ENDINGS
Claire Choong
The fields breathethe
first of their last
two million four
hundred thousand
and twenty three
inhale-exhales of air, loam,
soil, grass, leaf and tree
I stand, impotent
watcher,
knowing this terrain
will be overcome,
shifted and buried,
crushed into concrete
and pitiless roads
circat
wo million four
hundred thousand
and twenty three
vital, beautiful
,organisms lost,
terrified into
aberrant migration
or worse, crunched
under diggers
or worse
If I think of the rabbits
Oryctolagus cuniculus
I used to watch
and the birds
Corvus frugilegus et al
I used to hear
their names as spells
will they endure
like the remembered dead
alive in the minds of others?
‘YOU WERE HERE’
Mathew Gostelow
Crimson ink on white card. Empty as grief. Blood and stone. Unfamiliar shaky scrawl. Graven marks on silcrete rock. ‘You were here.’ Ghosts of woodsmoke fly into the night.
No stamp. Bare feet on fallen leaves. Nor postmark. Ripe moon, apple-white. No picture. Lichen, honey-golden, clings to ancient, ragged stone.
Two weeks in mum's old bone-pale cottage – hillside remote. Silent, since the wake, but for the twisted floorboards’ creak. Loss follows, room to room. Spiders spin. Raindrops tear on windows. Apple trees, out back, make flailing dances in the wind. The standing stone, amid them, towers – pointing to the stars.
The card hums in her palm, alive. Voices mist, persist in piercing air. The hallway fades. Girls, awhirling, spin in joyous dance. Dust motes catch in amber light. Leap, take flight from dewy constellations. A clock ticks slow behind her. Blazing branches crackle in the night.
Head-swim faint, she’s braced against the wall.
Fire in your belly. Drumming in your breast. All creation, turning in your mind.
She hears a whisper in her ear – so close, so very quiet. Ecstatic shivers ripple down her spine.
You were here.
And so she was, somehow. Impossible memories stirred by this strange card.
Here when women danced in dark, and blood marked stone in daisywheel designs. Here when rites were sung and dry wood burned – that life may live, and die, and live again.
Yes, you were here – both then and now – a-dancing on the filaments of time. Connected by the spinnerets of things that last beyond us.
Outside, among the windfalls, one tear-wet cheek finds comfort on cold stone – cracked and cratered as the moon. Mother-touched. Her eyes drink ancient starlight, images of suns that burned when other daughters lived beside that rock. Their fingers echo, pulsing back.
You were here.
UNDER MARS
Helen Grant
Mars rises over Clynderwen,
where the sheep huddle
together for sleep. Faraway Mars
is flickering: a signal lamp
who’s message no one understands.
The moon sheds light
upon the slate tiled roofs
of cottages, and a single lamb
cries in the clear night,
under the unreadable signals.
ART SHE DIDNT RECOGNISE THE MOUNTAIN by JULIE LIGER-BELAIR
Julie Liger-Belair is delighted by the act of dividing up an image into countless parts, to then reassemble them into new stories, as this is the beauty of collage, as well as the endless possibility of new narratives, and the re-contextualizing of imagery. Julie lives in Toronto and works in a garage studio where she sometimes allows her husband, three children and little black dog Frida, to visit. Instagram @julie.liger.belair
Claire Choong is a librarian, living in Kent, England. When not writing, she enjoys crochet and detective fiction. Her work has previously been published by The Wee Sparrow Press and Gypsophila magazine and in the anthology, Kaleidoscopic Minds.
Mathew Gostelow (he/him) is the author of two collections of speculative stories; See My Breath Dance Ghostly (Alien Buddha Press) and Dantalion is a Quiet Place (DarkWinter Lit, forthcoming, 2025). He has been nominated for the Pushcart Prize, Best of the Net, and Best Microfiction. Twitter/X @MatGost. weirding-words.blogspot.com/p/welcome.html
Helen Grant has been published in a wide array of magazines such as The Poetry Review and The North, and been shortlisted, longlisted and commended in various poetry competitions, most recently The Black Cat Poetry Press Nature competition 2024, and The Dead Cat Poetry Prize 2023, (she likes cats.) Some of her poetry can be found on her Instagram @helenlgrant. She is an associate editor for Kitchen Table Quarterly.