Floodlights by Richie Smith
The floodlights we found under my father’s workbench. I didn’t want to cut chemistry for the fourth time in two weeks, but Lee was the boss. Lee was Freddie Mercury, and I was only Brian May playing a tennis…
The floodlights we found under my father’s workbench. I didn’t want to cut chemistry for the fourth time in two weeks, but Lee was the boss. Lee was Freddie Mercury, and I was only Brian May playing a tennis…
CHAPTER ONE — MIMI You might think I came to Africa as a humanitarian, dispensing medicine to babies so malnourished their delicate rib cages threatened to snap, rib after rib, in a glissando of tiny broken bones. You wouldn’t…
Notes on This Manuscript The following manuscript, printed here for the first time, came to light on the eve of November 4, 2024. While on a self-directed silent retreat at the Riverdale Center in the Hudson Valley, a Franciscan sister…
CHAPTER ONE — INTERMENT The sky should hold its breath while we give you back to the ground. Instead, it breaks open, spilling a gray so heavy our heads bow without meaning to. Rain stripes the casket, beads along…
Essay by Paul Chuks • As far as immigration stories go, Salutation Road is about as political as can be in the way that it anchors readers into the realities of immigrants in Britain and applicably the Western world.…
There are few subjects that demand more courage like illness does; not just to endure it, but to write about it with clarity and truth. To write on illnesses is therefore to not only capture the slow, intimate undoing…
By JB Andre • Not all speculative fiction is equally speculative. While much engages with the unreal (vampires, superpowers, ghosts), or the possibly real (future technologies, alternative timelines), a very small sliver of speculative fiction will try to capture something…
Packing up an old home into boxes. Heat of Bombay in May—impossible. Sweat everywhere. Sticky nostalgic and sad, the scene—not poetic or sexy. Sound of that stupid fan, an old creaky man. Over and over and useless like a…
i. Candies gush across the ground. They clot and pool. Where the pale floorboards converge against the wall, they glitter in a long stream of plastic-wrapped sweets, the sort you’d see on a receptionist’s desk. Red, yellow, green, swirled…
It’s summer and everybody knows that’s the best time for an adventure. We have to have an adventure because we are In Everyone’s Hair and There Are Too Many Damn Kids In This Damn House and It’s A Lovely…
This story started with its voice: a group of kids, speaking in first person plural, navigating some ill-defined climate-dystopian landscape. I scrawled it on a page in a notebook, and then left it for several years before I could figure out what to do with it. It was that voice that eventually drew me back to the page to develop the story further. It spoke too loudly to leave it alone.
As a geography teacher, climate and climate change are recurring themes in my writing. I cannot imagine a story set in the future where this is not an integral part of the setting. And, as much as my profession leads me to climate as a theme, I am also drawn to groups of children voicing a story. There is something bold about their collective voice, but within that group voice there also exists a lot of tension as individuals vie to also be heard.
I navigate voice in my stories with both intention and instinct. In “Everybody Knows,” there are many choices that build up how these kids sound: the deconstruction of words they don’t know as they sound them out, the use of capitalization when they parrot what the adults say to them, and the meandering way they move from thought to thought.
But intuition is also an important component to how the voice of the story is made. It is when I decide that this just feels like something they would say, or when the rhythm of long sentences finally hits right.
The voice in the story is purposefully ill-defined. It is not clear who “we” encompasses, because the sense of group identity is not fixed. For most of the story, “we” feel opposed to the other groups of kids, but in the end everyone comes together.
Ultimately, it is that ending that necessitates the voice. It is an important message within the context of climate change, but a simple one, and its simplicity makes it hard to deliver. And when we have something important that everyone needs reminding of, we listen to it better when we hear it from a child.
JACLYN PORT is a Canadian writer currently living and teaching in China. She enjoys reading, hikes and long walks, and making her own writing notebooks. She has work previously published in The Downtime Review, Corvid Queen, and January House.