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2014/15 Writing Contest Special Edition
June 2015
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Introduction
Joan GelfandJoanBy Joan Gelfand (SF)
Annual Writing Contest Chair

Welcome to the 2015 National Writing Contest Edition of The Bookwoman.

 

2014/15 was the best year ever for the WNBA National Writing Contest. We received over 200 submissions in three categories: Fiction, Creative Nonfiction/Memoir, and Poetry.  

Congratulations to our First Place winners!

 

Poetry: Diana Whitney for "Curiosity"

Fiction: Allison Har-zvi for "If You're Ready"

Creative Nonfiction/Memoir: Diane Kraynak for "Science Project"

 

Judging is always a challenge. Sometimes a judge is called upon to make a hard call between best and best. This was the case for our poetry and memoir judges, Ellen Bass and Deirdre Bair. 

 

Ellen Bass on the top Poetry entries: 

 

"Curiosity". . .reaches out what I call a 'long arm' and scoops in a lot that all resonates beautifully together. It has unpredictability, surprise, and lots of what Tony Hoagland calls "thingitude." It's personal and cosmic, intimate and grand, and trashy and complex.

 

"Words [in transit]". . .a whimsical, smart, totally fresh poem. I was utterly charmed. This poet has an original mind and a vivid eye. The more I read this one, the better it gets.

 

Dierdre Bair on Creative Nonfiction/Memoir:

 

It was a tough choice between my one and two as both were totally intriguing.

 

Our Fiction Judge, Michelle Hoover, wrote:

 

"If You're Ready" Har-zvi takes something quite common--learning to drive and the coming-of-age that arrives with it--and turns it into a story that's both nostalgic and edged with danger.

 

"Hydroplaning" I couldn't get the image of the mother rubbing the back of her grown son out of my head. Though it's very short, this is a heartbreaking piece.

 

Congratulations to our Second and Third Place and Honorable Mention Winners. I hope you will devour this issue--and that you will enter the contest next year!

 

Finally, THANK YOU to our judges for making time in their busy schedules. Your words of endorsement mean the world to our writers!

 

I'd like to extend a special thanks to our Early Reading Committee. These busy women (and Kirk Lumpkin!) were patient, helpful, and brilliant in their assessments: Kristen Knox, Ann Benoit, Nicole Ayers, Kirk Lumpkin, Susan Larson, Susan Cohen, and Tobey Hiller. And to Cheyenne Yousuf for her beautiful flyer.

 

Last, thank you to NC Weil and Bebe Brechner for keeping our website up to date!

 

To more great contests!

 

Joan Gelfand 
WNBA Writing Contest Chair

WNBA Development Chair

joan@joangelfand.com 

 

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Join Us!
Network by joining a chapter near you, (network membership available for those outside of chapters' immediate locations.) Or to set up a new chapter in your area contact Joan Gelfand at: joan@joangelfand.com

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ContentsContents
Introduction
By Joan Gelfand

Fiction

Winner
"If You're Ready"
By Allison Har-zvi

"Hydroplaning"
By Vicki DeArmon

Third Place
"Moths"
By Kathleen Spivack
 

"Cold Comfort"
By Kristen MacKenzie    

Poetry
"Curiosity"
By Diana Whitney 

Second Place  

"Words [in transit]"
By Sarah Wolbach

Third Place

"The Light-Lust of Trees"
By Michelle Regalado Deatrick

Honorable Mention

"Comfort Woman"  
By Tanya Hyonhye Ko
 
  
"The Science Project"
By Diane Kraynak 
"Kiss Me Again. She Did."
By Renate Stendhal
"The Only Child"
By Jayne Martin 
"Ghost House"
By Laura Ruth Loomis

Important copyright information for contributors
WNBA's  Executive Officers
President
Carin Siegfried (Charlotte)

VP/President Elect
Jane Kinney-Denning (NYC)

Secretary
Shannon Janeczek (Detroit)

 

Treasurer
Gloria Toler (Nashville) 

 

Past President
Valerie Tomaselli (NYC)  

  

For further information on the national board, chapter, presidents, committee chairs, please go to the WNBA website.
Sustaining Members
Winner -- Fiction
IfYoureReadyIf You're Ready
By Allison Har-zvi (NYC)



Allison Har-zvi (NYC) is a graduate of Williams College whose short fiction has appeared in Luna Station Quarterly and elsewhere. Originally from New Jersey, she now lives in New York City, where she works in book publishing.

 

You may contact Allison at



­

     Foot on the brake, turn the key three clicks forward until the engine sputters, then let go and allow it to spring back into the position labeled "II." Slide your hand down and ease the gear shift backward from P to R. No, you have to keep your foot on the brake to do that. The brake, which is on the left. Brake left, gas right. Hit the wrong one, and you'll feel it all through your body. You don't usually make mistakes like that anymore.
     The car is yours, passed on from the grandfather who died six months ago in his sleep. He lingers, a bit. He had that peculiar smell, and a felt hat he wore only when he drove, and something about the car is crinkled like he was, precise like he was. His coffee stain is still visible on the passenger side, his dark umbrella is on the floor under your seat, still. The hat may be there somewhere, too.

     At some point, you and your friends went through a phase in which you gave human names to all your possessions. It was silly and juvenile and it was a long time ago, but still you know you'll need to find a name for your car. You have yet to come up with one that fits. The car is nearly as old as you, and age has placed a filter over its interior, the air itself tinted a beige-brown as though passed through a lens that photographed your parents when they were young. Its smell is a familiar tinge in the back of your throat, a mask around the upper part of your face. Fortunately for your mission tonight, your parents keep it parked out in the driveway, so the noise of the garage opening will not disturb their sleep.

     This is not the kind of thing you normally do. But tomorrow, your mother will take you to have your road test. She'll take you there and most likely you'll come back with something to show your friends later in the day, something to slide into the space you reserved in your wallet, next to the photo of you and your boyfriend at the mall. You have never been in the driver's seat without a parent beside you, and this is the last night before that ceases to be something the laws expect from you. 

     You rest your elbow on the back of your seat as you twist around to see behind you. Sometimes you still guess wrong when you try to think of which way the car will turn in reverse when you move the steering wheel. Ease backward slowly, so, so slowly, trying to be aware of the position of the bushes that flank the driveway and the plastic bucket of garbage, raccoon-proofed, that waits out on the curb. Curve back into the vacant street. Shift from R to D. And you're off.

     Your parents trust you. Even if they were to wake up now and find the car gone, they would sooner believe that it was stolen and you were kidnapped than that you took it for an illegal drive in the middle of the night. They would sooner believe that you and the car had been abducted by aliens. The point of tonight is not simply to defy them; they make that only too easy, and would forgive much too quickly, anyway.

     It feels so normal, wonderfully and disappointingly normal, to glide alone past the same sleeping houses with their bright insides extinguished, to pass under the same street lights, one of them flickering as though batting an eyelid. You make your way through town in the way town seems to expect you to, and then on, past the neon faces of fast food joints and mattress stores and clothing outlets, closed down for the night. You have opened the window a crack, conscious of the way the air enters and brushes against your face, its coolness, and the way it roars as though against the head of a microphone.

     The act itself was the important thing, the proof that you are the age you are and that it matters, but you've set off with no destination in mind. Consider, for a moment. You slow suddenly and hand-over-hand steer yourself down the road to the interstate entrance, where you have never been on your own. The pavement curves around to where you can see the taillights darting past and before that a line of cars, paused like balls waiting to be shot forth from a pinball machine. You wonder at it, the line even at this time of night.

     Yield. Now accelerate forward. No, wait! Look for an opening. There isn't one. There is one. You start, you hesitate, brake. The ornament that hangs from your rearview mirror, a small crystal on the end of a ribbon, jumps and spins. A horn behind you voices complaint.

     The ornament is new-ish, a gift from your boyfriend. It makes you go a little cross-eyed when you notice it while driving, and in sunlight it leaves bright intangible fragments for you to find scattered, dancing, all over your car.

     He's had his license for a while now, and in his car some nights by the side of the road your lips have met across the front seats, pressing curiously. Only in the front seat though, your seat belt still tight across you like an arm and the gear shift, cup holders, radio, and armrest between you, safe buffers. The car is his father's. But this one is all yours, and he has hinted at the possibilities for seats that are entirely yours, once they've become yours entirely. You still the ornament with your hand.

     Those seats he means, your back seats, are a yellowish color that has no name, a velvety material that's been tamped down in places like crop circles from the weight of other bodies, always upright. You suppose you could stretch out horizontally across them if you wanted to, though your head would come to an awkward angle against the crank that operates the windows, your hair mashed into the yellow velvet, the smell of the car overpowering, the umbrella visible, poking out from beneath the seat. In the center there's a raised hump, low but pronounced enough that you would have to arch your back over it, pushing your head harder against the inside panel of the door.

     When the car was your grandfather's, the back seat on the right side was always where you sat on weekdays when your parents left you in his care. It was where you sat on the way to the pond to feed the ducks, or to the movies, or out to your favorite pizza place for lunch (you'd laugh uproariously after you inevitably coated your cheeks with sauce). Ever since, the faint imprint of a car seat has always remained, the crisp distinct edge of a square in the velvet, layered in among the rounder, softer forms. Your grandfather used to call you gorgeous as he buckled you in, squirming. He told you that you were so gorgeous and that one day you'd have so many admirers you'd have to beat them back with a stick. At the end of the day he'd carry you back into the house asleep, every time until you got too big and he got too weak.

     The changing position of lights around you is cosmic, confusing. There are the patterns of headlights on your left, advancing steadily, and the red slits of taillights before you, neon advertisements and smiling faces on billboards, the blinding reflections in your mirrors, and in the midst of it all, the occasional protest of a horn, which you always assume is directed at you, no matter what. You yourself never use the horn, not even when you need to, and the car has been voiceless for a long time. It's not that you're afraid it would be rude. The simple motion from the rim of the wheel to the center, the pressure that makes sound: these are things that just never occur to you until it's too late.

     A car with a "baby on board" bumper sticker slides up next to you. You can just make out the squashed form of a tiny cheek against one of the windows in the back, a bit like a thick fleshy puddle, something between liquid and solid, familiar but entirely distorted. As a sheen of lamplight passes over their window, you can see the greasy spots blossom out from transparency, filmy patches where the cheek has been before. They don't go away, those marks. A few months ago, your friend drew with her finger in the mist that had formed on your windshield and there is still a smiley face in the upper corner, sliding in and out of visibility. Her hand slipped when she drew it so that one eye is bigger than the other, which makes the face look vaguely sinister, glaring at you lopsidedly at you as you pass under the lights. Your boyfriend wrote your initials on the back window that same day, and you can see them now in your rearview mirror, reversed.

     He's not that much older than you, really. Only three years. Enough that he knows more than you do, though, and enough that after a month or two together, he started hinting. Once the car is yours, it will be harder to evade the question much longer, his asking touches, to pretend to be oblivious when his fingers leave your face and neck and venture elsewhere. Much of the time it doesn't even occur to you that you can speak, that speech is a choice you can make, that your answer can be anything, not until you're back on your own. In the moment, you've found it's easiest to get out of talking about it by kissing him some more. He seems to take this as a good sign, but the question still hangs there and he waits for you to snatch it out of the air. You are sure he has been with others. You continue to kiss him to avoid bringing it up, and he's waiting, waiting for you to say the word, to give an answer for all his dropped hints. He wants you to take your seat belt off.

     In spite of everything, the two of you have approached the verge of it even without talking, but every time you get close something in you cries out wait, not yet, for one reason or another. You haven't shaved your legs, or you remember that you're wearing your least flattering underwear, or you skipped your shower today, or you've simply developed a sudden awareness of body parts you've never considered: not just the most obvious places but also the curve of your earlobe, the crook of your elbow, the strip of skin below your belly button where his hand lingers at the waistband of your jeans, waiting for you to say something. Tomorrow you will get your license, if all goes well--everyone seems to think it will go well--and the car will be yours, really yours. Maybe he will say the two of you should celebrate.

     You've never mentioned it to your friends, the hanging question, but they keep asking whether it's happened yet anyway. They ask while you're all together, they come to you to ask individually, one at a time, as though they'd planned out a rotating schedule, asking, asking. They offer advice without being prompted. You have all read the same glossy articles folded behind a celebrity's face, articles about how to know if you're ready and how to maneuver your tongue when you kiss, schooling you on your own bodies.Your friends say it's sexy that he's older, more experienced, in college already, but you suspect they mean something else. You choose to take their word for it, though, as well as you can. It's easiest to take their word for most things. They have an awful lot to say. They are all in love with their boyfriends.

     The other car seems suspended alongside you, hovering. You are seventeen miles an hour over the speed limit, and because it is tonight, you push down harder, until the car and the squashed little face, flattened like a flower between pages, has disappeared from view. You push on. And on.

     At some point, the highway and its signs passed into a murky area of your consciousness. It all blends together, the transitions from old pockmarked road to new smooth road, the lights upon lights, the exit signs that slide over you and make no impression. Cars shift backward and forward around you in a stream and seem not really to be moving very much at all, bobbing, adrift. You have relaxed your grip. You trust the guidance of the car in front of you and you will not change lanes at all if you can help it, channeled along beside people contained and separate and concealed. It does not matter that many of them must be low on gas, or hopelessly lost, or in search of restrooms, still coasting in the undifferentiated flow of everything. On, into a hypnosis of silent light and flashes of sound. The roadsides are studded now and then with limp-bodied dead animals and broken-down cars with their lights blinking in confusion, places to turn off and places to shop and places to sleep and places to avoid. You wonder how long ago that overpass was built. How people got across the highway before that. Whether anyone ever actually stops in that dilapidated motel.

     It has not occurred to you that after another exit or two you'll be fed onto the bridge and then straight into the city, shoved into the midst of its aggression and unforgiving words, its confused, twisted streets. You see the enormous yellow sign too late that declares LAST EXIT BEFORE TOLL. Suddenly you seem not to have enough limbs and simultaneously too many at once, groping for change and going for the gas and the brake and the radio and the glove compartment all at the same time, the futile twitches of an insect flipped onto its back.

     You manage to get some money in hand by the time you reach the tollbooth attendant. The boredom in his face startles you, for surely he must sympathize, surely your own expression must read as one of great trial and more still to come. He takes your cash as you sift through memories of every driving technique you've ever learned, in as many seconds as you can spare.

     And then you are moving, moving forward, and there is nothing to be done. You are at the steel mouth that leads onto the bridge, and soon the bounces begin, the jerks and jolts regular as time. All around you, your nameless car rattles, the seats that are yours and the finger-marked windshield and the tinted memory of someone. Into the mouth, strange rushes of night facing your windshield, the thought of your parents still in bed and the skyscrapers looming ahead on the other side, and this is the last night, of all things. You lean forward, shaking, as far as you can. Remember your horn. Try to keep a constant speed, a fast speed, in part to look like you know what you're doing and also because it's dangerous to hit the brakes too suddenly. Like that. Steel and cable and plastic pressing down from above, nothing below you and everything around you, pushing, flowing, dragging you onward. You're close now. You'll be out on the other side in a minute.

 

Read a PDF of complete story here

 
Winner -- Poetry

Poetry1Curiosity 

By Diana Whitney

 

"Resistance is useless."

~The Hitchhiker's Guide to the Galaxy




Diana Whitney's first book of poetry, Wanting It, was released in 2014 and became an indie bestseller.  Her poems and essays have appeared in The Boston Globe, The San Francisco Chronicle, The RumpusThe Crab Orchard Review, and many more.  A yoga teacher by trade, Diana blogs about the darker side of motherhood for The Huffington Post and runs a yoga studio attached to her Vermont farmhouse.

 

You may contact Diana at:

www.diana-whitney.com.  

 

       

On the northbound lane following the river

I try to explain about horse paths, cart paths,

earth-eaters, the first dozers and rollers

laying hot tar over centuries of dirt. My daughters

 

still believe whatever I say, mine me

for knowledge practical and vast. Could the moon

have a moon? Ava asks and I don't know--

it probably could have some asteroid chip

 

or space-station trash snagged into orbit,

natural satellite, a crushed Coke can

or a bottle-cap. But it wouldn't last,

we can't steer the mothership, the girls want me

 

always in the kitchen like a planet,

steady sphere with gravitational pull,

slow burn on the horizon all night

anchoring their dreams in flannel

 

and cold cream; they want me cut loose

on the tramp, big crazy bounces, playing

Simon Says and Moonwalk Chase. Curiosity,

the Mars rover, found water in red dunes,

 

trace molecules, ices, thin film in fine dust.

We hunted the meteorite

deep on museum bedrock, pitted hunk of solid iron

radiant in the velvet dark, 34-ton heart

 

from the asteroid belt, burned into being,

four billion years old. Carmen ran

pell-mell through the Hall of Human History,

past Cro-magnon skulls and femur bones,

 

past DNA spiraling slow in a glass case,

to see what she'd been promised,

to lay her cheek against the cool

hard evidence of Space.

 

Read the poem here.

 

Winner-- Creative Nonfiction/Memoir 

ScienceProjectThe Science Project

By Diane Kraynak (Charlotte)




Diane Kraynak (Charlotte) is a pediatric nurse practitioner in Charlotte, NC.  Her essays have appeared in Zone 3,
Lifelines, and the anthology
I Wasn't Strong Like This When I Started Out by Creative Nonfiction.  Her essay "Lazarus" was selected as "notable" by Best American Essays 2013.  She is working on her first collection.  

 

You may contact Diane at kraydd5634@yahoo.com.

          

Read the entire story here.    

     Aleeshya lies barricaded in the south corner. White plastic screens surround her. Sick babies in the south corner of the newborn intensive care unit are common; sick six-month-olds among the newborns, though, those are rare. We pretend the screens provide privacy for the baby, but they shield us too.

     I enter her protected space and take in the scene: IV poles, ventilators, monitors, tubes, machines. Blinking lights, steady lights. Various pings and beeps break the silence.

     "Hey." I smile at Jamie, Aleeshya's day-shift nurse. "I see we're screened in now."

     "Yeah, since yesterday." Jamie looks up from her note. She smiles at me. "How ya doing?" she says.

     "Good. How are you? How's she?" I jut my chin toward Aleeshya.

     "Well, she had surgery last week."  

     "I heard." I raise an eyebrow. "How long are they going to keep this up?"

      Jamie puts down the chart and rubs her forehead. She opens her mouth to speak, but stops.

      "We talked to mom today," another voice says. Kristen, the Neonatology Fellow, a board certified physician now training to specialize in newborns, has stepped in behind me. "She's DNR now."

      "We told mom it's O.K. to stop?" I ask.

      "Yes."

      "Are we withdrawing care?"

      "No. But mom agreed to no resuscitation if Aleeshya codes."

      We absorb this for a moment.

      "Do you have her tonight, Diane?" Kristen asks.

      "Yep. Until eleven. Are you here all night?"

      "For a few more hours. I know she's in good hands with you." Kristen gives me a wink and a smile. "I'll check in later. Have a good night, Jamie."

      "Night."

      Jamie and I return our attention to Aleeshya. "When did you take care of her last?" she asks.

      "Em, about a month ago? She's been here so long, I've lost track."

      "Didn't you admit her? I think I remember her coming in."

      "Yeah. Either I admitted her or I was there for her delivery." I call back a vague memory of a scrawny baby, arms and legs flailing, yanked from a toxic uterus. Aleeshya's mother's soaring blood pressure poisoned the oxygen supply. She was pulled out in June, eighteen weeks too early. She was the length of a fast-food paper napkin and weighed less than a pound.

      For the newborn intensive care unit, she is not unique. Many of our babies arrive like this. Forceful hands free them from hot bellies and pull them into a cool antiseptic room. Their eyes fly open in disbelief, their mouths gape and gulp those first swallows of air. Relieved, they mewl their thanks to masked blue figures.

      Hands move everywhere; rubbing, pulling, touching, pressing urgently. These babies are in trouble after the first few breaths. Hands grab and tilt up delicate chins. A sterile tongue depressor forces open the small mouths and in slips a long plastic tube down into lungs to help them breathe. Like so many before her, this was Aleeshya's start in life.           

      Jamie hands me the sheet of paper that holds Aleeshya's information on it. "Anyway," she says. "You ready for report?"

      I flip over the paper and click my pen. "Yep. Go." Over the next fifteen minutes, Jamie summarizes Aleeshya's brief existence. I know most of it already.

      She was born at twenty-two weeks' gestation - essentially unfinished. For her entire life, we poked, prodded, infused, transfused, scanned, examined, stuck, and sliced into her. She's tenacious, persistently surviving each complication and intervention. Six months later, she has grown, but not improved. She is, in fact, worse. She requires mechanical ventilation to breathe. She has two large bleeds in her brain. She is blind. She is deaf. Recurrent infections and the antibiotics that cured them left her prone to fungal infections.

      A fungus came and formed a ball in her heart. She had surgery for that last week, which left her chest open but failed to remove the fungus. Complications like these are common in the NICU. For one baby to get them all, well, that's more unusual. We find the heart fungus particularly disturbing.

      We call her the Science Project; our moniker to distance ourselves from her. She is a glaring failure of how we've tried to help but made it worse. We know how this will end. But we can keep her alive, so we do.  

      Jamie gives me Aleeshya's treatment plan, her medications and lab schedule, and the day's details. "Her urine output is all but gone. Heart rate's down and so is her blood pressure," Jamie says. We stare at her monitors, which confirm the situation. "We're maxed out on pressors. We've cut her fluids as much as we can because of the low urine output."

      Commotion occurs beyond the screens. Faces peer around them - other night shift nurses. Everyone wants a glimpse of the Science Project. "She's still alive?" says Angie. "Oh, my God. She's huge."

      Gwen sidles in beside Angie. "You got the Science Project tonight? She looks pale," she says, her words harsh and clipped. "What are they going to do?"

      "Keep her alive," I say.

      Michelle, a respiratory therapist, is part of the crowd. "I can't believe she's still here". Michelle turns knobs and presses buttons on the ventilator. "I'm all for hope and miracles but this just looks like torture."

      "We passed hope a long time ago. Like two or three months ago," Angie says. We pause. That was about the time she ceased to be baby and she became our science project.

      My pen rolls between my fingers. "She can't possibly survive this," I say.

      "Should she?" asks Michelle. We cock our heads questionably. We've had this unspoken conversation for weeks.

      "I hope she's not in pain," Michelle says.

      "Her morphine is due in an hour," says Jamie.

      "Does it matter if it's early?"

      "Probably not," Gwen answers.

      Michelle strokes Aleeshya's cheek and gives us a sympathetic glance. "I can't believe they left her chest open," she says.

      "I don't know whether to be horrified or impressed that I'm looking at a living, beating heart," I answer. "You don't see that everyday."

"Doing compressions will be easy," says Pam. We stand quietly by Aleeshya, mesmerized by her heart - a damaged, beating fungal ball open to the world.

      "I heard there was a phone conference with mom this morning," says Gwen.

      Jamie answers. "Yeah. She's DNR now."

      "Good timing," Pam says. "Some nurses have been talking about going to the ethics committee."

      "For what?" I ask.

      "Withdrawing care," Pam says.

      "Aleeshya quit a long time ago; we refused to listen. We kept going. Now we're distressed, so now we say it's O.K. to stop?" I take a deep breath and sigh.

        We're silent, sharing the same thought that none of us want to say aloud.

She needs to die, but we don't want to tell you that.

        Someone else slips past the screen. This month's medical resident stands tentatively on the outskirts of our group. Her stethoscope is slung around her neck, and she shifts from foot to foot. This is her first night on call in the NICU. The doctors have changed. We have not. We've remained at Aleeshya's bedside, second by minute by hour, day by week by month; we've witnessed her slow decline.

        We haven't learned this doctors name yet. We ignore her, weary of another interloper and suspicious of new perspectives. Every month, fresh energy propels this experiment and we dread the continuation. The resident takes a step towards Aleeshya and pulls back. She looks at Aleeshya's monitor and scurries away.

        "I'm going to check on the other kiddo's," Michelle says. "I'll be back to suction her."

        "We'll be right here," I say.

        Pam leans over Aleeshya and caresses her head gently. "Go to the light Sweetie," she says softly. Everyone leans over to look at her once more. They brush past the screens as they file out.

        "Have a good night," Jamie says. Her mouth twists into a rueful smile.

        "Thanks. You back tomorrow?"

        "No."

        "See you later, then."

        "See ya."

        She closes the gap in the screen as she leaves. Its flat metal feet scrape the linoleum floor.

           

        It is the first week of December and the sun set four hours ago. Last week, the city's Grand Illumination kicked off the holiday's. White lights silhouette the downtown buildings. This will be Aleeshya's first Christmas. If she makes it.

        Alone with Aleeshya, I wash my hands and don a yellow barrier gown and gloves. I pause, lean up against her warming table and watch her. She is not the baby I remember from a month ago, and bears no resemblance at all to the active premature infant I helped into life six months ago, a tiny girl the color of café au lait, wide awake to her new world.

        Tubes grow from her head, mouth, arms, legs, chest, and bladder. She looks like a brown, bloated toad. She is sedated, but her face has a slight grimace to it. Her puffy eyes are squeezed shut, a dramatic contrast to the wide eyed-wonder of her birth. Her brown skin is pale and tinged yellow. Her tummy is hard, tight, and shiny. Droplets of fluid ooze from her skin. There is a one-by-two inch hole in her chest. Her tiny heart pulses hypnotically through clear flimsy plastic.

        I poise my stethoscope over the hole in her chest. Not there. I move it to the left of the plastic and listen. Her heartbeat is regular. Her lungs sound wet and coarse. I touch her leg. My finger dents her ankle.  

        I settle myself on the blue vinyl stool at her bedside and pick up her flowsheet. The flowsheet is heavy stock, printed on both sides. It folds out like an accordion. Patients get one flowsheet per day; Jamie's handwriting fills in the daytime. Mine will fill in the next four hours, adding to the rows and columns of numbers that document Aleeshya's existence and decline.

        I, too, participate in this experiment. I contribute with my care: I follow orders, enter data, and observe. I am an accessory to the situation. My vigilance keeps her alive, and my silence condemns her to this kind of life. We are all participants. We haven't advocated strongly; we haven't said forcefully enough that death, too, is an option.  

        The white screens surround us and the hum in our space is hushed. Outside, I hear the rest of night shift working. They're saving other babies - babies who will grow, get better, and go home. They're easing the passing of other babies who will die. I scooch the stool to the window to look at the lights and catch Aleeshya's reflection in the glass.

        What are you thinking Aleeshya? Do you know what a thought is? How could you? With those big head-bleeds on both sides of your brain, can you think? You've never babbled a word in your six-month life. Are you babbling now or are you screaming into your breathing tube? Are you drowning in all that sugary salt water that we pumped into you when we cut your chest open to get at your heart full of fungus?

        You're blind. You're deaf. You can't breathe. You can't eat. You can't talk. Your heart doesn't work.

        Your mother doesn't visit. Why are you still here? Why are we bothering? What is the point of you?

        Aleeshya's ventilator shrills. I look at her and check her monitor. Her oxygen saturations are 70% and her heart rate is 60. Both numbers are dropping. She is dying. Now.

        I jump up, my feet kicking the stool into the wall. "Hey, guys?" I say to the ceiling, loud enough for everyone to hear. "Aleeshya's coding."

        Michelle, Angie, Pam, and Gwen materialize immediately. Kristen and the anonymous resident appear shortly after. We circle Aleeshya's bed, gloving and gowning.

        "Heart rate's 60, 54, 53," someone counts.

        "BP 42/20," says Pam.

        "Angie," I say, "can you write all this down?"

        Aleeshya's monitors pierce, ping, and beep in time with her plummeting vital signs and warn us of her impending failure. Our fingers twitch to start chest compressions, open chest and all. She is DNR. All we can do is watch. We struggle, torn between the trained reflex to save her, and the human desire to let her go. Seconds later, she is gone.

        Kristen lays her stethoscope on Aleeshya's chest, just to the left of the plastic-covered hole. She holds Aleeshya's upper arm between her fingers. The plastic ceases its throb. The red and white lines that squiggled her heart rate and blood pressure lie flat.

        "9:02 p.m.," says Kristen, calling the time of death.

        Michelle disconnects Aleeshya from the ventilator. Pam and I unhook her IVs. Angie clicks off the monitors. Gwen turns off the warming table heater.

        "You want some help, Diane?" Angie asks. "Pam can watch my baby."

        "No, thanks. I got her."

        Someone audibly exhales. The experiment has ended. We don't have to do this anymore.

           

        They leave her to me and our corner is quiet again. I begin her post-mortem care with a bath and I plunge my gloved hands into the basin of warm water. Air in my gloves bubbles up a cushion between my hands and the latex. I run the washcloth down her arm. She feels firm but spongy, like a rotting cucumber. She is rotten, actually, and has been rotting for weeks, further proof this experiment should have ended much earlier.  

        Despite her spongy skin though, Aleeshya is hard, solid, and surprisingly heavy. Her illness, not rigor mortis caused this: her body, unable to make urine, saved fluid and stored it in her cells. When I turn her to wash her back, she lies like a rock in my hands.  

        I leave in the breathing tube and chest tube for the medical examiner. I replace the yellow ooze on her skin with lavender baby lotion and put a clean diaper on her. I take one last set of footprints, in case her mom wants them. I print her palms too. I swaddle her in a soft clean blanket.

        Aleeshya's eyes remain tightly shut, and her skin is taught, but she looks less clenched than she did two hours ago. I can see her better without the machines and wires that connected her to life. If I tilt my head and squint, she is a sleeping six-month old. She looks almost peaceful. Almost.

        I pick her up and rock her in my arms. I realize this may be one of the few times anyone has held her. She is still warm and smells of lavender. I carry her to the window. City lights twinkle in the distance.

        Pam pokes her head in. "You doing O.K?"

        "Yeah. I'm almost ready for transport."

        "Oh, my God. She's so pretty." I stop rocking Aleeshya. Pam ruffles the little girl's black curls.

        "I know," I answer. "We can really see her face now. I'll be done in a few minutes. Then I'll come help you guys," I say.

        "Take your time. We're O.K. out here."

        I return Aleeshya to her table. I wrap her snugly in another blanket. The white plastic body bag, made for a child, not an infant, is too big. I nestle her into it and fold up the bottom of the bag.  

        The wreckage of her area has my attention: stained sheet; strewn blankets; tape, scissors, and clamps; boxes of gloves and surgical masks, dangling IV tubing. I pack up Aleeshya's footprints and palm prints, her ID band, her hat, and her nametags for her mother. I fold away the white divider screens and prop them against the windowsill for housekeeping to clean. Another family enters the unit to visit their baby, two beds down. I hastily replace the screens.  

        An elderly man comes with a wheelchair. He will carry her body to the morgue. His name badge says "Leroy." I raise a hand to signal him I need a minute. He nods and waits at the unit door. I pick Aleeshya up and the body bag crackles. She is solid and heavy. I kiss the top of the plastic, where her head should be and embrace her a moment longer. I brought her into the NICU. I am bringing her out.

        Leroy drapes a clean hospital sheet over the wheelchair seat. I lay Aleeshya gently onto the sagging blue seat and cover her in white cotton. I squat to tuck her in and straighten the sheet. There is nothing left to do so I stand up.

        Leroy closes his eyes, nods, and pushes past me. The unit door snaps shut behind them. Ten p.m. Nine more hours on shift.
 
Read the entire story here
Second Place -- Fiction 

HydroplaningHydroplaning

By Vicki DeArmon



Vicki DeArmon works as the Events Marketing Director for Copperfield's Books in San Francisco's North Bay, booking authors for events. In the wee hours, she writes. She's working on a collection of short stories, She Let Go Their Hands, depicting families riding the roller coaster of addiction. And there's a comic novel brewing called Tilting: The Nearly True Story of a Small Book Publishing Empire that draws from the years she spent running Foghorn Press in San Francisco in the 1990s. Her blog at onemothersedge.com,
is a humorous attempt to consolidate three aspects of her being: writing, motherhood, and co-dependence.

 

Read the entire story here.

 

     I vow not to say anything. If our Toyota overturns on the highway, the rain slashing our windshield as we spin up and over the guardrail, the raw insistence of cement divider against the brilliant blue metal of the collapsing roof, I would quench even the smallest scream. If we hurled into the oncoming traffic, the rush of flying distracting us for a fatal second, I would utter not a word. 

      But Jacob stares ahead, plotting his next assault. His hand lightly rests on the wheel as if it is his car not mine that is ripping up the highway's fast lane. The other lanes stall and whimper to our right and ahead as we fly past with the majesty of the entitled. 

      My son is seventeen and within the outer parameters of handsome, the remnant scars of his acne translate into edges of an adult-like toughness that girls find attractive. The plug in his left ear glows green, and I can see through a nickel's worth of space in the lobe. I look away from his cheekbones, surprisingly sharp, angular now like the rest of him, the result of his recent three-week run on crystal meth. I wrap my arms across my chest, remembering the blistering night of detox, of heaving and tremors that I nursed with cold compresses and pots to catch it all until he finally collapsed in a dead sleep just as my husband, shaking his head, left for work in the morning.

      Jacob says, "Why the fuck can't I have the car? I'm just going up the street when we get home." The car accelerates and with the faintest tilt of my head I can read 75 on the dash. I look at the guardrail and calculate the seconds to our death. Three. 

     "I don't have to explain." I shift in the passenger seat inhaling the scent of the new plastic that communicates the notion of fresh start every time I climb in. I refocus my sights on the fields over our town as we descend the last hill before our exit. 

      The rain has paused as if drawing in its breath. I watch as a SUV turns onto the frontage road below and fishtails, hydroplaning across the watery pavement.

   

Read the entire story here.

 

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Second Place -- Poetry
Words Words [in transit]
By Sarah Wolbach
  

 

 

Vulcanizadora is, hands down, the loveliest word in Spanish.

Tire shop. Piles of patched tires

and bony dogs by the side of the road.

Vulcanizadora. Listen: Vul­-can--there's your vulva and the god of fire.

Iza and Dora are two pretty girls

in the back of the car, impatient

to get to the dance

but stranded by the side of the road.

 

 

 

Read the poem here. 

 

 

 

 

 

 

 

 

 

Back to top 



Sarah Wolbach earned an MFA (and received a postgraduate fellowship) from the Michener Center for Writers at the University of Texas at Austin. She led poetry workshops for expatriates in Mexico, where she lived for several years. Her work has been published in many journals, including Artful Dodge, Yalobusha Review, Many Mountains Moving, Malpaís Review, and Cimarron Review. She lives in Santa Fe, New Mexico.

You may contact Sarah at:
sarahwolbach@aol.com
Second  Place -- Creative Nonfiction/Memoir
KissMeAgainKiss Me Again. She Did.
By Renate Stendhal



Renate Stendhal is the author of the award-winning photo-biography Gertrude Stein in Words and Pictures and other books. She blogs for the Huffington Post. Her coming-of-age memoir, Kiss Me Again. She Did., is about the difference between love and sexual obsession, set in Paris in the late seventies, a period reminiscent of "women on the left bank." The book doesn't have a publisher yet.

 

Learn more about Renate at: www.renatestendhal.com.

Read the entire story here.

 

NIGHT WANDERER

 

     The Seine was lapping up high, swollen and excited from the rain storms of the past days. The illuminated Gare d'Orsay across the river threw a lick of polish on the cobblestones of the quay. My youthful follies with Frantisek and other lovers seemed like a story invented by someone else. My imagination had been stirred by women as far back as I could remember. A little girl with a dark page cut mesmerized me at age five because she was half French and her parents had a marble statue in their garden in Berlin, where I grew up. I remembered a children's ballet I saw at that time, the little girls dolled up in brocade like in a painting by Velazquez. I was permitted to touch one girl's crinoline dress, entering a magical realm I never completely left.

     The fairytale of femininity...

     What made it so fascinating was that I was never entirely part of it. I was and I wasn't. I was in love with the tale but didn't fit the bill, no matter how hard my mother tried. There wasn't a day in my childhood and youth that wasn't touched by this dream my mother, my older sister and I were supposed to share - graceful manners, beauty, charm, all difficult to define and difficult to escape. We didn't have money but my mother, cook and baker par excellence, was endlessly creative in making up for this fact, tailoring entire wardrobes, ball gowns and coats, making us look like members of a social class she was determined to belong to. We sometimes joked that she'd also make our shoes if only she had time. My inclination for being a trickster, which I considered second nature, had perhaps originated with my mother, after all. While she baked and bustled and hosted, my sister and I smiled, curtsied and pirouetted in apparent unison. Our planet of womanly virtues was graced by admiring visits from "outer space": my father circled around us at a distance, but always brought his favorite toy, a camera. His thick, leather-bound photo albums filled a prominent space in the book shelves and fed my mother's hunger for family stardom.

  

Read the entire story here.
Third Place -- Fiction
Fiction3Moths
By Kathleen Spivack


Kathleen Spivack is the author of nine books of prose and poetry, including the memoir With Robert Lowell and His Circle: Plath, Sexton, Bishop, Kunitz & Others and the prize-winning poetry book A History of Yearning. Her novel, Unspeakable Things, is forthcoming from Knopf. She teaches in Boston and Paris.


You may contact Kathleen at: kspivack@earthlink.net.



Read the entire story here.

 

     I am driving through deserted villages where an occasionally pale, wild face presses itself against a window, illuminated for a moment, looking out.

     "Where are we going, Ma?" my son asks. He is sitting beside me, straining to see over the dashboard, into the night. "Leaving your father, that's where we're going," I want to answer, but instead, "I don't know yet," is what I say.

     The One in the back seat doesn't stir or ask anything. The One who they say "will never be quite right." She seems to be asleep but perhaps not. I say, "She'll never give us any trouble." My husband says, "Give up, Lindy, give it up."

     Ahead of us the road veers like an arrow tip. I am afraid of falling asleep myself or driving off onto the shoulder. I don't like driving at night. "Keep me awake," I say to little Billy, "sing something." But he is too frightened or withdrawn to do anything but ask questions: mechanically, without cease, already knowing my answers are insufficient.

     I watch my baby breathe through the rear view mirror. Her mouth is open. She is big for her nine years. I didn't give her a name at first. We called her "the One." And it stuck, though she was finally baptized Martha. A suffering servant, my poor child.

     "Where are we going?" Billy questions again. The trees speed by the car windows as if they were the ones traveling. I have an image of myself and my two children in a stationary--or so it seems--space capsule. We are hurtling faster than one can imagine, forward into perhaps frightening danger. But it feels as if we are not moving at all. By some trick of floating I manage to keep us on the road. It would so simple to just let go of the wheel. "Maaa," Billy starts to whine. It would be so easy to pretend I haven't heard him. Behind me, the One shifts. She moans slightly. I try to clamp down on my impatience. Lady Astronauts do not like being interrupted. "Just sit back and try to sleep." I pat Billy's leg with my free arm, still trying not to break my focus.

 

Read the entire story here.  

Third Place -- Poetry

LightLustTreesThe Light-Lust of Trees
By Michelle Regalado Deatrick

 

 Read the entire poem here

  

How exposed in winter, stripped

                           to the bare imperfect

     bark blight-blasted                scorched by fire

 by sulphurous rain                           poxed with fungi and

galled by                                        wasp

black knot or rot                                how shorn and flayed

     the river birches                       the papery skin

               flaking--                             hedgerow sumac       

       storm-stirred                          clash and antlered herds

 branched                              of shag-barked

            hickories crest the ridge--

                       and how

                               through pollard days

                                    they wait

                                       blindly, hungrily

                                       great tapered trunks

                                     thrusting upward

                                    leafless crowns reaching for

                               what they never can wholly grasp--

 

                        even midsummer        when the laboring

            canopy of veined leaves                          jag-toothed  

 scalloped, palmate   or lobed                   harvests           sun

   and with it           splits molecules             of water             of air          

 binds them            up again                          as sweetness             through

blinding             night gleans                             falling                      photons

from         the circling   stars, from             moon                          unveiled by

 clouds            the false       brief              promises of           fireflies

   headlights   meteors           and in the foothills       the sharp       distant flicker

       of wildfire--

  

Read the entire poem here

 

Michelle Regalado Deatrick's poetry and fiction appear or are forthcoming in Southern Poetry Review, Mid-American Review, Best New American Voices, Split This Rock Poem of the Week, and elsewhere. She has won the Chautauqua Poetry Award and received fellowships from MacDowell and the Virginia Center for Creative Arts. Michelle cares for an 80-acre farm and native prairie and teaches for the University of Michigan's continuing studies program.


You may contact Michelle at:
mmrd@umich.edu.
Third Place -- Creative Nonfiction/Memoir

TheOnlyChildThe Only Child
By Jayne Martin 

 




Jayne Martin's work has appeared in Boston Literary Magazine, Pure Slush, and Hippocampus Magazine, and won the Fall 2013 WOW-Women on Writing Flash Contest.  Her book of humor essays, Suitable for Giving: A Collection of Wit with a Side of Wry, is available on Amazon and Barnes & Noble.  She lives in a bucolic valley near Santa Barbara, California and can be found on the web at injaynesworld.blogspot.com.





Read the entire story here.

     It is the summer of 1972. The Vietnam War continues to play out in our living rooms, while five bungling burglars have been caught breaking into Democratic Headquarters in Washington, D.C., and the country hears the name Watergate for the first time. Ms Magazine makes its debut to a generation of women hungry for change, and "The Pill" has made chastity a thing of the past. When I graduated high school, my mother took me to our family doctor and got me a prescription. The era of "sex, drugs and rock 'n' roll" is still going strong and thanks to her forward-thinking, I am an eager participant. That's my mom. Always looking out for me.

   The midday sun casts its warm glow down on the churning waters of the San Francisco Bay, while a solitary gull cries out from overhead. Cradled in the bucket seat of my powder blue, 1967 Triumph Spitfire, I merge with the other traffic coming from Marin County and pull onto the Golden Gate Bridge. It is a crossing I have made countless times since moving to the wooded village of Mill Valley. Rising up before me is the city of my birth, its skyline gleaming brightly against the crisp, blue sky. But today I feel no right to the pleasure its beauty brings me. Today, I am making the one-hour drive beyond its borders south to the suburb of Redwood City and the hospital where my mother now lies dying.

     Four years earlier, an inoperable, malignant tumor was discovered on her spine. She was only 51. "Terminal" was the word the doctors used; a term my then 19-year-old mind could not attach--refused to attach--to the often fraught, single mother who met every challenge in caring for us with a steadfast, "There's always a way, Jayne." I would take her at her word this time, as well. We had only recently separated; me to my first apartment and freedom as a young adult, her to her first moment of freedom since I had been born. The years immediately preceding had been painful for us both; that often volatile time when the child fights to rip free from the parent and the parent fights to hold on and neither are left whole.  

     My aunt's phone call to me that morning left no room for ambiguity. 

     "Hurry," she said. "Your mother hasn't much time." She could not even now hide the reproach in her voice. In the last year of my mother's life, warfare had broken out between my mother, her mother, and her two older sisters with me, the spoiled daughter, the ungrateful daughter, the selfish daughter who did not make anywhere near enough time to visit her critically ill mother, at the center of their battles. And it was true. The more her illness advanced, the more I allowed denial to seduce me.

  

Read the entire story here.
Honorable Mention -- Fiction
ColdComfortCold Comfort
By Kristen MacKenzie

 

Read the entire story here.





Kristen MacKenzie lives on Vashon Island, WA, in a quiet cabin where the shelves are filled with herbs for medicine-making, the floor is open for dancing, and the table faces the ocean, waiting for a writer to pick up the pen. Her work has appeared in Brevity, Rawboned Journal, Extract(s) Daily Dose of Lit, Maudlin House, and Blank Fiction Magazine. Pieces are forthcoming in Bluestockings Magazine, NAILED Magazine, Minerva Literary Journal and MadHat Annual.

 

 

You may contact Kristen at: satyrium1975@yahoo.com.

     It was the cold that decided him. From his apartment in the city, high above the lights of the park, he felt none of it, not the wind that blew snow past his windows; not the dropping temperatures that etched lines on his windows in a blue like his grandfather's eyes. He knew they felt it though, his grandparents, in their cramped, run-down house in the mountains. It wasn't even a house, he thought. It was that insult to architecture, that blight on suburbia they called the manufactured home. The walls had been covered with framed family pictures, and the image of his own slightly buck-toothed self at the age of ten had startled him from its place in the hallway nearest the bathroom when he had visited.

      At the age of forty-five, he was in the prime of his life and wanted nothing. He lived alone, so his meals were simple but fine. The lack of a family meant he had a disposable income that was large enough to make him feel somewhat ashamed when ads came on the radio, asking for donations to feed the homeless. He assuaged his conscience by sending out ridiculously extravagant presents at Christmas to his family members still living in the small town where he grew up.

      His mother had called him that morning. She always called on Fridays. It was a routine they'd begun back in the days when he had worked part time as a mail clerk in the publishing firm that now bore his name.

      "Daddy's feet are bothering him again," she'd said.

      He'd adjusted his own size tens under his desk, snug and comfortable in their Italian leather wingtips. The state of his grandfather's feet was no news. In fact, he was certain he could catalogue both of his grandparent's physical ailments with accuracy. His mother updated him faithfully each week.

      "He was going to have them removed but we've talked him out of it."

       The newspaper he'd been holding fell onto the floor.

       "Removed? Why on earth would they remove a ninety-two year old man's feet when he's as likely to die in his sleep tonight as he is to wake up tomorrow?"

 

Read the entire story here

 

Honorable Mention -- Poetry

ComfortWomanComfort Woman

By Tanya Hyonhye Ko

 

Read the entire poem here.

 

On August 14, 1991, in Seoul, a woman named Hak Soon Kim came forward to denounce the Japanese for the sexual enslavement of more than 200,000 women during WWII. They were referred to as "Wianbu" in Korean and "Comfort Women" in English.

 

1991, Seoul, South Korea

 

The voice on TV is comforting, like

having a person beside me

talking all the time while I eat

my burnt rice gruel.

 

Suddenly in Japanese:

But we didn't-- Those

women came to us for the

money. We never

forced-- I dropped

my spoon into my nureun bap

 

On the screen

a photograph of young girls

seated in an open truck like

the one I rode with Soonja

over the rice field road that fall

 

Awake in a cold sweat

I gulp Jariki bul kuk

bul kuk

but my throat still burns

 

It's 3 a.m.

I reach for a cigarette blow

smoke and the white spirals

up like Soonja's wandering

soul They called me, wianbu--

comfort woman--

 

I had a name.

 

Read the entire poem here.

 


Tanya Hyonhye Ko received her MFA from Antioch University Los Angeles. Her work has appeared in journals such as Beloit Poetry Journal, Two Hawks Quarterly, Rattle,Writers at Work,the Paris Press Blog and Cultural Weekly. She is the author of the poetry collection Generation One Point Five and 
Her next book, Mother to Myself, a collection of poems in Korean, will be published in summer 2015 by Purunsasang.


Learn more about Tanya at:
www.tanyako.net
Honorable Mention -- Creative Nonfiction/Memoir
GhostHouseGhost House
By Laura Ruth Loomis



Laura Ruth Loomis is a social worker in the San Francisco area. Her fiction and nonfiction have appeared in Writer's Digest, Phone Fiction, and On the Premises, among others.

 

"Ghost House" first appeared in Press 53 in 2014.

 

You may contact Laura Ruth at: laura.41@sbcglobal.net


Read the entire story here.

     

To the People Who Bought the House at the End of My Court:

      You don't believe in ghosts, obviously. You were probably glad to get the house at such a bargain price. There's a reason for it.

       Their names were Jason and Cindy. He was forty, she was thirty-five. They bought the house twelve years ago, in a brand-new development, the same time I bought mine. I've never been inside theirs, but I can tell you what it looked like, four bedrooms in one of three standard floor plans. The pale gray outside went with the other houses in pale yellow or pale tan.

        I didn't know them well. We said hello and chatted in passing. They were sociable, outgoing people who organized a block party for the neighbors every Fourth of July. The street would be effectively blocked off as people brought out their camp chairs and barbecue grills. It was, ironically, not the only time they caused the street to be blocked off.

        The economic good times seem so long ago. We bought our house for under $200,000, right before prices started going up. We refinanced once or twice, pulling out a little cash along the way. Jason and Cindy did too. I don't know what they used the money for. Maybe it was something important, like a college education, or medical bills. Maybe it was something frivolous. Some of it must have gone to landscaping: the Greek goddess fountain in the front yard is still running.

        Back then a house seemed like a source of infinite wealth, a private ATM. When prices in our neighborhood hit half a million, I wrote in my journal that, "In another year or two we'll be millionaires on paper."

 

      Except, not.

 

Read the entire story here.
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