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One of my favorite forms of the short story is “flash fiction.” This is variously interpreted, length being one defining element. Though I prefer working in the longer end of this, it is a challenge to  see if I can convey something of a shapely story in 250 words, a word limit of some flash fiction journals and slam competitions. Though I leave the competition to the competitors, it is still satisfying when something feels finished. I don’t always know why, something clicks inside and says: “Done!” And then I am just pleased I somehow pulled it off. Alex Pruteanu, prolific writer and this month’s co-editor of Flash Frontier says this of flash fiction and the rationale behind his editorial choices:

“Something I always look for in flash fiction is urgency: the urgency of the writer, but also the situation that I, as a reader, am being presented with. I want to be thrown into a scene and left there for me to figure out how to get out. I like that. And so I made sure that a complete story wasn’t being spoon-fed to me, even severely compressed as it must be when the word limit is 250 words. I also enjoy controlled chaos and have a visceral reaction when I read well-constructed flash that seems out of control and about to explode in my face. And finally, I just like things that come at me from obtuse angles. It’s hard to somehow verbalize this but…flash fiction for me reads like Thelonious Monk’s piano playing. Something hits you from a never-before-seen angle. And you think: holy moly, this actually works.”

The theme for this month’s Flash Frontier is “Motels.” It is interesting to note the variety a well chosen, concrete theme can inspire, especially one that makes us think of travel, or even waywardness, an on-the-fringes existence. It doesn’t always have to suggest these things but a built-in opportunity exists for the writer who will grasp it: Tension. This is the torque of any story. The best stories employ multiple layers of human anguish and difficulty, not a melodramatic presentation of course, but a visceral one so that by the end we are so close to what is happening as to feel we are inside a world that is not our own. Good stories humanize us by letting us experience the lives of more people we can ever know in a lifetime. In this sentence about the function of stories, I am roughly paraphrasing Harold Bloom, one of our most erudite literary critics.

The Old Woman from Ipanema



Coastal processes assessment, Brevard County, Florida


The night we met at The Red Fox Lounge at the Mount Vernon Inn, I started to lose my vision. Lorna Lombey was singing ‘The Girl from Ipanema’ and handing out tambourines and maracas and castanets and suddenly there were two Lornas and two of you and two of everything else. After that weekend, the historic Florida inn would be destroyed by land developers and Lorna would no longer play where she and her late husband of thirty years had a Vegas lounge act.

I held your hand, tears in my eyes, and watched the room double.

“Let’s get a drink,” you said, knowing nothing. I had not been open about my health. Dating at fifty was one long sales pitch.

We checked into a room. You laid me onto the bed and hovered over me in twos. “I’ll never leave you,” you said. When I was twenty-five and newly married my husband said the same thing though I left him first.

In the morning, I woke to a note: Goodbye Angeline. My double vision had fled, long enough for me to drive home and watch the news that night, including news of the destruction of a Winter Park landmark, yet another link to our past, this David Lynchian concatenation.

My dog rolled over and I thought: This is the one true thing.

I scratched her belly.

“Our city will be lonelier without strange things such as these,” I said.


First published in Flash Frontier, September 2016