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The Catcher showed his pointer finger, the signal for a fastball. Two fingers issued a polite... more
Alan Stewart Carl
The Mayor, after several days of grieving, emerged from his hacienda at the hour that was once called lunch. He passed his guards, then slowly—laboriously—carried his voluminous frame through the streets, stopping at the square's one remaining café and ordering a well-cooked steak. The sun glared down from the cloudless sky and illuminated the Mayor, capturing him in full as he spread himself across a stool and held his knife and fork in a rehearsed display of indefatigable hope. There was still meat, he wanted the people to see. There was still a mayor. There was still a town, present and alive in that square.
"I didn't want to ever be outside of this moment. I knew at some point I would look at the picture I'd just taken and feel an overwhelming sense of loss. I thought as long as we could manage to stay inside this particular hotel room, to avoid our phones and every person with whom we'd ever come into contact, we would continue to feel whole. We were revolutionaries, goddamnit. These were our accumulation of beautiful moments. Before the world fractured us. I don't expect you to understand how I became Brad Pitt in that moment, how we all just flew along down the highway. Bandits. Ex-patriots. In love with this countryside, if not this country. Paper Moon. The Last Picture Show. All of this shot in black and white. Only the final scene in color."
Legs Get Led Astray
FOUR NEW ESSAYS BY CHLOE CALDWELL! Plus the original essays that made you fall in love with Chloe!
Jason Phoebe Rusch
Jason Phoebe Rusch is a queer writer from the Chicago suburbs. His full-length debut Dualities explores gender and patriarchy from the perspective of a man who was socialized and is currently still read as a woman. He is interested in complication and nuance and messy human failing, his own and that of others.