Troll Shots

A blurred image of a human figure stands in front of an indistinct crowd and a vibrant tree line

My nephew Moe is hungover. Even though he’s only 17, I had him sample the product last night. That way, he knows what he’s hawking. Before he took each Troll Shot, he stroked the Troll’s long, colorful hair as if apologizing for unscrewing the top of its head and downing the liquor inside. Moe moves in slow motion, but he’s a good kid.

From behind the steering wheel, I explain All 4 Fun’s business model to Moe as he loads the final box of Troll Shots in the back of the company van. “Nostalgia sells, baby,” I say, turning the key in the ignition. Moe climbs into the passenger seat. I agreed to hire him last week when his dad, my younger brother, threatened to kick him out if he didn’t get a job after dropping out.

Moe unfolds the day’s itinerary and reads aloud the first stop, Pair-a-Dice. I mostly deliver to dive bars. Their clientele fits our demographic of both remembering these things and liking to get plastered. I pull away from the curb, the sound of whiskey sloshing inside the Trolls’ plastic bodies.

I told my brother it was an orientation when he dropped Moe off last night. I almost invited him up for a drink before I thought better of it, thought of the ensuing lecture. Instead, I flipped my punk-ass little brother off as his BMW rounded the block. 

Drunk, Moe and I talked about how I came up with the idea after seeing an old photo of his dad’s Troll village, about how his dad had built the village outside our house with tree bark during a summer in the early ‘90s, about how I’d kept the neighborhood boys from destroying it and him.

“Old meets new,” I said, bringing a Troll and a bottle of Jack Daniel’s together.

Moe crashed on my futon. I texted my brother that Moe was spending the night so we could get an early start in the morning, and he just sent back a thumbs-up. I wanted to reply with how hammered Moe had gotten, with how we’d shit-talked him the whole night. I even typed a few words before deleting them.

My little bro wasn’t always such a dick. When we were kids, he was tethered to me like a shadow. I’d sit on a lawn chair inside our parents’ old garage, and he’d show me his Trolls, would tell me what job each of them had in the village. When we got older, we even hit the bars a few times. I’d order a pitcher of Budweiser, never letting him pay his half, and we’d discuss some sports team’s chances and other pointless bullshit that wasn’t so pointless since we were together. 

Then he got a job selling insurance, started drinking red wine, started pretending he came from somewhere he didn’t. He started telling me to buy this insurance policy or invest in this mutual fund as if he knew what was best, like a little bit of money somehow made him better than me. 

After stopping at McDonald’s for a greasy cure to Moe’s hangover, I drive into Pair-a-Dice’s parking lot. On their signage, dice hang like coconuts from a faded palm tree. Inside, a few drunks are already sipping on tallboys, surrounded by license plates mounted on the walls. Moe carries in a couple boxes of Troll Shots stacked one atop the other, while I head to the back to collect our check.

I knock on the door to the back office and imagine the bar manager handing me a check with a one followed by an infinite number of zeros written on it. I imagine tearing the check in half in front of my brother to show him how much I care about money, to show him that who he’s become isn’t that special. 

Someone shouts, “Weren’t you ever taught to share?”

I rush back into the bar. One of the drunks has Moe pinned in the corner next to the ATM with one hand while he paws through a box of Troll Shots with the other. I grab the drunk by the back of his shirt and fling him to the sawdust-covered floor. The box of Troll Shots he was digging through rips open, and Trolls scatter everywhere like fleeing villagers.

“I’m here,” I say, trying to put the box back together, trying to fix what’s broken.

Moe looks at me, but I see my little brother. Old meets new, I think, and I’m back in my parents’ garage. A bully dusts himself off, staggers to his bike, and pedals away. I promise my brother I’ll always be there for him, no matter what, and I gather up the trolls, careful not to grip them by the hair.


Will Musgrove

Will Musgrove is a writer and journalist from Northwest Iowa. He received an MFA from Minnesota State University, Mankato. His work has appeared or is forthcoming in Florida Review, Wigleaf, The Pinch, The Cincinnati Review, The Forge, Passages North, Tampa Review, and elsewhere. Connect on Twitter at @Will_Musgrove or at williammusgrove.com.

Header photograph and artwork by Jordan Keller-Wilson

Good Examples for Bad Students

A blurred image of a human figure stands in front of an indistinct crowd and a vibrant tree line

Not prayers nor writing lines nor even palms caned bloody would be enough to discipline Savvas, the worst student of our class, Ms. Antoniou said. So she made him stand in the corner of our classroom balanced on one leg with his back turned to us, and this lasted for years.

This is the only way children like him learn to behave, Ms. Antoniou said regretfully as she sealed the classroom from the rest of the school, and the world. Seated dutifully at our desks, we watched her swallow the key.

Christmas holidays came and when it snowed outside, we made miniature snowmen on the windowsill, then saved the water in empty crayon baskets for drinking. Easter followed and a bird left us its eggs to decorate with pastel watercolors before frying them on hot metal during a sunny day. School closed for summer break, and we stayed then also, sending paper planes out to our parents, saying we hoped they had fun on their vacations to seaside villages or mountain ones, kiss our grandparents for us but, no, we can’t come with because we’re being obedient, we are good examples for bad classmates to mimic, and aren’t our parents proud of us?

They sent back postcards sometimes, if their busy schedules allowed them, until they too forgot about us like the janitor and head teacher and principal already had. And we forgot about ourselves, our former selves, growing taller, surpassing every marking on every height chart of past first graders, then that of the second and third and fourth graders, the fifth, the sixth, and then there were no charts left in this classroom to surpass. But despite our best efforts, our bodies were diligent things, they didn’t stop growing until we wondered if we would be tall enough our heads would pierce through the roof.

Years passed in clusters of hours and days and weeks. We learned arithmetic until we discovered our own math theorems; soon we could recite all our classroom’s books forward and backward, and we invented new directions of recitation until we needed no other nourishment to sustain us; we could chew inked paper and spew out answers to the universe. Early on, the other teachers had climbed rickety ladders to our barred windows to slip us food and water and other contraband, but those offerings had trickled to a stop long ago. We watched the class’s pet rabbit grow old and die, and we sucked the marrow from its skeleton, fighting over the most fragile of bones.

What else did we do?

We danced, we bickered, we married each other and made fake flower crowns out of colorful paper. And someone put a wreath on Savvas’s head too as he wobbled on his one-legged perch. We thought he might fall but he didn’t. There, on the white-chalk-dusted and pencil-shavings-strewn floor, he flamingo-balanced as we slept curled under our desks with our old backpacks as pillows.

And when Ms. Antoniou grew old and died like our pet rabbit had, we wheeled her corpse upon her teacher’s chair so that it faced the opposite corner Savvas did. This was the only gift we knew how to give him. Soon our teacher was bones and we fashioned flutes out of them. We sang, we all danced together while Savvas swayed. But no one dared talk to him, if he could still talk, and some of us thought he might not have a face at all anymore, on account of us not having seen it in so long, his features slipping away from memory. And Savvas’ crimes? His mischief, his disobedience, the reasons behind the prayers and the written lines and even the palms caned bloody, why Savvas stood in the corner on one leg facing the wall? Well.

We forgot those, too. 


Avra Margariti is a queer author and poet from Greece. Avra’s work haunts publications such as SmokeLong Quarterly, Wigleaf, The Rumpus, Best Microfiction, and Best Small Fictions. You can find Avra on twitter (@avramargariti).

Header photograph and artwork by Jordan Keller-Wilson

Kutta (dog)

A blurred image of a human figure stands in front of an indistinct crowd and a vibrant tree line

No matter how much you beat it,
the heart is a dog. It will lick any man
who looks on with adoration.
I know because it’s inevitable.
I too have beaten myself at the threshold
of desire and have tried dragging
this body back. But look,
here I am, naked knees grazing the floor
of yet another room. He says,
You look like my childhood friend,
by which he means I could be loved
if I were someone else.
Oh, trust me, I know, like a new dog
in the family

after the first one has died.


Ashish Kumar Singh

Ashish Kumar Singh (he/him) is a queer Indian poet with a Master’s Degree in English Literature from the University of Lucknow. His poems have appeared or are forthcoming in Poetry Wales, Frontier Poetry, The Bombay Literary Magazine, Fourteen Poems, The Texas Review, Atlanta Review, Foglifter Press, Diode Journal, and elsewhere. Currently, he lives in his hometown of Amethi, Uttar Pradesh, where he teaches English to high schoolers.

Header photograph and artwork by Jordan Keller-Wilson

Substitute

A blurred image of a human figure stands in front of an indistinct crowd and a vibrant tree line

Comegys Elementary smells just like my grandma’s old classroom—disinfectant and potato chips—and probably like my father’s classroom in Florida, where I’m not very welcome, not with the stink of the world on me where Christianity used to be. 

I walk a flight of stairs and then another. I need cash before grad school starts in the fall so I ask two different people how to get to room 203, circle back through another set of double doors. I finally settle into a classroom that looks just like ones I remember: bags of bright, waxy crayons; dingy linoleum; a poster in the shape of a thick pencil explaining what great writers do (Use a beginning, middle, and end! Check spelling!); the teacher’s desk in the corner with a thick notebook amidst the stacks of papers.

Before I ever said the word gay aloud, when the world was shrunk as small as the distance from the cul-de-sac to the church, my mother took my sister and I to the teacher supply store, probably because she was teaching preschool at the church back then, or maybe just for something fun to do during summer break: the pool, the playground, the teacher store. We clambered into the shop, which was dark and dusty and smelled like cigarettes and erasers. Out of the summer sun—so hot and bright the sidewalk shimmered—we found treasures down the aisles: slick pink folders stacked tall, purple pencil toppers by the fistful, a planning book with clean, crinkly pages. My mother bought me that thick planner and all summer I played school with my best friend, drafting lessons in reading, writing, and math in its pages.

The students start to arrive, impossibly tiny, sliding into their seats. My father doesn’t know where I am today, my head bent over a desk helping a little girl in a pink t-shirt with her multiplication tables. Maybe I didn’t really come here for money, or not only for money, anyway, but to find a last tether between us, wrap it loose around my neck, slide my nametag inside its plastic pouch. My badge is outdated, still says Johnson, same as his. Quinn and I changed our names last week and it’s no longer my name, not at all, not even a little. But he wouldn’t know that.


Eryn Sunnolia

Eryn Sunnolia (she/they) is a queer writer living in Philadelphia, PA. Their writing has appeared in Electric Literature, HuffPost, Well+Good, and others. She is in her first year of the Rutgers Camden MFA program in creative nonfiction. She also likes making quilts. You can find them at erynsunnolia.com.

Header photograph and artwork by Jordan Keller-Wilson

To the girl on the rusted bike loitering in the Beer Barn parking lot outside my bedroom window

A blurred image of a human figure stands in front of an indistinct crowd and a vibrant tree line

I’m curious why you have binoculars hanging
from your neck on a faux pearl string.
I kind of hope you’re not looking past
the swelling dawn to watch tenants
in the student building across the street
eat dry cornflakes with their fingers,
a buffering screen in front of them.
Not that I know anything, but if you wait
until dark, you might be able to see
into their half-furnished, unintentionally
ascetic living rooms even without the binoculars,
provided the blinds aren’t drawn, though
it seems like they always are.

I’ve lived in three apartment buildings and
have known exactly none of my neighbors.
Sometimes, as I’m locking my front door,
I hope one of them will pass in the hallway
just so I can see what they look like. I hear
their music, their breakups, their snoring, but
I don’t know their names, their faces. Sometimes,
as I babysit my boiling pasta, I hear footsteps
outside, and I run to the peephole for a glimpse.
I never see anything but the beige wall
and stained carpet, and my water boils over.

I think what I’m trying to say is
the binoculars might not be enough.
You may have to enter the building
and sit in the hallway, waiting for someone,
anyone, to emerge. They have to appear
at some point, don’t they? If you give me
some signal, look at me looking
at you for long enough, I can take
the elevator downstairs and let you in,
and together, we can find out who lives
beside me. Just give me a sign.


E.C. Gannon

E.C. Gannon’s work has appeared in Peatsmoke Journal, Assignment Magazine, SoFloPoJo, Olit, and elsewhere. Raised in New Hampshire, she holds a degree from Florida State University and is pursuing another at the University of New Mexico.

Header photograph and artwork by Jordan Keller-Wilson

Memory Match by Vast

A black and white New York skyline is bisected by the Vast Chasm V with a dirt path and green and gold grasses leading off toward the horizon.

The wild thing about an apocalypse is how quickly we forget. See if you can refresh your memory with a little matching game.

We’ve pulled a few words and matching images from each piece in this issue and laid them out for you to pair together. Remember playing this game as a kid? Trying to divide the world up into neat little copies of itself before the clock ran out?

How to Play
Click on cards to match a word or phrase from one card with the image from another. Can you match them all? Can you remember the world as it was?

Header photograph and artwork by Jordan Keller-Wilson

On the Beach

A black and white New York skyline is bisected by the Vast Chasm V with a dirt path and green and gold grasses leading off toward the horizon.

there are no worries on the beach;
we can flaunt our near-naked forms,
as we build derelict sandcastles
that we pretend will last forever
on a shore lit by our ancestors’ sun;
we can find this ancient comfort,
this primal escape, only here, now

it is as if we’re reminded
by the vastness of the ocean
how frail and powerless we are,
so we set aside our conflicts,
instead choosing to navel-gaze
and sunbathe and permit ourselves
to forget the two degree goal,
less than two minutes to midnight,

the world is so fucked; sometimes
i just want — need — a cigarette
an indulgence concealed by a sea breeze;
we can linger until each dune
takes on meaning, shaped by wind,
insects, you, you from weeks ago,
us from years ago, us here now


Felix Grygorcewicz

Felix Grygorcewicz (he/him/his) is an experimental writer, mostly of fiction, though he dabbles in poetry and non-fiction. He has worked in education for over 10 years on the East and West coasts of the U.S. and is currently residing in the middle of the country where he teaches. He is often inspired by nature and people.

Header photograph and artwork by Jordan Keller-Wilson

Screentime

A black and white New York skyline is bisected by the Vast Chasm V with a dirt path and green and gold grasses leading off toward the horizon.

Beside me on the sofa, my daughter is playing a video game. Only her eyes and fingers move. When I ask her how her day was, she doesn’t answer. Or maybe my middle-aged ears have lost her frequency. On the screen, another version of her in a glittering lilac bodysuit is slaying skeletons and scaling cliffs. Set limits, they tell me. Keep trying to connect in the real world; she’ll come around. I’m tired of picking my battles with a trained warrior. She has the controller, but I hold the remote. I press the up arrow. Beside me, her body flickers. On the screen, her bodysuit deepens to violet. I wave at the screen; she waves back. She looks so happy. I keep pressing up up up, until beside me on the sofa, the daughter I always wanted fades away.


Angeline Schellenberg

Angeline Schellenberg is the author of the Manitoba Book Award-winning series of linked poems about autism, Tell Them It Was Mozart (Brick Books, 2016), and the KOBZAR-nominated elegy collection, Fields of Light and Stone (University of Alberta Press, 2020). Angeline’s work was selected for Best Microfiction 2024. She hosts the Speaking Crow open-mic poetry series in Winnipeg, Canada, where she lives with her husband, two children, and rescue dog. A contemplative spiritual director, photographer, and mudlark, Angeline will launch her third poetry book, Mondegreen Riffs (At Bay Press), in September 2024.

Header photograph and artwork by Jordan Keller-Wilson

How To Survive the Apocalypse

A black and white New York skyline is bisected by the Vast Chasm V with a dirt path and green and gold grasses leading off toward the horizon.

If you catch a frog, eat its legs. If you’re hungry, eat the rest. It doesn’t matter how cool the frog is—its little balloon eyes, how its skin is alien green, how its neck bulges and smooths, how it chime-burps on early spring nights, how a clump of grass transmogrifies into a frog. None of that matters. Frogs are food. You can eat them raw and use the bones to make arrowheads or stilettos or gigs and get yourself more. Frogs aren’t companions, not the way say, a dog, or a cat, or a rat, or a squirrel, or a raccoon is—even if you could grab one of those, and drag it close, and cocoon it in your arms, and tuck your chin over its back, its hot heart twitching next to your chest, you would have to eat it, eventually. This is the apocalypse. You are surviving.

If you encounter manufactured goods—congratulations! If you can get into a car, you can sleep in it; if you curl up tight enough, no one will know you are there. The radiator fluid makes an effective euthanizer, always handy. The glass and gasoline are good for starting fires. The tires make sturdy sandals, and you can dress yourself in the cloth or, if you’re lucky, the leather from the seats—but don’t get used to the foam padding. It will pack down, and then you’ll miss it and be sad. If you come across something that was desirable in the before-times, be careful. Be objective. A ring may have been important once, may have been precious, even—but in the after-world, it is dead weight.

If you encounter other people, be really careful. You may have compatible skills and interests, you may want help getting shelter or provisions—you may be lonely. This is understandable. But remember: other people caused this apocalypse. If it were up to you, your plans would have worked out, people wouldn’t have suggested taking a little time or reconsidering things. But the apocalypse happened, and here you are, collapsed in this empty lot, half-submerged in a puddle, soaked with freezing dew, wearing the same clothes you’ve had on since it happened, your stomach grinding dry, a sticky grit coating your neck and chest and hair and teeth—spurned and gazing at a frog.


Anne Louise Pepper

Anne Louise Pepper is a writer and former educator who lives in the Pacific Northwest. Her work can be found in failbetter and The Citron Review.

Header photograph and artwork by Jordan Keller-Wilson

Ariba, I am but a child at your feet

A black and white New York skyline is bisected by the Vast Chasm V with a dirt path and green and gold grasses leading off toward the horizon.

“The SAP Ariba spend management solution portfolio is empowering companies to move faster and spend better. The solutions connect millions of trading partners worldwide to SAP Business Network to enable direct, intelligent connections that redefine how organizations communicate and get work done.” – SAP Ariba website.

1

Ariba, I have failed you again. I have
placed a box fan in front of a cattle fan
and called it ambition. I sent my resume
to the paltry gods and it contained 
a typo, a misplaced “y” or “i” and now
I must cleanse my relevant experience
at the river of the many-headed girlboss.
I asked a career coach 
for a smoke. Ariba, with your four-step approval
process, your sacred ladder, and me,
a mere renter comprised
of trustworthiness scores. I live in terror
of your guided buying,
as it should be.

2

Ariba, you must understand that I lived for years
in a tempest of misremembered Morse code. They refer
to it as the ancient ‘90s. Your origins lie
in a hush of patents, but my eyes
still sting with since-dead neon. I remember
the sign of the hatchery, a cracking egg.
I remember the flamingos, so many, and a wildfire’s worth
of green gas station dinosaurs. A teapot atop
a building. A water tower of painted bees. A green screen
computer with a single blinking cursor. Heretical
childhood. Modus operandi: Midwestern. O Ariba,
we are but public four-year arts majors with flapping fruit bats
for memories. Deliver us from our contract requests,
our blanket orders, too.
We ask this of you, not God.

3

Ariba, an office door slams in the afternoon
light and I cry. If the employee of the month called
eternal suffering a pain point, 
middle management may learn to practice
active listening. List the ailments: 
your upskilled heart, your quiet
quitting soul, your obsession with how even a pandemic
could not finally slow the grind. Label your faults
as a series of rooms: infinite rooms, rooms
for growth, outreach, engagement, and quality assurance.
The Voynich manuscript is now understood 
by no one but Ariba, we know you as a precision 
of timestamped pleas. 

4

Ariba, I wake in the night to pain
everywhere. I think I hear the Earth trying
to dislodge from its orbit. I will not stop
thinking of you, force of habit, fever dream
of process improvement. Ariba, I once ran
from you and saw perfectly rusted mopeds
flit down a gade in Copenhagen. I tasted the crisp 
stars against glow-in-the-dark velvet. 
I understood metaphysics. I had never been
so alarmingly sober. I returned home
to an eviction notice. Ariba, are you 
animal, lamentation, or dream? I am  
but a child at your feet.


Katie Berger

Katie Berger is the author of two chapbooks from Dancing Girl Press and several other essays, stories, and poems. She hold an MFA from the University of Alabama and works at the University of Nebraska at Omaha as a project coordinator.

Header photograph and artwork by Jordan Keller-Wilson