Nightfall in the Scent Garden

by Claire Humphrey

If you read this, you’ll tell me what grew over the arbor was ivy, not wisteria. If you are in a forgiving mood, you’ll open the envelope, and you’ll remind me how your father’s van broke down and we were late back. How we sat drinking iced tea while the radiator steamed.

You might dig out that picture, the one with the two of us sitting on the willow stump, and point out how small we were, how pudgy, how like any other pair of schoolgirls. How our ill-cut hair straggled over the shoulders of our flannel shirts.

You’ll remind me of the stories we used to tell each other. We spent hours embroidering them, improving on each other’s inventions. We built palaces and peopled them with dynasties, you’ll say, and we made ourselves emperors in every one, and every one was false.

If you read this, you’ll call your mother, or mine. They’ll confirm what you recall.

By then, though, you will begin to disbelieve it yourself.

If you think on it long enough, you’ll recall the kiss. I left it there untouched, the single thread you could pull to unravel this whole tapestry.

You’ll start to understand none of these things happened the way you remember. If you read this, you’ll learn how I betrayed you.

The Secret of Calling Rabbits

by Wendy Wagner

The breeze shifted as Rugel ran, and he caught a scent upon it, sweet and strong, a scent that reached into the depths of his memories and twanged them. He lost his footing at the power of it, and he threw himself into a bush beside the path, gasping. He preferred running to hiding, but he couldn’t run with that scent thickening the air.

His pursuer shouted again. “Wait! Show me how you did that!” Her voice distracted him from the smell of the past; it focused his mind on the pressing problem of survival. He should have never come back to this place.

She came closer, and Rugel peeked out at the little girl in the path. At his eye level, her knees, bared by her too-short shift, were scabbed and grass stained as she spun a slow searching circle. The little man–no, dwarf, although “dwarf” was a generous measure of someone his size–crouched further down inside the currant bush. He had a gift for going unseen. Perhaps the girl would lose sight of him.

“Please!” She stopped in front of the bush, picking out his gnarled face from the tangle of undergrowth. “I saw you call the rabbit.”

Rugel cursed to himself. He should never have summoned the hare, or at least if he called it, he ought to have killed it. Now he’d go hungry, and this Big creature had seen him.

But it was a child Big, he thought with a measure of hope, and children were easily scared.

“Go away!” he growled.

She stood solid, brown eyes fierce.

He tried again. “I’ll kill ya!”

Her lip trembled, but not much.

Selected Program Notes From the Retrospective Exhibition of Theresa Rosenberg Latimer

by Kenneth Schneyer

34.     Magda #4 (1989)
Oil on poplar wood, 30 x 21″
Private collection

Sometimes called “Devotion” by critics, this nude the earliest extant work featuring Magda Ridley Meszaros (1963-2023), Latimer’s favorite model and later her wife.  The lushness of the flesh and the rosiness of the skin are reminiscent of Renoir’s paintings of Aline Charigot (See, e.g., The Large Bathers (1887) (Fig. 8)).  Latimer maintains microscopic hyperrealism even as she employs radiating brushstrokes which emanate from the model, as if Meszaros is the source of reality itself.

Discussion questions:

a.      The materials and dimensions of this painting duplicate those of Da Vinci’s La Gioconda (c. 1503-1519) (Fig. 17).  Is this merely a compositional joke or homage by Latimer?  How does it change the way you see the painting?

b.      Most biographers agree that Latimer and Meszaros were already lovers by the time this work was completed.  Is this apparent from the composition or technique?  From the pose of the model?  As you proceed through the exhibit, note similarities and differences between this and other portrayals of Meszaros over the next 34 years.

Western Chow Mein Red Dawn

by Lavie Tidhar

The strangers came under a red half-moon to Three Blind Sisters. They wore strange clothes – stiff-looking black and tan suits of foreign design, with black hats and carefully-manicured beards. On their belts they carried guns. All but their leader, who dressed casually and carried no weapons, and who had an easy smile.

‘He is so handsome,’ the boy’s sister said. They were watching the men ride past the three Blind Sisters who gave the village its name. The stone statues, ancient guardians of this small, distant place, stared at the men without seeing. Their power had weakened over generations: now they were little more than mute stone, and no one in the village could remember them ever speaking.

The boy felt a tingling at the tip of his fingers. He saw with his inner eye: the leader rode unarmed because his power was great. The aura of Qi around him was unmistakable. Unease made him close his fingers into a fist. The man, passing close to them, glanced casually their way: his eyes locked on the boy’s for one long, uncomfortable moment. Then his gaze shifted to the boy’s sister, and the smile flared up like a small sun.

The Copperroof War

by Megan Arkenberg

It began in the south wing, near the long cold Hall of Empires and the chambers of the Duke of Cloud. Helene, the Duchess, woke at midnight to the metal sound of marching in the corridor, and farther away, the hollow ring of drums.

“Paride,” she whispered, shaking her husband’s shoulder. The cold was bitter, even in the Duke’s bedchamber, and her breath froze in a puff of white. The distant marching became louder, and she reached for the dagger on her bedside table.

Before Paride had fully awakened, the Duchess was flinging a silk dressing gown around her and fumbling for a candle. The fire had died — strangely, as the maids of Copperroof were known for their diligence — but the air smelled faintly of smoke.

“Ghosts,” the Duke murmured, pulling on a pair of trousers. “But I’ll be damned if they burn down Copperroof in the King’s absence.”

“Ghosts never enter the south wing,” Helene said. She climbed up on the chair by her writing desk and took two trophies from the wall: an ancient Imixian saber, curved and wickedly sharp, and a bastard sword from the brief reign of Socorro XI. She handed the saber to her husband and led the way — candle and dagger in one hand, sword in the other — into the smoke-choked corridor.

Mermaid’s Hook

by Liz Argall

She caught treasures from the ship with her sisters; dangerous, exotic objects that plummeted through the water. Metal not yet rusted; fractured glass and timbers not yet smoothed by the sea; woven filaments as delicate as jellyfish, and as treacherous. Curiosities from the world above to be dared, caught, examined and discarded.

She found him falling. He fell fast, tangled in chains, his shirt billowing up around him, shedding bubbles in all directions as his body tore through the water. She surged towards him, caught him in her arms, then paused. Here was no special prize. Normally, they would let humans sink to the bottom and serve as bait for delicious crabs and tastier morsels, but this one still struggled. His urgent desire to live evoking something almost forgotten; an electric hum on the back of her tongue of land-life never known, but bone-remembered. She hummed low and chirruped in surprise, “Who are you? Why are you in my arms?”

He spasmed for a moment, his convulsions almost knocking him out of her grasp, the whites of his eyes flickering through half opened slits.

Her sisters hummed, “Why are you playing with the land-thing? Wait for the crabs to come.”

“I think it’s alive.”