The Two Denvers by Rebecca Starks
The first thing they had to do was name us, as if we were rescues or strays. As if they would need a way to gossip about us, to get our attention. We mostly did not like our new…
The first thing they had to do was name us, as if we were rescues or strays. As if they would need a way to gossip about us, to get our attention. We mostly did not like our new…
We were agents of change. We wrote about how hugging, laughter, and kissing can lengthen your life. Warned that toxins in commercial cosmetics seep surreptitiously through nails and pores. We advocated ditching pesticides and gardening with beneficial nematodes instead.…
Later, you’ll claim there were warnings. Unusual bird calls. That double rainbow you snapped for Instagram. A knowing gleam in the eyes of the hibachi waitress. To make sense of a thing is to make it your own, and…
The monsoon our mother delivers a boy, we’re saved from our father’s anger. Our hands are raw, unrecognizable, carrying hot water, tugging clean sheets beneath our mother’s heels, taut like our names. The baby looks whittled out of a…
When we were twelve, we taught ourselves to fly. —John Murillo, from “Renegades of Funk” All of us girls, now women. —T Kira Madden, from “The Feels of Love” That winter, we watched New York Undercover on group phone calls,…
“We want you to know how we lived. That we lived. That we were girls before we were game. That we were alive.” Essay by Melissa Benton Barker • Gayle Brandeis’s recent novel-in-verse, Many Restless Concerns (a testimony):…
They taught us how to kill with assault weapons, bayonets, bare hands. They taught us the lay of the land, how to navigate by rivers and stars, how to use cover to outflank enemy operatives, how to make a…
We make a ton of money off Christmas in July, because customers have too much hope. It’s not their fault. Me and Rubina feed it to them. We decorate Paradise Pawn with tinsel and lights. We smile and hold…
By Jesse Motte • When I read Dustin M. Hoffman’s first collection, One-Hundred-Knuckled Fist, during undergrad, it felt like I’d been suddenly gut-shot by some invisible, benevolent entity. The shock excited me. I prefer my writing like that: unforgiving…
After Dinner A woman sits at a kitchen table, sipping chamomile tea and reading a book. The dishes have been rinsed, the counters and sink cleared, the dishwasher hums. Outside the window over the sink, the night is…
I began my creative writing career as a personal essayist and shifted to narrative nonfiction, exhilarated in both cases by the absence of the rules I was used to obeying when I wrote scholarly articles about literature. I didn’t need to know where I was going when I started. I didn’t need to resolve what I’d set in motion. I could digress. I could make imaginative leaps. I could land somewhere I hadn’t anticipated.
Part of what attracted me to flash fiction is a similar freedom from constraints. A small space allows the writer to hint at so much without stating it. Character, backstory, the trajectory of plot, which after all can go in many directions. Leaving that up to the reader’s imagination opens up possibilities that longer forms might short circuit.
Myths and fairy tales provide a rich repository of plots, often about young women who rebel against authority, who are pursued by predators or rescuers who resemble predators, who pursue happy endings that sometimes elude them. I enjoyed imagining the potential arcs in “Girls in the Woods,” a glimpse of two girls reacting to danger. Just as there are many versions of old folk and fairy tales, there are many paths in these woods, many directions that this unresolved plot could take. Where are they headed?
In “After Dinner,” I played with different versions of the same plot. You could say that “After Dinner” has a provisional resolution. The woman has had various reactions to her drunken husband in the past, but tonight she sits at the kitchen table, serene and unruffled, reading a book. We can see a change, even though her husband doesn’t. Perhaps the woman is on the cusp of making further changes in her life. We don’t know who she is or what form that change might take. Her situation could apply to many women. Each of the women, each of their stories would be different but also the same.
You would think that the creative nonfiction writer would be restricted by the requirement to stick to the facts (nothing but the truth), and that the flash writer would be restricted by length requirements (nothing longer than 500 words, say, or 750 words, or 1000 words). But my creative nonfiction has always detoured into the realm of the imagined—for example, two alternate lives for a beloved aunt who committed suicide, a scenario where the delusions my mother suffered in dementia come true, a resurrection of Mary Magdalene after seeing her tibia. I can’t seem to stick to nothing but the facts. And my flash, well it seems to be getting smaller while the blank spaces filled by the reader get larger. In the finite space of flash fiction, the possibilities become infinite.
JACQUELINE DOYLE lives in the San Francisco Bay Area, where she teaches at California State University East Bay. She has recent flash in Little Fiction/Big Truths, Post Road, Wigleaf, New Flash Fiction Review, and The Collagist, and an award-winning flash chapbook (The Missing Girl) with Black Lawrence Press. Find her online at jacquelinedoyle.com and on twitter @doylejacq.