Boy Crazy by Brittany Ackerman

I.

The summer we moved to Florida was the same summer Bug Juice premiered on the Disney channel. We were living at the Westin hotel in Fort Lauderdale. We spent our days house hunting and our afternoons swimming in the hotel pool. We didn’t have any furniture. We didn’t know where we were going to school come fall. But it was June, and then July. And every Saturday night, I’d beg my brother to let me watch Bug Juice for the twenty-two minutes it aired.

There was a curly-haired girl named Stephanie. She said the girls in her cabin were mad at her because all she cared about was boys. They called her “boy crazy.” I watched Stephanie slow dance with boys at camp; I watched Stephanie walk around twirling her hair, flirting.

In the hotel elevator, I practiced slowly blinking my eyes.  I played with my hands.

I wanted to sway on a wooden dance floor in the middle of the woods.

II.

I drank a Java Chip Frappuccino every Wednesday night during Lit Theory. I hated the class, but I liked using the green straw to spoon out whipped cream and lick it to stay awake. I wore Hollister sweatpants and Target flip-flops. My favorite top was this halter top that said I love you to the moon and back across the chest.

My boyfriend was forty-two. He worked as a financial advisor at some bank in Boca Raton. All we ever did was peck on the lips because I told him I was still heartbroken over someone else. He lived in a high-rise near the beach that had a lobby and a front desk. We met because he came into the sports bar where I worked. He was eating wings and drinking beer but I knew it wasn’t really his kind of place. He slipped his number into my checkbook.

He took me to the Seminole Hard Rock Casino. He lost money, I remember. If he’d won, he was supposed to buy me a purse.

When we got home, he started yelling. I wanted to ask, Why don’t I feel real? But instead, I sat there on the edge of the bed and let him yell. It was easier to sit there and take it.

III.

A boy I dated in camp had just moved to California. He was in Anaheim, just around the corner from Disneyland. He didn’t have a car, so I drove the hour south from LA and picked him up from his halfway house. He brought a friend with him so I knew right away it wasn’t a date. He looked so different, anyway. At camp, he had shoulder-length hair that all the girls begged to run their fingers through. But when he opened my passenger door, his head was shaved into a buzz cut.

We drove to an indoor gym with trampolines and bought an hour’s worth of jump time. He was making friends with all the little kids there, helping them flip into the ball pit and running races back and forth along the canvas floor. I was sweating through my t-shirt from all the jumping.

At camp, we’d only kissed in the dark outside of the Great Hall. We’d had the kind of unspoken love that drew us together until he got kicked out for smoking weed. For the rest of the summer, he wrote me letters that I had to hide from the other girls. They thought it was ridiculous to pine for someone who wasn’t even there.

IV.

I met Andrew at a bar on a Tuesday night. Jen got mad at me and left. She didn’t have a car. She had to walk to the closest bus stop and get herself home. I kept texting her but she didn’t answer.

Andrew saw me sulking and took me to the dance floor. I hadn’t even finished my first drink when he asked if I wanted to go home. He meant my apartment up the hill.

It was the first time I had sex that hurt. He was sweating a lot. He was sweating so much his hair was wet. I kept thinking about how I’d need to change my sheets. I wondered if I had enough coins for the laundry. And then his wet hand slid across my back.

I kept texting Jen all night and she didn’t answer. I knew I’d made the wrong choice, but there was no unchoosing.

V.

The last boyfriend I had asked me out by sneaking a note into a pack of Reese’s Cups. I wasn’t in the mood for chocolate, but he kept begging me to open the fridge and have the candy he brought.

I took us out to sushi for dinner, this place in Westwood that looked like somewhere they’d film a movie. It was a two-story restaurant with crystal chandeliers and gold columns. I paid for dinner because I could.

We mostly hung out in Westwood, my neighborhood, my neck of the woods. We saw a lot of movies. We once saw a Kung-Fu movie about a Samurai who leaves home and goes on this long adventure. There’s a love interest, but he leaves her to go find his true purpose.

Halfway through the movie, my boyfriend wanted to leave. We got frozen yogurt and he said it was stupid that I only got mochi in mine. But that was how I wanted it.

When he told me he was moving, as in leaving the state, I gave him a plastic bag of stuff he’d left at my house. It was mostly full of things he could easily replace like a spare toothbrush and some vitamins. I folded up his silver bomber jacket nicely before shoving it into the bag with everything else.

Brittany Ackerman is a writer from Riverdale, New York. She earned her BA in English from Indiana University and an MFA in Creative Writing from Florida Atlantic University. She is a 3x Pushcart Prize Nominee and her work has been featured in Electric Literature, Jewish Book Council, Lit Hub, The Los Angeles Review, No Tokens, Joyland, and more. Her first collection of essays, The Perpetual Motion Machine, was published with Red Hen Press in 2018 and her debut novel, The Brittanys, is out now from Vintage. She lives in Nashville, Tennessee.

Questionnaire for Potential Future Partners by Tharani Balachandran

after Rachel Wiley

Did you cry when you watched The Notebook?
How many women have you believed?
Do you believe that boys will be boys?
When’s the last time you called your mother?
Would you be ashamed if she read your tweets?
How long would you mourn me after I die?
Have you ever had a mullet?
Are you business in front of coworkers and a party at the back of the bar?
How many times in a row do you sneeze?
Do you prefer cats or dogs?
Are you allergic to cats?
On a scale of tolerate to lay down and die, how much do you love cats?

Have you ever ghosted anyone?
Do you continue to haunt them?
If I tell you the thing I’m most ashamed of about myself, will you:
(a) run; (b) bring it up during every argument we have; or (c) love me anyway.
How long can you hold a grudge for?
Will you ever hold our relationship hostage?
Will I be able to afford the ransom?
Do you believe “that a woman’s temple gives her the right to choose?”
Do you listen to Frank Ocean?
Do you listen to the Pacific Ocean?
How did your last relationship end?
How will this one end?

Tharani Balachandran is a first-generation Canadian, lawyer, tea enthusiast, reader of books, lover of gossip, and writer of poems who lives on the traditional territory of the Lekwungen peoples in Victoria, British Columbia.  Her work has appeared in the Racket Journal, Anti-Heroin Chic, Quail Bell and Fine Lines.  She recently self-published her debut chapbook, Love in the Time of Corona.

Duck Girls by Nicole Hart

One Wednesday morning my husband Jerry brushed his teeth and then disappeared. He is still gone. I lay awake in our bed each night, wait for the sound of his keys in the lock, and study his birds. I prefer to keep our bedroom sparse, but Jerry likes whimsy. So I let him line the window sill with these porcelain birds, most of which are white and faceless. Smack dab in the middle of them sits this single brown owl that’s been expertly painted. Its wings are open, its claws are stretched behind a fist-sized body. It watches me with sad eyes when I wake in the morning and before I go to sleep at night. But my husband will return.

When we first married, Jerry wrote me bad poetry and fried spaghetti on a hot plate. He was passionate about grating fresh parmesan. We would lounge on the double bed in our studio and argue about the Iraq war. He was a pacifist and I was not. Still am not.

Later, after our boys were born, we would hire a sitter and walk to this joint downtown called the Duck Inn Bar & Grill. There were ducks everywhere. Wooden mallards lining the bar, duck head handles for the beer taps, and a gigantic sign above the ladies’ restroom that read Duck Girls with an image of a cartoon duck wearing a fuchsia bow around its head. One of the duck’s wings rested on her hip while the other wing rested below her chin as if she was blowing a kiss. Jerry and I got to know the regulars, one of whom was a maudlin 50-something named Cheryl with shaggy blond hair and a long, lean body. Cheryl was always whisper-crying in the bathroom. If one of the guys at the bar wasn’t too drunk to notice, he’d yell Duck Girls! as we walked out of the bathroom together below the sign. Cheryl would turn towards the wall and swipe the mascara from under her eyes with a shaky finger.

Most of the regulars came to the Duck Inn to escape the inevitable boredom of life. They came for conversation, to see something different than the stained beige walls of their ordinary kitchens. Take Cheryl. She spent her days taking care of her frail father. In the mornings, she organized his pills. In the afternoons, she read him the local Phoenix news. And in the evenings, she took a god damn break and drove her rusty pickup to the Duck Inn.

Now that I think about it, Cheryl wasn’t always whisper-crying. Once in a while, Blondie would blast through the speakers and she would dance in circles with her hands in the air, her T-shirt hugging her breasts and waist. One time, Cheryl grabbed the inflatable duck and kissed it long and hard. One way, or another, I’m gonna find ya, I’m gonna getcha getcha getcha getcha, she belted as she smooched that giant plastic thing. My husband stared and stared as she hopped and sang. He couldn’t take his eyes off her.

Nicole Hart is a lawyer living in Westchester, New York with her husband and two children. Her flash and poetry have been published in Bath Flash Fiction, BULL, Flash Flood, JMWW, The Lumiere Review, and Whale Road Review. You can find her on Twitter @nicolehart_blog.

Poetry Is Not About the Price of Gasoline by Amorak Huey

            — according to something I read on the internet

Last week poetry was $3.09 at the Circle K near my house and $3.11 at the Marathon across the street from the Circle K. Plus nine-tenths of a penny, obviously. Poetry is almost always a few cents more at the Marathon, but sometimes I’d rather not make the left turn on my way out, so I pay the extra. Some days are like that, more than one way to where you’re going, but regardless of your path you need a full tank of poems. I don’t know. I could start talking about fossil fuels and how we always burn what we need most, but you know how that would go. I’m just trying to get from here to there. This week poetry is down to $2.99 both places. Still with the nine-tenths. Always with the nine-tenths. Which is the part of the law represented by possession, they suggest. Which is to say this poem is nine-tenths of the way to being yours, with the final tenth of the process being determined by the rest of the laws, the ones written—like poems—out of language and granted meaning by our need to have shared words for how we interact with each other. This is why most people keep their poems buried in tanks under parking lots. I read that if you put 250 baboons on a cross-country flight they would all pretty much kill each other by the time the plane touched down in Los Angeles. Or wherever.

Amorak Huey is author of four books of poems including Dad Jokes from Late in the Patriarchy (Sundress Publications, 2021). Co-founder with Han VanderHart of River River Books, Huey teaches at Bowling Green State University in Ohio.

Mollusk by Didi Wood

Content warning: sexual assault.

 

His hands are everywhere, squeezing your shoulders, pinning your arms, grabbing your ass and smashing you against his clammy body so close you feel all his hearts beating beating beating, and you gasp and you say Mr. Mollusk, what—but he’s covering your mouth, your eyes, you can’t move can’t see but you smell, you taste, stench of clams on his breath, tang of brine on his tongue, turn away but he yanks back your head, no, try not to gag, you’ve never liked seafood, or the sea, a bottomless murk hiding things that will topple you, drag you down, you thought you’d bob above it all, safe in your just-say-no boat but there’s so much you don’t understand, a different world populated with cold-blooded triple-hearted aliens that squeeze through cracks and hide in bespoke-suited plain sight and grow back limbs they shed when escaping, and they always escape, don’t they,

wait, he’s your parents’ best friend for god’s sake, Mr. Mollusk on the terrace with a shrimp on a stick and a hey-how-about-a-summer-job, isn’t that nice, oh he’s so nice, something’s burning and your dad hops up to check the grill and your mom hisses say thank you, pull down your shirt, behave yourself, and you know what she’s thinking but this won’t be like last summer behind the counter at Ben & Jerry’s with your friends draped like seaweed over the tables and after your shift that college boy, his mouth a barnacle on yours until your mom pulled up and honked and you shoved him away, laughing, but now,

but now Mr. Mollusk doesn’t care that you’re shoving, you’re sobbing, no, he’s biting your neck and you’re weakening, the surface so far above, wave goodbye to your parents and say thank you and he’s slithering into your mouth, no, prying apart your legs, all the soft moist dank cold salt-steeped parts of him, and that stench, putrid shrimp and something burning, how many arms does this man have,

and the phone rings on your desk, you should get that, it’s your job, your summer job, so nice, it’s ringing, right there yet unreachable, ringing, bobbing, behave, if only you were stronger, louder, if only you had more arms more hearts more sense, if only you knew how to swim, no, if only there was something you could grab hold of, a skewer a stick a pencil, a pencil, that pencil right there right here right—yes.

Didi Wood’s stories appear in SmokeLong QuarterlyWigleafFractured LitMilk Candy Review, and elsewhere. Her work has been chosen for the Wigleaf Top 50 and nominated for Best Small Fictions. More at didiwood.com.

Loneliness Is Retraining as a Life Coach by Jen Feroze

She arrives in a crowd,
points out to me in a voice needing new batteries
that everyone else here smiles with their eyes.
Say you have a headache, she tells me.

She sends me letters in the dead of night,
when the house could be leagues underwater.
This is the way it’s supposed to be, she writes,
this is the way you’re supposed to feel.

Her penmanship is flawless.
Her letterhead’s like mist.
She makes me think of uncracked eggs;
of trees falling silent in forests.

One morning in April she flies me to Keukenhof.
Look, she says, they feel it too,
so far from alone, yet so consumed
with their own blooming.

Study each one in turn; see how its stamens are held high?
I don’t reply. My head is too full of colour,
a community of petals,
an unclenching of something.

When we touch down at home,
I notice the way my neighbours’ windows
throw gold into the dusk, hear someone laugh
further up the street. Her face changes.

Later that night I receive another letter
in that maddeningly rounded script.
I am apparently no longer her ideal client.
She suggests we go our separate ways.

The world opens up like a tulip.

Jen Feroze is a U.K. poet living by the sea. Her work has recently appeared in Stanchion, Stone Circle Review, OneArt, Magma, and Poetry Wales, among other publications. She was a winner of the 2022/2023 Magma Editors’ Prize and her debut pamphlet is forthcoming with Nine Pens Press.

Darryl by Rebekah Morgan

Darryl eats eggs for breakfast every day and leaves his crusted plate on the table for someone else to clean. Sometimes the eggs are runny and he sops up the orange runs with toast. Sometimes the eggs are burnt and he feeds them to the dog and doesn’t eat till noon. He wakes up early and goes to bed late, he never gets no sleep. Some people call Darryl the most miserable man in Tennessee. Darryl’s wife steals his money in front of him, shoves it right in her purse. Darryl’s kids hate him, his kids call him “loser” and “fatso” and “gay.” Darryl watches sports on TV and his team always loses. Darryl’s truck breaks down on the way to the job site and he kicks the truck and it hurts his foot. He lays on the side of the highway as the semis plow by and no one stops to help. Fiberglass fills Darryl’s lungs and he hacks them up on the port-a-john floor. Sawdust gets in Darryl’s eyes and Darryl’s coworkers call him a faggot when he looks like he’s crying even though he’s not.

Darryl’s hardhat is too big and his pants fall down, he’s got coffee stains on his shirt. Darryl stares out the window of the job site trailer while his boss screams at him and bangs his fists on the desk for something Darryl didn’t do. Darryl gets threatened with termination, Darryl’s kids are ugly, and Darryl’s dog bites him when he walks in. Darryl’s mom died of cancer, Darryl’s dad’s got dementia, and last winter Darryl’s gallbladder up and quit.

Darryl cherishes the bad and lies awake at night staring at the ceiling hoping more bad things will come while his wife rides his dick and calls him the wrong name. Darryl’s wife fucks the neighbor and cums harder than ever. Darryl’s pastor tells him he’s going to hell. Darryl is missing a finger which he blew off while cleaning his gun. The hospital tells Darryl it wasn’t an accident, the hospital tells Darryl it was actually a “negligent discharge.” A bus crashes into the trees near Darryl’s house and he walks down hoping to see something bad. Darryl’s daughter is killed in the bus crash, all the other children survive. Darryl goes to his dead daughter’s funeral and no one shakes Darryl’s hand. The man who fucks his wife tells him he’s real sorry about losing Darryl’s daughter, that she was a good kid. Darryl scarfs potato salad after his daughter’s funeral while his wife cries on another man’s shoulder. Darryl gets food poisoning from the potato salad and shits his brains out while laughing. Darryl stands in his dead daughter’s room crying and calls himself a waste of breath, a sorry loser, and a faggot. Darryl forgets his surroundings and masturbates on the floor. Darryl slips in the shower and Darryl misses work. He tells his wife that his back is crooked as she leaves the house and Darryl’s wife says “good.” Darryl sits alone in his chair and watches TV. He sees a commercial for the miserable, the sad and the depressed and dials the hotline. The operator calls Darryl a faggot, and Darryl says “thank you” and hangs up the phone.

Darryl wears camouflage and goes hunting alone in the woods and misses every shot. The deer laugh at Darryl and follow him to his house, and the deer fuck Darryl’s wife too. Darryl sleeps in his dead daughter’s bed beneath the pale pink sheets clouded with rings of piss and dreams about fishes. Darryl dreams of standing on the shoreline in the muck of the Pigeon River but every time Darryl’s about to net a mighty bronze back, the fish breaks the line and swims away from Darryl. Darryl don’t catch nothin’, not even in his dreams. Darryl goes back to work and builds a house, Darryl crushes his fingers with his hammer, Darryl hits his head on a wooden beam and the stars laugh at Darryl swirling round his head. Darryl takes pills for his back and drives home pretending he is drunk. Darryl hits a mailbox, just for fun. Sometimes Darryl cooks dinner and burns down the kitchen, sometimes it turns out good and he howls as he eats. 

Darryl loves misery, Darryl loves pain. Darryl goes to his brother’s farm and gets kicked by a mule named Josephine after his mother. Darryl finds himself to be an enemy of all living creatures and eats them with spitefulness. Darryl eats their meat and savors the tissue and grit stuck between his inflamed gums and cuckold cheeks. Darryl loves the idea of perfection. Darryl thinks about death, his gravestone, the inscription reading “Here lays the most miserable man in Tennessee.” Darryl barrels down I-40 going the wrong direction but his truck don’t break down, Darryl don’t wear no seatbelt. Darryl collides head on with a truck bigger than Darryl’s truck because Darryl’s truck is small. The engine comes through the dash, pinning half of Darryl to the floorboard and the other half to the dash, and a li’l bit of Darryl splashes across the back window too. A spider web splinters the windshield and no one stops to help. The police take pictures of Darryl’s body and show them to their friends. No one claims Darryl’s remains as family or friend and there ain’t no funeral and there ain’t no gravestone. Darryl’s wife and dead daughter’s ghost move into the house of the man who fucks Darryl’s wife. Darryl’s body burns in the cremation chamber and his fat burns hotter than his muscles and his bones burn the longest.

Rebekah Morgan is a writer living in good ole Eastern Tennessee. Previous work can be found with Bull Magazine, Fence, Joyland Magazine, Maudlin House, and New York Tyrant, among other places.

Leech by Eben E. B. Bein

Today, I read about a mother bleeding
mysteriously from her vagina
not quickly, but enough to stain,
something dark inside, and
when the gynecologist found it,
attached to the slick muscle
by its two suckers and tugged it free,
and it kept bleeding for hours, I thought
about how leeches, too, are mothers,

how I once spotted one, undulating
through the shallows
of a New Hampshire pond,
a stripe the color of leaf litter
down her rippling back, and at her side,
a wriggling cloud of S’s—a tiny school
of leechlets. When I reached out my net
they ducked beneath her awning
and disappeared.

Host dearest, what do little white boys take?

Back at the lab, I scraped her
from the bucket wall,
into a vial of ethanol. She writhed,
shrank in seconds
to a close parenthesis, stiff enough
to roll through the swirled preservative
onto her back, revealing
a small cluster of petals
clinging to her underside—
an umbilical flower
of dead children.

Eben E. B. Bein (he/they) is a biology-teacher-turned-climate-justice-educator at the nonprofit Our Climate. He was a 2022 Fellow for the Writing By Writers workshop and winner of the 2022 Writers Rising Up “Winter Variations” poetry contest. Their first chapbook Character Flaws is out with Fauxmoir Lit and they’ve published with the likes of Fugue Literary, New Ohio Review, and Columbia Review. They are currently completing their first full collection about parent-child estrangement, healing, and love. He lives on Pawtucket land (Cambridge, MA) with his husband and can be found online at ebenbein.com or @ebenbein.

Cancellations by Grace Marie Liu

Most days, I wake up wishing I were something
like cold thunder. As in Zendaya, or the girl
in a pinafore dress who bakes rhubarb tarts in a cottage
made of cheese. I am instead trying to be punctual.
Zoom calls, grocery store appointments, downtown Zumba classes,
the studio slanted between the bank and a fruit market. This
is how I comfort my mother when she calls. Today, it’s five
across and the cause of this summer’s poor air quality
across U.S. cities, except I can’t stop talking
about the green bottle fly nailed to the windowpanes,
how I killed it with my right hand. Really, I should be sad
about bleach and glaciers, but I’m still mourning
my premature white hairs. The Zumba instructor emails
Saturday, apologizing because she can’t go outside, the fumes
disrupt her chakra. I call my mother, tell her it was smoke all along.

Grace Marie Liu is a Chinese-American poet from Michigan. She is a 2024 YoungArts National Winner with Distinction in Poetry, and an alumna of the Adroit Journal Summer Mentorship Program and the Iowa Young Writers’ Studio. Her writing has appeared or is forthcoming in The Minnesota Review, Peach Mag, Sundog Lit, and Vagabond City Lit, among others. She serves as an Editor-in-Chief of Polyphony Lit.

Object Lesson by Jules Fitz Gerald

I stole the notebook.

Is this a sentence? I’m looking for hands. Take a stand here.

Yes? Do we all agree?

Anthony, I welcome you to remove your earbud and join us.

Even if your music is off, your extraction of that plastic snail consoles me as a gesture of respect.

Thank you. I stole the notebook. Why is this a sentence? Kylee?

Because it feels complete?

Yes, I just repeated Kylee’s answer in that radically ambivalent way I have of making you uncertain whether I’m validating or questioning it. Bear with me. I’m seeking to destabilize my position in the locus of power. If this feels hypocritical, that’s because it probably is.

What makes the sentence feel complete, Kylee?

There is a subject and verb, though I sense that’s the answer you believe I want rather than a conclusion you’ve reached for yourself. I can work with that. Is a subject and verb enough?

Anthony?

Just stretching. I see. Kaden?

Why did “I” steal the notebook? Thank you for taking this seriously.

No, really, assuming the notebook isn’t invented for the purpose of this lesson, why steal it?

I see your hand, Kylee, but I’d like to give Anthony a chance to answer this. Anthony?

Because.

Very clever. We both win.

Because I stole the notebook. Is that a sentence?

Let’s hear from someone new. I’d cold-call, but I haven’t learned most of your names yet.

You refuse me?

Fine, Kylee, go ahead.

No, because of the because, yes. Because is a subordinating conjunction. Does anyone understand what it means to be made subordinate?

Anyone besides Kylee?

Do you realize you’re experiencing it now?

Yes, Anthony?

It is. It’s always this hot in here because it’s one of the outer circles of hell. No, seriously, if there were windows, I’d open them. That’s why I bought these fans.

Consider this: It is. Is that a sentence?

It is! Excellent.

No, we cannot prop that exterior door.

You are not the first to inform me this classroom is the hottest in the school. Perhaps you could have some compassion. You get to leave when the bell rings. I have to stay.

Quick, bonus challenge! What’s the shortest sentence in English? Kylee?

Nope. Kaden?

I’m? That’s essentially what Kylee said.

Yes, it’s two letters.

Anthony, please close the door and return to your seat. Remember that shooting in Texas? Yes, Texas is far away, but if there’s a shooter here, we want the door to be— I see your point, but we’ll just have to hope the shooter isn’t in the classroom.

No? Oh, you mean as a sentence. No.

You want a hint?

Think.

That’s your hint.

I’ll tell you at the end of class if you haven’t figured it out. Back to the lesson: I stole the notebook. Is the notebook necessary?

Kaden, I see you nodding.

Because you can’t steal something that isn’t there.

Interesting, but not what I wanted you to say. Let’s try another approach.

Must you see this notebook to believe it exists, or can I tell you it’s the size of an old-fashioned postcard, that its softbound covers bear a full-color bounty of heirloom vegetables: rosettes of lettuce and bouquets of chard, the veins of each cabbage leaf articulated with aching precision—Anthony, have I even begun to make you care?

Each vegetal specimen is labeled in a font from the last line of a sadist’s eye chart, suggesting the world from which this notebook was stolen is a third the size of our own. A model, perhaps. From “whom” was it stolen? “Who” stole it? How do I know “who” is “who” and “who” is “whom” apart from the fact that “I” stole it?

Simple. It’s a matter of subjects and objects. Who does the action to whom.

Kaden, I feel like I’ve lost you.

Kylee, while I appreciate that you’re either taking notes or working on the bonus challenge, I fear you, too, might be missing my point.

Look. I need your eyes. Here’s a notebook covered with vegetables divorced from any evidence of the dirt that produced them. They resemble eggplant emojis scrawled with Sharpie, but still.

Whose notebook is this?

Yes, Anthony. I stole your notebook to teach you the grammar of agency.

Now, write in your notebooks for the next seven minutes: Tell me what you’ve learned from this object lesson. Specifically, consider the implied “you” in that sentence. Can you imagine yourself as a subject, even when you aren’t on the page?

Anthony, why aren’t you writing?

Sorry, here’s your notebook. Kaden, do you need help?

Go ahead and write those thoughts down. Don’t mind me looking over your shoulder.

Intriguing observation, Kylee, but try to go deeper.

Anthony, why are you putting away your notebook? Please speak up. Wait, I said that door needs to stay—

Well then.

Can anyone put what just happened into a sentence? Kylee?

Hold on, Kylee—why are there so many shuffling papers and slamming books? There’s no reason to pack up.

The bell hasn’t rung! I haven’t given anyone permission to leave! Kaden, come back!

Don’t think I can’t write you all referrals!

Well, Kylee, it’s down to you and me. Believe it or not, I’m on your side. You remind me of me.

Oh. You’re only here for the solution to the bonus challenge?

Everyone else figured it out.

Go.

Jules Fitz Gerald (she/her) grew up on the Outer Banks of North Carolina and now lives in Oregon. She earned an MFA from the University of Pittsburgh and recently attended the Kenyon Review Writers Workshop and Tin House Summer Workshop. Past honors include selection for a Fulbright U.S. Student Grant in Creative Writing and a Lighthouse Works fellowship. Her prose has appeared or is forthcoming in Southern Humanities Review, Fourth Genre, Raleigh Review, Tampa Review, and North Dakota Quarterly. She taught high school English for six years.