[{"id":20627,"date":"2026-09-01T05:30:40","date_gmt":"2026-09-01T12:30:40","guid":{"rendered":"https:\/\/mastersreview.com\/?p=20627"},"modified":"2026-08-19T15:06:10","modified_gmt":"2026-08-19T22:06:10","slug":"book-review-wounded-boarders-by-george-singleton","status":"publish","type":"post","link":"https:\/\/mastersreview.com\/book-review-wounded-boarders-by-george-singleton\/","title":{"rendered":"Book Review: Wounded Boarders by George Singleton"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-20632\" src=\"https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC.jpg\" alt=\"\" width=\"250\" height=\"386\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC.jpg 1650w, https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC-640x989.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC-1280x1978.jpg 1280w, https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC-768x1187.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC-994x1536.jpg 994w, https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC-1325x2048.jpg 1325w, https:\/\/mastersreview.com\/files\/2026\/09\/9781938603945_FC-320x495.jpg 320w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/>There\u2019s a certain type of decay that some writers like to romanticize. The weeds sprouting among the ruins of an abandoned mill become a bountiful garden. Not so in Poke, South Carolina, the common setting in <em>Wounded Boarders<\/em>, an uproarious collection of new stories from George Singleton. This former mill town is in need of serious repair, and the protagonists who find themselves stuck there are more focused on tearing out old sheetrock than they are on spying unexpected beauty. Nor do their trials leave them wiser, stronger people. They\u2019re tired and disillusioned, and they\u2019re likely going to stay that way.<\/p>\n<p>Singleton\u2019s stories are full of creepy store clerks, entitled college students, and bigoted authority figures that his narrators \u201cdon\u2019t much cotton to.\u201d They are also full of wounded veterans dedicated to their shuffleboard club, passionate coin collectors, and wildly accident-prone parents. This is not a romantic view of a declining, opioid-riddled middle America. But it is a sharp, surprisingly compassionate, often hilarious one.<\/p>\n<p>An interesting tension emerges in the collection between the past and those recounting it. Many of the narrators claim to remember things a certain way while acknowledging the possibilities of revisionist history. Some characters seem to be losing their memories altogether. And over it all is the veneer of a Southern culture \u201cimmersed in the brine of old war remembrances.\u201d This subjective approach to the past often seems to leave the characters stymied in the present. Their lives become both fated and arbitrary. They can neither move forwards or backwards. As the title of one story suggests, they become bobbleheads, looking up and down but never straight ahead. Often these tales end with us questioning if there is a path into the future that is not constricted by our view of the past.<\/p>\n<p>The fixation on the past raises another question that feels central to the collection: Is anything really trivial? Time and again, a character will trace the course of their life from some seemingly minor moment. If it weren\u2019t for that pair of binoculars, that awkward joke, that aimless joyride, a whole other reality might\u2019ve unfolded before them. The stories are also bursting with lists. Board games, Latin phrases, bird species, types of coins\u2014we\u2019re constantly bombarded with the type of minutiae a <em>Jeopardy!<\/em> contestant would covet. This flow of seemingly trivial information accumulates a kind of hypnotic power. Suddenly these lists, and the seemingly inconsequential lives characterized by them, feel mesmerizing and far from trivial.<\/p>\n<p>Another common thread in these stories is their dark humor, particularly a kind of morbid slapstick with characters injuring themselves in outrageous ways. It\u2019s the Three Stooges with significantly more hospital time. Many characters have missing teeth, giving them smiles like \u201cbroken picket fences.\u201d In that way, they seem to carry the failed promises of suburban life in their bodies. And so, even while we\u2019re laughing at their physical misadventures, an undeniable empathy grows for these characters who are trying to climb a slippery stair for themselves and their children.<\/p>\n<p>But where broken things exist, so do the fixers. From roofers, to a house flipper, to a man providing tarps to hurricane damaged properties, we constantly encounter people intent on repair. The attempts at repair aren\u2019t limited to homes, either. A man enters hypnotherapy to repair his marriage, a father writes a winding letter in hopes of repairing his relationship with his estranged daughter, a man sets out to rectify the mis-delivery of several packages. Like the cluttered merchandise of a pawn shop in an old mill town, Singleton\u2019s collection gathers together an eclectic assortment of dented and dinged lives that we must shift through to discover what may be refurbished.<\/p>\n<p><strong>Publisher: Dzanc Books<\/strong><\/p>\n<p><strong>Publication Date: August 11, 2026<\/strong><\/p>\n<hr \/>\n<p><em><br \/>\nReviewed by B.B. Garin<\/em><\/p>\n<p><em>B. B. Garin is a writer living in Buffalo, NY. Her story collection, <\/em>New Songs for Old Radios<em>, is available from Wordrunner Press. She is a recipient of the Sara Patton Fiction Stipend from The Writer\u2019s Hotel. Her work has appeared in <\/em>The Hawai\u2019i Pacific Review<em>, <\/em>Luna Station Quarterly<em>, <\/em>Palooka<em>, <\/em>3rd Wednesday<em>, <\/em>Crack the Spine<em>, and more. Connect with her @bb_garin or bbgarin.wordpress.com.<\/em><\/p>\n<p><script src=\"https:\/\/bookshop.org\/widgets.js\" data-type=\"list\" data-list-slug=\"books-reviewed-by-the-masters-review\"><\/script><\/p>\n","protected":false},"excerpt":{"rendered":"<p>There\u2019s a certain type of decay that some writers like to romanticize. The weeds sprouting among the ruins of an abandoned mill become a bountiful garden. Not so in Poke, South Carolina, the common setting in Wounded Boarders, an uproarious collection of new stories from George Singleton. This former mill town is in need of serious repair, and the protagonists who find themselves stuck there are more focused on tearing out old sheetrock than they&#8230;<\/p>\n","protected":false},"author":3,"featured_media":20628,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[548,540],"tags":[],"class_list":["post-20627","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-review","category-posts"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"There\u2019s a certain type of decay that some writers like to romanticize. The weeds sprouting among the ruins of an abandoned mill become a bountiful garden. 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This former mill town is in need of","twitter:creator":"@MastersReview"},"aioseo_meta_data":{"post_id":"20627","title":null,"description":null,"keywords":null,"keyphrases":{"focus":{"keyphrase":"","score":0,"analysis":{"keyphraseInTitle":{"score":0,"maxScore":9,"error":1}}},"additional":[]},"primary_term":null,"canonical_url":null,"og_title":null,"og_description":null,"og_object_type":"default","og_image_type":"default","og_image_url":null,"og_image_width":null,"og_image_height":null,"og_image_custom_url":null,"og_image_custom_fields":null,"og_video":"","og_custom_url":null,"og_article_section":null,"og_article_tags":null,"twitter_use_og":false,"twitter_card":"default","twitter_image_type":"default","twitter_image_url":null,"twitter_image_custom_url":null,"twitter_image_custom_fields":null,"twitter_title":null,"twitter_description":null,"schema":{"blockGraphs":[],"customGraphs":[],"default":{"data":{"Article":[],"Course":[],"Dataset":[],"FAQPage":[],"Movie":[],"Person":[],"Product":[],"ProductReview":[],"Car":[],"Recipe":[],"Service":[],"SoftwareApplication":[],"WebPage":[]},"graphName":"BlogPosting","isEnabled":true},"graphs":[]},"schema_type":"default","schema_type_options":null,"pillar_content":false,"robots_default":true,"robots_noindex":false,"robots_noarchive":false,"robots_nosnippet":false,"robots_nofollow":false,"robots_noimageindex":false,"robots_noodp":false,"robots_notranslate":false,"robots_max_snippet":"-1","robots_max_videopreview":"-1","robots_max_imagepreview":"large","priority":null,"frequency":"default","local_seo":null,"limit_modified_date":false,"created":"2026-08-18 23:43:04","updated":"2026-09-01 13:42:01","ai":{"faqs":[],"keyPoints":[],"schemas":[],"titles":[],"descriptions":[],"socialPosts":{"email":{"subject":"","preview":"","content":""},"linkedin":[],"twitter":[],"facebook":[],"instagram":[]}},"breadcrumb_settings":null,"seo_analyzer_scan_date":null,"focus_keyword":null,"additional_keywords":null,"truseo_locale":null},"aioseo_breadcrumb":"<div class=\"aioseo-breadcrumbs\"><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/mastersreview.com\/\" title=\"Home\">Home<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">\u00bb<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/mastersreview.com\/blog\/\" title=\"Posts\">Posts<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">\u00bb<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\tBook Review: Wounded Boarders by George Singleton\n\t\t<\/span><\/div>","aioseo_breadcrumb_json":[{"label":"Home","link":"https:\/\/mastersreview.com\/"},{"label":"Posts","link":"https:\/\/mastersreview.com\/blog\/"},{"label":"Book Review: Wounded Boarders by George Singleton","link":"https:\/\/mastersreview.com\/book-review-wounded-boarders-by-george-singleton\/"}],"_links":{"self":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20627","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/comments?post=20627"}],"version-history":[{"count":6,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20627\/revisions"}],"predecessor-version":[{"id":20660,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20627\/revisions\/20660"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/media\/20628"}],"wp:attachment":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/media?parent=20627"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/categories?post=20627"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/tags?post=20627"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":14445,"date":"2026-09-01T00:01:32","date_gmt":"2026-09-01T07:01:32","guid":{"rendered":"https:\/\/mastersreview2.wpengine.com\/?page_id=14445"},"modified":"2026-09-16T10:18:19","modified_gmt":"2026-09-16T17:18:19","slug":"novel-excerpt-contest","status":"publish","type":"post","link":"https:\/\/mastersreview.com\/novel-excerpt-contest\/","title":{"rendered":"Novel Excerpt Contest: September 1 &#8211; November 8, 2026"},"content":{"rendered":"<h3 style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-20718\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/NovelExcerpt26_PosterWebsite.jpg\" alt=\"\" width=\"956\" height=\"665\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/NovelExcerpt26_PosterWebsite.jpg 956w, https:\/\/mastersreview.com\/files\/2026\/08\/NovelExcerpt26_PosterWebsite-640x445.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/NovelExcerpt26_PosterWebsite-768x534.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/NovelExcerpt26_PosterWebsite-320x223.jpg 320w\" sizes=\"auto, (max-width: 956px) 100vw, 956px\" \/><\/h3>\n<h3 style=\"text-align: center;\">Submissions open through November 8, 2026!<\/h3>\n<p><a href=\"https:\/\/themastersreview.submittable.com\/submit\/365179\/2026-novel-excerpt-contest-judged-by-chinelo-okparanta-3-000-prize\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"\/\/manager.submittable.com\/Public\/Images\/submittable-submit-button.png\" alt=\"submit\" width=\"270\" height=\"114\" border=\"0\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><a class=\"addeventatc\" title=\"Add to Calendar\" href=\"https:\/\/www.addevent.com\/event\/60ww2wl82x35\" target=\"_blank\" rel=\"noopener\" data-id=\"60ww2wl82x35\">Add to Calendar<\/a><script type=\"text\/javascript\" src=\"https:\/\/cdn.addevent.com\/libs\/atc\/1.6.1\/atc.min.js\" async defer><\/script><\/p>\n<p>The Novel Excerpt Contest quickly became one of our favorite contests, so of course it\u2019s returning for the sixth consecutive year. Writing a novel is tough work, and we want to encourage everyone who\u2019s undertaking this arduous journey to share their most exciting excerpts. We\u2019re looking for resonant narratives, memorable characters, a voice that\u2019s uniquely yours. We\u2019re looking for excerpts that stand alone, that do not require a synopsis for understanding. Most importantly, we\u2019re looking for excerpts that grab us from the get-go and refuse to let go. As always, we have no limitations on genre, though we are primarily interested in literary fiction. Submissions for the Novel Excerpt Contest will open on September 1 and close on November 8, 2026.<\/p>\n<p>This year\u2019s guest judge: <b>Chinelo Okparanta<\/b>, author of <i>Under the Udala Tree<\/i>, the forthcoming <i>This Impossible Life<\/i>, and more! Okparanta will select three finalists from a shortlist provided by <i>The Masters Review<\/i>\u2019s editorial staff. <b>The winning excerpt will be awarded $3,000; online publication; and an hour-long consultation with Marin Takikawa, a literary agent with The Friedrich Agency.<\/b> Second- and third-place excerpts will be awarded online publication and $300 and $200 respectively, in addition to written feedback from Takikawa.<\/p>\n<p style=\"padding-left: 40px;\">There&#8217;s nothing I enjoy more than immersing myself in a good book. For me, it&#8217;s about a captivating voice, an alluring tone, beautiful language throughout, and an original premise. It&#8217;s also about how compelling I find the characters. But mostly, it&#8217;s about how focused the novel is where the main conflict is concerned. What primary narrative thread should I be following? Too many novels lose their way with a scattering of unfulfilled and unfulfilling plot strands. In reading these excerpts, I&#8217;ll be looking for a unique voice and tone, a compelling cast of characters, gorgeous sentences, and an original premise. More than that, I&#8217;ll be keeping an eye out for an expertly handled and affecting central plotline.<br \/>\n\u2014Chinelo Okparanta, Guest Judge<\/p>\n<h3 class=\"public-DraftStyleDefault-block public-DraftStyleDefault-ltr\" data-offset-key=\"b6ush-0-0\"><span data-offset-key=\"da5i2-0-0\">Submission Guidelines<\/span><\/h3>\n<ul>\n<li aria-level=\"1\"><b>The winner receives $3,000; online publication; and a consultation with Marin Takikawa, a literary agent with The Friedrich Agency.<\/b><\/li>\n<li aria-level=\"1\">The second- and third-place finalists receive cash prizes ($300\/$200), online publication, and agent feedback.<\/li>\n<li aria-level=\"1\">Submitted excerpts must be under 6,000 words.<\/li>\n<li aria-level=\"1\">Submitted work <b>must be previously<\/b> <b>unpublished.<\/b> This includes personal blogs, social media accounts, and other websites. Previously published excerpts will be automatically disqualified.<\/li>\n<li aria-level=\"1\">Simultaneous and multiple submissions are allowed, though each submission requires a <b>$20 entry fee<\/b>.<\/li>\n<li aria-level=\"1\">Writers from historically marginalized or underrepresented groups are invited to <b>submit for free<\/b> until we reach fifty submissions in this category. NOTE: Submission cap has been met.<\/li>\n<li aria-level=\"1\">If your excerpt is accepted or contracted elsewhere, please withdraw your submission on Submittable, or contact us otherwise to let us know the piece is no longer available.<\/li>\n<li aria-level=\"1\">We do not require anonymous submissions for this contest, but the judge will review the shortlist anonymously.<\/li>\n<li aria-level=\"1\"><b>This contest is for emerging writers only<\/b>. Writers with single-author book-length work published or under contract with a major press are ineligible. We are interested in providing a platform to <b>new writers<\/b>; authors with books published by indie presses are welcome to submit unpublished work, as are self-published authors.<\/li>\n<li aria-level=\"1\">International submissions are allowed, provided the work is written primarily in English.<\/li>\n<li aria-level=\"1\">No translations, please.<\/li>\n<li aria-level=\"1\">All submissions must be double-spaced with one-inch page margins and use 12pt Times New Roman or Garamond font.<\/li>\n<li aria-level=\"1\">Excerpts from novels under contract for 2026 or 2027 are ineligible, but novels under contract from 2028 and beyond are eligible.<\/li>\n<li aria-level=\"1\"><b>The contest\u2019s deadline is 11:59pm PST on Sunday, November 8, 2026.<\/b><\/li>\n<li aria-level=\"1\">All entries are also considered for publication in New Voices.<\/li>\n<li aria-level=\"1\">Every submission will receive a response by the end of March 2027. The winners will be announced in May 2027.<\/li>\n<li aria-level=\"1\">AI-generated or -assisted submissions will be automatically disqualified.<\/li>\n<li aria-level=\"1\">Friends, family, and associates of the guest judge are not eligible for this award, nor are past winners of the Novel Excerpt Contest.<\/li>\n<\/ul>\n<h3 data-offset-key=\"foo4f-0-0\">About the Judge<\/h3>\n<p><b>Chinelo Okparanta<\/b> was born and raised in Port Harcourt, Nigeria. Her new novel, <i>This Impossible Life<\/i>, will be published on November 10 by Mariner. Her debut short story collection, <i>Happiness, Like Water<\/i>, was nominated for the Nigerian Writers Award, longlisted for the Frank O\u2019Connor International Short Story Award, and was a finalist for the New York Public Library Young Lions Fiction Award, and the Etisalat Prize for Literature. Her first novel, <i>Under the Udala Trees<\/i>, won a Lambda Literary Award, was a finalist for the International Dublin Literary Award, was nominated for the <i>Kirkus <\/i>Prize and Center for Fiction First Novel Prize, and was a <i>New York Times Book Review <\/i>Editor\u2019s Choice. She was a finalist for the 2025 Dos Passos Prize and the Caine Prize for African Writing. She has published work in <i>The New Yorker<\/i>, <i>Granta<\/i>, <i>Harper&#8217;s Bazaar,<\/i> <i>Lit Hub<\/i>, <i>Tin House<\/i>, the <i>Kenyon Review<\/i>, <i>AGNI<\/i>, and was named one of <i>Granta<\/i>\u2019s Best of Young American Novelists. She received her MFA from the Iowa Writers\u2019 Workshop, and she is currently Associate Professor of English Literature and Director of the Creative Writing Program at Swarthmore College.<\/p>\n<h4>Editorial Letter Option<\/h4>\n<p>If you\u2019re interested in getting feedback on your writing, utilize our editorial letter add-on option. Our response to your submission will be accompanied by a one- to two-page letter from an experienced <a href=\"https:\/\/mastersreview.com\/the-masters-review-guest-editors\/\">guest editor<\/a>, who will offer observations on the strengths of the piece as well as opportunities for revision. Your editor may also offer further submission and reading suggestions, or other comments on craft. A significant portion of the additional fee is paid directly to your feedback editor.<a href=\"https:\/\/mastersreview.com\/editorial-letter-example\/\"> See a sample editorial letter<\/a>.<\/p>\n<p><b>FAQ<\/b><\/p>\n<p><b>Q: Does it have to have a beginning, middle, and end?<\/b><\/p>\n<p>We want an excerpt that stands well on its own, that makes us want to read the full book. We want a sense of conclusion from the excerpt, but we also know that we\u2019re only reading part of a novel and don\u2019t expect all threads to be resolved. You can read last year\u2019s winners at the links below for an example of the kind of novel excerpt we\u2019re interested in.<\/p>\n<p><b>Q: When should I expect to hear back?<\/b><\/p>\n<p>We will try to respond to every submission by the end of March 2027, and hope to have the finalists announced in May 2027. If this timeline changes significantly, we will notify all authors. We appreciate your patience!<\/p>\n<p><b>Q: Can I submit two chapters if they fall under 6,000 words?<\/b><\/p>\n<p>You can submit as many chapters as you\u2019d like, as long as the word count is under 6,000 words.<\/p>\n<p><b>Q: How firm are you on word count?<\/b><\/p>\n<p>We allow for <i>some<\/i> wiggle room; don\u2019t force your revisions into 6,000 words. We\u2019d rather read a couple hundred extra words than a cramped conclusion!<\/p>\n<p><b>Q: Can I submit a synopsis\/prologue with my excerpt?<\/b><\/p>\n<p>We recommend that you don\u2019t; your excerpt will be judged on its merit alone, and the synopsis will not be published alongside your excerpt.<\/p>\n<p><b>Q: Can I submit with a cowriter?<\/b><\/p>\n<p>Sure, but you\u2019ll need to split the prize money.<\/p>\n<p><b>Q: What if a small portion of the book has already been published?<\/b><\/p>\n<p>As long as the excerpt you\u2019re submitting has not been published in any form, and the novel itself has not been published, we\u2019re happy to consider your work!<\/p>\n<p><b>Q: What\u2019s the deal with my rights if I want to publish my book eventually?<\/b><\/p>\n<p>We ask for first publication rights of your excerpt <b>only<\/b>. All rights also revert back to the author after an exclusive ninety-day publishing window. Specific questions or concerns about publishing rights can be addressed to contact [at] mastersreview [dot] com.<\/p>\n<p><b>Q: If I self-published my novel on my blog but later took it down, can I still submit an excerpt?<\/b><\/p>\n<p>Unfortunately, because it\u2019s been published in some form or fashion, the excerpt would no longer be eligible for this contest.<\/p>\n<p><a href=\"https:\/\/themastersreview.submittable.com\/submit\/365179\/2026-novel-excerpt-contest-judged-by-chinelo-okparanta-3-000-prize\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"\/\/manager.submittable.com\/Public\/Images\/submittable-submit-button.png\" alt=\"submit\" width=\"270\" height=\"114\" border=\"0\" \/><\/a><\/p>\n<hr \/>\n<p>&nbsp;<\/p>\n<p><strong>Congratulations to Nick Otte, author of <a href=\"https:\/\/mastersreview.com\/novel-excerpt-contest-1st-place-the-snag-by-nick-otte\/\">\u201cThe Snag,\u201d<\/a> our 2025 Novel Excerpt Contest winner!<\/strong><br \/>\n<strong>Second place: <\/strong><span class=\"clearfix\"><a href=\"https:\/\/mastersreview.com\/novel-excerpt-contest-2nd-place-timeline-of-events-in-lieu-of-a-lobotomy-by-cecilia-beard\/\"><strong>\u201cTimeline of Events in Lieu of a Lobotomy\u201d<\/strong><\/a> by Cecilia Beard<\/span><br \/>\n<strong>Third place: <\/strong><span class=\"clearfix\"><a href=\"https:\/\/mastersreview.com\/novel-excerpt-contest-for-the-realm-by-dakota-edwin-collins\/\"><strong>\u201cFor the Realm\u201d<\/strong><\/a> by Dakota Collins<\/span><br \/>\n<strong>Honorable mention<\/strong>: <a href=\"https:\/\/mastersreview.com\/novel-excerpt-contest-honorable-mention-la-lucha-by-a-j-rodriguez\/\"><strong><span class=\"clearfix\">\u201c<\/span>La Lucha<span class=\"clearfix\">\u201d<\/span><\/strong><\/a> <span class=\"clearfix\">by AJ Rodriguez<\/span><\/p>\n<p>The 2025 shortlist can be found <a href=\"https:\/\/mastersreview.com\/2025-novel-excerpt-contest-shortlist\/\">here<\/a>.<\/p>\n<p><em>All previous contest winners can be found on our <a href=\"https:\/\/mastersreview2.wpengine.com\/past-awards\/\">Past Awards<\/a> page.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Each fall, <i>The Masters Review<\/i> hosts a call for novel excerpts! For this contest, we\u2019re looking for self-contained excerpts up to 6,000 words that display a strong voice, compelling characters, and carefully constructed narrative arcs. As always, we have no limitations on genre, though we are primarily interested in literary fiction. The grand prize winner receives $3,000, online publication and an hour-long consultation with a literary agent.<\/p>\n","protected":false},"author":3,"featured_media":20575,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[544,51,505,4],"tags":[496],"class_list":["post-14445","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-calendar","category-contest","category-novel-excerpt-contest","category-submissions","tag-highlight"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"Each fall, The Masters Review hosts a call for novel excerpts! For this contest, we\u2019re looking for self-contained excerpts up to 6,000 words that display a strong voice, compelling characters, and carefully constructed narrative arcs. 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For this contest, we\u2019re looking for self-contained excerpts up to 6,000 words that display a strong voice, compelling characters, and carefully constructed narrative arcs. As always, we have no limitations on genre, though we are primarily interested in literary fiction. 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For this contest, we\u2019re looking for self-contained excerpts up to 6,000 words that display a strong voice, compelling characters, and carefully constructed narrative arcs. As always, we have no limitations on genre, though we are primarily interested in literary fiction. 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In an attempt to comfort and impress her, Jade&#8217;s boyfriend gifts her tickets to <\/em>Giselle<em>. Over the course of the ballet, with her boyfriend growing increasingly arduous, Jade reflects on the ways in which she has lost\u00a0 herself to her roles as accommodating girlfriend and submissive daughter. Can Jade break free from her mother&#8217;s damaging perfectionism or will she forever be trapped in the quest for the ideal? &#8220;Hulijing&#8221; by Stephanie Isan, our honorable mention for the 2025-2026 Winter Short Story Award for New Writers, is a story about expectations\u2014the ones others burden us with and the ones with which we burden ourselves.<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-20604\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/Stephanie-Isan_WinterSSA_HM.jpg\" alt=\"\" width=\"768\" height=\"496\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/Stephanie-Isan_WinterSSA_HM.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/Stephanie-Isan_WinterSSA_HM-640x413.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/Stephanie-Isan_WinterSSA_HM-320x207.jpg 320w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>The nobleman Albrecht falls in love with beautiful, peasant girl Giselle and the two dancers flutter across the stage in a <em>pas de deux.<\/em> I taste bile at the back of my throat. Henry\u2019s hand, heavy and slightly moist, rests against my knee. A discolored orange splotch mars the silk of my <em>qipao<\/em>. I resist the urge to rub at the fabric. He\u2019s bored. It hasn\u2019t been five minutes into the ballet and he\u2019s been hungrily ogling at the peony print on my breasts.<\/p>\n<p>Albrecht hides his fine clothes, his sword, his horn. He disguises himself as a fellow villager, Loys. With all his charm and charisma, he woos Giselle with a dazzling smile, flourishes of his arms. The village corps wiggle behind them in synchronous pirouettes and <em>petit battement <\/em>as they fall deeper and deeper in love.<\/p>\n<p>\u201cIs this actually good?\u201d His whispers tickle the curls around my cheek and I nod, just barely. \u201cThat\u2019s a relief,\u201d he says, breath hot on my nape. \u201cMy prima donna, happy.\u201d<\/p>\n<p>The ballet was an early graduation surprise; this morning, he burst through my front door and smugly slapped down two VIP tickets on the counter. I screamed and jumped into his arms, tongue down his throat, a well-choreographed dance between the two of us as he untangled my bra and migrated us to the couch, pushing himself inside me as I clung onto his neck, not even bothering to shut the blinds. After he left for work, I ate a slice of the red velvet cake Henry brought back last night, moist and light with a dusting of cinnamon. I licked the plate. I had a second slice. It all feels so foreign now, a distant movie. An echo.<\/p>\n<p>With some difficulty, Henry slips a hand through the slit of my skirt. Right before we sat down, he complained that I wasn\u2019t wearing the dress he bought me, a black scallop-y number with a deep neckline, but he doesn\u2019t seem too displeased right now. His forefinger rubs against my panties, searching for my clit. I worm back in my seat and abruptly vice my legs shut around his wrist. He grunts in pain and people around us shuffle at the interruption. His fingers retreat into his lap, his face hurt and confused as, on stage, Giselle glissades across the fields, clapping her legs, the chiffon of her skirt settling repeatedly around her like dust clouds.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>A few months ago, I emptied part of my closet for Henry. I crammed my mother\u2019s old practice tutus and <em>qipaos <\/em>in two Dollar Tree bins and shoved them in my furnace room. My landlord warned me about storing things there. Something about a fire hazard, the airflow, but everything is a risk when you have no space. All the buildings in the University District are frail and post-colonially tragic. Just the rumble of a nearby bus could crack the pipes and burst a leak full of asbestos.<\/p>\n<p>\u201cYou sure about this?\u201d He shrugged out of his sports jacket and hung it up on a hanger that once clipped onto my mother\u2019s teal romantic tutu. \u201cDidn\u2019t you have, like, a million lace skirts and ancient Chinese dresses here?\u201d<\/p>\n<p>\u201cThey\u2019ll live.\u201d If it were at all possible, my mother would have risen from her grave like a Wilis and shat blood if she saw what I did to her clothes, more so than when she discovered my father\u2019s whore.<\/p>\n<p>I plucked off a piece of dog fur off Henry\u2019s shirt, waving it in front of his nose, and he smiled apologetically, hands in the air.<\/p>\n<p>\u201cI tried to brush it all off before I came in, kitten. Honest.\u201d<\/p>\n<p>\u201cCan\u2019t you move out?\u201d I pouted and pursed my lips. \u201cI never get to visit you because of your roommate\u2019s dog. And it\u2019s not like you can\u2019t afford it.\u201d<\/p>\n<p>He laughed and pecked my nose. \u201cGod, how can you be so adorable?\u201d<\/p>\n<p>\u201cHenry,\u201d I whined. \u201cI\u2019m serious.\u201d<\/p>\n<p>\u201cI\u2019ll keep a lint roller at work. Promise.\u201d<\/p>\n<p>Henry did something business-y for work, with involved conference calls and business trips. When he was gone, it was for days, sometimes weeks. But when he was here, he was a fixture, waiting for me every afternoon after class. Fresh cut flowers in the corner, gifts on my bar counter. Lilies and sunflowers, baby\u2019s breath and roses, slinky Versace dresses, skinny patent Choo stilettos wrapped in tissue paper, diamond and sterling Cartier earrings, frosted cuts of red velvet cake slathered thick with cinnamon Chantilly cream, fruit tarts glazed shiny with syrup, pavlovas and Eton messes he\u2019d eat off my stomach, my breasts, licking the meringue off my navel. I never asked why. He was a magician, pulling wonders from every pocket, coming and going in fistfuls of smoke. And I willed myself to believe, to clap for the spectacle: you never ask about the hand behind the illusion.<\/p>\n<p>In the closet, Henry unbuttoned his shirt, exposing his collarbone, and I wanted to bite him. As if he could read my mind, he pushed me down to my knees. As I unzipped his pants, he whispered, his fist wrapped around my braid, \u201cBe a good girl, won\u2019t you?\u201d<\/p>\n<p>He came by every day that month\u2014the longest stint he\u2019d ever stayed\u2014and each time he filled the closet, we fucked repeatedly on the floor over his fallen coats and my jeans. Soon, there were columns of black and blue ties in my drawer rolled equidistant from each other, spaced out like buns to be steamed. Monochrome dress shirts were ironed, pressed, and hung by color on the railing with velvet hangers. Engraved collar stays stood in a square tin, clip ties assembled, like minutemen, in a separate compartment. Blazers were linted free of his roommate\u2019s dog\u2019s fur, then kept spotless in nylon dry-cleaning wraps ready to be zipped open and presented like an art exhibition.<\/p>\n<p>At night, when he wasn\u2019t here, when I couldn\u2019t sleep, I laid down in the closet, his clothes brushed above me like a midnight sky, his scent\u2014musk, cologne, honey and sugar\u2014twisted in my hair. I\u2019d touch the silk of his ties, the cashmere and mohair of his blazers. I\u2019d imagine him holding me, pinning me down, calling my name. And here, everywhere, was evidence that he was mine. He would come back. He would stay.<\/p>\n<p>To want, then to have; to hunger, then to satiate. What a beautiful, perfect thing.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Giselle\u2019s mother, Berthe, looks as if someone\u2019s pissed in her shoes. She despises Loys, doesn\u2019t trust him\u2014she wants Giselle to be with Hilarion instead, the village gamekeeper and incel who pines for Giselle from dark and dusty corners. With a furious shake of her head, Berthe leads her daughter back into their cardboard cottage. Henry nudges my heel.<\/p>\n<p>\u201cKitten, what\u2019s wrong?\u201d<\/p>\n<p>\u201cNothing, nothing,\u201d I murmur.<\/p>\n<p>\u201cJade, you\u2019re crying\u2014\u201d I\u2019m not crying. But maybe he wants me to be, to have a tangible reason for my rejection. He strokes my hair and I stay imperceptibly still, like a wounded animal. It feels as if everyone around us is watching us and not the stage where Hilarion stalks about Loys\u2019s house like a deranged hyena, hunting for evidence of his possible deception. \u201cDid I do something? Kitten, please, just talk to me.\u201d<\/p>\n<p>\u201cHenry, I want to watch this.\u201d My mother would have called all these ballerinas fat. Wrinkly, even, if they were older than twenty-two. On weekends, we used to sit in the nosebleeds, sometimes with the whole row to ourselves, and she\u2019d tell me which dancers were puking out their meals and which ones wouldn\u2019t make it.<\/p>\n<p>\u201cWait, wait,\u201d I had said, once. My mother and I were watching <em>Swan Lake<\/em>, one of her favorite ballets. On stage was the famous <em>pas de quatre<\/em>, where the four cygnets skipped in linked harmony. \u201cThe middle one\u2014\u201d<\/p>\n<p>\u201cMiddle left.\u201d<\/p>\n<p>\u201cThe one that looks like a Pillsbury dough girl? You think she pukes?\u201d<\/p>\n<p>She nodded, gloating.<\/p>\n<p>\u201cThe last one you said was a puker looked anorexic.\u201d Sitting in the back, with enough distance, the ballerinas didn\u2019t even seem real, but Barbie dolls come alive. I loved watching their pancake tutus flounce.<\/p>\n<p>\u201cI told you, it\u2019s not about their size. It\u2019s, you know, their pallor. Their teeth.\u201d<\/p>\n<p>I squinted. \u201cHow can you even see that far?\u201d<\/p>\n<p>\u201cIf you did more than even a few years of ballet, you\u2019d know too.\u201d My mother, Li-Li, was almost considered for soloist at the company we were watching, the Pacific Northwest Ballet Company. The first Asian American soloist. She was born for the role: hyperextended legs, perfect Svetlana arches, a penchant for the dramatic. But she quit after the divorce, when I was seven. Until her death, she taught at a private studio in Capitol Hill, a cramped office space sandwiched between a pretzel shop and a Famous Footwear.<\/p>\n<p>My mother had been known for results. Her prot\u00e9g\u00e9s, the ones that continued, went on to companies, conservatories, even a few off-Broadway productions. But she wasn\u2019t loved. None of her past students visited or even wrote when she died. If she was remembered in their lives, I knew it would be for her relentless screaming. There was always a reason\u2014foot sickling during relev\u00e9s, back leg heaviness in saut de chats, excessive traveling while fouetting\u2014 though the most devastating insults she reserved for the dancers that gained weight. She\u2019d point at them and oink. Or quietly, matter-of-factly, almost gently, tell them she could see their lunch. After class, she\u2019d remind them of the chocolate laxatives in her office, the ones she displayed proudly in a metal salad bowl by her office window. No one ever took them. They remained there, stale and gummy and expired, until I cleaned out her office last year.<\/p>\n<p>When the four cygnets in Swan Lake pranced off into their respective corners, my mother hung her head. \u201cFucking fuck motherfucker.\u201d She spat at the hem of her favorite blue <em>qipao<\/em>. I peered down at her feet, mottled and bruised, tucked in a pair of gel-padded Clarks. At night, she soaked her legs in Epson salt baths, rubbed Bengay on her joints and, right before bed, popped prescription strength Ibuprofen like Skittles. \u201cFucking fuck fuck. If that stupid fucking fuck cunt of a <em>hulijing <\/em>didn\u2019t steal your father away, I might have even made principal.\u201d<\/p>\n<p>This was my mother\u2019s constant refrain. I heard it after every show, every class she taught. Years after they separated, my mother cursed the \u201c<em>hulijing <\/em>bitch\/whore\/fucker\u201d that seduced my father. I hardly remember my father, the man who visited once every blue moon to bring me a stuffie of a giraffe, an elephant, a bear. They used to sleep with me until we incinerated everything of his in the backyard.<\/p>\n<p>That night he left, everything we had of his rose up in stacks of smoke: photo albums, the earrings and necklaces he bought her, old wedding tapes of them dancing together at the Fairmont as my mother beamed, as she tilted her head and laughed, coiffed hair tumbling down the back of a crimson red, bone-tight <em>qipao<\/em>. In stark contrast, that night, my mother had laid in front of the fire, screaming curses at the <em>hulijing<\/em>, her arms pounding the dirt senseless as our neighbors\u2019 dogs howled with her. I tossed my toys into the fiery trash can in camaraderie, the flames licking up the polyester and beady, plastic eyes. A week after my parents\u2019 separation, my father and the <em>hulijing <\/em>had eloped. She\u2019s pretty. She friended me on Facebook a few years ago. I have two half-siblings and they have her wavy brown hair, his green eyes. She doesn\u2019t look much older than me. Her lips are a bloody red in all her photos, juicy and lined plump. She must fuck nice. Well. She must fuck nicer than my mother.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Henry smooths out my cheeks, but they\u2019re dry. I know when intermission comes, he\u2019ll want to talk. The harvest festivities begin on stage as Hilarion beats the drum and the village corps slice their legs into the air once more. My mother should have played Giselle; it should have been her that I\u2019m watching. After some time, soloists get considered, they get promoted, then years later, they become principal. Or maybe she was too old. Too pregnant. Too fat. Too wrinkly. Maybe I could have been on the stage, as one of the villagers in the corps de ballet.<\/p>\n<p>\u201cKitten, was this too soon?\u201d Henry looks more tearful than I do. \u201cDo you want me to take you home? I thought bringing you here would make you feel better tonight.\u201d He\u2019s hurting because he thinks I\u2019m hurting for my mother. I know this. And so, strangely, I feel like the monster when it should be the other way around.<\/p>\n<p>Giselle is crowned the harvest queen. She performs an unreasonable and dizzying number of pique turns on the stage, spinning like a rapidly blooming flower. It stings to look at even the fringes of her skirt, the way it billows like a ripple under ice. A few days after my mother\u2019s wake, I stayed overnight in her studio office. Dark, dusty, alone, in the glowing light of a grainy CRT, I rewound one of her old practice tapes. It\u2019s the early nineties, sometime in July. My mother is fifteen, a twiggy, bright-eyed, clear-skinned marvel. She looks like a young Maggie Cheung, her jet-black hair pinned in a Dutch braided bun as she stands to prim attention in a dim and empty auditorium. Light on a foggy day filters through the ceiling cracks. Someone shouts for her to hurry the fuck up already and my mother springs up. Thirty-two fouett\u00e9 spins and I couldn\u2019t help but gasp, be in awe, starstruck. An enchanting, effortless smile. Her outstretched leg bobbing and weaving, bobbing and weaving, as if she\u2019s whipping cream. If only I could bottle her spins and wear it as perfume, but what do I know? Off-screen, the same person screams at her in Mandarin. A wrinkled, liver-spotted palm emerges to slap her across the cheek. The sound echoes, explodes. My mother spins, 360, before collapsing onto the floor. Unintelligible screeching, then something about her wobbling arms, traveling near the end turns. The beratement turns to insults and provocations. \u201cYou fuck up. Is this it? Is this all you can do? How do you think you\u2019re going to make ABT? Lincoln Center? The Bolshoi? Not even fit to lick Gillem\u2019s pointe shoes\u2014\u201d And my mother\u2019s eyes blacken. She shoves aside the hand and performs the fouett\u00e9s again and again and again. And again. Until the vamp of her one pointe shoes begins to spot with blood and her camisole is drenched in sweat. And in the Capitol Hill studio office, where my adult mother once sat nightly, wearing the faux leather seat of her chair thin, watching this same clip of herself as a teenager being screamed at by her own mother, I also rewound the tape again. And again and again and again.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>My mother had enrolled me in an international ballet academy when I was four. I wasn\u2019t a prodigy, but I wasn\u2019t untalented either. The teachers\u2014all Russian or German with long canes, beaded glasses, and floral jazz pants\u2014tutted at my flat feet and natural inflexibility, but noted I could still develop good lines. Possess a stable carriage. Tone up my calves. But my mother was never pleased by my progress. She wasn\u2019t allowed in the studio with me, but after class, when I showed her my drills on the barre, flinching with every rise of her voice, she\u2019d weep. \u201cWhy are you out of breath, Jade? Why? If you want to do this as a career, you should make it look easy.\u201d<\/p>\n<p>It didn\u2019t matter, anyway. At nine, just as I was about to start <em>en pointe<\/em>, I fractured my ankle riding my bike. It healed after a few weeks, but my mother withdrew me from classes while I was still in crutches. Temporarily, I thought, but she never brought up my ballet classes again. She still taught ballet, talked to me about ballet, still bought us tickets for every tour at McCaw Hall. But I was never asked to lose weight or dance again.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Just a few hours ago, before the play and after Henry left for work, I took a shower and stalked around, naked except for a pair of Louboutin\u2019s, admiring my reflection before shimmying into the scalloped Prada dress he bought me. I sneaked another bite of the red velvet cake, crumbs dotting the corners of my lips. I hummed, curled my hair. Put on green contacts. Spent hours on my makeup, getting the wings just right. Then I looked for the blazer he wanted to switch into for the show tonight.<\/p>\n<p>I unzipped the plastic. There was a crinkle in one of the pockets, a dry cleaner\u2019s receipt from last week. It\u2019s in Belltown, where Henry lives. I was about to toss it when I noticed, in loopy purple handwriting, a note on the back:<\/p>\n<p style=\"padding-left: 40px;\"><em>Henry,<br \/>\n<\/em><em>Picked this up at the dry cleaner&#8217;s next door before you could forget again (for the umpteenth time, you ninny). Have fun at work, but don\u2019t have too much fun without me. Miss you already.<br \/>\n<\/em><em>XOXO<br \/>\n<\/em><em>Kitty (and Bear)<\/em><\/p>\n<p>I smoothed it out several times. My thumb lingered over the love, the name, the kisses. The handwriting was a calligraphic cursive you might see annotated in a book of poetry\u2014long romantic slants with fat, loopy ascenders and descenders. I searched the pocket again and my fingers emerged with a ball of tweed fuzz, a few strands of his roommate\u2019s dog fur. I rolled the strands in my fingers. They were dark brown, slightly curly, just like always.<\/p>\n<p>I knew I should have felt angry or sad\u2014primitive, simple, reasonable emotions. But all I could think of was Henry the night before at our favorite ramen spot, passing me a small pot of <em>shichimi <\/em>pepper flakes before I even asked. He ordered me extra soup because I never had enough for leftovers. He picked out the wood ear mushrooms in my bowl and gave me his soft-boiled egg, the yolk a gooey amber, my favorite. He\u2019s terrible with chopsticks. When his noodles kept slipping back into his bowl, splashing us both sticky with broth, I slapped down a plastic fork from my purse. He laughed. God, the timbre of it. The cadence. My heart swelled. My cheeks simmered, brimmed, overflowed. And I still remember everything. The dim bar table. The blue of his eyes. The wood chip in the table, the warmth of his fingers around my waist, our knees bumping, and I imagined telling our children about this moment, the moment where I knew I\u2019d marry him, and it all feels so silly to think about, so silly, because how? How could I, of all people, not have seen this coming?<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>A little after I found the receipt, I drove into the city proper in my mother\u2019s Camry and parked a block away from the laundromat on the receipt. Drizzle tickled down the windows. At home, I had scanned the area on my phone, wandering aimlessly on Google Street View.<\/p>\n<p>I headed towards the laundromat, receipt clenched between my fingers. Next to it was a decorative cake bakery, one with 4.8 stars and a few hundred reviews, the very same I saw virtually. The windowpane of the bakery glowed with bright white wedding cakes stacked tall and proud, evenly tiered like neat white packages. Fat fondant bows. Edible white chocolate rhinestones. Sugar birds and flowers split down layers in a toppling waterfall. Ballerina cake toppers in a rotating carousel by the door. I headed in, the bells loud and abrasive, and my hands closed in on one of the ballerinas, the tutu coarse and fibrous in my palms.<\/p>\n<p>\u201cHello!\u201d I turned. An older, pudgy blonde woman emerged from a set of swinging doors, her hair wrapped in a bandana. Freckles and lines tracked across her cheeks. \u201cCan I help you?\u201d<\/p>\n<p>I opened my mouth, but nothing came out. After a few moments of awkward silence, she cocked her head. \u201cWe have a few samples, if you\u2019d like to try.\u201d<\/p>\n<p>I drifted towards the front, as if crested by a wave. My heels clicked against the linoleum. Every echo was a gunshot in my head. She nodded, encouraging and beckoning me as if I were a puppy that she had just begun training, and handed me a slice of sheet cake barely thicker than a sheet of cardstock.<\/p>\n<p>It was delicious. Of course it was. Just like I\u2019d expected. Sweet and moist red velvet, the buttercream whipped and airy with a touch of cinnamon, just like the one Henry had brought this morning. No one else made cake like this. I asked him where he bought his desserts and he said, \u201cSomewhere near home,\u201d almost dismissively, as he kissed my ear.<\/p>\n<p>When I glanced up, the woman smiled. A floppy golden tag dangled off her apron. Absentmindedly, she righted it. KITTY. Kitty, for Kittery Bakery.<\/p>\n<p>And so, all of a sudden, I sniffled, which I tried to stop by covering my mouth, but the stopping turned everything into tears, then sobs, then full on wailing as I squatted on the floor, head between my knees. At some point, I might have howled. Kitty was alarmed. She asked me if I was all right, if I was in pain. She darted around the bar and waved a paper towel in front of my face, but I didn\u2019t take it, couldn\u2019t take it, because I still had the receipt, the note, clenched in my fist and so the towel fell to the floor as she stroked my back, gripped my shaking hands. Her fingers were calloused, plump, and warm. So warm. She was the kind of woman my mother would make fun of. A fatty. A woman who had let herself go. In my other hand, I clutched at the fabric of my skirt, bunching up the black silk. We stayed like this a while, seconds, minutes, hours, me unraveling in her place of business like a twisted skein of yarn and she sat by me, not even attempting to quell my tears anymore. She just let me finish.<\/p>\n<p>In a brief break between my guttural cries, she said, \u201cSweetheart, are you all right? Do you need me to call someone?\u201d<\/p>\n<p>I looked up. Her face was round and soft and dented in all the wrong spots. Sunlight beamed across her hair, lighting the strands into gold flax. My mother would have told Kitty, to her face, that her skin was too dry. She would have said she needed moisturizer and sunscreen. She would have recommended her brands. Japanese ones, probably, because of the advanced UV filters. Then, she would have said to me, later, \u201cYour father\u2019s <em>hulijing <\/em>doesn\u2019t wear SPF. That\u2019s why she cakes on that disgusting <em>laowai <\/em>makeup.\u201d And I would have laughed.<\/p>\n<p>\u201cNo,\u201d I said. \u201cI just\u2026\u201d The receipt had grown rippled and wilted and petal soft between my fingers. Henry came inside of me this morning without a condom. I let him, because I didn\u2019t care, and I loved that I didn\u2019t care. The pit of my belly twinged. I could hand the receipt to her and leave. I could hand it to her and never see her again. But then I remembered my mother screaming in front of the fire pit, my stuffed animals and father\u2019s photos disintegrating into ash, her weeping silently, endlessly, as she flipped through albums of her old performances, watched her child-self twirl like a top on screen. I balled the receipt, stuffed it in my mouth, chewed, then swallowed. Then I stood up. Brushed the dust off my skit. And ran outside, back into the rain.<\/p>\n<p>The doorbells jingled. In my periphery, I saw Kitty\u2019s mouth open, soundless. I jaywalked across the street, then beelined for the Camry. I pressed myself at the driver\u2019s side door, heaving as my palms pressed up and squeaked against the slippery metal. I stared at my reflection. Bushy black curls down my back. Sickly cream smothered on my cheeks. Strappy stilettos with the thin, silver buckles and a bloody bottom. The tight black slip Henry bought me, just two months ago. My contoured cheekbones. My sharp collarbones. My cleavage. The green contacts in my eyes. He loved running his hands up and down my ribcage, feeling the protrusions of my hips. My sharp, crimson nails. He said he loved me. He said that I was beautiful.<\/p>\n<p>\u201c<em>Hulijing,<\/em>\u201d I whispered. I kneeled and shoved two fingers down my throat, extending my knuckles deep past the ridges I remembered so well as a child. My mother taught me how to throw up when I was nine. It was something all great dancers did and she wanted to instruct me on the proper, safe way to do it. After I finished\u2014my evening meal of salad and grilled chicken in a masticated puddle swimming in the toilet bowl\u2019s surface\u2014I wiped my lips, coughing. \u201cDid I do this right?\u201d<\/p>\n<p>Vomit streamed down the hem of my black slip and calves. The stink of bile wafted away with the rain and I swam my dirtied hands through the gutter water. Pieces of the receipt floated, then sunk towards the grates. Cake crumbs, dark red and congealed, half-decomposed and softened, hung, with my saliva, like puppet strings down my fingers. After my mother had flushed, wiped my swollen cheeks, she cradled me in her arms. When I looked up at her, her own face was wet with tears. \u201cOh, Jadie,\u201d she said. \u201cWhat have I done to you?\u201d<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>With a brandishing of Loys\u2019s sword, Hilarion reveals that Loys is, in truth, the nobleman, Albrecht, engaged to Bathilde. Giselle is horrified. She twirls and descends into madness, a la Red Shoes style, until she reaches for Loys\u2019 sword and guts herself. Berthe holds Giselle in her arms and weeps.<\/p>\n<p>The curtains close and the bright lights flutter on, signaling intermission. Henry stretches his arms.<\/p>\n<p>\u201cCan you get me a drink?\u201d I speak without looking at him.<\/p>\n<p>\u201cI thought we could talk.\u201d<\/p>\n<p>\u201cA gin and tonic. Please.\u201d<\/p>\n<p>\u201cKitten\u2026\u201d<\/p>\n<p>\u201cPlease.\u201d<\/p>\n<p>He touches my shoulder, gently. \u201cAll right, I\u2019ll be back.\u201d Before he leaves, his eyes linger on my body. \u201cHave I mentioned how sexy and beautiful you look in that Chinese dress?\u201d<\/p>\n<p>I shake my head. In spite of myself, part of me wants to relent. He crouches in front of me, cups my face in his hands.<\/p>\n<p>\u201cI thought bringing you here would make you happy, cheer you up.\u201d<\/p>\n<p>\u201cIt did.\u201d<\/p>\n<p>\u201cKitten, do you know I love you? Do you?\u201d Part of me still hungers for his touch. If only I could let myself lean in, cling on, never let go. I start to cry. \u201cJade, won\u2019t you tell me what\u2019s wrong?\u201d<\/p>\n<p>\u201cA drink, first. We have thirty minutes until curtains.\u201d<\/p>\n<p>\u201cI\u2019ll be back.\u201d He drapes his blazer around my shoulders and pecks my forehead. It smells like him\u2014musky, inviting, cinnamon sweet. I watch him leave as I press the fabric into my nose. I let the scent linger and, for a moment, it\u2019s the only thing I have, the only thing I am.<\/p>\n<p>I put Henry\u2019s coat down by my feet. I step on the lapel with my Louboutin\u2019s, then head out towards the drizzle, into an Uber home.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Back home from the ballet, I change out of my <em>qipao<\/em>. This was the only dress I had managed to save from the leaky pipe in the closet. When I opened the cracked bins earlier in the evening, everything\u2014my mother\u2019s tutus, the pointe shoes she saved from every big performance, her <em>qipaos<\/em> and dresses\u2014had been choking themselves in scum and sewage water for months.<\/p>\n<p>The vivacious colors, the delicate silk, the lace, the pomp, the romance, the glitter, the embroidered chrysanthemums and orchids and camellias and azaleas\u2014everything had bloated, everything had shrunken, everything frayed, disintegrated into white and grease and grey as I swam my shaking palms into the boxes. Each dress emerged from the mildewed bog like wet corpses, each one more irreparable and unrecognizable than the last, each one a deeper, more twisted wrench in my gut. I smoothed my fingers over what was my mother\u2019s wedding <em>qipao, <\/em>the one from her videos<em>, <\/em>and the once-red-now-orange-grey silk tore apart, like fresh bread, into crumbs between my fingers.<\/p>\n<p>Before I left for the show, I soaked the salvageable pairs of pointe shoes in a bucket. I grab and rinse off a pair labeled \u2018The Nutcracker\u2019. When I was a child, I didn\u2019t ask for bedtime stories, but performances. In her Juicy sweats and a ratty Doraemon T-shirt, my mother attempted the <em>Dance of the Sugar Plum Fairy<\/em> for me, my nightlight her only limelight as she effortlessly soared and leapt on the crescendos and decrescendos, twirling on one leg as sweat spilled down her temples. She always treated every dance, whether for a crowd of thousands or for her only daughter, like her one and only lifeline.<\/p>\n<p>I try on the pointe shoes. They\u2019re soaking wet, but I slip my feet in anyway; the cardboard bends and the material squishes. She\u2019s a size smaller than me, but I scrunch my toes, bones and all. In my underwear, I lace up the shoes like I remember and attempt <em>en pointe<\/em>. At first, I marvel at how I look in the mirror, how my calves look like hers, so long and so lean, but after a few seconds, it hurts. It hurts. It hurts my toes, my ankles, even my knees, and the pain radiates until I can\u2019t take it anymore. I peel them off and slap them in the sink bowl, my mother\u2019s Sharpie label of \u2018Sleeping Beauty\u2019 illegible against the velvet.<\/p>\n<p>Henry calls again. And again and again and again.<\/p>\n<p>I couldn\u2019t keep much when I packed up my mother\u2019s apartment, not that she had much to begin with. She kept to a spartan-like minimalism and practicality. There were only two photos in her house and they were both taped to the fridge: a selfie of us at my high school graduation and a photo of herself at sixteen, dancing as Rosaline in <em>Romeo and Juliet<\/em>. I kept both photos, then boxed and donated what I could\u2014furniture, dishware and cutlery, her sewing machine\u2014and I struggled with tossing what I knew no one could want and I couldn\u2019t keep\u2014her old tax forms and receipts, used makeup, the birthday and Mother\u2019s Day cards I sent her over the years. One evening, shortly after the Salvation Army took away her bed and armoire, I cried over a box of her toe spacers, the silicone nubs wriggling in a shoebox like little, rolling caterpillars.<\/p>\n<p>I gather a handful of the irreparable tutus and the <em>qipaos<\/em> and chuck them in the tub. I run hot water until it overflows, until it\u2019s a sea of washed-out color, grease and sewage coating me like darkened puddles. I have made a shitty dress soup. Henry calls again. A text flashes across the screen:<\/p>\n<p><em>I\u2019m coming over<\/em>.<\/p>\n<p>I sink in the bathtub, naked. The tutus and <em>qipao<\/em>s float around me like deadened, oily jellyfish. One of Henry\u2019s jackets is wrapped around me, the shoulder pads drenched from my wet curls. Mold and sweat and sugar linger in the air. A blond strand of hair drags to the surface between my red nails, catches light. I press it to my breasts, set it free.<\/p>\n<hr \/>\n<p><em><br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-20606\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-scaled.jpeg\" alt=\"\" width=\"250\" height=\"141\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-scaled.jpeg 2560w, https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-640x360.jpeg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-1280x720.jpeg 1280w, https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-768x432.jpeg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-1536x864.jpeg 1536w, https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-2048x1152.jpeg 2048w, https:\/\/mastersreview.com\/files\/2026\/08\/Kundiman_23_StephanieIsan-takenbyJessXSnow-159-1-320x180.jpeg 320w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/>Stephanie Isan (she\/they) is the pen name of a queer Taiwanese American writer, poet, and software engineer. Their work has been generously supported by Kundiman, the Tin House Workshop, the Juniper Institute Fellowship, and the Kenyon Review Writers Workshop. Her writing is published and\/or forthcoming in\u00a0<\/em>AGNI<em>, <\/em>Joyland Mag<em>, <\/em>Split Lip<em>, <\/em>Five Points<em>, <\/em>The Bellevue Literary Review<em>, <\/em>Epiphany<em>, and others. You can find out more about them at\u00a0<a href=\"http:\/\/stephanieisan.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/stephanieisan.com&amp;source=gmail&amp;ust=1786872218048000&amp;usg=AOvVaw2josKr9NglVl5WBoVDF7tw\">stephanieisan.com<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jade&#8217;s mother, a renowned ballet teacher, has recently died. In an attempt to comfort and impress her, Jade&#8217;s boyfriend gifts her tickets to Giselle. Over the course of the ballet, with her boyfriend growing increasingly arduous, Jade reflects on the ways in which she has lost\u00a0 herself to her roles as accommodating girlfriend and submissive daughter. Can Jade break free from her mother&#8217;s damaging perfectionism or will she forever be trapped in the quest for&#8230;<\/p>\n","protected":false},"author":3,"featured_media":20603,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[540,551,211,37],"tags":[553,53,496],"class_list":["post-20601","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-posts","category-publications","category-short-story-award","category-awards","tag-1st-person","tag-fiction","tag-highlight"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"Jade&#039;s mother, a renowned ballet teacher, has recently died. In an attempt to comfort and impress her, Jade&#039;s boyfriend gifts her tickets to Giselle. 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Over the course of the ballet, with her boyfriend growing increasingly arduous, Jade reflects on the ways in which she has lost herself to her roles as accommodating girlfriend and submissive","twitter:creator":"@MastersReview"},"aioseo_meta_data":{"post_id":"20601","title":null,"description":null,"keywords":null,"keyphrases":{"focus":{"keyphrase":"","score":0,"analysis":{"keyphraseInTitle":{"score":0,"maxScore":9,"error":1}}},"additional":[]},"primary_term":null,"canonical_url":null,"og_title":null,"og_description":null,"og_object_type":"default","og_image_type":"default","og_image_url":null,"og_image_width":null,"og_image_height":null,"og_image_custom_url":null,"og_image_custom_fields":null,"og_video":"","og_custom_url":null,"og_article_section":null,"og_article_tags":null,"twitter_use_og":false,"twitter_card":"default","twitter_image_type":"default","twitter_image_url":null,"twitter_image_custom_url":null,"twitter_image_custom_fields":null,"twitter_title":null,"twitter_description":null,"schema":{"blockGraphs":[],"customGraphs":[],"default":{"data":{"Article":[],"Course":[],"Dataset":[],"FAQPage":[],"Movie":[],"Person":[],"Product":[],"ProductReview":[],"Car":[],"Recipe":[],"Service":[],"SoftwareApplication":[],"WebPage":[]},"graphName":"BlogPosting","isEnabled":true},"graphs":[]},"schema_type":"default","schema_type_options":null,"pillar_content":false,"robots_default":true,"robots_noindex":false,"robots_noarchive":false,"robots_nosnippet":false,"robots_nofollow":false,"robots_noimageindex":false,"robots_noodp":false,"robots_notranslate":false,"robots_max_snippet":"-1","robots_max_videopreview":"-1","robots_max_imagepreview":"large","priority":null,"frequency":"default","local_seo":null,"limit_modified_date":false,"created":"2026-08-16 00:10:06","updated":"2026-08-31 14:21:58","ai":{"faqs":[],"keyPoints":[],"schemas":[],"titles":[],"descriptions":[],"socialPosts":{"email":{"subject":"","preview":"","content":""},"linkedin":[],"twitter":[],"facebook":[],"instagram":[]}},"breadcrumb_settings":null,"seo_analyzer_scan_date":null,"focus_keyword":null,"additional_keywords":null,"truseo_locale":null},"aioseo_breadcrumb":"<div class=\"aioseo-breadcrumbs\"><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/mastersreview.com\/\" title=\"Home\">Home<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">\u00bb<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/mastersreview.com\/awards\/\" title=\"Winning Work\">Winning Work<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">\u00bb<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\tWinter Short Story Award Honorable Mention: \u201cHulijing\u201d by Stephanie Isan\n\t\t<\/span><\/div>","aioseo_breadcrumb_json":[{"label":"Home","link":"https:\/\/mastersreview.com\/"},{"label":"Winning Work","link":"https:\/\/mastersreview.com\/awards\/"},{"label":"Winter Short Story Award Honorable Mention: &#8220;Hulijing&#8221; by Stephanie Isan","link":"https:\/\/mastersreview.com\/winter-short-story-award-honorable-mention-hulijing-by-stephanie-isan\/"}],"_links":{"self":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20601","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/comments?post=20601"}],"version-history":[{"count":7,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20601\/revisions"}],"predecessor-version":[{"id":20641,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20601\/revisions\/20641"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/media\/20603"}],"wp:attachment":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/media?parent=20601"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/categories?post=20601"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/tags?post=20601"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":20558,"date":"2026-08-30T05:30:09","date_gmt":"2026-08-30T12:30:09","guid":{"rendered":"https:\/\/mastersreview.com\/?p=20558"},"modified":"2026-08-10T12:20:52","modified_gmt":"2026-08-10T19:20:52","slug":"writers-on-not-writing-chelsea-utecht-and-kathy-shiels-tully","status":"publish","type":"post","link":"https:\/\/mastersreview.com\/writers-on-not-writing-chelsea-utecht-and-kathy-shiels-tully\/","title":{"rendered":"Writers on Not Writing: Chelsea Utecht and Kathy Shiels Tully"},"content":{"rendered":"<p><em>Writers pour so much energy into their craft that sometimes we forget that creative pursuits other than writing can fill us up in other important ways. Here, we\u2019ll look at what writers do when they aren\u2019t writing, and how those pursuits affect the return to the page. This month, we hear from two writers\u2014Chelsea Utecht and Kathy Shiels Tully\u2014one who digs for artifacts and the other who taps into her crafty side. <\/em><\/p>\n<p><em>What fills you up creatively when you\u2019re not writing? If you\u2019d like to contribute to the Writers on Not Writing series, email jen@mastersreview.com. We can\u2019t wait to hear from you!<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-20560 size-full alignleft\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/WritersOnNotWriting.jpg\" alt=\"\" width=\"956\" height=\"665\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/WritersOnNotWriting.jpg 956w, https:\/\/mastersreview.com\/files\/2026\/08\/WritersOnNotWriting-640x445.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/WritersOnNotWriting-768x534.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/WritersOnNotWriting-320x223.jpg 320w\" sizes=\"auto, (max-width: 956px) 100vw, 956px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>The air is cooler two and a half meters underground. There&#8217;s enough shade so that, except for the very height of the sun, I don&#8217;t need the umbrella precariously balanced above me, its pole weighted down by rocks that are part of a collapsed Iron Age wall, a staircase, or just some rocks. This is the best, and hardest, part of archeological excavation\u2014the not knowing, the guessing, even the being wrong.<\/p>\n<p>When I was young, I wanted to be an archeologist. Okay, I wanted to be Lara Croft, but that\u2019s pretty close. The desire was supposed to go away, but never did. A few years ago, I was given the advice, &#8220;Go on one excavation. That\u2019ll get it out of your system real quick.\u201d In 2020 the country of Georgia was closed off to keep COVID at bay (spoilers: it was unsuccessful); this measure also kept out the archeology students who were supposed to volunteer at the excavation (this was much more successful). The university was desperate. They were willing to take the utterly clueless, for which I was qualified.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-20564\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-640x852.jpg\" alt=\"\" width=\"250\" height=\"333\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-640x852.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-1280x1705.jpg 1280w, https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-768x1023.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-1153x1536.jpg 1153w, https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-1538x2048.jpg 1538w, https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-320x426.jpg 320w, https:\/\/mastersreview.com\/files\/2026\/08\/PXL_20260624_111103360.MP_-scaled.jpg 1922w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/>Far from \u201cgetting it out of my system,\u201d I fell in love. The slow, meditative removal of the dirt to reveal something long buried is such a far cry from the rush of the everyday. There is a camaraderie among the archeologists, hopes for what might be ten more centimeters below the surface, inside jokes that are too specific and, frankly, too unfunny to land anywhere else (\u201cbasic\u201d became Doric, \u201ciconic\u201d took the short step to Ionic, and \u201cdoing too much\u201d became Corinthian). All these years later, and most of a masters degree, I can\u2019t help but return to the trenches.<\/p>\n<p>The writing is never really gone, though. In the paperwork (of which there is a staggering amount for a hilltop with no Wi-Fi) we can only describe what we see, but the writer part of my brain never turns off all the way. As I hold a piece of 2,600-year-old pottery in my hand and wonder at the incision made with a fingernail, I run my own fingernail along the ridge and wonder at the person who put it there.<\/p>\n<p>Now, excavation season over, I return to writing once more, refreshed and with a new mindset. I\u2019m not bogged down by the pressure to outline, draft cleanly, or hit all the story beats. I don\u2019t even feel pressure for my writing to necessarily yield anything. Instead, I see writing not as a recipe to be followed, but an excavation. This has rekindled my excitement of discover. I write with a plan, or at least with a hope, but not with the answers. I write even though I&#8217;m not sure what&#8217;s there just beneath the surface\u2014or even two and a half meters beneath the surface. I remind myself that there\u2019s no way of knowing if what I\u2019m writing is worth anything, and I won\u2019t know until I\u2019ve gotten my hands good and dirty and dug in.<\/p>\n<p style=\"padding-left: 40px;\"><em>Chelsea Utecht<\/em><\/p>\n<hr \/>\n<p>&nbsp;<\/p>\n<p>One day, I spotted a notice posted at my local library advertising a free class on decoupaging shells.<\/p>\n<p>I groaned, rolled my eyes.<\/p>\n<p>Then I signed up.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-20563\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/IMG_4830.jpg\" alt=\"\" width=\"275\" height=\"206\" \/>On the day of the class, there, in the library\u2019s community room, tables were set up with white paper towel placemats, two paint brushes, a cup of pre-poured Mod Podge, and one large, precleaned clam shell, which had already been painted white inside and out. One table was covered with piles of prettily pattered napkins, an assortment of colorful paint bottles, and more paintbrushes. Twenty women, mostly older, with all levels of artistic abilities, attended.<\/p>\n<p>That day, my life\u2014including my writing life\u2014changed.<\/p>\n<p>During the class, we weren\u2019t treated like children, but allowed to <em>be<\/em> like children, curious and eager to learn, creating, even mistaking. It was <em>all<\/em> good.<\/p>\n<p>Within one hour, I saw the result of my efforts. There was no waiting. No rejection. We <em>ooh\u2019d<\/em> and <em>ahh\u2019d<\/em> each other\u2019s creations.<\/p>\n<p>Instead of feeling it was work, which my freelance writing dream had become, creating was child\u2019s play. I felt joy. Sure, it wouldn\u2019t earn me a living\u2014or a byline, but who cared?<\/p>\n<p>I left eager for the next month\u2019s playdate.<\/p>\n<p>Over the past year, I\u2019ve made dot-painted wine glasses, a copper bookmark hammered with words and images, a flower-and-twine wrapped candleholder for an empty glass jar, and a 6\u201d x 6\u201d collage from images cut from magazines. I\u2019ve painted a miniature wooden buoy that might become a keychain or a Christmas ornament, a 4\u201d x 4\u201d canvas, and a nightlight. My dry-flower vase fashioned from a discarded library book sits proudly on a shelf at an Irish pub in town.<\/p>\n<p>Through these crafts, I\u2019ve rediscovered the <em>joie de vivre. <\/em>Instead of writing alone, I\u2019ve enjoyed the company of strangers while I craft. I\u2019m re-experiencing the youthful exuberance that comes from learning something new, even though I\u2019m \u201cold.\u201d<\/p>\n<p>Hilary Mantel, a double Booker Prize winner who passed in 2022, gave this advice to writers: <em>\u201cIf you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don\u2019t just stick there scowling at the problem.\u201d<\/em><\/p>\n<p>To which I would add: Buy some Mod Podge, paintbrushes, and paint.<\/p>\n<p>When I realized my lifelong dream of becoming a writer, writing became work. Like my corporate job. Over time, I lost my excitement, my sense of play. I became blocked. Crafting helped.<\/p>\n<p>Now, I sometimes create with words and sometimes with Mod Podge. I collect and create art with beach shells and clear glass jars just as I collect stories from ideas or strings of overheard conversation.<\/p>\n<p>Next time you\u2019re stuck, try crafting.<\/p>\n<p>It might help you break out of your shell.<\/p>\n<p style=\"padding-left: 40px;\"><em>Kathy Shiels Tully<\/em><\/p>\n<hr \/>\n<p><em><br \/>\n<\/em><em>Chelsea Utecht is a speculative fiction writer. Her work has appeared in <\/em>Bluestem Magazine<em>, <\/em>Shooter Literary Magazine<em>, <\/em>The Gravity of the Thing<em>, <\/em>Thirteen Bridges Review<em>, and more. She lives in Sarajevo, Bosnia with her husband, two sons, and former street dog\/current princess. More about her writing can be found at <a href=\"http:\/\/chelseautecht.com\">chelseautecht.com<\/a>.<\/em><\/p>\n<p><em>\u00a0<\/em><em>Kathy Shiels Tully is a writer in the Boston area. A longtime Boston Globe correspondent, her stories have also appeared in <\/em>The Boston Globe Magazine<em>, <\/em>Christian Science Monitor<em>, <\/em>FamilyFun<em>, <\/em>The New York Times<em> (Tiny Love Story), <\/em>The Writer<em>, <\/em><a href=\"http:\/\/schoolfamily.com\/\"><em>schoolfamily.com<\/em><\/a><em>, and various New England magazines. Her essay won the 2020 Erma Bombeck Writing Competition (Global Human Interest). Besides crafting, Kathy does stand-up storytelling at The Moth where she placed second at a recent Boston StorySlam. She lives with her family north of Boston. <\/em><a href=\"http:\/\/www.kathyshielstully.com\"><em>www.kathyshielstully.com<\/em><\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Writers pour so much energy into their craft that sometimes we forget that creative pursuits other than writing can fill us up in other important ways. Here, we\u2019ll look at what writers do when they aren\u2019t writing, and how those pursuits affect the return to the page. This month, we hear from two writers\u2014Chelsea Utecht and Kathy Shiels Tully\u2014one who digs for artifacts and the other who taps into her crafty side. What fills you&#8230;<\/p>\n","protected":false},"author":3,"featured_media":20560,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[182,540,640],"tags":[],"class_list":["post-20558","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craft","category-posts","category-writers-on-not-writing"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"Writers pour so much energy into their craft that sometimes we forget that creative pursuits other than writing can fill us up in other important ways. Here, we\u2019ll look at what writers do when they aren\u2019t writing, and how those pursuits affect the return to the page. 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One winning excerpt will receive a $3,000 prize, publication online, and a consultation with Marin Takikawa, a literary agent with The Friedrich Agency. Second- and third-place finalists will receive $300 and $200 respectively, along with publication and written feedback from Takikawa. You can find out more about the contest, as well as what our judge is looking in submissions, below or on our <a href=\"https:\/\/mastersreview.com\/novel-excerpt-contest\/\">contest page<\/a>.\u00a0<\/em><\/p>\n<h3><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-20576\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/Novel-Excerpt-Announcement-2026.jpg\" alt=\"\" width=\"768\" height=\"496\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/Novel-Excerpt-Announcement-2026.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/Novel-Excerpt-Announcement-2026-640x413.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/Novel-Excerpt-Announcement-2026-320x207.jpg 320w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/h3>\n<h3><\/h3>\n<p style=\"text-align: center;\"><a class=\"addeventatc\" title=\"Add to Calendar\" href=\"https:\/\/www.addevent.com\/event\/60ww2wl82x35\" target=\"_blank\" rel=\"noopener\" data-id=\"60ww2wl82x35\">Add to Calendar<\/a><script type=\"text\/javascript\" src=\"https:\/\/cdn.addevent.com\/libs\/atc\/1.6.1\/atc.min.js\" async defer><\/script><\/p>\n<h3>About the Judge<\/h3>\n<p><b>Chinelo Okparanta<\/b> was born and raised in Port Harcourt, Nigeria. Her new novel, <i>This Impossible Life<\/i>, will be published on November 10 by Mariner. Her debut short story collection, <i>Happiness, Like Water<\/i>, was nominated for the Nigerian Writers Award, longlisted for the Frank O\u2019Connor International Short Story Award, and was a finalist for the New York Public Library Young Lions Fiction Award, and the Etisalat Prize for Literature. Her first novel, <i>Under the Udala Trees<\/i>, won a Lambda Literary Award, was a finalist for the International Dublin Literary Award, was nominated for the <i>Kirkus <\/i>Prize and Center for Fiction First Novel Prize, and was a <i>New York Times Book Review <\/i>Editor\u2019s Choice. She was a finalist for the 2025 Dos Passos Prize and the Caine Prize for African Writing. She has published work in <i>The New Yorker<\/i>, <i>Granta<\/i>, <i>Harper&#8217;s Bazaar,<\/i> <i>Lit Hub<\/i>, <i>Tin House<\/i>, the <i>Kenyon Review<\/i>, <i>AGNI<\/i>, and was named one of <i>Granta<\/i>\u2019s Best of Young American Novelists. She received her MFA from the Iowa Writers\u2019 Workshop, and she is currently Associate Professor of English Literature and Director of the Creative Writing Program at Swarthmore College.<\/p>\n<p style=\"padding-left: 40px;\">There&#8217;s nothing I enjoy more than immersing myself in a good book. For me, it&#8217;s about a captivating voice, an alluring tone, beautiful language throughout, and an original premise. It&#8217;s also about how compelling I find the characters. But mostly, it&#8217;s about how focused the novel is where the main conflict is concerned. What primary narrative thread should I be following? Too many novels lose their way with a scattering of unfulfilled and unfulfilling plot strands. In reading these excerpts, I&#8217;ll be looking for a unique voice and tone, a compelling cast of characters, gorgeous sentences, and an original premise. More than that, I&#8217;ll be keeping an eye out for an expertly handled and affecting central plotline.<\/p>\n<p style=\"padding-left: 40px;\">\u2014Chinelo Okparanta<\/p>\n<h3>Submission Guidelines<\/h3>\n<ul>\n<li aria-level=\"1\"><b>The winner receives $3,000; online publication; and a consultation with Marin Takikawa, a literary agent with The Friedrich Agency.<\/b><\/li>\n<li aria-level=\"1\">The second- and third-place finalists receive cash prizes ($300\/$200), online publication, and agent feedback.<\/li>\n<li aria-level=\"1\">Submitted excerpts must be under 6,000 words.<\/li>\n<li aria-level=\"1\">Submitted work <b>must be previously<\/b> <b>unpublished.<\/b> This includes personal blogs, social media accounts, and other websites. Previously published excerpts will be automatically disqualified.<\/li>\n<li aria-level=\"1\">Simultaneous and multiple submissions are allowed, though each submission requires a <b>$20 entry fee<\/b>.<\/li>\n<li aria-level=\"1\">Writers from historically marginalized or underrepresented groups are invited to <b>submit for free<\/b> until we reach fifty submissions in this category.<\/li>\n<li aria-level=\"1\">If your excerpt is accepted or contracted elsewhere, please withdraw your submission on Submittable, or contact us otherwise to let us know the piece is no longer available.<\/li>\n<li aria-level=\"1\">We do not require anonymous submissions for this contest, but the judge will review the shortlist anonymously.<\/li>\n<li aria-level=\"1\"><b>This contest is for emerging writers only<\/b>. Writers with single-author book-length work published or under contract with a major press are ineligible. We are interested in providing a platform to <b>new writers<\/b>; authors with books published by indie presses are welcome to submit unpublished work, as are self-published authors.<\/li>\n<li aria-level=\"1\">International submissions are allowed, provided the work is written primarily in English.<\/li>\n<li aria-level=\"1\">No translations, please.<\/li>\n<li aria-level=\"1\">All submissions must be double-spaced with one-inch page margins and use 12pt Times New Roman or Garamond font.<\/li>\n<li aria-level=\"1\">Excerpts from novels under contract for 2026 or 2027 are ineligible, but novels under contract from 2028 and beyond are eligible.<\/li>\n<li aria-level=\"1\"><b>The contest\u2019s deadline is 11:59pm PST on Sunday, November 8, 2026.<\/b><\/li>\n<li aria-level=\"1\">All entries are also considered for publication in New Voices.<\/li>\n<li aria-level=\"1\">Every submission will receive a response by the end of March 2027. The winners will be announced in May 2027.<\/li>\n<li aria-level=\"1\">AI-generated or -assisted submissions will be automatically disqualified.<\/li>\n<li aria-level=\"1\">Friends, family, and associates of the guest judge are not eligible for this award, nor are past winners of the Novel Excerpt Contest.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>The sixth annual Novel Excerpt Contest opens for submissions next week, and we&#8217;re thrilled to announce that Chinelo Okparanta will serve as this year&#8217;s guest judge! One winning excerpt will receive a $3,000 prize, publication online, and a consultation with Marin Takikawa, a literary agent with The Friedrich Agency. Second- and third-place finalists will receive $300 and $200 respectively, along with publication and written feedback from Takikawa. 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These contests are also ending this month, but they could be just the beginning of your success story!<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-20612\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/Sept-Deadlines.jpg\" alt=\"\" width=\"762\" height=\"496\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/Sept-Deadlines.jpg 762w, https:\/\/mastersreview.com\/files\/2026\/08\/Sept-Deadlines-640x417.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/Sept-Deadlines-320x208.jpg 320w\" sizes=\"auto, (max-width: 762px) 100vw, 762px\" \/><\/p>\n<h3><\/h3>\n<h3><a href=\"https:\/\/www.frontierpoetry.com\/2026-myths-fables-prize\/\">FEATURED! Myths &amp; Fables Prize<\/a><\/h3>\n<p>Open to new and emerging poets, <em>Frontier Poetry<\/em> is hosting a contest to celebrate imagination, storytelling, and the power of archetype\u2014they want work that creates an experience for the reader, rather than just reporting an experience for the reader. The great Matthew Olzmann is judging! The winning poet will receive $3,000 and publication for their manuscript, and second- and third-place winners receive $300 and $200, respectively. <a href=\"https:\/\/www.frontierpoetry.com\/2026-myths-fables-prize\/\">Get started!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $20 <strong>Deadline:<\/strong> September 13<\/p>\n<h3><a href=\"https:\/\/americanliteraryreview.com\/contest-2\/\"><em>American Literary Review<\/em> Awards<\/a><\/h3>\n<p>In this threefold contest offered by <em>American Literary Review<\/em>, contestants can submit entries for short fiction, essays, and poetry! Submissions may be up to 8,000 words for short fiction, 4,000 words for essays, or up to five poems, and the winner of each contest receives $1000 and publication. <a href=\"https:\/\/americanliteraryreview.com\/contest-2\/\">Learn more here.<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $15 <strong>Deadline:<\/strong> September 1<\/p>\n<h3><a href=\"https:\/\/dogwood.submittable.com\/submit\"><em>Dogwood<\/em> Literary Awards<\/a><\/h3>\n<p>These are actually three contests offered by <em>Dogwood: A Journal of Poetry and Prose<\/em>, looking for exceptional writing and outstanding poetry! Submissions may be up to twenty-two pages, or a set of one to three poems, and the winner of each contest receives $1,000 and publication. Make sure to select the correct contest for your submission (poetry, fiction, or creative nonfiction)! <a href=\"https:\/\/dogwood.submittable.com\/submit\">Submit here.<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $10 <strong>Deadline:<\/strong> September 5<\/p>\n<h3><a href=\"https:\/\/www.americanacademy.de\/apply\/apply-for-a-fellowship\/\">The Berlin Prize<\/a><\/h3>\n<p>The American Academy in Berlin is now accepting applications for their residential fellowships, to enrich transatlantic dialogue in the arts and address pressing issues of the day. Writers need one published book to be eligible, and fellowships are restricted to US residents. Roughly two dozen Berlin Prizes are awarded each year, and those selected receive round-trip airfare, a monthly $5,000 stipend, and lodging at the Hans Arnhold Center. <a href=\"https:\/\/www.americanacademy.de\/apply\/apply-for-a-fellowship\/\">More details here!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> FREE <strong>Deadline:<\/strong> September 25<\/p>\n<h3><a href=\"https:\/\/nypl.onlineapplicationportal.com\/misc\/guidelines\/default.aspx\">Cullman Center Fellowships<\/a><\/h3>\n<p>The Dorothy and Lewis B. Cullman Center for Scholars and Writers offers up to fifteen fellowships each year, for academics, journalists, and creative writers. Part of the New York Public Library system, this is an amazing opportunity to access the research collections at the Stephen A. Schwarzman Building! A Cullman Center Fellow receives a stipend of up to $90,000, an office, and full use of the Library\u2019s physical and electronic resources. <a href=\"https:\/\/nypl.onlineapplicationportal.com\/misc\/guidelines\/default.aspx\">Don\u2019t miss out!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> FREE <strong>Deadline:<\/strong> September 25<\/p>\n<h3><a href=\"https:\/\/boulevard.submittable.com\/submit\">Nonfiction Contest for Emerging Writers<\/a><\/h3>\n<p><em>Boulevard<\/em>\u2019s contest is meant to honor a writer who has never published a book, and that could be you! There is a $1,000 prize, as well as publication in an issue of <em>Boulevard<\/em>. Entries must be under 8,000 words, but there is no limit on the number of entries, and all of the entries are considered for publication. <a href=\"https:\/\/boulevard.submittable.com\/submit\">Do it!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $18 <strong>Deadline:<\/strong> September 30<\/p>\n<h3><a href=\"https:\/\/dzancbooks.submittable.com\/submit\">Dzanc Books Contests<\/a><\/h3>\n<p>Dzanc Books is offering opportunities for all writers, with two different contests ending this September! The Dzanc Books Prize for Fiction, judged by Alyssa Quinn, Alan Michael Parker, and Ruyan Meng, awards a $5,000 advance and publication for the original and daring winning manuscript. The Dzanc Books Short Story Collection Competition celebrates imaginative and inventive short form writing, offering a $5,000 advance and publication to the winning submission. <a href=\"https:\/\/dzancbooks.submittable.com\/submit\">Check them both out!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $25 <strong>Deadline:<\/strong> September 30<\/p>\n<h3><a href=\"https:\/\/www.hackneyliteraryawards.org\/\">Hackney Literary Award for Novels<\/a><\/h3>\n<p>Sponsored by the Morris Hackney family, this is an amazing prize for any aspiring novelist! This $5,000 prize will be awarded to an unpublished novel, and there is no limit on length or subject matter. <a href=\"https:\/\/www.hackneyliteraryawards.org\/\">Check it out now!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $30 <strong>Deadline:<\/strong> September 30<\/p>\n<h3><a href=\"https:\/\/umasspress.submittable.com\/submit\">Juniper Literary Prizes<\/a><\/h3>\n<p>The University of Massachusetts Press honors the memory of Robert Francis, who lived and wrote his poetry in Fort Juniper, and applicants should keep in mind his dedication to creativity and nature! The Juniper Prize for Poetry awards $1,000 and publication to two original poetry manuscripts: one first book prize for an unpublished author, and one prize for a previously published author. The Juniper Prize for Fiction also awards $1,000 and publication to two original fiction manuscripts: one for a short story collection, and one for a novel. The Juniper Prize for Creative Nonfiction awards $1,000 and publication to one original manuscript. <a href=\"https:\/\/umasspress.submittable.com\/submit\">Details here!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $30 <strong>Deadline:<\/strong> September 30<\/p>\n<h3><a href=\"https:\/\/www.uapress.com\/product-category\/miller-williams-poetry-prize\/\">Miller Williams Poetry Prize<\/a><\/h3>\n<p>This prize is named for and operated to honor the longtime director of the University of Arkansas Press, Miller Williams. Submissions of book-length poetry manuscripts should reflect his preference for poetry that was plain spoken, evocative, ironic, and humorous. The top three entries will receive publication, and the first-place winner also receives $5,000. <a href=\"https:\/\/www.uapress.com\/product-category\/miller-williams-poetry-prize\/\">Submit here!<\/a><\/p>\n<p><strong>Entry Fee:<\/strong> $28 <strong>Deadline:<\/strong> September 30<\/p>\n<hr \/>\n<p><em><br \/>\nby Kimberly Guerin<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>September contains both the ending of summer, and the beginning of autumn. These contests are also ending this month, but they could be just the beginning of your success story! FEATURED! Myths &amp; Fables Prize Open to new and emerging poets, Frontier Poetry is hosting a contest to celebrate imagination, storytelling, and the power of archetype\u2014they want work that creates an experience for the reader, rather than just reporting an experience for the reader. The&#8230;<\/p>\n","protected":false},"author":3,"featured_media":20612,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[112,502,540],"tags":[],"class_list":["post-20610","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-deadlines","category-opportunities","category-posts"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"September contains both the ending of summer, and the beginning of autumn. These contests are also ending this month, but they could be just the beginning of your success story! FEATURED! 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Erin Jean&#8217;s &#8220;The Traveler&#8217;s Stone&#8221; is an exploration of grief, of grief through time, and of one family\u2014one mother\u2014trying to find her son as well as a way to live without her son.<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-20581 size-full\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/Erin-Jean.jpg\" alt=\"\" width=\"768\" height=\"496\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/Erin-Jean.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/Erin-Jean-640x413.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/Erin-Jean-320x207.jpg 320w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>My husband and I are in the middle of the Long Island Sound with our two-year-old daughter, surrounded by shades of blue. We&#8217;re on a ferry, and I&#8217;m crossing to see a famous psychic medium whose book taught me that butterflies are signs from the dead.<\/p>\n<p>This was many years ago. But also, yesterday. And by yesterday, I mean happening now. Again and again and again.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Pulling up to the cottage I rented online, the late afternoon light flickered through the pines, and a kaleidoscope of butterflies descended from the sky, dozens of them, all black with a silvery sheen. The winged welcoming party swirled around the car and our things before returning to their dance in the place where sky meets land. Behind thick-framed glasses, my husband\u2019s eyes said, <em>Wow<\/em>. Isla shouted with delight, \u201cWow, mumma, look!\u201d<\/p>\n<p>I immediately thought of Felix\u2014not of him, but <em>of<\/em> him. Felix. This welcoming committee, this moment, these butterflies, were him. Unequivocally him.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Black Swallowtails, I&#8217;d later learn, are common to Long Island.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>I bought a $266.85 ticket to a gallery reading in Long Island to sit in the same room as a psychic medium with 180,000 Instagram followers\u2014of which I was one\u2014so she could maybe point at me amongst the crowd and say, &#8220;I&#8217;m sensing young male energy, a baby with fragile skin.&#8221; Those words, like a spell, would, I hoped, help me believe he was somewhere, somewhere safe.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>In Greek mythology, Charon ferries souls across the River Styx. Passengers must place an obol under the tongue of the deceased for safe passage to the underworld. <em>Obol<\/em> comes from the Greek word <em>obelus<\/em> meaning <em>a symbol used to mark the deceased or to mark a word or passage as spurious, corrupt, or doubtful<\/em>. With inflation, I paid $184 for the round-trip ferry on the ferryman&#8217;s website using a credit card.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>I&#8217;d been reading the psychic medium\u2019s book about signs from the spirit realm since I found it in an overpriced homeware shop in a neighboring town. I happened upon the boutique after I reentered the world in the weeks following Felix&#8217;s death. My son\u2019s body, shrouded in a patchwork quilt and placed in the back of a hearse, is a memory that lives forever in my periphery. The psychic medium\u2019s book was the first thing I cradled in my arms after his death that didn&#8217;t feel like a lie. I bought the only copy in the store, along with a hat that resembled the one worn by Curious George\u2019s adoptive father, The Man with the Yellow Hat. People told me Felix was \u201cin a better place,\u201d that \u201ceverything happens for a reason,\u201d that \u201cI was a good mom.\u201d They told me the hat looked good on me, too, after I posted a selfie with it on my head on Instagram. The psychic medium convinced me that our loved ones aren&#8217;t gone, just out of sight, in another room, and are trying to reach us if we&#8217;re willing to listen. Me and my wide-brimmed, felt hat were listening.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>The most common signs from the dead, according to the psychic medium, are coins, butterflies, birds, deer, electronic glitches, flickering lights, songs on the radio, and sequential numbers. So when the butterflies surrounded the cottage, I knew it was Felix instantly\u2014just as I\u2019d known he was mine when his warm, gooey body was placed on my chest seven months earlier. Had I been trained to look for butterflies? Maybe, but does that mean they weren&#8217;t signs from Felix?<\/p>\n<p>Seconds collected into minutes, into hours, into days, and I stood in the backyard of the cottage holding my daughter&#8217;s hand, surrounded by butterflies, each of them like miniature night skies holding but a single star, thinking of Felix and of the family reunion that I hoped awaited me at the psychic medium\u2019s gallery reading that evening. <em>Tonight I&#8217;ll hear from Felix, and this dark cloud, this despair, will be lifted. The psychic medium will confirm what I already know. Felix is here with me. This, the butterflies and the book and the trip and the deep knowing, is him manipulating space and time to say, &#8220;Hello Mom, I love you.&#8221;<\/em><\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>On the roof deck of the ferry, Isla and I sat together and contemplated the open water on a metal bench. It was hot, the middle of another August heatwave. We pointed at seagulls and wispy clouds resembling teddy bears and crocodiles with top hats and bow ties. I adjusted Isla&#8217;s shark-patch baseball hat to shade her buoyant cheeks. Her eyebrows were splotchy and red; she was exhausted. We all were. Still, we were in motion, life pulling us.<\/p>\n<p>We looked like a young family taking a summer vacation. But I was crossing the Long Island Sound in search of the dead, my dead. I brought my family with me, but the truth was I was heading for Long Island, to find my son, Felix, not to spend time with them. I was Persephone descending, Orpheus singing, knowing I&#8217;d turn around too soon, knowing I&#8217;d lose him all over again. Again and again and again.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Afternoon transformed into night, the gallery reading mere hours away. Travis was getting Isla ready for bed\u2014bath time, story, and song\u2014while I fidgeted with my clothes and face in the bathroom mirror. My skin didn\u2019t feel like mine anymore.<\/p>\n<p>\u201cI&#8217;ll be back in a few hours. I love you guys,\u201d I said, heading for the door.<\/p>\n<p>\u201cGood luck, I wish I could be there with you. Be safe,\u201d Travis replied. \u201cWe love you, too.\u201d<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>I didn\u2019t know then, and I still don\u2019t know now if he meant it. Not the love, not the being safe, but the wanting to be there with me. We&#8217;ve known each other so long, slept in the same bed for millions of nights, lived through the same excruciating trauma, the loss of our son, but there was a silence between us that was born before Felix, and after Felix died, when it became our matrimonial silence, I could feel its muscular hands begin to squeeze the air out of my chest. I wanted to believe that my husband meant what he said\u2014this day and all the days of our lives. I wanted to believe that he believed our son was somewhere out there, just as I did. But I can&#8217;t penetrate his mind. I can&#8217;t get him to tell me how he really feels, and that&#8217;s an unknown I vowed, for better or for worse, to live with.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>As I drove down the dimly lit street, in a place I knew nothing about, a man began to knock on the door of my mind. He was a memory. \u201cLet me in,\u201d he wailed, though it was clear he had already managed to force his entry, for he was here now, just as he was this morning, just as I knew he would be stored somewhere inside of me forever. I recognized him immediately. It was the man from the ferry.<\/p>\n<p>I saw him on the stairwell that led to covered seating, a haven from the morning heat. His skin was red and blistering, burnt from the sun and the lack of shade on the top level of the boat. I felt myself retract inwards upon seeing him, pulling Isla closer to me, appearing, I would imagine, to be a mother who feared that the man was dangerous or perhaps that his skin was contagious. But it wasn&#8217;t the catching or potential for being caught that made me withdraw; it was the familiarity of his flesh.<\/p>\n<p>I knew that exact color of red. I had seen it dozens of times before. The inflammation, the tautness, and ooze of his shoulder blisters, and the sloughing skin where his flesh suit began to break open, creating thin edges that curled like little white cocoons before drying out and scaling off his body like giant sea salt flakes.<\/p>\n<p>Felix&#8217;s skin.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>The drive to the retreat center where the gallery reading would take place took thirty minutes, just as I had accounted for. I don\u2019t remember much of the ride, just winding, country roads in a place unfamiliar to me, the GPS voice telling me where to turn and when I had reached my final destination. I sat in the car, talking to Felix. I begged him to show up for me, urging him to connect with the psychic medium, to let her know where he was and if he was safe, to tell her if he was mad at me for the decisions his father and I made while he was alive. I remember crying and the tears stopping when I caught a glimpse of the glowing moon through the trees. A waning gibbous. Clear and present. I remember contemplating turning the car around and heading home. I remember thinking, <em>I can leave. I can go back, curl into a warm bed with my daughter and husband like a normal person. I can pretend that this never happened, bury it down deep, move on, stay in the present, plan for the future. Take the antidepressants.<\/em><\/p>\n<p>I texted my husband, \u201cI\u2019m here,\u201d when I decided to head inside. I\u2019d crossed the Long Island Sound. I\u2019d come this far. I\u2019d paid the ferryman. I\u2019d packed up my living family to journey with me and left them safely shielded in the cottage. I went inside because my son had been dead for five months and I still didn\u2019t know if I\u2019d made the right choice and maybe, impossibly, hopefully, unbelievably, or even believably, this psychic medium, this <em>New York Times<\/em> bestselling author, this mortal woman, this mother, would have the answers I needed to keep going without my baby in my arms.<\/p>\n<p>After climbing two flights of cement stairs, I approached a small folding table. A young man, mystic-looking in his own right, with blonde shaggy hair and a heavy smear of eyeliner, asked for my name and made a note of my attendance. Turns out a single check mark is all it takes to enter the gates of the underworld. It\u2019s the trip there that costs you. He ripped a raffle ticket, damp from the humidity, off the oversized roll, handed it to me, and pointed with a bony finger to the windowless double doors at the end of the outdoor hallway. I was certain the ticket would dissolve in the palm of my hand, not unlike the way Felix seemed to fade in the crux of my arm\u2014there one moment, then gone, ice cold and stiff.<\/p>\n<p>The room smelled like palo santo and grief. The walls were papered in two-dimensional pine trees, ferns, moss, and rocks. An artist\u2019s interpretation of an infinite evergreen forest, commercialized for retail use on Amazon. It was enchanting as much as it was childish. A backdrop, an altar, a portal to the afterlife, hidden amongst a world of fake trees. Folding chairs formed a half circle in the center of the room, and a skinny passageway cut the half circle in two. I tuned into my energy, or tried to. I wanted to see, to know, to be called by something or someone other than myself, to find the chair that would become the landscape of my destiny. Energy would pull me in the right direction, the universe would provide, or so I\u2019d heard during the countless podcasts I listened to with the psychic medium behind the microphone. I sat on the edge of the passageway on the left side of the half circle in hopes that the psychic medium would notice me, my dark circles, baby hairs, and bald spots, front and center. The room began to fill in around me: families, couples, women, men, a mixture of the young and old. The seats to the right of me were occupied by a mother and her daughter. Behind me were two sisters, both beautiful and glowing, which I can only believe was from an abundance of hope.<\/p>\n<p>The psychic medium entered the room, with long blonde hair and her body draped in a linen maxi dress. She floated up the passageway, a big stone necklace hung from her neck and bounced chaotically off her chest. She greeted the room in a calm voice, very talk radio-like, and began to explain the rules of the gallery reading.<\/p>\n<p>\u201cI&#8217;ll deliver messages as I receive them,\u201d she said, clasping her hands. \u201cI can&#8217;t guarantee who will come through. Some of you will receive messages, others will not. It is often the loudest spirits that capture my attention. The universe decides who comes through, not me. I\u2019m merely a channel, a conduit. But you don\u2019t need me to talk to your beloved. You, as my book suggests, can do it yourself.\u201d<\/p>\n<p>I looked around the room, every chair filled now. There were ninety people in the evergreen forest with me. In two hours, maybe the medium could deliver twenty messages. The odds: 22.2 percent, my cellphone calculator told me. The percentage struck me. The fact that I did math in the middle of a gallery reading struck me. The string of numbers, the sequence\u2014there is little in this world that doesn\u2019t remind me of Felix, that doesn\u2019t make me think of him, including 22.2 percent. I had read about angel numbers after he died, and 222 is considered a spiritual sign representing faith, trust, and harmony. Seeing the number is often believed to signify that you\u2019re on the right path. What is 22.2 percent trying to tell me? What is Felix trying to say? I\u2019m listening.<\/p>\n<p>The psychic medium closed her eyes, as if instructing the room to hold its breath. It does, we do, I do.<\/p>\n<p>&#8220;I&#8217;m getting a mother&#8217;s energy,&#8221; she said. \u201cDoes this resonate with anyone here in the room? I\u2019m getting pulled over here.\u201d She pointed to the young girls seated behind me. The girls, in unison, mentioned that they lost their mother, and the medium validated that their mother was in the room now, beaming and whole, at peace. She told the sisters that their mother was proud and wanted to congratulate her eldest daughter. The girls looked at each other, stunned, their jaws hanging from a rusty hinge, moments from release. They began to cry, a sweet, sad song.<\/p>\n<p>\u201cI just found out I\u2019m pregnant,\u201d the eldest daughter shared with the room.<\/p>\n<p>\u201cYour mother was with your baby, handpicked. Your mother says it\u2019s a boy.\u201d<\/p>\n<p>The daughter nodded her head in agreement and collapsed into her sister&#8217;s living arms. Mouthing the words, \u201cIt\u2019s a boy,\u201d over and over again.<\/p>\n<p>Bile rose up my esophagus, swallowing forced it back down. I picked at a hangnail on my thumb, attempting to ready myself for the next reading, for the possibility that it could be me this time.<\/p>\n<p>\u201cI\u2019m feeling a sudden passing. There\u2019s regret. A young male is with me now,\u201d she said.<\/p>\n<p>Arms all over the room shot up, as if the higher and more aggressively they waved their hands, the more likely the spirit would be theirs to claim.<\/p>\n<p>\u201cI\u2019m getting pulled to this side of the room,\u201d the medium floated down the passageway and lingered on the right side of the room, tracking towards the middle back rows, waving her arms in sweeping circles.<\/p>\n<p>A woman with dark hair began to cry as the psychic medium drew near her. The medium invited the woman to speak with a silent nod.<\/p>\n<p>\u201cI lost my son. It was sudden, a car accident,\u201d she wept. \u201cI told him not to go\u2026\u201d<\/p>\n<p>\u201cHe wants you to know it was quick, painless, and that he wishes he didn\u2019t have to leave you so soon. He wishes he were more careful, less reckless. He loves you.\u201d<\/p>\n<p>My chest tightened as I wondered if Felix could even speak, if he had language at all.<\/p>\n<p>The psychic medium continued to make her way around the room, validating and assuring the grief-stricken and skeptical. She spent thirty minutes talking to a woman who refused to believe her boy was okay, despite her reading that her son was at peace and wanted his ailing mother to live\u2014even though he knew that she wanted nothing more than to die and join him.<\/p>\n<p>When the psychic medium addressed the chosen ones, aside from the one stubborn woman, they seemed to be absolved, cleansed, cured. Plugged into something bigger than themselves. I returned to my hangnail, my leg bouncing uncontrollably. <em>Please, Felix. I need you. Please. <\/em><\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>8:40pm.<\/p>\n<p>There were twenty minutes left in the reading, and the odds of being picked, now, this late, to hear from Felix, felt slimmer and slimmer, reminding me of the chances that his rare genetic skin condition would be treatable, curable before it ravaged every piece of him. Silent tears began to trickle down my sunken cheeks. <em>He&#8217;s not coming through. And if he&#8217;s not coming through here, in a room designed for the dead to speak, will he ever? It&#8217;s as if everyone in the room had a breakthrough except me. Did he not want to speak to me? <\/em><\/p>\n<p>The psychic medium bowed her head and thanked everyone for coming and silently floated down the passageway the same way she arrived, the windowless double doors closing swiftly behind her with a <em>click.<\/em> The mystic-looking man manifested at the center of the half circle and announced it was time for the raffle. Anger stiffened my muscles. Sadness tried to dissolve them. I wanted to sink into the carpet and disappear. I could no longer contain my tears; a leak had sprung from the corners of my eyes. The dark clouds had finally broken open. I cracked a smile at the mother and daughter next to me, congratulating them on their reading. I wasn&#8217;t sure of the etiquette, but I wanted them to know I&#8217;d witnessed their reading, too, that it was real. That the mother\u2019s son, the girl\u2019s brother, was with them, always with them. I explained to the mother that I, too, lost a son; he was two months old when he died, but he hadn\u2019t come through. She cocked her hand to the side, her deep brown eyes spelling <em>come here<\/em>, and pulled me in for a hug. She rubbed the space between my shoulder blades, explaining just how sorry she was for my loss.<\/p>\n<p>The mystic in dark eyeliner read a series of numbers aloud. His voice droned. Monotone and unimpressed by the evening\u2019s revelations. I grabbed my things and looked down at the vanishing ticket in the palm of my hand. I hadn\u2019t realized that I had been holding it, pressing it firmly into my hand, for the duration of the two-hour reading in silent desperation. My ticket number was called. Repeated and called again for a third and final time. I approached the mystic to claim my prize, a signed copy of the medium\u2019s book\u2014the one I&#8217;d already read, the one that taught me butterflies were signs\u2014and a smooth, oblong-shaped moonstone.<\/p>\n<p>Handing me the gift basket, the mystic said, \u201cIt\u2019s the Traveler&#8217;s Stone.\u201d He searched my face. \u201cInside. The rock, see it right there? It\u2019s meant to protect those on nighttime journeys.\u201d<\/p>\n<p>As the room emptied out through the windowless double doors, people returning to their lives, I noticed the mother and daughter hung back, waiting for me with smiles and outstretched arms, tears creating rivulets across their rouged faces.<\/p>\n<p>\u201cSee, he is with you,\u201d exclaimed the mother, wrapping me up in another hug.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>I opened the gift basket in the car and held the moonstone in my palm, flipping it over and over again between my fingers like a baton. I rubbed my thumb on each side until the cool edges were no longer. <em>I came for my son, and I left with a rock. <\/em><\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>When I unlocked the door of the cottage, Travis and Isla were asleep, my daughter\u2019s body curled into her father\u2019s chest, both of them breathing in sync with gaping mouths fit for catching flies. I crawled into bed slowly, trying not to let shifting weight wake them. My daughter&#8217;s iPad was plugged in and resting on the nightstand next to me, dark and silent. I closed my eyes and said goodnight to Felix.<\/p>\n<p>A song began to play. I shot up, rooted to the bed. The iPad screen glowed with primary colors next to me. I hadn&#8217;t touched it. It just turned on, but how? Isla stirred but didn&#8217;t wake. Travis peeled open a sleep-heavy eyelid. I mouthed, \u201cSorry, go back to bed,\u201d as I stared at the screen: Colorful cartoon animals and a family with absurdly large heads held hands and danced to a nursery rhyme.<\/p>\n<p><em>Felix? <\/em><\/p>\n<p><em>You couldn&#8217;t come through at the reading, so you\u2019re coming through now. Are you trying to reach me? I\u2019m listening. <\/em><\/p>\n<p><em>Hello?<\/em><\/p>\n<p><em>Maybe it\u2019s because the iPad is fully charged.<\/em><\/p>\n<p><em>I\u2019m losing my mind. <\/em><\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Electronic glitches are among the most common signs, phones calling out on their own, random voicemails full of static, car radios turning on, and technology malfunctioning, according to the psychic medium. Souls on the other side of the living world can manipulate electric and magnetic fields more easily than physical objects, she explained. It made sense to me then, and part of me still believes, still hopes, it is true now.<\/p>\n<p>I&#8217;d read the psychic medium&#8217;s book forwards and backwards. I listened to her podcasts. I followed her on Instagram and on occasion sent her a direct message, even though I knew she\u2019d never respond. She&#8217;d given me a container for my grief when I had nothing but condolence cards and casseroles, taught me what to look for, what to believe in. She gave me a rope to steady myself with. She reminded me to believe in magic, to believe in eternal love. Was I experiencing something, or was my grief brain so desperate to find him that it found exactly what it had been told to look for?<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Moonstone, also known as Hecatolite, is derived from Hecate, the Greek moon goddess and Persephone&#8217;s companion in the underworld. A moonstone is believed to offer emotional balance, enhance intuition, and promote new beginnings.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>I held the moonstone in my hand and I listened to my daughter breathe in and out, mimicking the surface waves of the Long Island Sound. What&#8217;s the difference between grief and madness, between my son trying to reach me and my brain so desperate to find him that it creates him everywhere, writes stories that may not exist?<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>After we checked out of the Airbnb, the ferry back to Connecticut was crowded: weekend traffic, families heading home. Isla fell asleep in her father\u2019s arms, sunburned and covered in melted watermelon Italian ice. I felt the moonstone in my pocket.<\/p>\n<p>Travis turned to me and asked how the reading went.<\/p>\n<p>\u201cFine. It was fine.\u201d Grief had turned me sharp, short; a razor blade willing to cut and make others bleed.<\/p>\n<p>Our silence continued to grow between us; it grew in the space where Felix should have been. But what else could I have said? That I&#8217;d traveled to sit with ninety strangers hoping a mortal woman would point at me and tell me my dead son, <em>our<\/em> dead son, was at peace?<\/p>\n<p>\u201cI wish I could have been there with you,\u201d he said again.<\/p>\n<p>I looked out at the water. \u201cI went to the underworld and back, and all I got was a lousy stone.\u201d<\/p>\n<p>I drove off the boat and headed north with what was left of my family. Travis looked at his phone and Isla sang to herself in the backseat. I was still holding the questions I arrived with, I could taste them on the back of my tongue; bitter like citrus peels, kale, coffee.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>I don&#8217;t know if the butterflies were, are, Felix. If the iPad turning on was my newborn son trying to reach me from beyond the veil, the only way he knew how, or if it was nothing more than a glitch. I\u2019ve talked myself into so many never-ending circles. I\u2019ve trapped myself inside an imaginary room without windowless double doors.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>Who can say what is real, what is true?<\/p>\n<p>Only my son, I suppose.<\/p>\n<p>And he&#8217;s gone.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>It\u2019s been years now, almost four years since he died, and I&#8217;m still in orbit. Some days, my grief is the only thing keeping me in motion. I don\u2019t know if I\u2019ll ever find Felix, but I keep looking for him anyway. This is the only way to mother my dead.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>The signs are real, or they&#8217;re not.<\/p>\n<p>He&#8217;s reaching out, or he&#8217;s not.<\/p>\n<p>I&#8217;m grieving, or I&#8217;m insane. Or not.<\/p>\n<p>Maybe it&#8217;s all the same.<\/p>\n<p>Maybe that&#8217;s the point.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>There is no compass for this journey. No logic. No north, east, south, or west. Only the Traveler\u2019s Stone. Only Felix and Felix and Felix and Felix.<\/p>\n<hr \/>\n<p><em><br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-20584\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/ErinJeanHeadshot.jpeg\" alt=\"\" width=\"250\" height=\"250\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/ErinJeanHeadshot.jpeg 1000w, https:\/\/mastersreview.com\/files\/2026\/08\/ErinJeanHeadshot-640x640.jpeg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/ErinJeanHeadshot-160x160.jpeg 160w, https:\/\/mastersreview.com\/files\/2026\/08\/ErinJeanHeadshot-768x768.jpeg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/ErinJeanHeadshot-320x320.jpeg 320w, https:\/\/mastersreview.com\/files\/2026\/08\/ErinJeanHeadshot-45x45.jpeg 45w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/>Erin Jean is a mother of three whose writing was reborn from loss\u2014the loss of her newborn son, Felix, to Epidermolysis Bullosa, a rare genetic condition called &#8220;the worst disease you&#8217;ve never heard of.&#8221; Her work is melodic and dream-like, mapping grief against the vastness of the universe and the intimacy it carves into a life, into skin. Her work has appeared in <\/em>Hippocampus Magazine<em> and <\/em>Motherly<em>. She is an MFA candidate at Bennington Writing Seminars.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A mother&#8217;s grief sends her on a journey\u2014one that is both literal and figurative\u2014to a psychic medium and leaves the encounter with more questions than answers. Erin Jean&#8217;s &#8220;The Traveler&#8217;s Stone&#8221; is an exploration of grief, of grief through time, and of one family\u2014one mother\u2014trying to find her son as well as a way to live without her son. &nbsp; My husband and I are in the middle of the Long Island Sound with our&#8230;<\/p>\n","protected":false},"author":3,"featured_media":20582,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[64,540,551],"tags":[553,557],"class_list":["post-20579","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-voices","category-posts","category-publications","tag-1st-person","tag-cnf"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"A mother&#039;s grief sends her on a journey\u2014one that is both literal and figurative\u2014to a psychic medium and leaves the encounter with more questions than answers. 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Congratulations are also in order for Annie Bartos, Deahna Fumarol, and Tomiko Breland, authors of the second place, third place, and honorable mention selections, respectively. We cannot wait to share these wildly inventive stories and essays with you very soon. And you can expect the Prize for New Narratives to return next year\u2014stay tuned for more. Thank you to all of our submitters who made this such an exciting and competitive new contest!<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-20591 size-full\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/TMR_NewNarratives_FINALISTS.jpg\" alt=\"\" width=\"956\" height=\"665\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/TMR_NewNarratives_FINALISTS.jpg 956w, https:\/\/mastersreview.com\/files\/2026\/08\/TMR_NewNarratives_FINALISTS-640x445.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/TMR_NewNarratives_FINALISTS-768x534.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/TMR_NewNarratives_FINALISTS-320x223.jpg 320w\" sizes=\"auto, (max-width: 956px) 100vw, 956px\" \/><\/p>\n<h3><\/h3>\n<h3>Winner<\/h3>\n<p><span class=\"clearfix\"><strong>\u201cHow to Begin a Love Story\u201d<\/strong> by Lei Wang<\/span><\/p>\n<h3>Second Place Finalist<\/h3>\n<p><span class=\"clearfix\"><strong>\u201cStories and Stakes in a Noisy Democracy\u201d<\/strong> by Annie Bartos<\/span><\/p>\n<h3>Third Place Finalist<\/h3>\n<p><span class=\"clearfix\"><strong>\u201cGlobal Environmental Support Hotline\u201d<\/strong> by Deahna Fumarol<\/span><\/p>\n<h3>Honorable Mention<\/h3>\n<p><strong>\u201cThe Fox and the Tree and the Thunder\u201d<\/strong> by Tomiko Breland<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Charles Yu&#8217;s picks are in: Congratulations to Lei Wang, author of &#8220;How to Begin a Love Story,&#8221; the grand-prize winner of the inaugural Prize for New Narratives! Congratulations are also in order for Annie Bartos, Deahna Fumarol, and Tomiko Breland, authors of the second place, third place, and honorable mention selections, respectively. We cannot wait to share these wildly inventive stories and essays with you very soon. And you can expect the Prize for New&#8230;<\/p>\n","protected":false},"author":3,"featured_media":19298,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[498,543,540,668],"tags":[],"class_list":["post-20590","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-announcement","category-finalists","category-posts","category-prize-for-new-narratives"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"Charles Yu&#039;s picks are in: Congratulations to Lei Wang, author of &quot;How to Begin a Love Story,&quot; the grand-prize winner of the inaugural Prize for New Narratives! 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While there is obviously a ton to learn from these pieces, contemporary short story writers are also completing strong work built upon teachable literary foundations, while also finding fascinating ways to advance the form. In this space, we\u2019ll highlight some of these more modern stories and explore a bit of what they have to teach us as we continue to do our part to push literature forward.<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-20596\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/StoriesThatTeach_Featherweight.jpg\" alt=\"\" width=\"768\" height=\"496\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/StoriesThatTeach_Featherweight.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/StoriesThatTeach_Featherweight-640x413.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/StoriesThatTeach_Featherweight-320x207.jpg 320w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/p>\n<h3><\/h3>\n<h3>Introduction<\/h3>\n<p>In &#8220;<a href=\"https:\/\/www.newyorker.com\/magazine\/2021\/04\/05\/featherweight\">Featherweight<\/a>,&#8221; by Sterling HolyWhiteMountain (published in <em>The New Yorker <\/em>March 2021), we meet a Northern Plains Native man as he reflects upon his passionate college relationship with Allie, a woman &#8220;from another tribe, people [his] people used to kill.&#8221; He&#8217;s figuring his way through college, a few years older than just about everyone else there, and she&#8217;s deeply serious, heavily focused upon Native justice to the exclusion of almost all else, including him. Their passion is tempered by a cruelty that each recognizes and suffuses in the other, an honesty of purpose and a recognition of speech and thought that each are unable to find in anyone else. Eventually, the relationship falters, at least partially because of a sex act he cannot perform and that she won&#8217;t explain the reason for suddenly wanting, and the world tilts on its axis as she distances herself from him and from her classes (eventually coming to the admission that &#8220;I don&#8217;t believe in this anymore&#8221;) while he spirals in his own ways. Once she leaves college behind entirely, he is left at the university, sitting in the back of classrooms with long hair and stolen sunglasses, and a sudden awareness of the chasm that exists within himself.<\/p>\n<h3>The Basics<\/h3>\n<p>This story is written in a first-person, present reflective tense, from the perspective of our narrator looking back upon the relationship that exploded him onto the path of the person he&#8217;s now become. We learn almost nothing about that future person in terms of actual detail, but we are heavily in narrative summary throughout the piece, all of which is guided by the voice and experience of the reflective narrator rather than the character we&#8217;re watching. As much as anything, this is a story of ideas, and our scene breaks are almost always built around concepts rather than set pieces; indeed, there&#8217;s really only one setting explored with much depth, that being Allie&#8217;s dorm. We bounce through time and place constantly, sometimes from sentence to sentence, but are always anchored deeply within the mind of our narrator, for whom these times and places are not disparate but instead all distinct threads within the reality that has brought him and Allie to the ending that it has; the straight throughline cannot be told without all the other elements, ideas, digressions, and people that built the characters we&#8217;re seeing.<\/p>\n<h3>The Opening Paragraph: Plot and Language<\/h3>\n<p>Even in a story that steps out of scene and steps away from clear plot points as much as this one does, it feels important to point out that we set up the machinations of the story from the opening sentence. We get a timeline (&#8220;off my reservation for little more than a year&#8221;), and we get an action that leads to all the tension and conflict (&#8220;When I first met my love\u2026&#8221;). We learn the setting, a university, in the next sentence, some important character notes are presented from there, and then we get an incredibly quick blip of backstory that leads us through a quick whirlwind of characters into the character (Barbara) who most fully prepared him for Allie. That&#8217;s a ridiculously effective opening paragraph, bringing every major literary element to the table immediately while also preparing the reader for the narrative style the story will employ throughout the piece: playing with both the specific and the larger context at the same time, and using both grandiose language (again, that opening clause; also, &#8220;acculturated&#8221;) with the harsh straightforwardness of a man almost okay with a woman &#8220;who liked to call me her favorite indian toy\u2026 as long as we keep knocking those boots.&#8221; A quick note that <em>indian<\/em> is actively not capitalized by the story, and so I&#8217;m rolling with that here too.<\/p>\n<p>Let&#8217;s stop and look at the propulsion of this paragraph, which is driven on a grammatical level. Just in that first paragraph, we get an em dash, an exclamation point, a semicolon, and an ellipsis. There&#8217;s also a combativeness to the language right from the start (&#8220;I had my nose up everyone&#8217;s ass&#8221;), but also something like world-weariness already from the jump, something that might land to other people as viciousness or dismissive or even overly masculine language (&#8220;First there was Lana, then Julie, then . . . a few other names I can&#8217;t remember&#8221;; &#8220;That should have been the name of a grandmother\u2026&#8221;). All of these are features of the voice that will stand throughout the entire piece.<\/p>\n<h3>The Close-In and the Farther-Out<\/h3>\n<p>In this story we&#8217;re always aware both of the immediate moment and of the larger context, and we often jump between the two without much, if any, indication that we&#8217;re moving. A great example of this constant shifting, of the large awareness the story utilizes at all times, shows up here: &#8220;Me and her, seventeen children of our own, adopt nine more, a farm next to a lake full of muskrats. Two rescue dogs, probably. Lana, Julie, Barbie\u2014their names were mantric.&#8221; That last sentence on a quick read could scan as potential names of the rescue dogs, but is instead transitioning us entirely out of the fantasy he&#8217;s spinning in the previous two sentences back to names that he&#8217;d presented us in the opening paragraph. It&#8217;s a fairly large jump back to a fairly small detail from the intro; what we learn from this is that time in this story is elastic, that every piece of information given to us matters, and that every element of the board is spread out in front of us all times, ready to be brought back to play at an instant&#8217;s notice. It&#8217;s a tiny moment early in the story, but that rubberband snap sets the tone of the story: a narrator in complete control, who can sound almost like rambling but is instead weaving threads that all come together constantly, and an audience that is expected to be sitting up and paying attention. Also extremely important to notice: This wouldn&#8217;t have mattered at all if there&#8217;d been a paragraph break; the names as opening sentence of a paragraph would have presented completely differently. But here, the reader has to work for it a bit, has to make the connections themselves and watch it unfold rather than have it immediately, and that process of work on both ends, the conversation and give-and-take between writer and reader, is always what amazes me about great writing.<\/p>\n<p>Of course, the full scenes of this piece are a great example of this exercise as well. Our opening sentence mentions &#8220;my love,&#8221; who doesn&#8217;t appear again until the opening sentence of the second scene. In between, we&#8217;re given a woman named Barbara who easily could have been conflated with &#8220;my love&#8221; since she&#8217;s presented as the natural progression of his paramours in the first scene, and then from Barbara we dive into the women that our narrator has been with in general, as well as a bit of who he was and what he was looking for in full-on narrative summary while also wandering through the narrator&#8217;s self-made politics on Native success and failure and the awkwardness that eventually comes out of these relationships. Voice-and-idea driven, but first &#8220;my love&#8221; is introduced and then disappears behind a more general sweep of discussion, then Barbara, then college, his backstory, and so on and on as the ideas keep widening. It&#8217;s beautiful to see in action, both in the smaller paragraph and the larger scene.<\/p>\n<h3>Plot, and the Collective<\/h3>\n<p>I&#8217;ve read a few interviews with the author, and he often talks about the awareness of the collective in his fiction, which to me scans as the constant awareness of writing as\/for an entire people while also writing as a singular within that group, but then also the way that family and tribe shows up in various thoughts and moments because everything is always interconnected. This piece uses that constantly; Allie&#8217;s mother tells a story when our narrator first meets her that leaves open the possibility that our lovers might be related, and he then tells us about asking his mom and getting one answer so asking his grandmother and getting another; when the relationship begins faltering, the narrator&#8217;s mother sends an uncle down to check on him; when Allie leaves, she &#8220;moved back to her reservation to live with her cousin.&#8221; There is never a question that everyone will be involved, because everyone is.<\/p>\n<p>This concept of the collective also plays into our plot. This is a story of a relationship that ends, and while our narrator will never know exactly why, there are plenty of potential reasons; some are tied to the differences in their peoples, some to the story her mother told, some to who and how they as individuals react. It&#8217;s never as simple as decisions two people make, with no one or no thing else involved. Since we&#8217;re in a reflective first-person narrator, the arc of the story is as much about what he&#8217;s discovered as it is how the relationship falters, which thematically plays in perfectly with this idea of being influenced by and constantly interacting with the larger world around you; he is thinking about her because the person he has become is at least partially crafted by his experiences with Allie. And the end of the story is introduced via traditions of his people, and, &#8220;Thus it is that we still prefer that our endings be intensely elemental and not without a certain amount of self-harm.&#8221;<\/p>\n<h3>In Conclusion<\/h3>\n<p>Every time I read this story, I walk away thinking about how incredibly effective fiction is when you make a choice and bear down on it. There are some very simple literary elements at play that make this story run: the first-person reflective narrator, the propulsive voice, and the use of the expansive collective in both character and idea. Everything this piece does stems from those choices, relatively straightforward in technique, but in committing to them, we have magic.<\/p>\n<hr \/>\n<p><em><br \/>\nby Brandon Williams<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>When we think of teachable stories, we often reach deep into the rucksack of the literary past, pulling out classroom-tested stories that have worked their way into the canon. While there is obviously a ton to learn from these pieces, contemporary short story writers are also completing strong work built upon teachable literary foundations, while also finding fascinating ways to advance the form. In this space, we\u2019ll highlight some of these more modern stories and&#8230;<\/p>\n","protected":false},"author":3,"featured_media":20595,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[182,540,270],"tags":[],"class_list":["post-20593","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craft","category-posts","category-stories-that-teach"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"When we think of teachable stories, we often reach deep into the rucksack of the literary past, pulling out classroom-tested stories that have worked their way into the canon. 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While there is obviously a ton to learn from these pieces, contemporary short story writers are also completing strong work built upon teachable literary foundations, while","og:url":"https:\/\/mastersreview.com\/stories-that-teach-featherweight-sterling-holywhitemountain-discussed-by-brandon-williams\/","article:published_time":"2026-08-19T12:30:34+00:00","article:modified_time":"2026-08-18T20:53:32+00:00","article:publisher":"https:\/\/www.facebook.com\/Masters.Review\/","twitter:card":"summary_large_image","twitter:site":"@MastersReview","twitter:title":"Stories that Teach: \u201cFeatherweight\u201d by Sterling HolyWhiteMountain\u2014Discussed by Brandon Williams - The Masters Review","twitter:description":"When we think of teachable stories, we often reach deep into the rucksack of the literary past, pulling out classroom-tested stories that have worked their way into the canon. 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by Sterling HolyWhiteMountain\u2014Discussed by Brandon Williams","link":"https:\/\/mastersreview.com\/stories-that-teach-featherweight-sterling-holywhitemountain-discussed-by-brandon-williams\/"}],"_links":{"self":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/comments?post=20593"}],"version-history":[{"count":6,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20593\/revisions"}],"predecessor-version":[{"id":20624,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/posts\/20593\/revisions\/20624"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/media\/20595"}],"wp:attachment":[{"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/media?parent=20593"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/categories?post=20593"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mastersreview.com\/wp-json\/wp\/v2\/tags?post=20593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":20572,"date":"2026-08-17T05:30:33","date_gmt":"2026-08-17T12:30:33","guid":{"rendered":"https:\/\/mastersreview.com\/?p=20572"},"modified":"2026-08-24T09:18:32","modified_gmt":"2026-08-24T16:18:32","slug":"new-voices-a-town-of-cherry-pits-by-pegah-ouji","status":"publish","type":"post","link":"https:\/\/mastersreview.com\/new-voices-a-town-of-cherry-pits-by-pegah-ouji\/","title":{"rendered":"New Voices: &#8220;A Town of Cherry Pits&#8221; by Pegah Ouji"},"content":{"rendered":"<p><em>As bomb sirens fill the air, a little girl and her mother make cherry jam\u2014juxtaposing the harshness of war against the ordinariness of daily life\u2014of the fact that unbearable things, in some circumstances, becomes normal. In this story, it&#8217;s the innocent pleasure of a child&#8217;s daily life that makes the turbulent reality such a gut-punch.<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-20522 size-full\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/Pegah-Ouji.jpg\" alt=\"\" width=\"768\" height=\"496\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/Pegah-Ouji.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/Pegah-Ouji-640x413.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/Pegah-Ouji-320x207.jpg 320w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>\u201cWhen will Baba come back?\u201d Zahra asks her mother as she piles cherry pits, building a town scattered across the kitchen\u2019s gray stone floor. By the stove, her mother pits cherries, drops them into a dented aluminum pot, and writes labels for the ruby-red jars of jam piled into a pyramid. Zahra\u2019s cherry-pit town has one small hill, a fence all around, and a narrow road. In this town, Zahra imagines mothers roasting chicken every night, slick with fried cinnamon and mint. Clouds are made of saffron cookies. It only rains sweet nabat. Fathers always stay put.<\/p>\n<p>\u201cHe\u2019ll be back when this is all over,\u201d her mother replies, palms stained scarlet with cherry blood.<\/p>\n<p>From the living room, an old radio sputters: \u201cThe Iraqi army is advancing closer to Khorramshahr. Our brave soldiers defend Iran with honor.\u201d<\/p>\n<p>A siren blares. Zahra stops building her town as Maman grabs her hand and runs toward their apartment\u2019s bomb shelter on the first floor. Zahra loves the bomb shelter, how everyone becomes softer there, the furrow-browed neighbor now a bundle of hugs and smiles. Zahra\u2019s mother cradles her cross-legged on the cold stone floor and hums Zahra\u2019s favorite lullaby\u2014the one she has been too tired to sing lately.<\/p>\n<p>After the siren stops, later that afternoon, Zahra stands at Bahar intersection with her mother, drawing big red letters on a piece of cardboard: <em>Cherry Jams for Sale!<\/em> Her mother piles jars onto a white cloth stretched across the sidewalk. Zahra adds cherries to the sign, next to a dancing worm in sunglasses\u2014like the worms her mother finds and tosses away.<\/p>\n<p>The street is packed with other sellers: a man with jade necklaces from Mecca, another with rose petals from Mashhad, a toothless old lady with apricot lavashak hanging like bruises behind her. It\u2019s hot. Zahra runs her tongue over the roof of her mouth, cracked like her mother\u2019s pumice stone, and watches a young boy juice pomegranates, crimson drops shining on his hands.<\/p>\n<p>Without her cherry pits, Zahra builds another town from sticks and gravel on the sidewalk: a bridge, a hut, even a tiny bomb shelter lined with dried grass.<\/p>\n<p>\u201cI guess no one wants jam when there is war,\u201d Zahra\u2019s mother grumbles. \u201cStay here.\u201d Her mother walks across the street toward the toothless lady with a jar in her hand.<\/p>\n<p>While she is gone, a little boy with porcupine hair walks by holding his father\u2019s hand. His father\u2019s tie hugs the curve of his belly like a question mark.<\/p>\n<p>\u201cI want a cherry jam, Baba!\u201d the boy says, tugging his sleeve.<\/p>\n<p>\u201cAbsolutely not. Khoda midoneh. Their kitchen is probably full of cockroaches.\u201d<\/p>\n<p>How does he know? Do cockroaches leave a scent?<\/p>\n<p>The day after Baba left, Zahra found a cockroach turned on its back in the bathroom. She carried it in her palm, her index finger tracing its shiny shell. \u201cCockroaches are among the most resilient creatures on earth. They have been around two hundred million years,\u201d Mrs. Rahimi had taught them at school, and they had copied resilient across an entire page.<\/p>\n<p>Holding the cockroach, Zahra imagined entire towns underground. She laid it on a bed of cherry pits and drew a mother and father cockroach beside it. When her mother found Zahra\u2019s insect family, a frown folded across her forehead.<\/p>\n<p>\u201cNo one will buy jam from a kitchen with cockroaches.\u201d A few strokes of the broom swept the entire town into the dark belly of the trash can.<\/p>\n<p>Just as the intersection light turns green, bomb sirens shriek again and the street erupts with movement. Mothers yank children by the wrist, and fathers shout after sons. Zahra searches for her mother and catches only a glimpse of her before the crowd swallows her.<\/p>\n<p>Zahra pushes through the hurrying bodies toward where she last saw her mother, then stops.<\/p>\n<p>What about her town? The jars her mother burned her hands to make?<\/p>\n<p>She turns back, throwing jars into the box alongside her sticks and stones. A few jars shatter, maroon syrup snaking across the pavement.<\/p>\n<p>\u201cZahra!\u201d she hears her mother shout, though she cannot see her.<\/p>\n<p>As Zahra reaches for the broken glass, a shard slices her thumb. Blood mixes with the syrup.<\/p>\n<p><em>I\u2019m here, Mama<\/em>, she wants to shout, but her voice disappears beneath the sirens, so loud it feels as though the entire town of Khorramshahr has been crammed inside her head. She lifts the box of broken glass and leaking syrup and squeezes through bodies pressing against her from every side.<\/p>\n<p>Do cockroaches know how to build bomb shelters? Where is her mother?<\/p>\n<p>Honor, the word from the radio, shapeshifts\u2014was it honor or <em>on her<\/em>? Will Baba come back?<\/p>\n<p>A loud explosion down the street sends the crowd into a frenzy. Zahra drops to the ground and curves her body around the box, becoming her own bomb shelter.<\/p>\n<p>She imagines her curved back, strong and sturdy.<\/p>\n<p>How long is even two hundred million years?<\/p>\n<hr \/>\n<p><em><br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-20524\" src=\"https:\/\/mastersreview.com\/files\/2026\/08\/PegahO_BW-640x512.jpg\" alt=\"\" width=\"250\" height=\"200\" srcset=\"https:\/\/mastersreview.com\/files\/2026\/08\/PegahO_BW-640x512.jpg 640w, https:\/\/mastersreview.com\/files\/2026\/08\/PegahO_BW-1280x1024.jpg 1280w, https:\/\/mastersreview.com\/files\/2026\/08\/PegahO_BW-768x614.jpg 768w, https:\/\/mastersreview.com\/files\/2026\/08\/PegahO_BW-1536x1229.jpg 1536w, https:\/\/mastersreview.com\/files\/2026\/08\/PegahO_BW-320x256.jpg 320w, https:\/\/mastersreview.com\/files\/2026\/08\/PegahO_BW.jpg 2048w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/>Pegah Ouji writes stories in Farsi and English. Her work has appeared or is forthcoming from the\u00a0<\/em>Hudson Review<em>, <\/em>Epoch<em>, <\/em>Joyland<em>, <\/em>Epiphany<em>,\u00a0and\u00a0<\/em>Split Lip<em>, among other publications. She was a 2024 Emerging Writer Fellow at\u00a0<\/em>SmokeLong Quarterly<em>\u00a0as well as a PEN America Emerging Voices 2025 Fellow. She is an MFA candidate in Creative Writing at NC State University.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>As bomb sirens fill the air, a little girl and her mother make cherry jam\u2014juxtaposing the harshness of war against the ordinariness of daily life\u2014of the fact that unbearable things, in some circumstances, becomes normal. In this story, it&#8217;s the innocent pleasure of a child&#8217;s daily life that makes the turbulent reality such a gut-punch. &nbsp; \u201cWhen will Baba come back?\u201d Zahra asks her mother as she piles cherry pits, building a town scattered across&#8230;<\/p>\n","protected":false},"author":3,"featured_media":20521,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[64,540,551],"tags":[552,53,245],"class_list":["post-20572","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-voices","category-posts","category-publications","tag-3rd-person","tag-fiction","tag-flash-fiction"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2 - aioseo.com -->\n\t<meta name=\"description\" content=\"As bomb sirens fill the air, a little girl and her mother make cherry jam\u2014juxtaposing the harshness of war against the ordinariness of daily life\u2014of the fact that unbearable things, in some circumstances, becomes normal. 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