Fata Morgana

Fata Morgana in Print °❀⋆.ೃ࿔*:・

Fata Morgana in Print °❀⋆.ೃ࿔*:・

Gaze into our luminescent reflection. A beautiful reality awaits if you believe…

Fata Morgana is available in print through Mixam. (North America)

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Table of Contents

Editor’s letter

The screen shifts shakily, glitching moving frame by frame upon something oddly familiar. I’m Facetiming my mom on a shotty internet connection and she whispers, “listen.” She winds up the gold key of a music box with a headless teddy bear spinning around in a boat on a dusty green pond. “Do you remember this from granny’s house?” A wave of childhood mis-memory, disturbed by the missing bear head, washed over me, bobbing me gently, serenely, in a memory as fragmented as our wifi connecting us in this moment.

It’s this sensation of distant possibility we wish to bring to the surface in this edition. A yearning for a past that can never be again. If not to the surface, maybe as an illusion of what has been and what could be. Potentials, timelines collapsing, everything possible.

To play tricks on our mind is uncomfortable for many. Feelings of illusionment follow us not only through our mind and memories, but also into nostalgia for times, places and people of the past. That text you want to send when you feel so lonely you could crawl out of your skin? Might be best to wait until the morning.

This edition has brought together a fascinating array of visions from our humble international group of artists, writers, creators and all things beautiful. Each edition presents us with unintentional themes, a phenomenon the editors of Opal Age are always eager to unearth, like a lingering secret woven into our collective fates meeting in this queer illuminated manuscript, connected by the digital realm. This time, it was Apollo, fish, and knights in shining armor.

Some of these pieces explore the divine, sexual desires, love (both doomed and infinite), and childhood nostalgia sparked from a scent in a charity shop. Maybe we’re just trying to explain all of this life and loss and the unknown to ourselves the best we can.

We see poems within these pages that tear at our hearts, as if these are memories that happened to ourselves. There is wonder found among these pages, found in the sly eye contact with a stranger on the train. There is hope, too, of daybreak after a seemingly endless night. Unrequited love or heart break - sometimes one and the same.

However you would like to interpret it, we are simply trying to convey the multitudes Fata Morgana encapsulates; along with a feeling of complete fantasy, too. Within our own minds, either consciously or unconsciously, we are constantly creating our own reality via our complex perspectives.

We exist in a world which often seems like everything is happening to us relentlessly, with endless access to events, opinions, breaking news, anything and everything pressing you to pay attention at every waking moment.

It would be foolish to say we are the first generation to experience the world in this way, but we hope the mysteries of human possibilities bubbles within you as you turn these pages. As we are surrounded by a sense of uncertainty and immense responsibility towards future earthly fates, we urge you to never stop dreaming.

Dreaming is not a weakness or escapism, but rather a powerful tool for world building. In our reading list, there is a book we implore you to read most. Imagination: A Manifesto by Ruha Benjamin postulates that we too hold the power to imagine a different future. One in which police brutality ceases, education is accessible, and which we may have the freedom to flourish. The author reminds us that we are already living in a world imagined, but not minimized by the fancifulness of such a word. Instead, a world for centuries imagined by those who seek to oppress “others.” The power of imagination has always driven the world and is not presented as frivolous, but rather as a tool for collective liberation.

We can see the imagination of people from around the world materialized in their efforts to create a humanitarian corridor to Gaza by way of freedom flotillas, 40 sea vessels carrying basic human needs like food, baby formula, medicine, and tents. Most recently in our world history, the Sumud Flotilla set sail to Gaza from ports throughout the Mediterranean from Barcelona to Tunis (and hopefully) to Gaza with activists from 40 countries seeking to address the failings of humanity through every day channels such as calling your government representatives until their inbox is full for years. May Palestinian resilience be remembered and may the world never forget the horrors and hope we have witnessed beaming into our consciousness through our glowing pocket portals.

In a time of increased propaganda, censorship, and surveillance, the temptation to let our phones die, run to the library, and remember how to burn CDs with a disc drive and a dream has become stronger and stronger with the ever-presence of AI slop nightmares. As curators of an alternative analog dreamscape, we can’t say we are mad at this shift in sensibilities.

Internet delights would point to similar digital chagrin with brilliant bursts of community beauty which may only be categorized as unique for our time. Most recently, a creator on TikTok who conjures a short song every day, Oliver Richman (@olivesongs11) on day 576 brought the world together with a song about AI bunnies jumping on a trampoline. The video fooled us all despite our proud claims that we can “always tell” in AI’s still discernible, or so we thought, imperfections.

Users from everywhere and every medium cried out for the soul of art covering Oliver’s song. A Cappella choirs, harpists, watercolorists, a dog who can play the drums, and any other creative medium participated in our sorrowful reflection in the mirror on the black screen. Several even translated its lines into their language, here are the words that united us (if only for just one internet cycle of roughly 2 weeks).

“There were bunnies that were jumping on a trampoline

Vi conejos que saltaban en un trampolín

And I just learned that they weren’t real

E eu acabei de descobrir que eles não eram reais

If a bot can inhabit an unknowing rabbit

Wenn ein Bot nur mit Phrasen unwissende Hasen bewohnt

It might manufacture the way you made me feel

Podría crear la manera de sentir

How do I know that the sky’s really sunny?

Como posso saber se o céu é mesmo ensolarado?”

-Bunnies, Oliver Richman

Every time I hear a variation of this song, my heart is pulled into a brighter state guiding me into a future with hope instead of fear. A hope that we will never lose the poetry of our souls, the longing for connection through art, the expressions which can only be wept by the creative human spirit.

And that’s why our tribune exists, after all. Fata Morgana is the third edition in the quarterly series exploring mind, body, and in this edition spirit. Our indomitable queer human spirit is the life force of Opal Age. In a time that promises queer erasure, we insist that (try as they might) we will always have our luminous creative spirit. It is our goal to tuck these editions into as many global archives as possible so that one day, you, future person, may hear the triumphant whispers of ancient queer existence.

May this nexus of queer creativity in the infinite human network be a beacon for present and future generations. May we be a publication that illuminates “the love that dare not speak its name” globally and forever. We wish that you may find refuge in these pages as our foundations quake beneath us all.

stay wondrous and expansive,

the editors of Opal Age Tribune

Ash Bell, Angel Cetorelli, Katie Harrison, Claude Joven,
Peter Rogers, Brigitte Vigo, & Eliška Wenzlová

Someday Soon the Sun Will Rise

Cara Morgan (they/them)

Maine

Tomorrow

when the sweet dawn arrives

the sun will shine on a new era

of this ancient world.

We will watch the long night die

beautifully on the horizon of a sky

God painted and collect our grief

like fallen stars.

We will cheer and cry and dance

as the last shadow loosens

its fingers from our throats.

We will hold each other for what

feels like the first time.

And this time, vow not to forget

what that feels like.

Then, we’ll all go quiet.

Reverent to this end that is

also a beginning.

The birds will take up

the silence as if cued,

as if waiting,

and sing the day awake.

Finally, we’ll say,

Tomorrow is here, it’s come.

The earth will rise from her unnatural sleep.

Cradle our dead and mark their

graves with sweet flowers.

Entomb them in rich dirt and vibrant green.

I know it will happen, I do.

They will answer for what they’ve done.

We will swallow every scream.

Count every body. Mourn them.

Digest the guilt for our part in it.

We will bury our weapons under the weight

of our shame and let them be like bones.

Promise to never build another bomb

and keep it.

We will remember our humanness.

Surrender our bodies to themselves

and return to our flesh like Orion in spring.

We will find hope again and point to it compass like.

When tomorrow comes, the earth will smile.

Joy will spread like the first light

that creeps then claims the sky.

No one will be late or alone or illegal.

There will be no citizens, no borders,

no need to prove that someone else

bestowed upon you the right to exist.

Your passport will spontaneously combust

and instead, you will carry your worth

within you like blood.

Your heart will break

and break but keep beating.

Keep pointing needle straight

toward what’s possible now, today.

Tomorrow

when the last apartheid wall falls,

we will pack our things – whatever remains

join hands,

and head home.

Look my love, at what you have created

₊ ⊹

Look my love, at what you have created ₊ ⊹

Look my love, at what you have created

₊ ⊹

Look my love, at what you have created ₊ ⊹

Look my love, at what you have created

₊ ⊹

Look my love, at what you have created ₊ ⊹

C. E. Day (they/them)

Midwest

bestie please let me merge

elizabeth wolfe (she’s shy)
venmo: @elizabethwolffe

ashland, oregon

the barista is busy airdropping photos to the customer in front of me. she’s milk agnostic, i am a believer. celery juice and coconut caffeine. some bitch with a license plate cover reads please let me merge bestie. she doesn’t let me merge. ironic. my dad stalked me as a child. i’ve accepted that he probably still does. the more time i spend away from my phone the more i am connected to my reality. you will delight some, you will repulse others. no, i don’t want champagne. no, i don’t want that debauchery. you were busy getting divorced while i went to the wedding down the road. bestie please let me merge.

forever, forever

Jack Lindsay Dinovitz (they/them)
venmo: @jacklindsaydinovitz

Ventura County, California

He sat on the booth next to me 

on the train from Rome to Paris,

16 hours, 21 minutes, and 31 seconds. 

Brown coat, boxed glasses, aquamarine eyes, 

dark hair, tan skin, had to have been 6’8. 

Is this how I would meet God? On a train,

Jotting sweet nothings on a lead lined parchment? 

How cliché. How English of me. 

I imagine us together,

“Blue Moon” playing in

Tuscany. Yes.

Men dance together there.

And he whispers: “please adore me, forever”

Brown coat picked up a newspaper about two minutes ago; 

13 hours, 12 minutes, and 12 seconds. 

He walked by me. 

Were pants like that allowed on trains like this?

You know, the ones that show God

Tight green and high risen, showing thick nuances of a man. 

Is it sacrilegious to stare?

I shall write him something. 

Yes. 

Something brown like his coat. 

And

Blue, like his eyes.   

And Green,

like the forest where I ran through flowers last summer in Spain. 

Yes. 

This Godly green must be written.

“Volare” echos as he grips my hand, just above the zipper

fingers placed on the edge of my God

He presses slightly into my neck 

“Bello.”

I whisper, 

“Dream of me tonight and always”

Shall France and Italy go to war, playing with their God’s for life?

It’s Edith Piaf now.

We are walking in Paris, his hand in my back pocket.

The Eiffel Tower raised with night lights. 

“Did you know that the Eiffel tower was never supposed to be 

And yet it stands here before us.”

5 Hours, 3 mins, and 10 seconds. 

He’s staring out the window to the fields.

Neck, the size of Apollo,

Jaw, sharp as a discus,

Ears, soft like Hyacinth.

4 Hours, 30mins, 5 seconds. 

He’s asleep now and I mustn't stare.

I wonder if God cried when he made him, or rather, he was God.

Tears pulling from their face as they put their fingers into sandstone 

and sculpted the most beautiful creature on this planet.

I must not stare for I am beginning to cry now. 

If we meet in another life, maybe we would be good friends.

Run from Italy to Paris, by foot so it would last longer.

But if my forever with you only lasts these few hours

I shall tell forever, forever I loved him. 

Do you think death waits for people like us?

Do you think death waits for people like us?

The ones that never had a life worth dying for.

 

Your bare chest against my cheek,

arms around your waist as we watch this train ride together.

and I fallen so madly in love, I can taste you.

Brown, Blue, and Green,

under the lamplight.

——————————————————

59 seconds.

His bag is leather and he pulled it from under his seat.

He walked out from the train cabin.  

I am afraid I dozed and you walked from me 

my papers together but my… note book is opened

across from me on his desk, on his table. 

We loved each other in another life. Thank you. 

“Mirrors: III. A Boat on an Ocean” 

When I dozed, he must have read my notes,

finishing my sentences. 

12 seconds 

I walk from the doors to my left into Paris

11 seconds

My eyes widen 

10 seconds

My ears chill

9 seconds

My heart lifts from me

8 seconds 

I pull forward 

7 seconds 

I drop it. 

6 seconds 

A hand grips it. 

5 seconds 

Luna, Amore, e no

4 seconds 

I look up

3 seconds 

The hand upon my cheek 

2 seconds 

“it does”

“does what?”

“Wait for us.”

Where Ducks Walk on the Backs of Fish

Mike McClelland (he/him)

Illinois

Aunt Nancy, whose pale skin, giant hair, and rouge-forward make-up was a lot, merrily hopped up and down the aisle of the bus as Antonia’s kindergarten class rode out towards the Spillway. 

“Pithole’s grandest tourist attraction,” Bob the Janitor had told them from the bus’s driver’s seat. Bob was a multi-hyphenate.

 “The place where ducks walk on the backs of fish, like Jesus on the Dead Sea,” Antonia’s mother had said that morning.

“The Sea of Galilee, Janice,” Antonia’s father had corrected.

“Can’t they just cook up all the Spillway fish and feed all of the hungry people?” Antonia had asked, but neither parent had answered. Most adults in Pithole agreed that the best way to deal with the town’s unhoused population was pretend it didn’t have one.

When Aunt Nancy reached Antonia, she’d stooped down so that her big, jittery head was even with Antonia’s and asked about Antonia’s new baby brother.

“Your mummy just had a big, sweet baby?” Aunt Nancy asked Antonia, her smile huge. When she smiled, it made all the freckles in the middle of her face squish into the lines around her mouth, which, in turn, made it look like her bright red mouth stretched all the way from the center of her face and out to her ears.  

“Yes, Ms. Apple,” Antonia said, then stared at her saddle shoes so that she wouldn’t have to look at Aunt Nancy’s giant mouth.

“I told you, Antonia, you must call me Aunt Nancy.”

Antonia nodded slowly.

“And he’s such a chubby baby, isn’t he?” Aunt Nancy asked and, even though it was probably a normal baby question, the way Aunt Nancy asked made the hairs on Antonia’s arms stand up.

 “9 pounds when he was born,” Antonia whispered.

Antonia cautioned a look up at Aunt Nancy just as the teacher unfurled her tongue and wetly licked her lips.

Antonia could have sworn that Aunt Nancy’s tongue reached all the way to her ears.

“Does mummy need a babysitter?” Aunt Nancy asked. “You’ll be sure to tell mummy that teachers make the best babysitters, won’t you?”

Antonia couldn’t think of anything worse than having her teacher come home with her. Would she have to ask Mrs. Apple – sorry, Aunt Nancy – if she could go to the bathroom, even if Antonia was in her own house?

“I don’t think yet, she still has to feed him with her boobs,” Antonia said.

Aunt Nancy laughed, and the sound was weak and strangely raspy for someone with such a full voice, with such a strong presence.

“Breast milk is the elixir of life,” Aunt Nancy said.

“Ew,” Antonia said.

“You let mummy know that Aunt Nancy can help whenever she needs to leave you and that baby all alone in your big empty house,” Aunt Nancy said, and Antonia thought that was a weird thing to say. “Or you could just call me yourself, and I’ll come right over. With candy! Do you like candy?”

Antonia dug her toes into the bottom of her shoes. Talking to the teacher one-on-one made her feeling like she was frying like one of the ants Aunt Nancy had made them burn with magnifying glasses for Science Time.

Bob the Janitor (who smelled like Antonia’s father - a scent her mother described as “stinking drunk”) stopped the bus suddenly, sending them sliding across the mud for a few moments before the bus came to a stop with a clanking, hissing shudder.

Aunt Nancy was thrown sideways when the bus stopped, and as she plunged into the aisle her long legs flew up into the air. Antonia knew it had to be a trick of the light, but for a moment it her teacher had more than two legs flop into the air.

Aunt Nancy pulled herself up, shot a glare at Bob the Janitor, and then led the class out into the muddy Spillway parking lot.

Antonia could hear the fish flopping before she could see them. A constant bubbling, splashing, squirting sound. Like a pond full of farts. When she was finally close enough to peer over the railing - which she could just do if she stood on her tippy toes - she gagged. 

The black water was almost indistinguishable from the shiny backs of the carp, so to Antonia it looked as if this wasn’t a pond full of fish and instead one giant, disgusting, wet organism, a beast crowned with bent fins, swollen eyes, and countless scales.

“Jesus Christ,” Antonia said, and the barf that churned up into her throat burnt like a prayer.

Despite the flat-out grossness of the scenario, Antonia couldn’t look away. Some of the other kids had already gotten bread from the gift shop. So much bread. How did they have so much bread here? Everyone seemed to have an endless supply. They were tossing it to the brave ducks, who struggled to hop-swim-kick their way over to the little bread pieces. 

But Antonia could only stare.

She was mesmerized by the churning mass of fish. The round empty mouths, hundreds of small black pits, were like pupils meeting her own.

The fish were the most concentrated at the middle of the pool, and Antonia’s eyes were slowly drawn there until her gaze was fixed upon the very center, the focus of the circular pool. She sensed Aunt Nancy to her right, and she knew, somehow, that the teacher was staring at her, not at the fish.

Another student threw a large hunk of bread across the pool, and a haggard looking duck decided to risk it and hopped into action, heading across the center of the pool towards the bread. As it swam through her field of vision Antonia got a good look at the duck, the browns, oranges, whites, and yellows of it. She was thinking that it looked like a Halloween duck, like a piece of candy corn, like a late autumn day in Pithole. She was thinking of how gently it moved, even with those disgusting fish swirling and sucking beneath it. She was thinking about what it might feel like to be the duck, to float upon the top of the water. To float above the fish, to stop in the center of the pool and see what they felt like on her skin. What they felt like brushing her arms, what they felt like kissing her face, sucking at her fingers, nibbling on her toes.

Then the fish were leaving the center. The teeming horde of them diffused throughout the pool, leaving a black circle of placid water it the center. Antonia felt the pull of it in her chest. It looked so inviting. As she stared, she swore she could see a dim light in the pool, a dim light with the warm, enticing feel of a campfire. 

It was there, she could see it, there at the bottom of the pool. Something warm. Something wonderful. She had to get to it.

It was only when she heard a raspy gasp next to her that Antonia realized she had climbed on top of the railing.

She shook her head, unsure of how she’d gotten there, and then lost her balance and fell forward. She gripped the railing tightly and swung down, her bony knees skimming the water. But she held on, hanging just above the sucking, slurping fish pit.

Through the bars of the railing, Antonia saw Aunt Nancy, who’d turned towards Rat Dam, a cement monstrosity that cast a shadow over the Spillway. Then she saw why Aunt Nancy had gasped that raspy gasp.

Jesus Christ was standing there. 

12 whole feet of him. He was a giant, and he was shaking his head at Aunt Nancy. He looked disappointed, and Antonia could see that Jesus was very good at expressing his disappointment.

As Antonia hung there, Jesus turned to the Spillway water. He regarded the fish and the empty center and even Antonia. He smiled a gracious smile her way and it lit her from within, its warmth ten times that of the underwater campfire that had been calling to her. 

Then Jesus turned back to the water and just stared at it.

Aunt Nancy began shrieking, “No, no, no!” and Bob the Janitor was speeding off in the bus and all the other kids were gaping at Jesus.

Antonia was getting tired, and she felt her hands slipping on the slick metal rail. Still, she twisted around to see what Jesus was staring at. 

Was he mesmerized by the ducks walking on fishes’ backs? 

Maybe it really was a grand tourist destination, if Jesus Christ himself was so taken by it.

Then the fish started multiplying.

The Spillway carp were splitting at the middle, each single fish becoming two. Then those two fishes would stretch and grow until they reached a certain size and split themselves. Within seconds, the water was frothing with movement. And after a few more seconds the center of the pool had refilled with sucking carp. And then more.

Antonia felt the fish rise beneath her feet She felt them catch her rather than suck at her. She thought distantly that she should be frightened, but she felt delightfully calm. She fell onto the rising floor of carp beneath her, and she felt so light. She felt like she was on the crest of a wave. It was like she was soaring on the eagle’s wings. 

Slimy, sucky eagle wings.

The fish kept splitting, growing, rising, and rising until Antonia floated up and back over the railing. She rolled down a gentle slope of carp and hit the ground once more. She looked up and saw her fellow students, some of whom were collapsing under piles of rapidly multiplying bread.

She looked up at Jesus.

He was smiling at her, even as, next to him, the fish spilled out over the railing and onto Aunt Nancy. They stuck to her like bees on honey, and Jesus’s smile only grew as Aunt Nancy was eaten alive by carp. 

“Thank you, Jesus,” Antonia said, and then went to give him a high five. Jesus looked perplexed as she held her flat palm up to him, then his smile grew into a silly grin, a very happy grin, and he raised his kickboard-sized palm up so that she could slap hers against his.

Jesus wasn’t solid, but there was something there. It felt like moving your hand through the steam floating up from a boiling pot of stew. He smelled like that, too. Jesus smelled warm and inviting and a little bit meaty, like home cooking.

Then Jesus turned and walked towards the road, holding his thumb out. Antonia wondered if he was hitching a ride to downtown Pithole, or straight back to heaven? She felt like she should tell him to skip Pithole and head straight for Niagara Falls, which had a lot more to offer.

The fish continued to split and grow, split and grow, split and grow, like vines of fish meat in a stinky vineyard. If it continued at this rate, all of Pithole would be submerged in carp within a few hours.

Antonia smiled.

Because now, surely, no one in Pithole would ever go hungry, not ever again.


The End 

The End The End

The End The End The End The End

1234

Kaitlyn Sun (she/her)

Australia

1

Devesha calls it an angel number. I say it's foolproof

that no burning spirits can erase it from our minds

and we will find our way back:

two vodka-drunk girls, elbow-linked

and tripping in our heels cause we’re high on life

out in the acid-bright night as young as we are

2

wild and free mirror ball babies spinning light across the dark,

our tongues wet with the promise of our God-given inheritance. 

They want to touch my ethereal essence. Devesha’s

a Sag, she tells me as we bond over astrology

and combined with my triple fire, we burn

through three nights in Nusa Dua

and fan our dreams out in the tumid island air

 

3

and when the sun is high we sleep,

sprawled like angels on white sand beaches

as the Indian Ocean calls us back to our mythic origins

and the fathomless darkness we’ll one day return to

but for now we continue to navigate what it means

to be Woman—with intuition and feeling

we find the answers, fall in love with everything

before we find ourselves

 

4

back in the airy cocoon of the hotel room

I am filled with rapture as Devesha reads my tarot

on the fresh linen like an Egyptian Mau

and I sleep well

knowing my destiny rests in God’s palm

portales de amistad

Celeste Ramirez Estrada (she/her)
venmo: @celesteaaramirez


Los Angeles, CA

Yetla Martinez & Yare Martinez

Mia Cucufate & Jayline Ruiz

Production: Madison Tyler & Yetla Martinez

Hair: by Odilia Ramirez

Self Portrait as Archaic Torso of Apollo

A.D. Warrick (they/them)
venmo: @annika-warrick

Little Rock, AR

after “Archaic Torso of Apollo” by Rainer Maria Rilke and “Self Portrait as Orpheus on T” by Acie Clark


I cannot know what will happen to the body

healing, yet torn, pink of scar tissue

glittering, the lines of constellations,


gleaming, like light through the crack 

in the door. Otherwise, the curved hips could 

not dazzle me so, fingers tracing a placid smile

to sketch what I imagine I will look like.


Otherwise, the peach fuzz of hair on my stomach

would not please me, would not feel cherished,

a gift given, by the keeping on of living:


would not, from all that has made me divine,

beg for a joining, after all this wounding,

of the soul and body, bursting like stars. 

For here there is no place where you are not seen. 


Give me your hand. I will change my life.

things i remembered in the elevator while holding a grapefruit

Maya (they/them/she)

India

i was born with a stone in my mouth 

and i have been trying to trade it for a god ever

since. it is shaped like a marble of sleep, 

or the knee of someone i loved too early. 

my father said: chew quietly. 

my mother said: you cannot marry a cloud. 

but i did. once. in a motel in pushkar 

where the bedsheets smelled like burnt jasmine 

and the fan spun like a saint in a blender. 

i once saw a bird so blue it made me cry 

in the middle of a wedding. 

the bride thought i was weeping for love. 

i said: yes. 

i meant: i don’t know what i meant. 

there was a year i wore only silver 

and slept on the roof in case the stars 

tried to call me back. 

they did not. 

i bought a lottery ticket with the name “vanessa.” 

i planted hair in the garden and something bloomed.

i don’t think it was holy, 

but it waved. 

my lover— 

her hands smelled like sugar and betrayal. 

she said: don’t talk to me about eternity unless 

you’re prepared to stay until morning. 

she vanished mid-omelette. 

left a note: you deserve better eggs. 

i keep every moment in a jar under my sink. 

some of them hum. 

one of them bit me. 

i think that’s how i know it was real. 

today i rode the elevator with a grapefruit 

and thought: this is probably what they mean 

by free will. 

i will take it home and name it 

something unpronounceable, like forgiveness. 

i will not eat it. i am not ready. 

i am never ready. 

but i am always waiting.

and the waiting

feels 

like 

flight.

Ik Heb Geen Huisdieren

I Have
No Pets

Faith Palermo (she/her)

Massachusetts

Ik heb geen huisdieren. Mijn moeder koopt een vis voor mij. Blauw en geel en zwart. Ze zegt tegen mij, “Dit is jouw zus. Zij ziet en hoort en denkt.” Zij staat op mijn tafel, in een klein huis van water, in een klein huis van papier en woorden. Ik geef haar geen naam. “Dit is jouw zus. Met haar, ben je niet alleen.” Mijn zus ziet met ogen als bomen, oud maar groen met groei. Een bos in mijn keuken. 's Avonds leg ik een deken op haar huis, warm een glas thee met melk en honing voor haar. Dit is hoe ik zeg dat ik van houd: ik heb geen huisdieren. Mijn zus slaapt goed op de tafel.

I have no pets. My mother buys me a fish. Blue and yellow and black. She tells me, “This is your sister. She sees and hears and thinks.” She sits on my table, in a small house of water, in a small house of paper and words. I don’t name her. “This is your sister. With her, you will never be alone.” My sister sees with tree eyes, old but green with growth. A forest in my kitchen. In the evening, I place a blanket over her house, warm her a cup of tea with milk and honey. This is how I tell her I love her: I have no pets. My sister sleeps well on the table.

marathon (2023)

*

marathon (2023) *

Taylor Elise Colimore (she/her)
venmo: @Taylor-Colimore

Richmond, Virginia

A Girl’s Sword, Her Princess

Kenna DeValor (they/them)
venmo: @kenna-devalor

Bethlehem, PA (Lehigh Valley)

A lavender fog hugs low to the valley,

ivy grips the ash-stone tower like whispered prayer.

Her dress is stitched from spider’s silk, 

but her eyes, Gods help me, burn like war.

No suitor’s sonnet sung to her.

No prince’s vow dares weigh her chest.

Not one man could unbind the oath

that I, her knight, have sworn.

I ride beneath a banner of starlight,

no crest nor family name to call my own. 

just shapes stitched into my sleeves

and the sweetest scent of lilac on my armor, where I held her last.

She meets me where the garden hides,

beneath the hush of smoky moonrise, 

where roses dream and time forgets to blink.

“My knight,” she murmurs into my mouth,

“you dance with death, grinning at fate.

By dawn, they’ll come for your end—

and I cannot bear to hear the silence from your heart.”

I gaze into her lantern-lit eyes and say:

“I chase the saccharine heart that unfurls my will.

If death finds me tonight, may heaven grant me an eternity to watch you sleep.”

We kiss like sacred flame,

like the tide breaking on burning shores.

The battle drums draw closer.

We stay until the sky turns red with mourning.

Let kings decree and blind prophets warn.

Let their blades bloom inside my ribs.

They’ll crown me not with gold, but thorns. 

and I’ll lie in peace beneath the soil,

because I loved her, I loved her, I loved her.

Let them call me traitor, sin personified, but I am her martyr, her patron, her chosen one. Let her place a single violet on my unmarked grave, to show she still thinks of me. 

Tonight, we are two young girls in the midnight hour, pretending we know anything, everything, about love.

I Want to Go Be Gay at the Drive-In

Johnna Parker (she/her)

North Carolina

in the small town fifteen minutes away from mine.

where the night will be so dark no bigot could see

enough to get mad. we’ll giggle under cool moonlight

at silly straight rom coms: the culture of women

finding it so cute when men play dumb. and we’ll cower

in flighty fear of corny horror movies, looking back

into the woods saying to each other “did you hear that?”

i’ll show her the joy of funnel cake fries, the powdered sugar

clinging to pruned fingers; sticking to plump, damp lips.

the air will be the kind of sticky only north carolina

summer knows, and we won’t care. we’ll peel pistachios

for each other, salted shells getting lost in our little utopia

built in the trunk of my car. blankets laid and pillows

plumped, illuminated by the big screen in front of us.

we’ll revel in the ways in which we bask under the screenlight,

eyes sparkling, hearts beating, bodies cradled in each other’s arms.

For My Last Day,

I'll See the Flowers

Eliza Mai Simpson (she/her)

Malta

How to Carry a Movie in Your Lungs

Rudrangshu Sengupta (he/him)

India

1. Please Stay Until the House Lights Come Up

Let the credits roll before you stand.

Sit through the silence.

Feel your ribs remember the soundtrack.

Don’t look at your hands yet—

they’re still someone else’s.

2. I Don’t Live in My City Anymore

When you walk home, let the night distort.

Let lamp-posts become plot points,

let your breath fog like it’s set design.

You are not in Kolkata anymore.

You are in Hampstead.

You are in Wyoming.

You are in Northern Italy, eating peaches off the floor.

3. Your Missed Calls Don’t Know Me Like This

Don’t answer your phone.

It does not know who you are now.

It never saw what you saw.

4. There’s an Ending Folded in My Winter Coats

Don’t open your closet.

The ending lives there.

It sleeps beneath the shoes you wore when you were seventeen,

the ones that smelled like summer and split endings.

5. If I Light a Cigarette, Will You Believe I Loved You?

Light a cigarette even if you don’t smoke.

Cup your hands like you’re holding someone’s face.

Inhale like it’s dialogue.

Exhale like you’ve survived the third act.

6. Frankenstein Was a Love Story (You Just Read
It Wrong)

Remember Frankenstein.

Not the monster.

Not the man.

But the mirror between them,

where love is born too intelligent for its own survival.

7. I Do, I Do, I Do, to No One in Particular

If you find yourself whispering “I do, I do, I do,”

into your cold coffee or your bath steam—

don’t correct it.

You’re not talking to anyone alive.

8. I Wanted to Be Art So Bad I Let It Blur Me

Let yourself ruin a little bit.

Let your eyeliner smudge like chiaroscuro.

Let your mouth say the things it shouldn’t.

Some emotions are too widescreen for safety.

9. The Boy in Seat B12 Never Existed (But He Will Haunt Me Anyway)

Fall in love with someone in the row ahead of you.

Invent them.

Name them after a line you can’t forget.

Leave them before the lights come on.

10. The Movie Didn’t End, It Just Moved Into My Lungs

Know this:

the movie never ends.

Not really.

It just unspools in your bloodstream,

quietly,

forever,

rewriting the way you say I love you,

the way you leave pubs,

the way you trust strangers,

the way you believe in ghosts.

In the Ruins of Romance,
I Built a Softer Love

Christa Lei (they/them)

Hawai’i to Brooklyn, NY

I’ve done some rash, impulsive shit in the name of love.

I attended a university within a few hours of proximity to a past love, to no avail when they vanished into the ether. Then, backpacked around Europe on what I deemed my “Sex in Every City” tour, traversing the continent for crumbs of affection. I made Paris my major attraction, where one evening I hit it off with a French aerospace engineer; we wandered into lust over drinks and cuddles. I returned two weeks later on a whim, during a national holiday, not realising he already had plans — leaving me to bed rot in a too-expensive hotel in Paris, crying over my misfortune. Later, a brief Before Sunrise-esque dalliance in Amsterdam brought me to my knees and introduced me to the culture of my future spouse. This individual, acting as an oracle, predicted my future partner's nationality and my initial role in our relationship. So when I met T in San Francisco after matching on golden-era OkCupid, I realised this was to whom my future fortune would be bound.

When we opened up our relationship to polyamory, my choices became increasingly fueled by my desire for attention and affection and marked the start of unstable, unchecked behavior. I met a baby bisexual at a play party through a mutual friend, whom I had instant physical chemistry with, and spent seven hours exploring before we embarked on a messy fling that ended in a failed weekend together. My spouse would later point out that I collapsed in exhaustion after multiple hours-long conversations, trying to discern what the fuck was going on between us. An almost year-and-a-half-long abusive/toxic relationship drained and tested my money, confidence, and will to live.

Love makes me a fool, repeatedly.

——————————————————

If loving too much makes me a fool, then I’ve made peace with the title.

But I’m not an idiot. When I planned a week-long vacation with my comet partner—someone I’d known for years, who I’d video-called with, texted daily, but had only spent less than 48 hours with in person—I knew things would change. I knew we’d learn things about each other we couldn’t unlearn.

Nine days together. Amsterdam (where I had to pick him up) Granada, Córdoba, Sevilla. Warm spring nights and cheap vinos tintos. Laundry hanging on wires on the deck of our rental apartment. I brought four dresses in my suitcase and my heart was on my sleeve.

I’d be lying if I said it was easy.

At six years my junior, my comet partner is still finding his footing. I’ve always known this. His identity is clearer; I glimpse his future self. But falling for potential diverges from facing reality. Loving someone out of sync as a time traveler means waiting to synchronize with them. You breathe deeper to exercise patience, try not to parent them and try not to flinch when their immaturity shows.

But I stumbled and faltered when it mattered most.

——————————————————

On our travels together, I noticed his intense need for closeness; while I yearned for distance and space. When I checked in with my spouse, I named this discomfort and he responded, “That’s probably why it works and worked so well at a distance. You’re like me: You really need your space and alone time.” T wasn’t wrong. The comet's jokes felt inappropriate and unkind, unlike his intention. He wanted an impossible closeness which I could not give him. This trip aided us in re-negotiating our dynamic. We learned each other’s rhythms, got annoyed at each other, laughed together while we wandered and roamed the uneven cobblestone streets of whatever Spanish locale we were visiting until we grew tired of complacency. In the beginning, we navigated through cities like young lovers. The next days, more like siblings or a parent and child. And some moments, like awkward strangers forced to share a bed.

I know I sound dramatic, but there was sweetness and softness. We played around the Iberian peninsula, eating our way through Southern Spain. There were small moments that glimmered throughout our time: treating him to his first Michelin-star meal, the way he would always tuck me in and kiss my forehead before sleeping, and the jovial spirit he carried when he got enough sleep, or when he tried a new beer. I no longer know how to best refer to him. Instead of resorting to labels, we choose to create a conscious shift into more intentional care and love for each other.

The optimal resolution causes temporal and physical distance. Our romantic edges softened on this trip, and the painful ache of utmost desire and the need for labels? Gone. The future holds something new and unknown. We love each other, however, we both need time to grow. A tether still exists between us, but instead of holding it taut, we loosen our grip.

——————————————————

I’m finding it difficult to maintain toughness and tenderness. I know I’ll continue to fuck up along the way, but despite a shift in the ways I move in relation to others, I’m content and grateful. The act of love requires opening one’s self up to the wide spectrum of human emotions. Without feeling pain, how could I experience and witness unimpeded joy?

I spent so long thinking love meant sacrificing one’s self to keep loved ones around. So that they would stay. However, life isn’t like that. People leave, change and grow apart all the time. Following last year's breakup with a toxic ex, I realized I should not align myself with people whose values don't match mine. Maybe that means we aren’t compatible long-term. That’s OK. I can witness and tolerate that now. I love so abundantly, but it doesn’t always have to err on the side of romance.

Witnessing someone else’s growth is beautiful. But sometimes it can be painful. I know I’m being vague, but I’m processing the change washing over me, him, us, and the greater world.

——————————————————

I used to think love had to be earned through pain. The more I withstood, the more it meant when things worked out. I held onto the massive amounts of hurt with the excuse of endurance as devotion. But love is not something to survive, it is, instead, something to celebrate and nurture. What if walking away lovingly, without resentment, is the kindest, truest act? How would it appear if feeling valued didn't depend on being chosen?

We laughed over cheap wine with sun-kissed shoulders and slept together with tangled limbs. And when the tenderness unraveled, we didn’t rip it to shreds. We folded it gently and carefully, chose silence over cruelty and space over resentment. Loving something doesn't require permanence. I still remember the quiver in his voice at one in the morning, the way we both knew without speaking that we were stepping into a new version of whatever this was.

In the ruins of romance, I built a softer love. One that is more tender and forgiving and doesn’t require strict labels or dispensed containment. Though I am still a fool, I’m no longer the kind who stumbles for spectacle or shapeshifts for approval. I linger in ancient palaces, listening to what unfinished architecture tries to say. In Granada, I thought about Charles V and Isabella of Portugal. Our Alhambra guide walked us through how their political marriage turned into love, how they spent six months in honeymoon delirium, how he commissioned a palace inside the Alhambra for her, for them, for love itself. And how, when she died young, he couldn’t even bring himself to return to the city. He left the palace unfinished. Never stepped foot in it again. One could say he died of a broken heart.

I also walked through palaces that were never completed. I’ve loved people I couldn’t return to and built monuments inside myself to things that didn’t last. But unlike Charles V, I keep coming back. I leave flowers in the rubble, make homes out of the half-built ruins and laugh in the hallways.

Still a fool—but this time, with both feet on the ground. Face paint smeared, heart open. Not begging to be kept, but choosing to stay.

THE SWEET DEALER,

MY GRANDMOTHER

Niranjana Balram Menon (she/her)

Chennai, India

1.

I know we don’t speak in tongues, 

but—candy,

You place it in my hand—

in place of a handshake—

I pop it in my mouth

in lieu of a lament 

I couldn’t voice anyway,

my tongue

lost in your language,

still knew the way

to sinfully suck

the pearls you pressed in my palm.

I never knew where they were grown,

until I saw one emerge—

from your small black pouch, 

nestled between the plastic pink comb,

and the flip phone that homed the 

game where a snake 

chased

blinking squares endlessly in confinement.

The contraband was in endless supply,

not once have I

been rejected by my plea for 

a sweet treat.

The Coffy Bites told me: you love me.

The Mango Bites said: you’ve had a tough day 

And still, you love me.

The multi-coloured poppins

told me you’re sad, well—

except for the green ones

you forgot to separate them from the pack—

and then I know you were desperate

for a walk in the park after school.

And even though I wanted to 

stay 

in and watch television

I obliged and walked alongside you. 


2.

Sugar is banned in this body,

but like all banned goods,

it finds refuge

in an underground rebellion.

When I return to rations 

the bites serve to satiate

the flesh-craving, dissolving

in my blood, sending images

through the cables of my veins 

to my brain:

A gold-and-silver Titan watch. 

A pink comb with plucked hairs.

A blue ballpoint pen on paper.

A Blue Parachute oil bottle. 

You.

The Welshman’s Rhapsody

Toni della Fata (she/her)

Toronto, Canada

I never want to leave. 

My sister always laughs at me about it,

but how can I?

When the bar is as crowded and glittery as the shore during the capelin roll,

Tom Petty crackling over the speakers like a swan song, 

our conversation drowned in its wake,

When he sat across from me, two pints of Guinness between us,

and I watched him hand rolled his cigarette, 

we stepped out into the night,

a sky full of light pollution above us,

we pretended the airglow was from aliens instead of greenhouses in the distance. 

When the air froze our fingers, the tips of our noses, 

he’d take his hand in mine, 

and say, in his lilting Welsh accent,

“just one more?”

A year later, 

the Atlantic between us, 

I’d try to recreate those moments, 

like some great impersonator,

with another stranger,

this time our languages collide,

his accented English, my broken French,

outside a cash-only karaoke bar,

on a Tuesday at 3 in the morning,

drunker than I ought to be,

lighting cigarettes to fill the spaces between songs,

and when Bohemian Rhapsody played, 

I’d order another beer, smoke one last cigarette,

waiting outside for my black swan,

wishing I could enchant him into my Odette instead. 

Each November, 

I’ll stare at the city skyline and imagine stars,

I’ll smoke a Camel’s cigarette because they’re cheapest,

even though I hate the taste,

I’ll tell myself little lies,

nothing so outrageous, 

just that maybe,

one day,

I’ll hear his rhapsody once again.

In a Time Capsule of Our Love

Cherry Cheesman (she/they)

The Carolinas

I smell like sunscreen and glitter spray

and black cherries splitting in the heat.

You smell like you did when I loved you –

dew-wet magnolia blossom, musk heavy

with the domesticated. Your mind is somewhere

I cannot see, ampersanding through the grass,

chewing on organic violets, gasping 

the entire sky purple. But I’m a Cheerleader

is on and between us we grow another pulse.

We are the gayest people alive. This is a universe

of two. A supernova with reality’s middle name. 

Broth bubbles politely on the stove. Nothing will ever

boil over.

Pocket Moon

Adelina Rose Gowans (she/her)

Detroit, Michigan

Mama says the worst thing about old people dying is that you can never convince them to throw anything away before they go. Before I was born, before Grandma’s heart started eating itself, Mama swears she begged Grandma to go through her house and throw some things away. Now Grandma is gone, and we have to go through what she left.

In Grandma’s house, Nia, Mama, and I pack eighty years into duct-taped brown boxes. I pack crochet hooks, photographs that make Mama squint–then say no clue who that is, moth-eaten sweaters. Nia packs Grandma’s romance novels: a dog-eared sea of cowboys with their flannel shirts unbuttoned and military men with eyes so blue they look like Easter eggs. She flips open a cowboy one.

“Don’t look in those.” Mama reaches over from the pile of porcelain birds she’s wrapping in tissue paper to close the book in Nia’s hands. “They’re for adults.”

Nia giggles, and Mama looks at her with tired eyes. A week ago, when Mama agreed to let Nia sleep over today, Grandma hadn’t died yet. I think she thought it’d be mean to cancel my sleepover since my grandmother just died.

A few minutes later, Nia pokes my shoulder. “Look at this.” In her hands, she’s holding a palm-sized sphere: white-gray and rocky and glowing, like a tiny moon.

“What’s that?” I ask Mama.

“I don’t know, honey.” Mama doesn’t look up. “Just put it in a box.”

Nia puts the moon in my hand, and I put it in my pocket. The white light doesn’t shine through my jeans. 

After dinner, Mama sits on the couch and separates crochet hooks into piles based on their tiny numbers. Dad watches the Falcons lose to someone blue on the TV. Nia and I sit beside them. I run my hand over the moon in my pocket, wondering when Grandma got it. Certainly before I was born. I wonder if she made it or found it or bought it. I wonder a lot of things about her.

“Can you read this one?” Mama hands a crochet hook to Dad. He squints at the little aluminum tool. 

“Nope.” He frowns. “I thought they made these things for old people?”

“I guess she could just tell the hooks apart by color.” Mama shrugs. 

Dad hands me the hook. “Your turn, Alice.”

I look at the tool and imagine Grandma used it to hook-make the moon. 

“2.5 millimeters,” I say.

“Young eyes.” Mama looks at Dad. They grin at each other. 

Nia turns to me. “Do you wanna go look at the moon?” 

I nod.

“Not tonight, girls.” Dad shakes his head. “It’s raining.”

“We mean the pocket moon,” Nia says.

Dad opens his mouth like he’s going to say something, then closes it.

“Okay.”

We pad up the carpeted stairs and into my bedroom. Nia flips my lamp off and I pull the moon out of my pocket. It turns my whole room gray with light.

“Oh gosh,” I say.

“I didn’t think it glowed that much,” she says.

“Me neither. It’s kind of bad, actually.” I stare at the moon. Nia laughs, because she’s always laughing. This makes me happy. 

“It’s very bright,” she remarks.

“Remember when I needed a night light to sleep?” I ask.

“That was only like two months ago,”

“I know, I know.” I wave my hands. “I’m just saying–I wish we’d found this then. It’s kind of annoying now that I need darkness to sleep.”

“Maybe you’ll want a night light again someday.” She shrugs. “Like, after middle school.”

Nia and I sit on my floor, the moon between us.

“Do you want me to eat it?” She asks suddenly.

“What?”

“It’s small.” Nia takes it in her hands. “I could eat it for you.”

“Do you think that’s what Grandma would want?”

“I only ever knew your grandma when she was sick.” Nia sighs.

“Me too.” We look at the moon and each other. 

“Yeah,” I say, “I think I’d like you to eat it.”

At first, I imagine she’s going to be delicate and slow, but she isn’t. Nia raises her palm to her mouth and swallows it fast–like a dog treat.

“What does it taste like?” I whisper.

Nia smiles at me with her whole mouth–the kind of smile you crack right before you laugh. Through the gaps in her teeth, I see light. It turns her whole mouth pale and pink.

“Old people stuff,” she says, “like memories.”

Celebration of Life

Sophia Dreamer (she/her)

Michigan

"Why are you this way?" They ask, 

and for a moment I do not believe they ask, 

because I cannot fathom 

how one could think time so infinite, 

so kind, 

that you should not wish to 

press someone's handwriting into your skin 

or burn their laughter into your memory, 

the curve of their smile automatically traced by lonely fingertips.

What if I forget the way their hands feel as they hold me? 

How would I live with that sensation erased from my being?

With no thought to how they held me 

embraced me 

squeezed me with a misty smile, 

no wish to save their love in the essence of my being. That forgetting

would be the death sentence of my meaning of living. To live. 

To remember. 

To cherish. 

If memories are treasure, why not cherish them? 

Why not hold them close? 

Why not press the coins of love into my eyelids 

knowing that above all else 

even if I should decay from this earth 

I shall leave behind the everlasting evidence