from “Civility Place”
“You settle into your death chair. You call it this because—although it’s handsome and designer—it will eventually kill you: first by weakening your spine and then by rolling its five vengeful chrome wheels in starfish formation over your vital organs.”
from “Cream Reaper”
“One of his most popular flavours is sage, roast duck and single-origin cardboard.
‘For that one, we had to get the balance perfectly right,’ says G. ‘We had to keep in mind that the duck was the hero of the ice-cream, and things went smoothly from there.’”
“The sun is out. Uncertainty glitters in the sunshine. Yes, uncertainty wins in the end and all along the way.”
“I hold my imagination tightly in, I want as little sight as possible of the tract that runs from mouthparts to outlet, that never-ending cascade in sickening peristalsis, of stomach contents, gastric juice, chyme, foul unmentionable gunk, bits and bobs of exhausted elements of food on its way to the ultimate foulness of shit, stamped with the personality stink of the corpse.”
What is the poem saying in the white spaces? What do lives say in the gaps between events and people? What happened to us or two poetry that we ordinary people can no longer be confident that we know what the poet is saying and why? Grandpa said to put no trust in verse. Why?
Let’s rattle this ghost town! A flash fiction piece in which I compare the Brisbane River to “slug guts”. I’m thrilled to have it featured in Verity La.
“Billy passed back the joint, his mouth hot and dry, his brain expanding but feeling too many things at once, wanting more and more and more, but with a queasy sense that this might not go well at all, except—you never know—maybe it would.”
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ANTITHESIS is a refereed arts and humanities journal edited by graduate students and published annually in association with the School of Culture and Communication at the University of Melbourne. As a postgrad student of creative writing, I’m delighted to have my story “What He Left Behind” included in Volume 25.
The story is inspired by the Chinese dating show, If You Are The One and Brigita Ozolin’s artwork Kryptos, which is built into Tasmania’s MONA museum. (For more information about Kryptos, you can read my review here).
Here is the first paragraph of the story:
When he appeared on If You Are The One, some of the girls said he was too cute. Effeminate. Pew! Pew! Pew! went their buzzers as they decided not to chance a date with him. Their comments were surprising: he used to fuck you, hard—it was never the other way around—and dominance seemed to be his only mode, both in and out of bed. He was slim, yes, but not short, and he stood before the girls with a confident smile, wearing jeans and tight-fitting dress shirt. Maybe the shirt sent a certain signal, or maybe the girls—having only his physical characteristics and initial mannerisms to remark on so early in the show—sensed his subterfuge and called him out on it. Either way, he was cute, that much is true. You remember.
Grab a copy of ANTITHESIS to read more!
If you find yourself on Elizabeth Street, Surry Hills, you can go and take a look at my story Toast Soliders and Boiled Eggs, originally published by Seizure online. The Australian Council and Seizure have teamed up to pair flash fiction with illustrations by local artists in a stunning window display.
For more information, see the Australia Council website: http://www.australiacouncil.gov.au/arts-in-daily-life/artist-stories/art-makes-a-flash-at-australia-council/.
I’m thrilled to have my story up there alongside amazing work by Fiona Wright, David Henley and Sam Karpiniec, with artwork by Yiscah Symonds, Luke Marcatili, Max Prentis and Sam Paine.