Ghosts by Amy Stuber

People will say Ry must have planned the robbery for weeks. They’ll want purpose and emotion and strategy. They’ll say she had a gun tucked into a pocket. They’ll say she must have been desperate: four kids at home…
People will say Ry must have planned the robbery for weeks. They’ll want purpose and emotion and strategy. They’ll say she had a gun tucked into a pocket. They’ll say she must have been desperate: four kids at home…
Sunday. None of the puzzles here have all their pieces. The coloring sheets say HAPPY EASTER or HE IS RISEN—it’s January—in that swoopy bubble font usually exclusive to Sunday school worksheets. The staff never remembers to set out new…
My dead Aunty May visits me while I assemble the baby’s crib. Her pale blue fingers catch my wrist while I’m twisting the Allen wrench to secure the right side panel. Delia, my wife, is at work. Aunty May…
In the gathering dusk of an afternoon that still lingers, I followed my father into the woods. He had not prospered in his first attempt to start a nursery business, the crimson-budded azalea liners withering only days after he…
My Favorite Elvis The boy and the dog were both named Elvis. Whenever Daddy hollered “Elvis” they both came to him. Even when it was one of them he wanted: the boy for a chore, the dog for a…
CRAFT is thrilled to welcome Alan Heathcock as guest judge for our 2022 Short Fiction Prize. Heathcock is the author of Volt, a collection of short stories from 2011, and 40, a debut novel that publishes on August 2,…
Content Warnings—cesarean section, traumatic birth I could not milk. Was it due to upset levels of oxytocin, prolactin, beta-endorphin? May have been the morphine pump I kept firing like a trigger from my hospital bed in the postlabor/delivery room.…
We had gone to bed late, on usual terms: “Let’s just talk about this in the morning.” That night we did what we called “No Touch Sleep,” a nickname for exactly what it sounds like, lying next to each…
January Two old men used to live next to each other. One is dead and the other is dying. The one that is dead planted a garden. The one that is dying is my father. My father sits in…
Riding the night streets wrapped in our tight young skin, brave-stupid and untamed, magic bursting from our pores like new stars. We met under the sign of the flying horse, the vacant shell of an old gas station, our…
My grandfather was murdered in his hardware store early one spring morning. It was a few weeks before high school graduation, and I’d been out with my friends drinking beer and cruising Main the night before.
We lived in a tiny farm town in the middle of nowhere. Murder was something that happened on television, not in our town, not to people we knew. It was shocking, as I imagine most murders are. Beyond the disbelief and anguish, my family also had to reconcile the gruesome nature of his death—he was stabbed almost fifty times by an unknown assailant.
Forty years later, I struggle to write about it. Time hasn’t diminished my emotions; they’re still too raw. My drafts bounced between extremes, lurching from melodramatic clichés to clinical, distancing phrases that never captured even a hint of what I’d hoped to convey.
My (eventual) solution was to view the writing from an alternate standpoint. I’ve always felt at home in the realms of science fiction and fantasy, and I participated in a workshop on speculative memoir a few years ago. Why not borrow speculative imagery, reframe my memories in a fantastical setting?
This shift in perspective changed everything. It gave me distance from the overwhelming emotions, and permission to explore my questions from a more comfortable vantage.
The mythology of the Wild Hunt was the first thing that came to mind when remembering my teenage friends and our pregraduation antics, how we’d paraded through town, and that uncanny fog (another thing we’d only ever seen on TV). Like participants in the Hunt, we fancied ourselves to be a bit sinister, unafraid and invincible, the fiercest, coolest creatures in existence. In fantasy language, we were the Unseelie Court trooping to battle, a Faery procession on the spring hunt. That night, we were teenage magic.
Shifting into this fabulist mindset didn’t magically ease the trauma, but it did help me place the opening sentences on paper, in language that felt more true to me than any of my previous drafts. And it conjured a new question: what did my grandfather think of the fog? Did it bring him a moment of wonder? I hope so. Maybe that magic is the last thing he and I shared.
I decided this new image is the one I want to hold onto. And with that decision, the final lines of the story fell into place.
MYNA CHANG’s work has been selected for Flash Fiction America (W. W. Norton), Best Small Fictions, Fractured Lit, X-R-A-Y, and Barren Magazine, among others. She has won the Lascaux Prize in Creative Nonfiction and the New Millennium Writing Award in Flash Fiction. Find her online @MynaChang.