author of the delightfully unsettling story “Pink,” from our debut project The Wordsmiths.

Ellis: I’m Ellis Reyn, a thirty-something novelist. Enneagram 5, Capricorn, eldest daughter, cat person. My novel-length work sits somewhere between romantic thriller and literary fiction—stories about complicated women, the ways they survive things they probably shouldn’t, and how they find love with green-flag men along the way.

I live in North Carolina with my husband, a cat unironically named “Cat,” and our four kids, which means my life alternates between writing very dark things and packing school lunches.

Ellis: I write in the little pockets of the day. Right before appointments from the passenger seat of the car, late at night when the kids are finally in bed, or during rare quiet mornings when the house miraculously empties out.

I’ve learned that butt-in-the-chair time is the most important thing. Tiny progress is still progress.

Ellis: I have a desk under a huge window that looks out over the woods. That’s where serious writing happens. But in reality, I usually write in bed with my laptop balanced on a pillow (RIP my upper back). Wherever I can get words on the page is the perfect writing space.

Ellis: When I was a kid, I wrote a short story from the perspective of a horse during the Gold Rush. I printed it out, stapled it together, and put it in my dad’s lunch box so he could read it during his break at work.

He did read it—and I’ve felt like my dad was my biggest fan ever since.

Ellis: I’m working on a contemporary romantic thriller set in the Mojave Desert about a beautiful rehabilitation center. Think cult-adjacent wellness, tiny smoothies served at an all-day health-food buffet, a lot of white linen and patchouli… and body horror.

I’m also on submission with a Southern Gothic. So please send me all the good publishing vibes!

Ellis: As much as I can!

My TBR pile is always slightly out of control with lots of horror (especially women-written) and historical romance. They’re genres that feel different but are both excellent at exploring big emotions.

Right now I’m reading Black Sheep by Rachel Harrison. I can’t recommend her horror enough! I’m catching up on Alexandra Vasti’s historical romance backlist next. 

Ellis: The uncertainty. Writing a book (and then trying to publish it, my goodness) takes a long time, and a lot of that time is spent alone with your doubts.

The best thing I’ve found to do is to keep going. Write the next page, revise the chapter, start the next idea. Do the next right thing. 

Ellis: With four kids, there’s always something happening around here. Apart from endless school pickups and drop-offs, I read a lot, sweat through Pilates and hot yoga, hunt down good strawberry matcha with friends, and rewatch the same comfort shows while folding laundry. The usual!

Ellis: You can find me online at: Instagram: @ellisreynbooks

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Live-Journaling

An Acorns Flash Fiction Feature

By: Karl El-Koura

Thank you for joining me on this live read-through of what’s supposed to be the greatest horror novel ever written. The book is claimed to actually be haunted by readers with overactive imaginations. On Goodreads the reviews spend more time chronicling people’s paranormal experiences than discussing the novel’s literary merits. The Amazon reviews are a series of warnings to read the whole thing in daylight and surrounded by friendly people.

So consider yourself warned, especially if you’re on your own at night! (With apologies for spoiling anyone’s fun, though, I don’t believe a word of those “experiences.”)


I stand by what I said, but boy do our minds play tricks on us! Especially in the dark.

I’m in my office, sitting in my most comfortable chair and sending these notes from my phone as I read through the book—yes, to all the fifteen people actively watching this thread right now. My wife and kids are asleep upstairs. No one else is in the house. But, just as the main character catches a glimpse of the dark creature crawling across the ceiling of his bedroom, I heard something in our basement. Thought I heard something.

It’s kind of funny, really.


I heard it again, just as the main character goes for a midnight run.

For the record: no one else is in our house. I went downstairs; I turned on all the lights. Just to be sure, right? No one is there. Obviously the novel’s bleak atmosphere is seeping into my mind! What possessed me to start reading this book so late at night?

Well, if you believe the people on Goodreads—and I don’t!—the only way to exorcise whatever has come into your house is to finish reading the novel.


I was convinced the reviews were fake, everyone’s tongue planted in their cheek. But I’ve been hearing the noises in the basement again. They started up as soon as I came back to my office and sat down. Someone’s walking around in my basement, trying to be quiet about it, but I can hear the footsteps.


I skipped ahead, to the last paragraph—he finally decides to seek help for his addiction to amphetamines, which of course is what is causing his insomnia. The sun rises over the hospital as he checks himself in. I skipped ahead, thinking I’d…stop hearing things. I’ve read the final paragraph twice. The first time I heard a creak on the stairs…I know it’s a step mid-way up the stairs that creaks. The second time I heard nothing for a while, and thought everything was fine and started laughing at myself, then I heard it—the sound of weight on the top landing, where the carpet gives way to tile. The reviews don’t tell you this, because they’re not real—most of them, I mean. But: you can’t skip ahead.


I’m typing into my phone whenever I feel myself getting tired. It helps me stay focused. Alert. I’ve read as quickly as I can, but I can’t finish, can’t finish before it reaches me, whatever has come up from my basement and is now slinking toward my office.

I’m going out to face it.


There’s nothing there. I’ve turned on all the lights on the main floor, all the lights in the basement. I’ve left everything on. Should I wake up Maisy? But she’ll laugh at me. Deep breath—I am being crazy, though. There’s nothing there!


Heard the footstep—just outside my office. I’m so tired—but I can’t go to sleep. I have to keep reading to the end.


The door to my office is open. I should’ve closed it—but, no, I couldn’t do that! Close myself in. But I can feel it, sense it—I’ve felt it for the last page or two, standing there, watching me. I don’t want to glance over; I think I know what I’ll see. I want to finish reading this book.


I’ve caught myself trying to fall asleep. My eyes having a mind of their own, trying to trick me into giving them what they want.


I saw it. I couldn’t take it anymore, not knowing—I looked over, and it retreated, but not before I glimpsed its light-sucking voidness. Like looking into a hole in reality. It’s the Netherwere from the novel, the shadow-creature that wants to take over the main character’s body and life. I saw it.


What does it want? It wants me to fall asleep. Like the Netherwere in the novel, its power is greatest in the liminal state between wakefulness and sleep. Only in that moment—in the novel, I mean—can it leap forward and inhabit you, evicting you from your own body, taking over your life, turning you into a Netherwere to seek out your own tired victim. It stalks our hero but never gets him, because he doesn’t fall asleep—at least, not until he checks himself in.

People…it can’t stand other people. I should wake up Maisy. It’s a small price to pay, being laughed at, isn’t it?

But if I can just power through to the end of the book, I won’t have to explain why I woke her up in the middle of the night like a frightened child. I can make it.


Caught myself again, drifting off. Can’t let that happen.


Well—I hope I didn’t pull your leg too long. There is no such thing as Netherweres, and they can’t enter our world seeking bodies for themselves.

No, the claims of this book being haunted, or being a conduit to another reality, are not true, of course. It’s a very good book.

You should read it for yourself.

About the Author:

Karl El-Koura lives with his family in Ottawa, Canada’s capital city, and works a regular job by day while writing fiction at night. To find out more about Karl, visit his website at ootersplace.com.

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The Last Page is Always Warm

An Acorns Flash Fiction Feature

By: Khayelihle Benghu

The Last Page Is Always Warm

The first time Miriam noticed the warmth, she thought it was the radiator.

It was early October, in the late hours of the afternoon, when the library grew hollow and echoing. The old pipes beneath the floor ticked and complained like tired bones. She had been re-shelving returns in the history aisle where the spines were old and some darker, the fonts more ancient. When she pulled a paperback from the drop cart, she felt heat against her palm, not body heat, no, not quite.

The book was warm the way a mug might be warm long after the tea inside has gone cold.

She held it there, confused, before checking the cover.

The Long Watch, by Arthur Bell. No dust jacket and slight curl at the corners. The library stamp inside was faded, as if impressed decades ago. She pressed her thumb to the pages and found them still warm.

Miriam looked around, half-expecting a prank, but the aisle was empty. The overhead lights hummed and the windows showed only her own reflection, thin and pale, framed by shelves.

She set the book aside and finished her shift.

The book must have embedded into her subconscious. That night, she dreamed that inside the library, the pages were live and they scanned her fingerprint.

The next afternoon, the book was back in the returns cart.

Miriam frowned. She was meticulous, had always been. She remembered placing The Long Watch on the shelf between two anthologies. However, here it was again, spine scuffed, pages faintly warm.

This time, curiosity overcame her caution. She slipped it into her bag at the end of the day and checked it out under her own name.

At home, she placed it on the kitchen table and let it sit while she made soup. The steam rose and the windows fogged. Still, when she returned and touched the book, it was warm in a way that did not belong to rooms or weather.

She opened to the first page.

The prose was spare, almost old-fashioned. A man standing watch in a lighthouse and the sea restless. The isolation familiar, Miriam read a few pages and then paused.

There was a line she did not remember from the first paragraph.

He thinks of the sound his wife made when she slipped on the rocks.

Miriam read it again and her throat tightened, becoming dry as if something was lodged inside it.

Arthur Bell’s wife had died that way. It was a minor detail mentioned in an obituary she had read years ago when cataloguing local authors. A coincidence, she told herself. Writers borrowed from life all the time.

She turned another page. The book was warmer now.

Miriam began to notice changes, sentences shifting and details deepening. Passages that felt less written than remembered. The lighthouse keeper began to think thoughts Miriam herself had once tried to forget: the hospital room with its too-clean smell, the way her mother’s hand had gone slack mid-squeeze, the silence afterward that felt heavier than grief.

She closed the book, her heart racing.

The warmth lingered on her fingertips.

For two days, she avoided it. She returned to work, catalogued donations, and answered patron questions. Almost pretended not to notice how often people paused in the history aisle, touching spines as if testing with their fingers.

On the third night, she opened the book again.

This time, the lighthouse keeper was no longer alone.

There was someone standing just beyond the reach of the light. Someone familiar, maybe someone he loved and had lost. The prose did not describe the face directly, but Miriam knew it anyway.

Her mother’s face, as it had been before the illness. Miriam slammed the book shut.

The cover was hot now –unmistakably so. She dropped it onto the table, breath shallow and pulse loud in her ears. She did not sleep that night. The following week, a patron approached the desk holding The Long Watch.

“Excuse me,” the woman said, eyes twinkling. “Is this new?”

Miriam stared. “No,” she said too quickly. “It’s old stock.”

“It feels alive,” the woman whispered, almost apologetically. “I’ve never read anything like it.”

Miriam swallowed hard. “I’m afraid it’s… fragile,” she said. “We’ll need to keep it in the archives.”

She took the book with careful hands. It was warm again, even through her sleeves.

That night, she locked it in the back room, inside the metal cabinet reserved for rare and damaged items. She told herself this was enough. That stories, however strange, were only stories. However, warmth is patient.

Miriam began to notice patrons lingering longer in the back room when she fetched holds. Fingers brushing the shelves and their eyes unfocused. One man stood too close to the cabinet once, breathing shallowly, as if listening for something inside.

She moved the book again. Wrapped it in archival paper. Placed it in a locked drawer within the cabinet, but the warmth seeped through anyway.

Feeling almost haunted, she dreamed of pages turning themselves. Hands reaching out from margins, of a lighthouse whose beam swept not over water but over memories, illuminating moments she had buried. The arguments left unresolved, words unsaid and the particular way grief could feel like being watched. When she woke, her palms were warm. Miriam tried to research Arthur Bell, but records were scarce. His biography was thin, contradictory, and one note in an old newspaper mentioned that the final manuscript of The Long Watch had been unfinished at his death, discovered among his papers with “no clear ending.”

She checked the library copy.

There was now an ending.

The lighthouse keeper, aged and tired, stood before the light for the final time. The warmth was unbearable. The presence behind him no longer waited in shadow. It stepped forward, and the prose grew intimate, tender.

He understands now that someone must remain.

Miriam felt a pressure behind her eyes.

The final paragraph was written in a hand that felt uncomfortably close to her own thoughts.

The watch does not end. It is passed.

She closed the book slowly.

It was hotter than she could comfortably hold. She considered destroying it. Fire would do, she thought. Or water. She imagined the book sinking into the river, pages bloating, ink bleeding away. However, the warmth felt almost pleading now. Not malicious, no, not exactly. But lonely.

That night, the power went out at her apartment. Darkness pooled in corners. She lit a candle and sat at the table, the book between her hands.

Her mother’s voice came to her, not as sound, but as presence, familiar warmth. The ache of connection.

Miriam felt aggrieved and wept. Not loud but in silence. She let herself read—the final pages had expanded again.

They spoke not of the lighthouse keeper but of a woman in a quiet building full of books. A watcher. A caretaker, someone who noticed what others passed by. Someone who listened.

The warmth grew steady, no longer threatening, but expectant.

The next morning, Miriam returned The Long Watch to the history aisle.

She did not stamp it. Did not catalogue the changes. She slid it into place and stepped back.

A young man reached for it moments later, eyes widening at the touch.

Miriam watched him go, heart heavy and calm all at once.

At the end of her shift, she noticed something strange.

Her hands were no longer cold.

Over the weeks that followed, the library felt different to her. It felt fuller and charged. She sensed stories breathing behind their covers and seemingly waiting. She began to linger after hours, walking the aisles, touching spines, feeling warmth bloom and fade.

Sometimes, when she paused long enough, she felt memories stir hers, others indistinguishable and some human. She understood now.

The watch does not end. It is passed, and the last page, she learned, is always warm.

About the Author:

Khayelihle Benghu is an emerging author residing in Johannesburg, South Africa. Except writing she has a heart for photography, mainly nature.

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Tuberculus Mom

An Acorns Flash Fiction Feature

By: Mario Senzale

I was assigned to Brother Kartoffel right after growth season. Some got hunting. Others, construction. I got planting.

“You’re strong,” the elder said, looking me over. “Good build. You’ll do fine with the mothers.”

I knew what that meant. Everyone did. The rooting ceremony. The mothers go down, they feed the earth, the earth feeds them, and the young ones come up stout.

On the first day, Brother Kartoffel showed me how to dig the beds. Six feet down, four feet wide. The soil in the north fields is perfect for it—dark, moist, full of nutrients.

“Make it cozy, Brother Arnut” he said. “They’ll be here for a while.”

“How long?” I asked.

“Six months. Sometimes seven if the young one’s stubborn.”

We dug four beds that week. Sister Wortel, Sister Rote, Sister Ube, and Sister Neep. The ceremony was on Sunday. The whole commune came out. Drums, singings, the elders blessing the soil. Sister Ube went first. Six months along, her middle huge and low. She walked to the field wearing nothing. Smiling. Covered in compost and manure. The women had prepared her since dawn, layering her in the mixture. She spread her arms to the crowd.

“This is my gift. My body for the earth. My young one for the future.”

Everyone cheered. Brother Kartoffel and I helped her into the bed. She lay down, still smiling, hands on her swollen middle. The compost was packed around her, thick and warm. Her face was the last thing visible.

“See you at harvest,” she said.

We covered her. The soil went on easy, and the women sang. When we were done, Brother Kartoffel hammered the stake into the ground. “Sister Ube—3/17.”

Sister Wortel came after, followed by Sister Rote and Sister Neep. All of them smiling. All of them honored. The ceremonies were always the same. Joyful. At night there was a feast. The whole commune celebrated the new plantings. Brother Kartoffel got loose on Kombucha and told stories about harvests from when he was young.

“You’ll see, Brother Arnut,” he said, his arm around me. “When they come up, it’s magic. Magic. And we—we have the front seat.”

“What do they look like, Brother Kartoffel? What do they look like?”

“Reborn, Brother Arnut. Reborn.”

“And the young ones, Brother Kartoffel? The young ones?”

“You’ll see, Brother Arnut. You’ll see.” He smiled.

I went home late. The light was fading. I drank water, lots of it, and stood in my yard for a while, feeling the start of spring.

Three months in, the soil above the beds started swelling. Rising up like bread. Brother Kartoffel said that was normal. It meant the mothers were growing.

“The seedling feeds them through the cord. Gives them what they need to survive. Nutrients, minerals. Keeps them strong.”

“So they’re alive?”

“More than alive. They’re becoming!”

One morning I was checking the irrigation system and heard something coming from Sister Wortel’s bedding. A hum. Low and steady. I knelt down and pressed close to the soil. Slow and thick. A heartbeat.

“Beautiful, isn’t it?” Brother Kartoffel said behind me. I jumped.

“I was just—”

“It’s ok, Brother Arnut. I do it too. I like to check on them. Make sure they’re happy.”

He knelt down beside me and listened. The sun felt good. Necessary.

By month five, all four beds had swollen significantly. The ground was raised a foot. Maybe more. You could see the shape of the mothers underneath. Round. Dense. Like huge tubers pushing up from below. The commune was preparing for harvest. Building the platforms, sharpening the tools, organizing the feast. It was the biggest celebration of the year.

9/24. Harvest day. The whole commune gathered at dawn. Drums, singings, the elders blessing the tools. Brother Kartoffel and I started digging. Carefully. The soil came up easy, loose and rich.

“There she is!” Brother Kartoffel said, grinning.

 We dug around it carefully, exposing the shape. It was huge. Four feet across. We kept digging until we could see the whole thing. Sister Rote. Her body had fused into a single swollen mass. No arms, no legs. Just a thick, oval shape with her face barely visible on one end. The crowd cheered.

“She’s perfect!” A young girl yelled.

We used ropes to pull her up. It took six of us. She was heavy, dense as clay. When we finally got her to the surface, everyone pressed forward to see. Her skin had a waxy sheen. Her eyes were closed. Peaceful. Her mouth was slightly open, and you could see roots inside. Thin, white, threading through her teeth. She was breathing. Slow. Steady. The elder stepped forward and placed his hand on her.

“Sister Rote. Your becoming honors us!”

Then the skin split. Not violently. It just opened. Like a pod. The flesh peeling back in sections, revealing dark, rich soil inside. And in the center, wrapped in pale roots, something small. It was deep red, almost purple. Smooth. Round and tiny, with a face. Sleeping. Perfect. The elder lifted it out carefully. The roots detached with soft pops. He held it up to the crowd.

“Behold! New life!”

Everyone cheered. The young one opened its eyes. Magenta. Dark.

The thing that was Sister Rote lay on the platform, hollowed out. The elder nodded to us.

“Return her to the earth.”

We carried her back to the bed. Her body was lighter now, crumbling at the edges. We covered her up. Within minutes, she started to dissolve.

“She’ll feed us now,” Brother Kartoffel said. “One last time.”

We harvested the other three after that. Sister Wortel’s young one was a parsnip—pale and tapered, with a fierce little face. Brother Möhre had been expecting a carrot himself, but he held the baby parsnip with pride anyway. Sister Ube’s came out as a fingerling potato, long and knobby. Brother Kartoffel looked at the sky. “At least it’s starchy,” Brother Kand said. Sister Neep’s young one was the surprise. Wrinkly, brown, kind of hairy.

“A taro,” someone whispered.

Brother Rapa stared at the small child, its face already scrunching up, ready to cry its papery cry.

“My father will kill me,” he muttered.

At the feast, I sat next to Brother Kartoffel and watched the families with their new ones. The beet, the parsnip, the fingerling, the taro. They were already growing, little root-hairs searching for soil, faces turning toward the sun. Brother Möhre was teaching the parsnip to hold a spoon. Brother Rapa sat alone in the corner, the taro-child asleep in his arms.

“You did good, Brother Arnut,” Brother Kartoffel said. “You did good.”

“It wasn’t hard. Always a surprise.”

“I know, Brother Arnut. I know,” he replied, looking at the fingerling.

“Do they stay like that? The young ones?”

“For a while. Then they root somewhere, and a few years later, they’re like us. Walking. Talking. Strong.”

I looked across the field where the mothers had been returned to the soil.

“Next season, we plant six more,” Brother Kartoffel said. “You ready, Brother Arnut?”

I nodded. The drums started up again. The dancing. The celebration. And in the fields, the soil hummed softly. Waiting.

About the Author:

Mario Senzale is a South American writer and mathematician currently living in Indianapolis, Indiana.  Check out his work at mariosenzale.neocities.org, or follow him on BlueSky at @mariosenzale.bsky.social.