Press 53

A sit-down-chat-loving publisher of short fiction and poetry collections, located in Winston-Salem, NC.

Spotlight on Prime Number Magazine

In keeping with National Short Story Month, here’s a flash fiction from Sally Houtman, which appears in the latest update to Prime Number Magazine. You can find poetry and creative nonfiction there, too!

That Night in Miri’s Kitchen

Don’t turn around. That’s what you said. That night in Miri’s kitchen. Me wrist-deep in sudsy water. You barefoot in faded jeans. In the air, the smell of woodsmoke. The rise and fall of voices down the hall. Over nibbles we’d exchanged quick glances, my sister’s friends around the fire. Later, in the kitchen, you came to get a beer, then lingered. All movement stilled. My senses sharpened, aware only of my breathing and the rain. The rain the rain the rain, so hard against the window. You moved in close behind me, hands warm against my skin, your voice so clean and spare.  Don’t turn around.
 
Fast forward. Four months later. You beneath a storefront awning. A woman waiting in a car. Overhead, the same old dirty, laden sky. And all that day, the rain. The day you told me you were leaving. Said it just like that. The rose you gave me in its vase at home, its head bent forward, heavy on its stalk, but still alive. I stood, feet planted on the footpath, neither here nor there and you already gone. And I understood life’s fickle pull and slip, the way a thing could be hollowed out of one thing, yet be so filled with something else.
 
Now you are in another city, one that cracks and rattles underfoot. And me here left with my fugue of memories. Foreshortened daydreams. The drumbeat repetition of regret. And the rain. I watch the drops that vein my window on their predetermined course. Each fixed to its task, its fate still ahead. And I think that had I known that night in Miri’s kitchen, that you were already knee-deep in someone else’s forever, halfway to someone else’s somewhere else, I would have never turned around.

Flash Friday

Read “The Deadline,” by Stefanie Freele, below, and then read the rest of her collection, Surrounded by Water, for only 99 cents! Happy Friday! Happy Short Story Month!!!

The Deadline

As he calculated his figures over and over again, once, twice, then three or four times, as many times as he could, inserting numbers here and there, in between, over and around, adding extras, deleting none, his world turned darker, as if his vision was lessening, dimming, darkening like night, edging closer like wolves around a wounded animal, until he could see no more, just blackness, utter nothingness, not even the page in front of him, or the pencil lead, or even the pencil eraser, in fact not even the pencil itself, he could be writing on the desk for that matter, but he continued to write those numbers, augmenting his spreadsheet, stretching his report, writing, writing, writing, until he felt he’d gone mad, mad from insanity, mad from lack of sleep, mad from pushing the pencil beyond where it ever went before, and he pushed and pushed until his wife turned on the light and said, for the love of God, you’ve got to come to bed.

And so he did, wearing the same pajamas not removed in three days, he lay there blinking until his wife slept the sounds of sleepiness and he crept toward the chocolate, unwrapping the dark pieces and tucking them into the sides of his mouth with the first one under his tongue like medicine to return to the desk with the red emergency flashlight spreading a spray across his pages.

He handwrote, with the hurry-zoom of the chocolate, with the rapid beat of his jiggling knee, with half a cheek on the chair and pajamas pinching his middle. Not pinching like he couldn’t breathe, but pinching in a way he knew he should unpinch and he would feel much better, but that would take time and he had none of that. He wrote page after page after paragraph after line after word after word after word, until the pencil broke with a down-push and he reached for another and stuffed two pieces of cracked chocolate in his mouth to ensure he’d meet the target by morning. Not the morning of daylight, but the morning on the East Coast, the morning that came far before his morning, the morning that would be there before his sun would hit the kitchen and glint off the fruit bowl.

 The cat jumped across the page causing the pencil to skid and he flipped the meow to the side, but she sparked an idea that caused him to circle back to page 73 and edit that section he wasn’t really happy with anyway. He underlined and crossed out and zig-zagged across words that were once valuable. A noise behind him interrupted the flow; was it the wife going to the toilet? He gripped the pencil with his go go go hand and flew back to where he was before only to forget where the thought was taking him, so he bounced the opposite knee for inspiration, ground chocolate between his teeth and said, for the love of God, I’ve got to finish this.

The flashlight blinked twice, the light turned yellowish, it weakened, it diluted. The figures. The report. The word count. Five hundred words to go. He went back to the beginning and sprinkled adverbs lovingly, quietly, generously, adverbally until he only needed 350. He added buts and therefores and thens. He raced through with liberal adjectives, magnificent, enlarged, contentious. He summarized and quoted and connected and segued as much as he could until the flashlight flickered and petered, leaving him in the darkness again, not the darkness of an empty heart, but the darkness of an empty wallet. 

Finishing the page, with 27 words to go and the clear sound of his wife sneezing from the bedroom, he let himself squeeze the final sentence, not like a man squashing a full balloon, but like a man forcing breath from already emptied lungs. He heaved down the last word, placed it on the paper he couldn’t see, adjusted the pinching waistband and called back the cat. Not the command of get over here this very second, but the command of, I’ve lost my mind, don’t leave me now.

53-Word Story Contest with Meg Pokrass: (5/16-5/21)

              

This week’s guest judge is Kevin Morgan Watson! Kevin Morgan Watson is founder of Press 53 and serves as Editor in Chief with a special focus onShortStories and Poetry. As a publisher, he has worked with writers ranging from first-time published authors to winners of the National Book Award and Pulitzer Prize. As a writer, his short stories, poetry, and essays have appeared in numerous publications, including the 2002 TallGrass Writers Guild/Outrider Press anthology Take Two—They’re Small, where his short story “Sunny Side Up” won first prize.

Kevin’s prompt: Write a 53-word story about waking up.

Guidelines and Information

-53 words—no more, no less—titles are not included in the word count.

-1 submission per person.

-Limit one prize per entrant per month.

-e-mail your submission directly to 53wordstory@press53.com by 5 PM Tuesday, May 21st Eastern Standard Time.

-Each quarter, Prime Number Magazine, Press 53’s online literary journal, comes out with a new issue. All winning 53-word stories will be put into consideration for publication in the journal, with editor Clifford Garstang choosing one winner.

-The 53-Word Story App is now available for download in the Android App Store (it’s called 53Words)! For those with other smart devices, check out the web app (developed by Daniel Krawiec) at 53wordstory.com

53-Word Story Contest Winner (5/9-5/14): Allison Evans

Congratulations to Allison, whose story “Posh” was chosen by guest judge Steve Hellyard Swartz as last week’s winner. She wins the Press 53 publication of her choice, plus a chance at getting her story published in Prime Number Magazine. Read the winning story, below.

Posh

She carried in a picture of Victoria Beckham’s bob and left looking like a mushroom.  When the slayer turned her towards the mirror, all she could see was the raw cremini salad that she made the night before. 

“Are you adding a tip?” the cashier asked, stylist beside her, both waiting.

“Fifteen percent.”  

Poetry Wednesday

This week’s poem comes from Alfred Corn, taken from his latest collection, Tables, a Silver Concho Poetry Series selection. Happy Wednesday!

Brodsky at the Caffé Dante

A Village den, not far from Morton Street,

Where you’d hosted a party just the week

Before, your birthday cake a replica

Of A Part of Speech’s jacket. A practical

Joke? It wasn’t your most recent book,

Which blunt reviews had sort of trounced. But luck

’S a weathervane, and that year mine, too, had

Gone south, or sour, as I could tell you’d heard.

 

Strange: your large-scale forehead (the temple sported

A windswept curl Romantically borrowed

From Pushkin or Chateaubriand) was unlined,

Free of the trenches that gulags make or, exile.

Instead, it beamed a dynamic melancholy

Over our topics—none of them dire, really.

Thoughts about Ovid’s Tristia; and Dante’s tomb

In Ravenna; Byron, Walcott, Mandelshtam.

 

I asked if you linked the San Marco Lion

To the address on St. Marks Place, where Auden 

Had lived for decades. Just to hear his name

Buoyed a smile… In fact, the piece of cake

They’d cut you featured the King of Cats’ brown sugar

Wing. Pistoning lifts from that small figure,

Were counterparts to espressos we would drink—

Its caffeine still buzzing, I like to think.

Spotlight on Prime Number Magazine

The latest update to Prime Number Magazine, Prime Decimals 37.2, is now live! Read a flash fiction piece by Craig Fishbane below, and find the rest of the update, including more short fiction, poems, and creative nonfiction essays, here!

The Day’s New Words

No one is speaking in the classroom. Even parrots in coconut trees outside the window have gone silent during the afternoon rain. I lean against the podium and give my name to boys at wooden desks, students in bare feet and muddy t-shirts. Most are still perspiring from practice on the futbol field. They smirk at the way I pronounce each letter, enunciating long vowels and blended consonants with the crisp concision of a fussy baritone, a diva attempting to harmonize with a tuning fork. I am seeking perfect pitch: the song of a child discovering English. 

 

​The class remains unimpressed. One boy sticks out a pasty tongue, trying to touch his nose with the pink tip. Another watches a black-limbed spider mending the threads of a tattered web. I begin writing a list on the chalkboard, vocabulary from the first unit of the text book, the introduction to first things: boy, girl, tree, monkey. I linger over the spellings of father and mother, syllables first gurgled in the back seat of a taxi.

 

My mother loved to tell the story—how I fidgeted on her lap, tucked in a snug blue blanket, babbling at cars passing the window. The driver was changing lanes on the expressway when I turned to her and smiled. It was the kind of expression that showed I knew what I was about to do. Taking my time, I jabbered at the scenery until we reached the toll booth. Then I looked up and called her mama. In some versions of the story, I laughed—but that always seemed like an embellishment. A smile was enough to indicate that I was no longer content to quote from a dictionary of nonsense. 

 

​As the boys in the back row nibble on slices of moist yellow fruit, I find myself wondering if I really did savor that first time I spoke, the moment sound could finally be shaped into significance. I want to remember how I relished the flavor of language born on a distant highway. 

 

When I ask the children to join me in reciting the day’s new words, each phoneme is articulated with such hunger that even the boys in the back seem tempted. They lick sticky fingers and lean forward, eyeing the pale teacher as he paces the room in battered sandals. I look from face to face, waiting for a sign—listening for a whisper from that first trembling mouth: a new voice emerging through parted lips.

Leesa Cross-Smith for #shortstorymonth

Damn Sure Right by Meg Pokrass is one of Leesa Cross-Smith’s favorite short story collections from last year, and it’s 99 cents in the Kindle store this month, along with tons of other Press 53 short story collections!

little-fiction:

To celebrate Short Story Month, we’ve asked some awesome writers, editors, and other literary types to weigh in on their favourite stories and collections, and what makes a piece of short lit great. Today, writer and editor Leesa Cross-Smith.
Best Short Story Collections I Read In The Last Year:

DAMN SURE RIGHT by Meg Pokrass

BREAK ANY WOMAN DOWN by Dana Johnson (my full review @ The Female Gaze) 

TOGETHER WE CAN BURY IT by Kathy Fish (recommendation forthcoming @ The Lit Pub)

TELL EVERYONE I SAID HI by Chad Simpson

BATTLEBORN by Claire Vaye Watkins

Why? 

These authors know how to get out of their own way in order to tell a story. I don’t like hovering waiters or salespeople who get all up in my face. Same for writers. I love it when a writer steps back and just lets me disappear into the story. Also, these authors know how and when to end a story. I looove the endings. Although very different, what these authors have in common is the ability to write things simply, beautifully and patiently. I am always looking for atmosphere, small sweetnesses. Pokrass and Fish are pros at the teeny tiny story. Flash fictions I want to read over and over again. Devour them like little cookies. Johnson and Simpson and Watkins have written much longer stories but still, I enjoy rereading them and finding new things to love each time like little story snow globes I can shake. Watch them storm and settle.

Six individual short stories I recently read and loved:
HALIBUT POINT by MOLLY DEKTAR 
HUMMINGBIRDS by SAM WILSON 
THE MOST SERENE REPUBLIC by TERI VLASSOPOULOS 
COLD PASTORAL by MARINA KEEGAN
GREAT MIND DESTROYER by ROBERT JAMES RUSSELL 
•••
Leesa Cross-Smith is a homemaker/writer from Kentucky, and the editor of Whiskey Paper. You can read her short stories all over the internets, including at Little Fiction. Of course. We also have a new story of Leesa’s coming in the next little while. Stay tuned.

5 Questions, 3 Facts

Press 53 is proud to start the week off with poet Clare L. Martin, whose collection, Eating the Heart First, is just as stunning as its title suggests. Trust us, this is the kind of book you want in your hands sooner rather than later. Still not convinced? Check out our talk with Clare below, and you will be.

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P53:  Is there a certain kind of place that inspires you and your poetry? What about a place that you write in—what needs to be there in order for you to concentrate and feel good in your space?

CM: A long drive on a black road inspires me. The Louisiana scenic landscape inspires me. A secret road that leads to water inspires me. Waking up naturally is great –no alarms or shouts, and getting a good caffeine buzz to generate my creativity helps. 

I need a dinner plate-sized area of free space around my mouse on my desk to be able to navigate with it and clear access to the keyboard.  I share my writing space with my family (I work in the living room) and a terribly messy, pushy cat.

I would love a glitch-less virtual environment to write within and through which I can connect to publishers and other poets online.

I do keep paper and pen close at all times. I like to write dressed in PJs and barefooted, sometimes wearing a fancy hat.

P53: What place would you most like to travel to?

CM: We have family in northwest Montana, near Glacier Park. We love it there. I love Louisiana and enjoy parks and natural areas of my home state. I have never been on a secluded tropical island. I think I would like to travel to Fiji, just once, and vacation like Oprah, or hang out with Mick Jagger on Mustique Island, nestled in the Grenadine Islands of St. Vincent in the Caribbean.

P53: What kind of music do you listen to? Do you ever listen to music while writing?

CM: I listen to music when writing, yes. Not always, but much of the time, 
because I am in a room with a TV and people watching it and I need to 
separate myself from that.  I can handle the environment. I like the tension it creates and I also feel like my spirit needs to be with my family even when I am engaged in the solitary act of writing.

I listen to a hand-me-down iPod from my teen-aged daughter that I have 
loaded with The Rolling Stones, Adele, Radiohead, PJ Harvey, Eminem, Beck, The Black Eyed Peas, Bob Dylan, Lucinda Williams, Florence and the Machine, The White Stripes, Portishead, David Bowie and The Clash.

P53: Who are the writers and poets who inspired you to write?

CM: Too many to name but at the top of the list are James Dickey, Sylvia Plath, Anne Sexton, Rainier Maria Rilke, Mary Oliver, and many, many contemporaries who are emerging as we speak.

P53: What’s the longest amount of time you’ve spent working on a single line of poetry?

CM: I am really not sure of this question. I work with a ferocity that overtakes me and a concept of time is lost to me. I do, however, have many lines that I have pulled and cut out of poems that I call “Enigmatic Orphans.”  New work has often been birthed by these strange, lonely creatures.

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Three Facts About Clare:

1. I am the baby of the family.

2. I am a Scorpio Monkey.

3. I have always believed I was destined for greatness.

Flash Friday

It’s the end of the week, and as usual we celebrate it here at Press 53 with some flash fiction! Check out Tara Masih’s “Huldi (India, 1990), taken from her short story collection Where the Dog Star Never Glows, below.

Huldi (India, 1990)

Day 1, twilight

Surrounded by voices murmuring, laughing, and giggling as skin makes unaccustomed contact with her. She is the center of it all, sari radiating from her anointed body in iridescent petal folds. Women—relatives, friends, neighbors—hover about in a hum like honeybees eager to stroke and gather. What do they want? she wonders. What is that in their eyes? She is expected to be pale, fey, to keep her eyes modestly downcast, but she looks up through her lashes into Aunty’s eyes. She is not sure, but thinks she sees a sadness or a weariness behind the dark-mirrored pupils. In an old neighbor’s yellowing eyes she sees a craving, as if smoothing her preconnubial skin will smooth the neighbor’s skin, bring something back to life. The handfuls of dough roll up her arms, calves, face, the aromatic oil hypnotizing. Resistant at first, coiling back at first, not used to being touched, she gradually gives in, tension draining. Someone is beating rhythmically on a drum; her heart begins to follow.

 

Day 2, dusk

She gives herself up more quickly. It is easier to play the timid bride-to-be tonight. She is leaving home in two days. Leaving Mama, Papa, Sarita, and her dog, who barks at mountain lions and keeps her awake at night. Leaving her room with its cot and dresser and movie pictures pasted to the walls. Leaving the garden where she reads, cosmos and marigolds from the States as bright as small suns. Leaving to live at her in-laws’ home, in a bedroom prepared for her. She will be their obedient daughter. Someone is dancing and singing. She opens her eyes. Everything is distant, fewer people than yesterday. She watches tea and laddus being passed. They are her favorite sweet, but she turns her head when Sarita puts one to her lips. She looks at her own skin, and it is someone else’s skin, being smoothed and buffed and colored by the mustard oil and turmeric she’d mixed into chickpea flour. Extra turmeric speeds up the coloring process. Mama remarks on how fair her skin is becoming. She hears the voice, but it is coming from far away.

 

Day 3, night

She gives herself up completely. The mahandi is painted onto her hands and feet. The henna paste is green but will leave a red stain. The swirls wind like snakes around her palms and fingers, up her wrists. She likes the feel of the soft brush caressing her skin. A place at the base of her spine tingles pleasantly. She will wash on the morning of her wedding day. Wash away the green paste and the layers of oil from three nights of huldi. The women leave and Mama comes in, closing the curtain. Mama removes her sari, petticoat, bodice. Rubs her whole body—her back, stomach, breasts, thighs. Her match is outside in the garden, eating and drinking in celebration. She is not to see him until tomorrow. His laugh floats through the garden, along the strings of a Sitar, into her open window. She closes her eyes, imagines that Mama’s hands are his.