WRITE FOR THE AUTUMN ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and 9am (GMT) on Monday 5th June 2023. Illustration by Grace Lanksbury.

The next issue of Popshot will be on the theme of…“Magic.”

We have just finished putting together the Solar Issue (thank you to all who submitted), allowing us to open the doors for new submissions.

Our next theme is ‘Magic’.

Writers might want to consider the different meanings of magic, from something that is superlative and wonderful to the bizarre and supernatural. We’d like submissions of poetry, flash and short story which subvert and stretch perceptions of magical beyond the tropes of witchcraft and wizardry. We want your ideas around genuine magic, from that mysterious spark that creates new life, to the magic of coincidence. In short, we want your insights into what makes life magical, why human beings are interested in powers that go beyond what we take for granted. Feel free to take a tangential approach, to head towards the light or take us somewhere darker.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Autumn 2023 issue are open until 9am (UK time) on Monday, 5th June 2023.

Guidelines for submission are here.

Three entries maximum. Entries over the word count will not be considered. We’re very sorry but due to volume we cannot reply to submissions unless they are successful, so if you haven’t heard from us by the end of July 2023 please take it as a pass.

THE SOLAR ISSUE IS HERE!

The latest issue of Popshot Quarterly is on sale now. Cover illustration by Yvonne Redin.

The Solar Issue is a collection of vivid writing exploring the human relationship with the star we orbit. It cuts deep, with everything from overheated sunless dystopias, to celestial angels, to the perils of dating during a heatwave. Featuring flash fiction by guest author Saba Sams.

Words by: B. Anne Adriaens, Jennifer Walne, J.M.Wong, Clive Donovan, Callum Brampton, Elizabeth Hill, Ella Wong, Nicholas Hogg, Chloe Tomlinson, Steve Denehan, Natalie Wolf, Shannon Massey, Richard Spilman, Saba Sams, Ted Jean, M. Kelly Peach, Helen Laycock, Jo Ward, Chris Baynes, Florence Hall, Alexandru Birsan, Jasmine P. Rose, Steven Feeney, Ian Inglis, S. E. Daniels, Carys Thomas

Illustration by: Yvonne Redin, Chiara Xie, Amy Brownlee, Liv Cleverley, Josefina Tai, Baz Grafton, Alexandra Dzhiganskaya, Anabella Ortiz, Yoko Baum, Dawn Cooper, Gabriela Acosta, Dide Tengiz, James Yates, Joy Li, Florence Mein, Vico Santos, Holly Farndell, Jan Randen Bautist, Minho Jung

KEVIN JARED HOSEIN: ‘I’M NEVER BORED BECAUSE I’M ALWAYS TRYING TO FORM AND FIX STORIES IN MY HEAD’

The Repenters author talks to Popshot editor Matilda Battersby about his first novel for adults.

Kevin Jared Hosein, 37, is an award-winning Caribbean short story writer, poet and novelist who worked as a secondary school Biology teacher for over a decade.

In 2018 he won the Commonwealth Short Story Prize. He has published two books for Young Adults, The Repenters and The Beast of Kukuyo, both of which were longlisted for the International Dublin Literary Award.

An extract of his first novel for adults, Hungry Ghosts (Bloomsbury, £15.29), appears in the Heart Issue of Popshot Quarterly.

Q. Thank you so much for being our guest author and contributing an extract of Hungry Ghosts. Can you give us some insight into how the idea for this novel took root?

A. A few years ago, I was commissioned by the Commonwealth Writers group to pen an article about Trinidad and Tobago, mainly focused on culture or history, or something untold. I had often visited the village I grew up in, listening to stories told by my family, especially my aunts and grandfather. So, I decided to interview them. A story that popped up was that of an aristocratic woman who had visited their street back in the 1940s or so. She had tripped on a chuckhole and landed in some mud, prompting some villagers to laugh at her. Her intended revenge was to have the village demolished, which didn’t happen in the end. That incident was only a footnote in my article, but as I ruminated on it, a character and concept came to life in my mind. So Marlee Changoor from the novel was the trunk, all other characters branching off from her. My mind’s image of the aristocratic woman in her elegant but muddied white dress became one of the central images I came back to, chapter to chapter.

Q. Can you please explain a little about the role of the landscape of Trinidad in your novel. It’s so vivid it feels like another character in the story

A. There’s a short story by Jack London, All Gold Canyon, that focuses on a violent skirmish between a gold miner and a bandit. The story opens with lush descriptions of the river, the air, the trees. After all is done (and blood has been shed), the story simply ends with another description of the wind and greenery, as if the life-and-death battle between the two men had just been a brief interruption in otherwise another epic taking place in the background. Eventually, bodies decompose, voices fade with the breeze, odours blend with mud. I think of the Trinidadian landscape in such a manner—simultaneously beautiful and uncaring. The fields will flood; the ibises will roost; the corbeau will feast. Altogether, because the novel has a roving spotlight on a number of characters, I saw the verdant and inconsiderate landscape as the fixed point, as if we could inhabit the animals and trees observing these humans of the land.

Q. What’s your writing process like?

A. Because I had been working a full-time teaching job, writing was mostly done on weekends. There’s no stringent routine — I jot down notes sometimes when I had free time between classes or while waiting in line at the bank. I’m never bored because I’m always trying to form and fix stories in my head. Always going down alternate roads with each character and see how they react. I do have a desk that I do my ‘heavy’ writing on, but I like to re-read and edit while in bed. I keep books nearby that I believe match the mood of the stories I’m trying to write. This one, there was some Faulkner in there, as well as Yukio Mishima and Annie Proulx.

Q. Can you tell us a bit about your poetry and how you work out which form a creative idea is going to take?

A. My poetry isn’t something I’m often asked about, because I rarely put it out there. I’ve read some poems on stage and have very few published, but I do enjoy reading and writing poetry even though half the time I feel like I’m lost — though that’s not a bad thing! A lot of it ends up osmosing into my prose. Whenever plotting scenes, strange ideas I’d had while reading or writing a poem may come to mind. Two characters are in a quarrel in a closed room. I may imagine the world of that room tilted 15 degrees diagonally from the character’s POV and re-write the scene to reflect that notion. Or a mentally submerging a character in an underwater tunnel filled with electric jellyfish as they nervously visit a new and frightening place. As I said, it’s a series of strange ideas that never quite make it to the page. In short, it’s fun to write poetry because it makes you discover the uncommon in the common — things you never knew your mind could form.

Q. How has your background as a science teacher influenced your writing?

A. One gripe my Biology students have always had was that there were simply too many words to learn, whether that be a word like ‘megasporangium’ or ‘allantois’. They are all specific and necessary and form the foundation of building the bigger picture of understanding the life processes. Some readers may become irked by my inclusion of scientific language in my descriptions (flabellate, arcuate, abscissa, sclerotic), though I think of them as beautiful and poetic when placed outside of their specific contexts and circumstances. I do have to learn to hold back, I admit.

As for the job itself, I had to constantly find things that would interest my students, from the miraculous to the utterly bizarre. There are a lot of ideas I’ve picked up along the periphery when reading articles or books about science, especially those about animal behaviours and epidemiology, both the physiological and social aspects of it. It has exposed me to many concepts and hypotheses that I probably would not have explored if I hadn’t been working in the field.

Read an extract from Hungry Ghosts in the Heart Issue of Popshot Quarterly.

THE HEART ISSUE IS HERE!

The latest issue of Popshot Quarterly is on sale now. Cover illustration by Chiara Morra

The Heart Issue is a collection of vivid writing exploring the impact of this physical organ and romantic symbol. It cuts deep, with tales of dysfunction, heartbreak and love. Featuring a short story by guest author Kevin Jared Hosein.

Words by: Skye Fulcher, Mantz Yorke, Mike Wilson, Reema Rao-Patel, Kevin Jared Hosein, Charlotte Johnson, Joel Scarfe, Lauren Woods, Les Bernstein, Nicole Chvatal, Emma Robertson, Hope Wandless, Rosebud Ben-Oni, Scampy Spiro, Neil Laurenson, David Brookes, Suzy Aspell, Allan Miller, Clara Berut-Lhopital, Emmaline O’Dowd, T L Ransome, Rachel Lister, Ciarán Parkes, John T Battaglia, Jenna Putnam.

Illustrations by: Chiara Morra, Alissa Thaler, Tímea Terenyei, Martyna Grᾳdziel, Darren Espin, Tim Alexander, Karolin Schnoor, Carmen Dominguez, Sophie and The Frogs, Elena Wong, Poppy Loughtman, Catherine Byun, Kalakal, Margot Szipszky, Katie Coward, Mya Hang, Ginger Ngo, Elisabeth Theo, Bethany Jayne Studio, Milena Muszynska, Tayla de Beer, Varvara Temnichenko, Yvonne Redin, Helen Jarosz, Davide Spelta.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £20. A printed copy of the magazine will be delivered direct your home each quarter. Click here to subscribe.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

POPSHOT 39 – THE HEART ISSUE

The Heart Issue is a collection of vivid writing exploring the impact of this physical organ and romantic symbol. It cuts deep, with tales of dysfunction, heartbreak and love. Featuring a short story by guest author Kevin Jared Hosein.

Words by: Skye Fulcher, Mantz Yorke, Mike Wilson, Reema Rao-Patel, Kevin Jared Hosein, Charlotte Johnson, Joel Scarfe, Lauren Woods, Les Bernstein, Nicole Chvatal, Emma Robertson, Hope Wandless, Rosebud Ben-Oni, Scampy Spiro, Neil Laurenson, David Brookes, Suzy Aspell, Allan Miller, Clara Berut-Lhopital, Emmaline O’Dowd, T L Ransome, Rachel Lister, Ciarán Parkes, John T Battaglia, Jenna Putnam.

Illustrations by: Chiara Morra, Alissa Thaler, Tímea Terenyei, Martyna Grᾳdziel, Darren Espin, Tim Alexander, Karolin Schnoor, Carmen Dominguez, Sophie and The Frogs, Elena Wong, Poppy Loughtman, Catherine Byun, Kalakal, Margot Szipszky, Katie Coward, Mya Hang, Ginger Ngo, Elisabeth Theo, Bethany Jayne Studio, Milena Muszynska, Tayla de Beer, Varvara Temnichenko, Yvonne Redin, Helen Jarosz, Davide Spelta.

UK / £6 + p&p
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SUBMISSIONS ARE OPEN: WRITE FOR THE SUMMER 2023 ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and 9am (GMT) on Friday 3rd March 2023. Illustration by Chu Chu Briquet

The next issue of Popshot will be on the theme of…“Solar.”

We have just finished putting together the Heart Issue (thank you to all who submitted), allowing us to open the doors for new submissions.

Our next theme is ‘Solar’.

Writers might want to consider the different meanings of solar, from relating or determined by the sun, to a carbon-free energy resource, an upstairs room in a medieval house where people slept or lived together as a family, to the Anglo-Norman French word soler, which means ‘gallery, or terrace.’ You might think too of solar systems, or star systems, which comes from the Latin root solaris, or “of the sun.” Whatever your understanding of this word, we want it to in some way respond to the central nature of solar to our lives. Feel free to take a tangential approach, to go towards the light, or take us somewhere darker.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Summer 2023 issue are open until 9am (UK time) on Friday, 3 March 2023.

The Solar Issue will be published in May 2023.

Guidelines for submission are here.

Three entries maximum. Entries over the word count will not be considered. We’re very sorry but due to volume we cannot reply to submissions unless they are successful, so if you haven’t heard from us by the end of April 2023 please take it as a pass.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Solar – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Heart Issue, which will be on sale from 2nd February 2023.

Got a question? Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

EXTRACTION

This flash fiction by Tianna Jordening appears in The Roots Issue of Popshot Quarterly. Illustration by Joy Alicia Raines

When they extract the root, they will find bits and phrases, syllables and sentiments my teeth never let pass my lips. Each molar and incisor is a bar clamped shut against my tongue. Every inhibition stored safely in my gums. And despite the anaesthesia, I swear I feel the crack. The moment these thoughts are freed of me.

The tooth clinks like an instrument when it hits the metal tray. This one reads ve me. And the dentist stares at it. Like he can see it too, and is trying to decipher the meaning. 

It is a mere scratch at first. It was that time, remember? When we met at that bakery on Fifth and you were late. Once I saw you coming up the sidewalk, I didn’t mind. Your knuckles framed your pockets like jewels in a crown. We shared a blueberry muffin. You devoured my half while I marvelled at the crumbs on your lips. And I sipped my green tea because you couldn’t stand the taste of coffee on my breath, and I would have given anything to mingle every exhale with yours. The love me written in every gesture, every inflection of my voice but never exposed to oxygen. Stored safely, fermenting in a sealed jar.

Who’s to say where the letters begin to rewrite themselves, but what once barely scratched enamel now bares the nerve raw. If I could trace it with my finger, the smell of vodka on your breath would hit the back of my throat first. Then comes the collapse of your weight on the bed, the demand of your palms, and the silent plea that goes unanswered. 

The leave me alone.

 

THE ROOTS ISSUE IS HERE!

The latest issue of Popshot Quarterly is on sale now. Cover illustration by Katie M Green

The Roots Issue is a collection of vivid writing, exploring our relationship with the earth and what roots us. It cuts deep, with tales of poisoned gardens, oak wives, and worlds beneath our feet.

Words by: Tianna Jordening, Ilisha Thiru Purcell, Sarah Royston, Grace Maxted, Anna Rose James, Elizabeth Gibson, Isabel de Andreis, Helen Salsbury, Megan Ellenberger, Helen Vine, Shastri Akella, Penny Shutt, Chris Belson, Don Paterson, Georgia Boon, Maja Ulasik, Dominic Weston, Romy Tara Wenzel, Maitrayee Deka, Holly Moberley, Patricia Minson, Mark Czanik, BEE LB, Cera Naccarato,Julia Ruth Smith, Andrea Koehler, Viviana Moreno, Charli Jacobs, Natalie Burdett.

Illustrations by: Abbie Reilly, Alana Nastold, Charli Beck, Chiara Morra, Connor Parker, Eduardo Morciano, Eryka Ilarreta, Gabriel East, Georgina Reynolds, Hannah Clair, Hannah O’Brien, Imogen Ward, Jiazhen Cai, Jorge Cha, Joy Alicia Raines, Katie Louise Thomas, Katie M Green, Kristen Huang, Kyle Solomon, Lucile Farroni, The Noc Design, Molly McCammon, Natàlia Pàmies, Nelson Illustrates, Sophy Smith, Thomas Sciacca, Zara Wilkins.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £20. A printed copy of the magazine will be delivered direct your home each quarter. Click here to subscribe.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

POPSHOT 38 – THE ROOTS ISSUE

The Roots Issue is a collection of vivid writing, exploring our relationship with the earth and what roots us. It cuts deep, with tales of poisoned gardens, oak wives, and worlds beneath our feet.

Words by: Tianna Jordening, Ilisha Thiru Purcell, Sarah Royston, Grace Maxted, Anna Rose James, Elizabeth Gibson, Isabel de Andreis, Helen Salsbury, Megan Ellenberger, Helen Vine, Shastri Akella, Penny Shutt, Chris Belson, Don Paterson, Georgia Boon, Maja Ulasik, Dominic Weston, Romy Tara Wenzel, Maitrayee Deka, Holly Moberley, Patricia Minson, Mark Czanik, BEE LB, Cera Naccarato,Julia Ruth Smith, Andrea Koehler, Viviana Moreno, Charli Jacobs, Natalie Burdett

Illustrations by: Abbie Reilly, Alana Nastold, Charli Beck, Chiara Morra, Connor Parker, Eduardo Morciano, Eryka Ilarreta, Gabriel East, Georgina Reynolds, Hannah Clair, Hannah O’Brien, Imogen Ward, Jiazhen Cai, Jorge Cha, Joy Alicia Raines, Katie Louise Thomas, Katie M Green, Kristen Huang, Kyle Solomon, Lucile Farroni, The Noc Design, Molly McCammon, Natàlia Pàmies, Nelson Illustrates, Sophy Smith, Thomas Sciacca, Zara Wilkins

UK / £6 + p&p
BUY NOW 

EUROPE / £6 + p&p
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WORLD / £6 + p&p
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WRITE FOR THE SPRING 2023 ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and 9am (GMT) on Friday 2nd December 2022. Illustration by Kevin Deneufchatel

The next issue of Popshot will be on the theme of…“Heart.”

We have just finished putting together the Roots Issue (thank you to all who submitted), allowing us to open the doors for new submissions.

Our next theme is ‘Heart’.

Writers might want to consider the different meanings of heart, from its literal role in our physical bodies to the metaphorical role it plays in love, to the idea that there is a heart at the centre of everything, if you can get to it, whether vegetable (like the artichoke), political (or is it a lack of heart that is the issue?), from problems (if you could just find it…) or the wonderful (is there anything this good that is without heart?). Feel free to write about love, loss, lust, ambition or any other emotion that seems driven by this strange, bright red and all powerful organ. Feel free to go in a lighthearted direction, or take us deep into the heart of something darker.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Spring 2023 issue are open until 9am (UK time) on Friday, 2 December 2022.

The Heart Issue will be published in February 2023.

Guidelines for submission are here.

Three entries maximum. Entries over the word count will not be considered. We’re very sorry but due to volume we cannot reply to submissions unless they are successful, so if you haven’t heard from us by the end of January 2023 please take it as a pass.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Heart – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Haunting Issue, which will be on sale from 4th August 2022.

Got a question? Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

THE BATS

This poem is by Sophia Rubina Charalambous. Illustration by Brooklin Holbrough

For four days every month 

I prepare for the bats. 

 

Inside the organ, thousands 

of throbbing eyes peer religiously 

in the direction of the mouth

of the cave. 

 

They arrive at dusk, a coal cloud

breathing like a crude black 

lung, loose and sticky and matted

plasma panic flapping through

pits, trapped for days, lack of air 

turning them dark, destructive.

 

When they appear pumping, fluttering 

it is a ceremony. Fruits, laid 

at the altar, are shelled and set 

for sucking, palm branches fan out 

for the bats to recover, absorb into the dim 

interior, scratches, clicks faintly echoing.

 

For nine months I need the bats to migrate south 

for winter, where there are richer soils, sweeter 

fruits. Or hibernate – sleep so deeply nature transitions 

into every season, dizzy and peaceful from what is required 

to stay alive. I need the bats to leave me so I can start 

a new life. But every month secular heads shake 

as god Camazotz. The bats are captivated by their birth 

home, where only I have grown with them.

 

This poem appeared in The Haunting Issue of Popshot Quarterly

HAUNTED BY TAYLOR SWIFT

This short story by Annabel White charts the devastating power of teenage friendship and rejection. Illustration by Rung Sheng Chou

Julie Findler was excited. If there was ever a night to dress herself up and get her hair looking all nice, this was it. She was fifteen years old, on the brink of adulthood, and she had woken up that Tuesday morning in the bed she’d always slept in, in the house she’d always lived in, knowing tonight was going to be the best night of her life. Tonight, on the twenty-second of March 2011 at roughly seven o’clock, Julie Findler was going to get her best friend back.

Julie and Michelle had bought the tickets six months ago. They’d used Michelle’s dad’s computer. He had one of those new Apple Macs and an unstable enough relationship with his daughter to let her use it whenever she pleased. Julie and Michelle had spent a lot of time on that computer. Michelle’s dad didn’t understand enough about the internet to bother with parental controls, or enough about teenage girls to check his browsing history.

Julie and Michelle used to have sleepovers every Friday. They’d take swigs of the own-brand vodka Michelle’s dad kept under his desk and then they’d login to online chat rooms and watch men they didn’t know masterbate to them over the internet.

Julie and Michelle were obsessed with penises. At school, they’d heard girls in the year above talking about the dicks they’d seen on ChatRoulette, and they thought they’d take a look. Neither of them knew what a penis looked like, and with their sixteenth birthdays on the horizon, they felt it was about time they did.

The first time they saw one they screamed. Their newfound chat room acquaintance had his face out of the frame. His camera was positioned somewhere between his legs, and his schlong filled the whole of the screen. It looked about a metre in length, maybe longer.

Julie said, “Get it off the screen, get it off the screen.”

Michelle was calmer. “Keep looking. The longer we look, the less afraid we’ll become.”

So they kept looking. They looked at seven penises that night. All framed in the same way. Ballsacks and shafts and no faces. “Are they really that big? All of them?”

Michelle shrugged. “I guess.”

That night Julie lay awake on Michelle’s bedroom floor.

“Do you think our dads’ ones look like that?” she asked.

Michelle rolled over. Pretended to be annoyed by Julie’s immature questions. Pretended she wasn’t wondering the exact same thing.

“Yeah,” she said. “They must do.”

“And do you think our mums, like, touch them and stuff?”

“Obviously,” she said. “They probably like touching them. They probably touch them and suck them and sit on them. That’s sex, Julie.”

Julie thought of her mother. Mrs Findler was mildly overweight and her favourite curse word was sugar. Julie was sure her mother had never touched or sucked or sat on one.

Over time, Julie and Michelle got better at ChatRoulette. They learned how to dirty talk, which words to type into the chat box, what to say to keep the men from disconnecting. They discovered what semen looked like and they learned all the different words for it. They talked about sperm and jizz and cum and spunk and they felt like real adults. Julie and Michelle never told anyone what they did on Friday nights. They understood it was wrong. They were nice cul-de-sac girls with unhappily married parents and vaguely good prospects. They knew they weren’t supposed to be up all night looking at dicks.

Before Julie and Michelle were obsessed with penises, they were obsessed with Taylor Swift. Two years before, Taylor Swift had come to London on her Fearless tour. Julie and Michelle’s parents said it was too far. They lived in the West Midlands.

“If she came to Birmingham it would be a different story,” Michelle’s dad had said to the tear-streaked thirteen year-olds. “But London’s too far, girls. London is too far.”

Taylor released Speak Now two years after Fearless and it was epic in all proportions. They queued outside HMV before it opened. Michelle didn’t get as much pocket money as Julie, so Julie bought the CD. She listened to it that night, then gave it to Michelle the next day. Michelle listened to it the next night, then gave it back to Julie, and they did this over and over until it was Friday. They didn’t look at any penises that Friday. They lay on Michelle’s bed, in silence, and listened from start to finish.

There were fourteen songs on the album, each one chronicling the hopes and dreams of boy-crazy, small-town everygirls. Julie liked to think of herself as a boy-crazy, small-town everygirl. She hardly knew any boys, but still, a girl could dream. When Julie listened to Mine, she pictured herself sitting on a beach, staring at the ocean, with a faceless boy beside her. When she listened to The Story of Us, she felt angry at a fictional ex who’d mistreated her. When she listened to Last Kiss, she imagined a soul-crushing break-up and dreamt of heartache. If there was one thing Julie wanted more than anything in the entire world, it was to feel the pain of a broken heart.

That night, Julie asked Michelle which song she liked most. Michelle was quiet for a moment, thinking. “Better Than Revenge,” she said. “Or Sparks Fly. You?”

“Haunted,” said Julie.

“Yeah,” said Michelle. “Haunted’s a good one.”

When the tour dates were announced, neither Julie nor Michelle asked their parents if they could go. Michelle’s dad had all but confirmed it two years before. Why run the risk of letting him change his mind? Taylor Swift was playing the Genting Arena, and without any traffic they could get there in thirty-five minutes. Michelle’s dad kept a credit card taped under the desk. Beneath the Apple Mac, above the own-brand vodka. They’d waited for half an hour, arguing over whether they should refresh the page, whether they’d lose their place in the queue, before they were thrown into the check-out. It was like someone had a gun to their heads. Julie read out the card details, Michelle typed, and neither girl took a breath.

They watched. They waited. A fly buzzed around the room. It tap-tap-tapped against the window, and then the two most beautiful words to ever exist in the English language stared out at them from the screen.

Purchase complete.

“Fuck,” Michelle shouted. “Fucking yes.”

Julie had never heard Michelle say the F-word before. But things had changed. They were going to see Taylor Swift and everything was different now.

“Fuck!” said Julie. “Fuck! Fuck! Fuck!”

If Julie could pinpoint the last time she knew for certain Michelle was her best friend in the whole world, it would have been then. It would have been that moment on Michelle’s dad’s computer, when they’d committed low-level credit card fraud and were seeing how the F-word felt as it came out of their mouths. That, Julie knew, was the last time.

On Monday Julie got her braces tightened. Her seat had been the only one empty in form that morning, so it was the seat Emma had sat in. It was the seat Emma sat in again at break, and when Julie walked into classroom Four B, she saw a girl she’d never seen before at her desk, next to her best friend, eating a chocolate bourbon. Michelle beckoned her over.

“This is Emma,” she said. “She’s new.”

Emma was pretty. She wasn’t as pretty as Michelle, but she was prettier than Julie, and when you’re fifteen in the Midlands and nothing ever happens to you or with you or because of you, the most important thing you can be is pretty. Emma’s blond hair was dip-dyed pink, she wore shiny colourful hi-tops with a hidden heel inside, and each of her ear lobes had two piercings in them.

Julie stood in front of the desks, shifting her weight from one foot to the other.

“Emma’s just moved here,” said Michelle. “From Cornwall.”

“Oh cool,” said Julie. “How come?”

Emma turned to Michelle, and Michelle placed her hand on top of Emma’s.

“Julie, that’s a really personal question,” said Michelle.

Emma shook her head. The pink tips of her hair bounced on her shoulders. “It’s fine,” she said. “Honestly it’s fine.”

Then she looked at Julie like she was to blame and said, “My parents are getting a divorce.”

“I’m sorry,” said Julie, and she was.

Sorry she’d been at the orthodontist that morning, sorry her hair was mousy and brown, sorry her own parents weren’t getting a divorce, that her own life wasn’t exciting enough to fall apart. Emma sat with Michelle for the rest of the day, and Julie sat at the back next to Rebecca who had a hunchback and dandruff and breath that smelled of soup. 

Michelle invited Emma to her house that Friday. She didn’t even check with Julie. Emma wanted to watch some horror film Julie had never heard of, so the three girls traipsed to Blockbuster after school in search of it. The movie sucked. Michelle pretended to be scared and when Julie looked over from her side of the sofa, the two girls were clinging to each other like they were afraid for their lives. When the film was over, Emma stood up and went to the bathroom. It was the first time Julie and Michelle had been alone all week.

“Let’s go upstairs soon,” said Julie.

Michelle chewed her fingernails and stared at the blank TV. “I’m kind of fine down here.”

“We haven’t even been on ChatRoulette tonight,” said Julie.

The toilet flushed. Julie heard the stomp of heeled hi-tops getting closer.

“I don’t know,” said Michelle. “I feel a bit over that stuff.”

“Over what?” asked Emma.

“Julie wants to go on ChatRoulette. She’s kind of obsessed with it.”

Emma snorted. “That’s fucking gross,” she said. “Does it turn you on or something, Julie? Old guys wanking over you?”

Julie felt heat crawl up her neck, across her cheeks. “No,” she said, though neither Emma nor Michelle heard her. They were laughing too loud.

The following Friday Emma invited Michelle for a sleepover at her house. Emma had a ping pong table and an older brother and Julie didn’t have a hope in hell. Emma and Michelle started a YouTube channel and Julie started staying in on Fridays. They posted videos of themselves, daring each other to eat things, like whole cloves of garlic and teaspoons of cinnamon. They filmed themselves making prank calls, giving each other makeovers. 

Julie felt like it was the end of the world.

But still, she had the tickets. They had the tickets, and the twenty-second of March wasn’t far away. Autumn had turned into winter and now spring had almost sprung. Michelle had more piercings in her ears now, she wore fishnets under her school skirt, and she hardly spoke to Julie. But Julie had the trump card.

The songs on the album took on new meanings now Michelle had traded her in for Emma. She listened to Mean, the song Taylor wrote about Kanye, and she thought about Emma. She listened to Back to December, and imagined Michelle singing the words to her, begging for her friendship back. She listened to Haunted, the first song she’d loved on the album, the song Taylor woke up in the middle of the night to write, about the moment you realise the person you love is slowly falling out of love with you.

Come on, come on, don’t leave me like this / I thought I had you figured out / Can’t breathe whenever you’re gone / Can’t turn back now, I’m haunted.

When Julie had wished for a broken heart, she’d envisioned a greasy-haired, bogey-picking fifteen year-old at the centre of it. She’d wanted a youthful fixation on an idiot boy, and she’d wanted Michelle’s shoulder primed, polished and ready to cry on. She never thought Michelle would be the one to break her heart. She never saw this coming.

As the twenty-second of March crept closer and closer, Julie expected Michelle to reach out. She expected some kind of olive branch. Of course it never came, so the Friday before the Tuesday of the concert, Julie bit the bullet and walked over to Emma and Michelle, who were huddled at their usual table at the back of the canteen. They were watching something on Emma’s phone and they looked up as Julie walked over.

Emma said hi in a way that felt less like a greeting and more like a question. Michelle fiddled with the wax of her Babybel. “What are you guys up to this weekend?” asked Julie.

Michelle pushed her nail into the red wax, leaving a semi-circular indent.

“Nothing much,” said Emma. “My brother’s friend’s having this party. We might go to that. If we can be bothered.”

“Nice,” said Julie. She looked at Michelle.

“So,” she tried again. “My mum’s offered to drive us on Tuesday. I don’t know if you asked your parents or whatever. But she says she doesn’t mind.”

Emma’s eyes widened. She turned to Michelle. “What’s happening on Tuesday?”

Again, Michelle was silent.

“We’ve got tickets to Taylor Swift,” Julie told her.

Emma snorted. “I forgot you were into shit like that,” she said.

Julie looked from one girl to the other. Her heart was racing. Emma looked at Julie, smirking, and Michelle looked at her hands.

“Well, that’s all I came over to say,” she said. “Have fun at the party.”

In spite of everything, Julie didn’t think she’d lost Michelle. Not fully. She woke up that Tuesday morning with a spring in her step. She listened to Haunted on repeat as she brushed her teeth, as she put on her uniform, as she spooned heaps of cornflakes into her mouth. She practically skipped to school.

Michelle’s form seat was empty. It’s fine, Julie told herself. She’s probably sleeping in.

Michelle wasn’t in first period English, or second period French. She wasn’t at break and she wasn’t at lunch. Julie sent her a text. The last message she’d sent her was four months before. It was a picture of her neighbour’s kitten. She thought Michelle would find it cute, but she’d never replied.

R u coming in 2 skl 2day?? Julie asked.

Michelle replied ten minutes later: Not feelin well

Wot about Taylor Swift?

Sorry, wrote Michelle.

Julie’s phone felt cold and heavy in her hand. The ground underneath her wobbled. When she opened her eyes, she was lying on the scratchy carpet, a gaggle of students around her.

“Is she dead?” she heard someone say.

Please, she thought. Please, let me be dead.

Julie’s mum picked her up twenty minutes later. The Speak Now CD was in the car. Mrs Findler put it on and started to sing what she thought were the words. Julie turned it off. They drove the rest of the journey in silence.

“I always thought it was a good album,” said Mrs Findler, sitting at the end of her daughter’s bed. “Better than her others. You know, I was almost upset you didn’t buy three tickets.”

Julie knew what her mother was doing.

“What was that song you always played over and over? You know the one.”

Julie sighed. “Haunted.”

“Haunted by Taylor Swift. That was it. A bloody good song, if you ask me. If only there was somewhere we could go, tonight, to listen to it.”

Julie sat up in bed and looked at her mother.

“She’s an idiot,” said Mrs Findler. “You know I was fond of that girl, but I’ll be the first to tell you she’s a fool. Now put on that lippy and get yourself dressed. We’ve got a concert to go to.”

There are moments in life so full of feeling that your skin lights up, that your body feels like it’s floating, that time stops dead in its tracks. That’s how Julie Findler felt when Taylor Swift walked onto the stage of Birmingham’s Genting Arena on that Tuesday in March. Like nothing before that moment had ever mattered and nothing after ever would.

She could feel the blood in her veins. The breath in her lungs.

It was Taylor freaking Swift.

Mrs Findler bobbed along beside her. She didn’t scream the words like Julie, but she tried her best and Julie was grateful for it. She brought a digital camera with her and filmed the whole thing, just in case.

Later, Julie Findler would fall asleep on the drive home. Her mother would nudge her once they were parked outside the house, and when Julie walked inside, bleary-eyed, she would wonder if she was dreaming.

There’d be a girl waiting in the living room. The girl would be sitting on the sofa, chewing her nails, looking up at the door as Julie walked through it.

Julie’s dad would say to Julie’s mum, “It’s fine. They know she’s here.”

Julie would sit down, opposite the girl and they’d look at each other for a second, neither knowing what to say. Michelle would go first.

“How was it?” she’d ask.

Julie wouldn’t lie. She’d say it was the best night of her life. She’d mean it.

“I’m sorry,” Michelle would say. “I’m so sorry.”

Julie wouldn’t know what to say to that. Michelle’s eyes would be red around the edges and Julie would wonder if she’d been crying.

“My mum filmed the whole thing. We can watch it on Friday if you want.”

Michelle would blink away tears as they fell from her eyes.

“Yeah,” she would say. “That would be nice. That would be really, really nice.”

This short story appeared in The Haunting Issue of Popshot Quarterly

POPSHOT 37 – THE HAUNTING ISSUE

The Haunting Issue is a collection of vivid writing about hauntings, intrusive memories and fear. It cuts deep, but also skewers genres for a wry take on scare stories, featuring Taylor Swift, nostalgic music and a mixture of genuine and fake ghouls. Featuring an extract from J M Miro’s Ordinary Monsters inside.

Words by: Al Crow, Benjamin Herriton, David Romanda, Annabel White, Ellora Sutton, Sophia Rubina Charalambous, Dan Spencer, Jonathan Greenhause, Dallon Robinson, Jeremy Smith, Julie-ann Rowell, Heather Walker, Fiona Eatwell, Alexandra Cîrstian, J M Miro, JP Relph, Simon Tindale, Jonathan Willmer, Joe Williams, Kay Young, Charlie Rose Evans, Rebecca Klassen, Megan Denton, Abigail Williams, Morgan Liphart, Simon Fairbanks

Illustrations by: Millie Baker, James Merritt, Andrew Haener, Guille Manchado, Daisy May Morgan, Rung Sheng Chou, Brooklin Holbrough, Torsten Carlisle, Gail Gosschalk, Mikayla Bader, Gary Venn, Sammi Shen, Neil Webb, Katie M Green, Laura Brannigan, Karen Stolper, Katelyn McKenna, Hayley Sinnatt, Kamal Kuz, Peter Roman, Dina Razin, Seb Westcott, Cyndy Patrick.

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THE HAUNTING ISSUE IS HERE!

The latest issue of Popshot Quarterly is on sale now. Cover illustration by Millie Baker

The Haunting Issue is a collection of vivid writing about hauntings, intrusive memories and fear. It cuts deep, but also skewers genres for a wry take on scare stories, featuring Taylor Swift, nostalgic music and a mixture of genuine and fake ghouls. Featuring an extract from J M Miro’s Ordinary Monsters inside.

Words by: Al Crow, Benjamin Herriton, David Romanda, Annabel White, Ellora Sutton, Sophia Rubina Charalambous, Dan Spencer, Jonathan Greenhause, Dallon Robinson, Jeremy Smith, Julie-ann Rowell, Heather Walker, Fiona Eatwell, Alexandra Cîrstian, J M Miro, JP Relph, Simon Tindale, Jonathan Willmer, Joe Williams, Kay Young, Charlie Rose Evans, Rebecca Klassen, Megan Denton, Abigail Williams, Morgan Liphart, Simon Fairbanks

Illustrations by: Millie Baker, James Merritt, Andrew Haener, Guille Manchado, Daisy May Morgan, Rung Sheng Chou, Brooklin Holbrough, Torsten Carlisle, Gail Gosschalk, Mikayla Bader, Gary Venn, Sammi Shen, Neil Webb, Katie M Green, Laura Brannigan, Karen Stolper, Katelyn McKenna, Hayley Sinnatt, Kamal Kuz, Peter Roman, Dina Razin, Seb Westcott, Cyndy Patrick.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £20. A printed copy of the magazine will be delivered direct your home each quarter. Click here to subscribe.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

SUBMISSIONS ARE OPEN: WRITE FOR THE WINTER ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and 9am (GMT) on Friday 2nd September 2022. Illustration by Ewelina Rynkiewicz.

The next issue of Popshot will be on the theme of…“Roots.”

We have just finished putting together the Haunting Issue (thank you to all who submitted), allowing us to open the doors for new submissions.

Our next theme is ‘Roots’.

Writers might want to consider the different meanings of roots; from the botanical or geographical to the familial. We want you to explore the root of a problem or take us to a moment showing the adventure/trauma of being uprooted. Perhaps you’d rather examine the feeling of being rooted, and our relationships to place or soil. Feel free to take us somewhere funny and lighthearted; or go very dark indeed.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Winter 2022 issue are open until 9am (UK time) on Friday, 2 September 2022.

The Roots Issue will be published in November 2022.

Guidelines for submission are here.

Three entries maximum. Entries over the word count will not be considered. We’re very sorry but due to volume we cannot reply to submissions unless they are successful, so if you haven’t heard from us by the end of October 2022 please take it as a pass.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Roots – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Haunting Issue, which will be on sale from 4th August 2022.

Got a question? Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

POPSHOT 36 – THE JOY ISSUE

The Joy Issue is a collection of vivid writing, exploring brief bursts of intense happiness. It goes deep, with tales of burgeoning desire, childhood giggles, exploding champagne bottles and laughter. Featuring an exclusive short story by guest author Shelby Van Pelt. Cover illustration by Gracie Dahl.

Words by Corinna Keefe, Benedict O’Rourke, Olivia Jenkins, Christian Butler-Zanetti, Chloe Laws, Dragana Lazici, Carolyn Gillum, Grace Marie Liu, Jack Buckingham, Samuel Rogers, Taria Karillion, Gary Hughes, Prajay Ghaghda, Parnian Sadeghi, Alex Beata Clarke, Shelby Van Pelt, Liz Adams, Honor Somerset, Anthony Holness, Billie Manning, Polly Barker, Miranda Westphal, Mia Bleach, Mims Sully, Anna Hollingsworth, Jay Barnett, Polly East, Annie Cowell, Theodore Beecroft, Louise McStravick, Emily Jane.

Illustrations by Gracie Dahl, Pamela Chen, Charlie Riddle, Toni Gajadhar, Kaylie Pendleton, Twoolw, Lola Nankin, Niu Cheni, Hannah Finnie, An Chen, Eline Veldhuisen, Travis Constantine, Marine Coutroutsios, Marjolein Verbruggen, Kim Williams, Rita M. Pereira, Not Flipper, Ane Arzelus, Weitong Mai, Millie Baker, Tasha Dale, Celyn Hunt, Joseph Stevenson (Kynobi), Violet Argent, Namasri  Niumi.

UK / £6 + p&p
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THE JOY ISSUE IS HERE!

The latest issue of Popshot Quarterly is on sale now. Cover illustration by Gracie Dahl.

The Joy Issue is a collection of vivid writing, exploring brief bursts of intense happiness. It goes deep, with tales of burgeoning desire, childhood giggles, exploding champagne bottles and laughter. Featuring an exclusive short story by guest author Shelby Van Pelt. Cover illustration by Gracie Dahl.

Words by Corinna Keefe, Benedict O’Rourke, Olivia Jenkins, Christian Butler-Zanetti, Chloe Laws, Dragana Lazici, Carolyn Gillum, Grace Marie Liu, Jack Buckingham, Samuel Rogers, Taria Karillion, Gary Hughes, Prajay Ghaghda, Parnian Sadeghi, Alex Beata Clarke, Shelby Van Pelt, Liz Adams, Honor Somerset, Anthony Holness, Billie Manning, Polly Barker, Miranda Westphal, Mia Bleach, Mims Sully, Anna Hollingsworth, Jay Barnett, Polly East, Annie Cowell, Theodore Beecroft, Louise McStravick, Emily Jane.

Illustrations by Gracie Dahl, Pamela Chen, Charlie Riddle, Toni Gajadhar, Kaylie Pendleton, Twoolw, Lola Nankin, Niu Cheni, Hannah Finnie, An Chen, Eline Veldhuisen, Travis Constantine, Marine Coutroutsios, Marjolein Verbruggen, Kim Williams, Rita M. Pereira, Not Flipper, Ane Arzelus, Weitong Mai, Millie Baker, Tasha Dale, Celyn Hunt, Joseph Stevenson (Kynobi), Violet Argent, Namasri  Niumi.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £20. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

SUBMISSIONS ARE NOW OPEN: WRITE FOR THE AUTUMN 2022 ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and 9am on GMT Wednesday 1 Jun 2022. Illustration by Kaylie Pendleton

The next issue of Popshot will be on the theme of…“Haunting.”

We have just finished putting together the Joy Issue (thank you to all who submitted), allowing us to open the doors for new submissions.

Our next theme is ‘Haunting’ and we are interested in writing that looks broadly at what it means to be haunted in some way.

Writers might want to consider the different meanings of haunting; from the repeated appearance of a ghost, to an obsession or memory that haunts someone, through to an evocative sound or keening, or, in its simplest form, a person or thing that turns up again and again at the same location. Although we love spooky tales and this issue will be on newsstands over Halloween, we’re not only looking for classic ghost stories. We want to know about times when you’ve felt haunted or been the person doing the haunting. Feel free to take us somewhere funny and lighthearted; or go very dark indeed.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Autumn 2022 issue are open until 9am (UK time) on Wednesday, 1 June 2022.

The Haunting Issue will be published in August 2022.

Guidelines for submission are here.

Three entries maximum. Entries over the word count will not be considered. We’re very sorry but due to volume we cannot reply to submissions unless they are successful, so if you haven’t heard from us by the end of July 2022 please take it as a pass.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Haunting – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Joy Issue, which will be on sale from 5th May 2022.

Got a question? Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

THE WATER ISSUE IS HERE!

The latest issue of Popshot Quarterly is on sale now. Cover illustration by Dilianny Espinoza

The Water Issue is a collection of vivid writing, exploring our relationship with the wet stuff. It goes deep, with tales of selkies, hot tub time machines, submerged villages, and severe droughts.

Words by: Carol Casey, Elizabeth Gibson, David Heidenstam, Haleigh Morgan, Sarah Coakley, Twanda Rolle, John Davis, Sequoia Nagamatsu, Kym Deyn, Claire Orchard, Jill McKenzie, Alison Gormon, Linda Goulden, Linda McCauley Freeman, Liam McClelland, Ami Hendrickson, Christopher Thomas, Thea Zimmer, Finolla Scott, Sophie Goldsworthy, Lucy Beckley, Jennifer Stark, Melanie Jones, Victoria Jeynes, Harriet Truscott, Ben Tallon, Steven Mitchell, Susie McComb.

Illustrations by: Herta Arnaud, Rebecca Chang Jen Lin, Natalia Chirkowska, Courtney L Ellis, Dilianny Espinoza, Tor Ewen, Jon Higham, Neko Jiang, Lou Kiss, Yian Lee, Ellie Lonsdale, Esmé Alice Mackey, Vivi Maidanik, Nika Mamedova, Akesi Martinez, Shauna Mckeon, Jemima Muir, Andrei Nicolescu, Alejandra Peñaloza, Ellis Pearce, Ione Rail, Rowena Sheehan, Maria Skliarova, Jasmine Tutton, Rachel Joan Wallis, Zhigang Zhang.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £20. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

SEQUOIA NAGAMATSU Q&A: ‘IT HELPS THAT I WROTE MY PANDEMIC NOVEL PRE-COVID’

The guest author for The Water Issue talks about how the world in his novel is brighter than the real one, despite his plague being more horrific.

Sequoia Nagamatsu is being hailed as one of the most exciting new writers of 2022. His debut novel, How High We Go in the Dark, was published last month. 

The book transports us hundreds of years into the future and explores the impact of a fictional plague caused by melting Arctic ice.

Here at Popshot Quarterly, we’re very excited to say that Sequoia is our guest author for the Water Issue. His novel started as a series of short stories, and you’ll find one of them beautifully illustrated among our latest magazine’s pages. 

Q. You’ve written a pandemic book about melting ice during a global pandemic and while more and more attention is rightly being paid to climate change. Does it feel strange to have hit both nails on the head quite so squarely?

A. It’s both strange and yes, eerily prescient. I was just reading an article the other day about someone getting organs transplanted from a genetically modified pig, which is especially on the nose given a particular chapter. 

But nobody could have predicted the world we’re in right now. I never expected to sell or publish this novel during an actual pandemic. 

That said, here we are, and although I wouldn’t call the timing ideal for a lot of reasons, I do think this novel could hold a unique place in our moment and help people begin to process our experiences, even find some catharsis. 

If anything, the world in my novel is much brighter despite my plague being more horrific. That’s the world and future I’d like to strive for. That’s the community I want to strive for. We’re still very far away from treating each other and our planet in the way we should.

Q. What made you realise your book was a novel rather than a collection?

A. The oldest chapter in the novel stems back to 2007 in its very, very early form. So, to talk about the trajectory of this novel is to really also explore my trajectory as a writer. 

For a long time, I was just writing stories. I had no illusion that I would ever have a career as a writer or that I would even attend graduate school for creative writing. 

I was merely interested in exploring different forms of grief and alternative funerary traditions at the heels of the loss of my grandfather who helped raise me (and associated guilt around not being there when he died). 

It really wasn’t until perhaps 2014 or 2015 that I began seeing the architecture of what could be not only a collection but something that had more concrete links.

But I didn’t call How High We Go in the Dark a novel until I began working with my agent. 

By that time, the scale of the manuscript was already entertaining a final chapter that would explode the scope to the origins of life on Earth, to the stars, and my agent said that it didn’t quite feel right to label what I was doing a novel. 

From that point forward, I began the hard work of deepening connections between characters, evolving the world and society across chapters, and dropping hints along the way for careful readers that would pay off in unexpected and cosmic ways by the novel’s completion. 

The journey of this book coming to fruition is just as kaleidoscopic as its narrative architecture. 

Q. You deal so delicately and beautifully with death in the novel, but there’s always a sense of hopefulness rather than heaviness to your prose. How important was that to you to achieve?

A. As I was writing each chapter and certainly during revision, I wanted to make sure that some hope and light was present no matter how dark a situation might be. 

I think what helps How High We Go in the Dark reach toward the light despite its difficult backdrop is that I did write this pre-Covid.

So my ultimate concerns were not so much about world but about people finding small moments of connection, small actions that could carry them through rough patches. 

I think it’s deeply important that in year three of a Covid world (and an increasingly climate changed world) that we never lose sight of hope and community and the small actions that remind us why we want to wake up the next day. 

It can be easy to lose sight of that sometimes (and certainly some of my characters have for a time), but I hope that my book can help readers reflect on what’s important in their lives.

We probably don’t want to completely go back to normal. So why not use this betwixt and between space of lockdowns and home schooling and online meetings to dream of doing better. 

Q. You’ve managed to achieve and sustain a remarkably ambitious premise, which is no mean feat in a novel. Do you think the short story form helped as a discipline to tackle this?

A. I think it definitely helped me capture so many variations of life and reactions. 

As I began thinking more of my growing body of work as a cohesive book it was hard not to think about the work of authors like David Mitchell (esp. his earlier work like Ghostwritten). 

Some people need to run away from a tragedy. Some people lean into the fire and try to stop it. Others might need to form communities or other realities. 

In my book I present polaroid photos in a shoe box found in an attic—disparate moments but somehow all part of the same world whether or not characters are actually related to each other or only connected by the thinnest cosmic strand. 

I know some readers who typically don’t read short stories or story collections shy away from the short form because they prefer immersion and continuity of character. 

I hope that How High We Go in the Dark is a way for lovers of short stories to dive into genre and storyline diversity while novel lovers can still have a sense of continuity and a frame that makes the story transcend the sum of its parts. 

Q. Can you talk a little about your writing process?

A. I typically do most of my writing in my home office, which I share with my wife who is also a writer. It’s a room filled with books, a hydroponic garden, my robotic dog’s bed/charging cradle, and lots of notes messily arranged on a cork board. 

Before the pandemic, I’d say that I did a lot of my best work in the early mornings. I used the #5amwritersclub community on Twitter as a kind of early morning motivation, although to be perfectly honest my early rising has much more to do with my cat than anything else. 

Since Covid, I’ve gotten used to carving out writing time throughout the day since I’ve been working and teaching from home, while reserving late afternoon and evening hours for reading, television, and gaming. 

How High We Go in the Dark is published by Bloomsbury

POPSHOT 35 – THE WATER ISSUE

The Water Issue is a collection of vivid writing, exploring our relationship with the wet stuff. It goes deep, with tales of selkies, hot tub time machines, submerged villages, and severe droughts.

Words by: Carol Casey, Elizabeth Gibson, David Heidenstam, Haleigh Morgan, Sarah Coakley, Twanda Rolle, John Davis, Sequoia Nagamatsu, Kym Deyn, Claire Orchard, Jill McKenzie, Alison Gormon, Linda Goulden, Linda McCauley Freeman, Liam McClelland, Ami Hendrickson, Christopher Thomas, Thea Zimmer, Finolla Scott, Sophie Goldsworthy, Lucy Beckley, Jennifer Stark, Melanie Jones, Victoria Jeynes, Harriet Truscott, Ben Tallon, Steven Mitchell, Susie McComb.

Illustrations by: Herta Arnaud, Rebecca Chang Jen Lin, Natalia Chirkowska, Courtney L Ellis, Dilianny Espinoza, Tor Ewen, Jon Higham, Neko Jiang, Lou Kiss, Yian Lee, Ellie Lonsdale, Esmé Alice Mackey, Vivi Maidanik, Nika Mamedova, Akesi Martinez, Shauna Mckeon, Jemima Muir, Andrei Nicolescu, Alejandra Peñaloza, Ellis Pearce, Ione Rail, Rowena Sheehan, Maria Skliarova, Jasmine Tutton, Rachel Joan Wallis, Zhigang Zhang.

UK / £6 + p&p
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SUBMISSIONS ARE NOW OPEN: WRITE FOR THE SUMMER 2022 ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and 9am on GMT Tuesday 1 March 2022. Illustration by Alejandra Peñaloza

The next issue of Popshot will be on the theme of…“Joy.”

We have just finished putting together the Water issue (thank you to all who submitted, the magazine will thump through letterboxes and appear on newsstands soon), allowing us to open the doors for new submissions.

Our next theme is ‘Joy’ and we are interested in writing that looks broadly at what it means to experience feelings of great happiness and pleasure.

Writers might want to consider the importance of the search for joy on the human condition, and what that means when you consider that moments of joy are often just that – moments. What happens between the joy? How does the exhilaration of intense happiness frame our other experiences? And can the transient nature of bursts of joyfulness make it impossible to enjoy the lulls between them? We want to know what brings you proper joy, what your definition of joy is, and what you would sacrifice in order to obtain unbridled joy. Feel free to take us to the bright, light, heights of happiness; or go dark, exploring what happens when joy is sought but unsatisfactory.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Summer 2022 issue are open until 9am (UK time) on Tuesday, 1 March 2022.

The Joy Issue will be published in May 2022.

Guidelines for submission are here.

Three entries maximum. Entries over the word count will not be considered. We’re very sorry but due to volume we cannot reply to submissions unless they are successful, so if you haven’t heard from us by the end of April 2022 please take it as a pass.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Joy – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Water Issue, which will be on sale from 3rd February 2022.

Got a question? Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

POPSHOT 34 – THE UNCENSORED ISSUE

The Uncensored Issue is a collection of vivid writing, exploring our deepest internal thoughts. It cuts deep, with tales of devastating loss, secrets and lies, humour and indecent disclosure told in verse, flash and compelling short stories.

Words by: Kayla Feldman, Madeline Wierzal, Dide Siemmond, Richelle Sushil, Flora Jardine, Palma McKeown, Rowena Newman, A. M. Gwynn, Clare O’Brien, Evan White, Annie Oliver, Mark Ralph Bowman, Lucy Porter, Alan McCormick, Anonymous, Danielle Shields, Rachael Grant, Maria Ilona Moore, Lisa Murphy

Illustrations by: Sabrina Reiter, Andy Kenneth Edwards, Jimmy Stolpe, Mario Pinheiro, Paula Calleja Cardiel, Robin Goodwin, Magdalena Marchocka, Jemima Ruby, Annie Vaughn, Yi Jong, Maureen Keeney, Winston Braun, Pablo Tesio, Peili Huang, Matt Lee, Sherry Xiao, Amy Lauren McGrath.

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THE UNCENSORED ISSUE IS HERE!

The 34th issue of Popshot Quarterly is now on sale featuring 27 stories and poems. Cover illustration by Martha White.

Popshot is a beautifully illustrated quarterly magazine showcasing imaginative short stories, flash fiction and poetry by the best new writers.

The Uncensored Issue is a collection of vivid writing, exploring our deepest internal thoughts. It cuts deep, with tales of devastating loss, secrets and lies, humour and indecent disclosure told in verse, flash and compelling short stories.

Words by: Kayla Feldman, Madeline Wierzal, Dide Siemmond, Richelle Sushil, Flora Jardine, Palma McKeown, Rowena Newman, A. M. Gwynn, Clare O’Brien, Evan White, Annie Oliver, Mark Ralph Bowman, Lucy Porter, Alan McCormick, Anonymous, Danielle Shields, Rachael Grant, Maria Ilona Moore, Lisa Murphy

Illustrations by: Sabrina Reiter, Andy Kenneth Edwards, Jimmy Stolpe, Mario Pinheiro, Paula Calleja Cardiel, Robin Goodwin, Magdalena Marchocka, Jemima Ruby, Annie Vaughn, Yi Jong, Maureen Keeney, Winston Braun, Pablo Tesio, Peili Huang, Matt Lee, Sherry Xiao, Amy Lauren McGrath.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £20. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

WRITE FOR US: SUBMISSIONS FOR THE SPRING 2022

Submit work for the next issue between today and 9am on GMT Tuesday 30 November. Illustration by Maggie Stephenson.

The next issue of Popshot will be on the theme of…“Water.”

We have just finished putting together the Uncensorede issue (thank you to all who submitted, the magazine will thump through letterboxes and appear on newsstands soon), allowing us to open the doors for new submissions.

Our next theme is ‘Water’ and we are interested in writing that looks broadly at the impact of H20, the human relationship with it and the different world beneath its surface.

Writers might want to consider the importance of the vast expanse of water on our earth, the mythology linked to it, from mermaids and giant squids to the Bermuda triangle, to the fact that the human body is 60% water. This issue is an opportunity to look at the tidal pull of the wet stuff on our lives, from avid wild swimming to watersports and the terror of huge, cold, deep bodies of water. After all, we cannot live without water, but it can certainly kill us. Feel free to go as dark and deep as you dare.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Spring 2022 issue are open until 9am (UK time) on Tuesday, 30 November 2021.

The Water Issue will be published in February 2022.

Guidelines for submission are here.

Three entries maximum. Entries over the word count will not be considered.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Water – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Uncensored issue, which will be on sale from 4th November 2021.

Got a question? Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

NANDAD

This poem by James McDermott explores how families teach us gender, sexuality and shame. Illustration by Meital Shushan.

I lie on the floor of the living room

in my family home to play with my

two year old niece who calls my father nan

 

dad my sixty year old father calls her

princess i’m five when father calls me sis

sy for wearing wellies on the wrong feet

 

father puts her in a pink dress the hu

man eye can distinguish ten million dif

ferent colours father teaches her not

 

to colour outside the lines humans are

the only animals who can draw straight

lines father taught me how to draw stick men

 

in black and blue their heads empty white space

three point five billion different men are

alive suicide race hate their biggest

 

killers father reads my niece a fairy

story which ends happy when the boy gets

the passive girl I’m ten when father calls me

 

a fairy for wanting to be snow white

there are 450 species

of animal that show signs of queerness

 

only 1 species is homophobic

I read my phone in the UK women

make up 22% of the boys

 

in blue I was stopped searched for being dressed

as a woman 86% have

been assaulted I was punched for being

 

my niece rips off her dress tears up the book

leaves her dressing up box for my father’s

tool box takes his hammer to redraw him

 

This poem appeared in The Family Issue of Popshot Quarterly. On sale now.

THE FAMILY PLOT

Ty Landers’ deeply moving short story is part ghost story part family mystery. It takes a wry and life-affirming look at how families cope with loss. Illustration by Aydan Hasanova
After the doctor left, and the sedative finally wrestled my wife into a shallow, restless sleep, I sat down on the edge of my daughter’s hospital bed to tell her about the family plot. I took Daisy’s hand and shook her gently awake. Her eyes opened and closed in time with each step of the lazy line stumbling across her heart rate monitor.
“Dais?” The bed creaked as it elevated. My wife stirred but didn’t wake. “Can you hear me?”
Daisy forced open her heavy eyelids, smiling despite the pain.
My mother appeared in the corner, flickering like a bad light bulb. Our eyes met and I motioned toward the door. This was something I needed to do alone. Mom blew me a kiss and passed through the wall, into the hall. I pictured her gliding down the stark, white corridor like a girl on ice-skates, finding my Dad in the lobby behind a National Geographic, nestling in next to him, soundless and unseen.
“How’s your pain?”
Daisy looked at the carafe of water on her bedside table. I poured her a glass and she took slow sips.
“Need to talk to you about something but—” I glanced back at Erin. She was whimpering, fighting something in her dream that could never be worse than the reality she would wake to. “It’s got to be just between the two of us, okay? It’s important.”
Daisy nodded.
The right words were out there. I had rehearsed, but every angle I took, every metaphor, every example just clouded the water. She was only ten, too young to see it with her own eyes. My mother was forced to give me this talk after my aunt Emma died. I snuck out one night to see my girlfriend, when I snuck back in I found Emma rooting through my bedside table, looking for cigarettes. I screamed and woke my parents. After mom scolded poor Emma for the invasion of privacy, the two of them sat me down and told me everything. Told me about the family plot.
I was sixteen though. Old enough to see Emma materialize. This would all be a lot easier if Daisy could see her dead grandmother fussing over her, eavesdropping on doctors, and slipping through walls.
“The doctor said they were going to make you comfortable.” I swallowed hard. “This might be our last chance to talk.”
She looked at me, then her eyes retreated to her lap.
I gave up on the pitch I’d rehearsed and decided to just wade in.
“Our family. Me and you. Grandma and her Dad. All up and down that side of the family tree. For some reason…we…come back.”
“From what?”
“From—” I paused, tried to choose the right word. “From…dying.”
She crinkled her nose, looked at me like I was stupid.
“We can’t die?”
I shook my head. “No, we do…your body will. But the real you will stay here.”
“Like a ghost?” She frowned. “I don’t want to be a ghost.”
“Okay, that’s why we’re talking.” I leaned in, put my arm around her. “You don’t have to. This is going to sound crazier than the first thing but…there is this piece of land in South Carolina. It’s kind of like a family cemetery. If any of us are buried there, we don’t come back. We go wherever everybody else goes.”
“Heaven?”
“Absolutely. You’d absolutely go to heaven. Are you kidding me? It wouldn’t be heaven without you. It would be…well, I don’t know. But it would suck and that’s like, the opposite of heaven.”
She laughed and I saw it hurt her to do so.
“So, I would be like, buried there?”
I nodded.
“Why there? Why South Carolina?”
“I don’t know. There’s something about the place. That particular patch of earth. The dirt there is our dirt. It’s on a quiet little island. There are tide pools, salt-marshes, beautiful trees. Have you ever been homesick?”
“I think so.”
“If you’ve ever been homesick, that’s the place you were homesick for. Even though you’ve never been there. You’re like a lost puzzle piece, incapable of completing some bigger picture until you are placed back there. And if you never do, if you’re never laid to rest there…you’ll roam.”
Her eyes closed. Machines whirred in the background, muffled voices came from the hall. For a moment I thought she was gone.
She fought, with great effort, to open her eyes again and said, “Are you going to be buried there?”
“I’m going to do whatever you do.”
The little coffin was a garish pink the color of Pepto Bismol. Erin insisted Daisy would have loved it and, knowing what I was going to have to do, I didn’t protest.
When I told my wife that Daisy had decided to be buried in the family plot she did what any mother might do; she balled up her fist and punched me in the eye.
It wasn’t the first time she had heard of the place. I brought it up a few times after we got married, hoping she might fall in love with the Lowcountry and want to be buried there together. But, she never took it seriously. Now, she thought it was a sick joke. We moved to Erin’s home state of Michigan when Daisy was a baby. Erin probably thought I was exacting revenge on her for moving me out of the South.
By the time the funeral rolled around, Erin and I weren’t speaking. She sat with her parents and her sisters, all of them glaring at me like a colony of agitated birds. I sat, sulking over my black eye, my back to the hideous fuchsia casket, watching Daisy and my mother tear around the funeral home. Mom had changed, appearing as the ten-year-old version of herself and had immediately taught Daisy how to do the same shape-shifting trick for herself. I couldn’t take my eyes of them. Daisy, glittering and resplendent, the technicolor antithesis of that poor grey little thing that had died in that hospital bed. Her hair had returned, thick and wild, like a plume of almond smoke trailing behind her. They challenged each other to contests, did cartwheels and back handsprings, stopping only long enough to collapse into giggling heaps.
At the end of the service I found myself alone with the ugly pink casket waiting in a side room for the pallbearers to move Daisy to the hearse. The thought to pause, to try again to include Erin, came to me then. Excluding her was risky. If she found out, she would probably have me arrested, might even try to kill me. I thought about scenarios that would allow me to do what needed to be done and allow us to re-stich the seam that had widened between us. But, that rip couldn’t be mended now.
I took Daisy’s tired, pale body out of the electric pink casket and was forced to improvise. The transition room, a faux library with hunter green carpet, wood paneling and a fireplace, had walls lined with bookshelves. At the base of each was a big cupboard with double doors. I slid Daisy’s body into one of the empty cupboards, covered her with throw pillows from the library’s sofa and shut the doors. I repacked the coffin with some of the books to give it a similar weight, closing the lid just before the pallbearers came in to move the casket to the hearse. I followed them out, unlocking a window before I left.
Later that night the break in went as smoothly as the burial had gone. The house had been full of Erin’s family when I left but I managed to sneak a few tools into my car, pack a bag and grab the wooden box my mother told me not to forget.
After shimmying through the window at the funeral home, Daisy watched me carry her body to the car, peering down from her perch on an overhead powerline. I wrapped her in a blanket and placed her gently in the back seat. When I closed the door my mother was there, shooing Daisy off her tightrope and chasing her through the roof of the car and into the passenger seat.
“You want to come with us?” I asked.
“No. I want to give you two the time.” Mom looked into the back seat. “Did you get what I told you to get?”
I nodded. “You sure?”
“Absolutely.” She smiled and framed my face with her hands. “I’ll see you there.”
She vanished, leaving behind a blue mist that briefly caught the moonlight before dissipating.
I got in the car and we headed south.
On the road we talked, laughed, sang to the radio, enjoyed the comfortable silence we always shared. Hours passed and sometimes I forget she was dead.
From time to time I caught her looking at her blanketed body lying in the back seat. A barrage of questions about the family phenomena usually followed. Questions I couldn’t answer. Driving through Indiana, she asked what would happen if she didn’t go through with the burial, if she stayed, what it would be like on Earth in a hundred years or a thousand. She asked what would happen to our family if people made the planet unlivable.
“What if it’s like, just a big garbage dump?” She looked out the window at the trash strewn shoulder of an on ramp. “We can’t clean it up if we’re ghosts. We’re stuck right? What if all the plants died?”
I pictured the two of us, walking across a barren planet like ghosts on Mars.
We stopped at a motel in the mountains outside of Asheville for the night. I hid Daisy’s body as best I could and tried to grab a few hours of sleep. I woke up around 3:00 AM and Daisy was gone. I checked the car and saw a strip mall across the road. One of the stores was called Carolina Bridal. Blue light flickered through the storefront window like someone had left a TV on.
The empty parking lot shimmered, sodium lights reflecting off an early morning rain. I snuck up to the window. Daisy was inside, trying on wedding gowns. She had changed again. She was a young woman, maybe the twenty-five-year-old version of herself. She looked like her mother did at that age. She was perfect, beautiful. There were white dresses on headless mannequins and she popped in and out of them like a life-sized paper doll, admiring herself in the store mirrors, batting her eyelashes, arm in phantom arm with the headless, tuxedoed dummies on displays. She waved to invisible crowds of fawning friends gathered at the church in her mind. The blushing bride of a wedding that would never happen. The happiest day in a life that never got that far.
I tried to get back to the motel without her seeing me. But as I shrank away, she swept in beside me and looped her arm in mine. She placed her head on my shoulder and I escorted her through the predawn loneliness of that parking lot and back to the room.
We pulled off the highway before noon and began snaking our way through the tubular rustic roads of the Lowcountry. Live oaks dripped with Spanish moss, choking out the blue sky above, allowing only dappled golden coins to sprinkle onto the gray sand roads.
I drove on feel. The land, our land, pulled me toward it, vibrating the spirit trapped inside my body like the moon pulling at the tides. The road forked and my mother was there, waving us in, pointing the way before vanishing in the cloud of dust kicked up by the car. The road ran through thick woods, past ancient live oaks with trunks the size of houses, eventually emptying into a clearing.
When we got out of the car, they came from everywhere: the woods, the marsh, the intercostal waterway at the southern edge of the family plot. Generations of our family, all there to welcome Daisy home.
They formed up in rows, flanking the sides of the path that led up to the cemetery. Some I recognized from Christmas memories as faded as the photographs in the family albums. Great aunts and uncles who died before I got to know them, grandparents so many times removed that their names were unknown, their faces more amalgamations of family features than known entities. The vast unknown outer rim of our ancestral orbit intermingled with those I recognized. Old family. Family whose bones rested on other continents, their graves lost to erosion and the passage of time.
Daisy walked through the crowd. Some, nodded, some waved, some tipped bowler hats, one leaned against a sword and hooted. Hands were offered and eventually the levy of polite awkwardness broke and Daisy was showered with hugs.
They were sharing something private and I used it as a distraction, hefting Daisy’s body out of the car and carrying it to the outcropping of weathered headstones at the center of the family plot. I grabbed the shovel, the pickaxe and my mother’s box from the car.
There was a smooth, dry patch of ground on the eastern side of the cemetery, beneath an arching branch thickly shrouded in the white, star-shaped blooms of Confederate jasmine. I dug her grave to the sound of laughter careening through the surrounding marshes. Our family gave Daisy a going away party that could only be conceptualized and executed by the dead.
When the rough hole was dug, I climbed out. The gathered masses of family ghosts surrounded the grave on all sides. My mother held Daisy’s hand. They both stood smiling, watching me.
Seeing the two of them together for the last time caused the dam inside me to break. The flood came and I cried my first real tears since Daisy got sick. Maybe it was exhaustion catching up, or the emotional toll of digging a secret grave for my only child, the strain of my world collapsing, or the final realization that, even though we all had the ability to continue on in this manner, we were making the choice not to see each other until my time on earth ended.
Death grants preternatural wisdom to those who have passed. Just as I was losing it, Daisy was beside me, changed, older, maybe in her sixties, the age when the dependent and the caregiver switch places.
“Dad, this is what I want.” She looked around at the family ghosts surrounding us. “This is amazing but…I don’t want to stay. If you don’t do this for me now, I’ll be stuck here. As great as this is, I don’t want it forever.”
I looked at the hole. “I want to crawl in there with you babe.”
She shook her head. “It’s going to take time, but I want you to live well. Start over. Go where you want to go, do what you want to do. Time on Earth is short. Just because I’m gone doesn’t mean you won’t see me again.”
The haunted peanut gallery crowded tightly around us voiced their agreement to this statement as if it were an undisputed law of nature.
Daisy knelt beside me. She was ten again. My version of her.
“I’ll live in your memories of me.” She smiled. “Talk about me, think about me, think about every beautiful moment we shared until we see each other again.”
The crowd parted. I staggered to where her body lay, removed the blanket, placed her frail little frame in the grave.
My mother’s box was glued shut and I had to use the pickaxe to break the seal. I searched her out for final assurance but she was in no mood to discuss.
“I’ll keep her company.” She pointed sternly at the ground.
She blew me a kiss. I poured her ashes into the grave beside the body.
They were holding hands. I told them I loved them, then started filling the hole. My mother disappeared first, winking out like she had been turned off by a switch.
Daisy faded slowly with every turn of the spade until her smiling face finally vanished.
The ghosts dispersed, each one coming by to pass on encouragement, to pass a phantom hand through my back, or to pantomime
I loaded the tools, disguised the grave with palm fronds and walked past the family plot, into the woods. There was a soothing, low thrum coming from the east. Through the trees I found a thin line of beach. The tide was going out. I took my shoes off and sat at the edge of the surf.
I knew then that I would stay there and would never go back to my wife. There was something about that part of the Earth that was magical for me, for us, and I didn’t feel the need to have any of it explained. I felt it was my job to protect it, to find someone else who would see to it that I was placed there when my time came. I was still young. Maybe I could even create that person. The way I had a hand in creating Daisy.
I buried my feet in the sand and watched the sun drop beyond the horizon. And when I could no longer see the sun in the sky, the beauty of the sunset reminded me that, although the sun was gone, I would see it again.

THE FAMILY ISSUE IS HERE!

The 33rd issue of Popshot Quarterly is now on sale featuring a poem by guest author Catriona Innes. Cover illustration by Sophie Standing.

Popshot is a beautifully illustrated quarterly magazine showcasing imaginative short stories, flash fiction and poetry by the best new writers.

The Family Issue is a collection of vivid writing, exploring what it means to be a family today. It cuts deep, with tales of devastating family secrets, pseudo-siblings, robots who want to be loved, and ‘family trees’ which grow beating human hearts.

Words by: Jackie Martin; Polly East; Wendy BooydeGraaff; Gresham Cash; Maggie Stephenson; Catriona Innes; Helen MacDonald; Romina Ramos; Eva Rivers; Kay Sandry; JL Bogenschneider; Danny Beusch; James McDermott; Leanne Su; Sage Tyrtle; Colette Coen; C. E. Janecek; Liam Hogan; Cecilia Knapp; Noel O’Regan; John Gosslee; Lorelei Bacht; Theo Beecroft; Gráinne Tobin; Zosia Koptiuch; Sarah Fuller; Katja Knežević.

Illustrations by: Beth Ashley; Dafna Barzilay; Louise Billyard; Jenny Booth; Clare Davis; Marian Femenias-Moratinos; Cinta Fosch; Julia Galotta; Sami Henry; Ida Henrich; Andrea Iris; Kasia Kozakiewicz; Valentina Leoni; Jon Lim; Emily Louka; Izabela Olesinska; Hayley Patterson; Irina Pavlova; Yannick Scott; Meital Shushan; Sophie Standing; Maggie Stephenson; Kate Styling; Karolina Sroka; Martha White; Dawei Wang.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £24. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

CATRIONA INNES: I DON’T BELIEVE IN THE IDEA OF ‘INSTAGRAM POETS’

We chat to The Matchmaker author about her unconventional family and the poem she has written for The Family issue of Popshot Quarterly.

Author, poet and journalist Catriona Innes is our guest author for The Family Issue of Popshot, having contributed the beautiful poem called ‘A Woman’s Choice’.

Her debut novel, The Matchmaker, was published in 2019, and she’s features director at Cosmopolitan magazine. Here she tells us about her writing life:

Q. You’re a journalist, editor, novelist and poet – how do you keep track of your writing life, and know what form an idea might take?

A. Even though the process and writing for each is totally different, there is crossover and they do all feed into each other. I didn’t expect that at all! The novel writing and poems largely offer me creative freedom that my journalism can’t, as essentially – of course – with my articles the story has to follow the facts. I also, mostly, keep my own opinion largely out of the articles, preferring to let the reader decide, rather than me trying to tell them what to think/sway them with my thoughts. 

Whenever I write an article and I think “Oh wow, imagine if it had gone this way?” I can then keep that thought and it might turn up later in a novel. You also meet a lot of interesting characters through journalism and I can blend them and take scenarios from that and work it into a novel scene.

Poems are a means for me to express how I feel about something, whether that’s decoding my own past (which I tend not to write about too much in longform as it involves exposing the privacy of my family/friends who aren’t as comfortable with airing their dirty laundry as I am!) or voicing my thoughts on something topical that I might have come across during my daily editing. 

When it comes to knowing what form an idea might take it does tend to come naturally for the poems, as often they almost float into my head and I have to get them down, whereas a feature idea takes time to craft with a lot of research to check what I’m thinking is actually worth reporting on. Novel ideas just have to fascinate me enough to spend years on them, so are much rarer.

Q. Your debut novel, The Matchmaker, came out in 2019. Can you tell us a bit about the book and your journey to publication?

A. I had finished writing my first (unpublished) novel and was looking for an agent for it the classic way, so… writing emails to agents and being (very politely) rejected. Through my work, I was also lucky enough to go to a lot of book launches and parties so was chatting to publishers there and was approached to write something loosely based on the TV show First Dates. I’d long been fascinated by experts and their personal lives, for example – are sex experts always having amazing sex? Do life coaches have it all sorted? So through that I pitched an idea about a professional matchmaker, who uses her own successful love life as advertisement, but is hiding a secret.

The team at Trapeze liked the idea and after months of playing with the plot and seeing where it could go I began writing. I used Save The Cat loosely to help with plotting, read a lot of thrillers (as they’re so good at slowly drip-feeding the reader the secret) and, as I was working full-time, abandoned my social life and got up every day at 6am to write for an hour, editing at weekends. In total, I think it was almost two years in the making.

I’ve struggled a bit since the book came out with having the confidence to speak about it, which I think is a lot to do with the general snobbery/misogyny that surrounds women’s fiction. But I’m really proud that, on the surface, it’s a fast-paced, light-hearted book to read in the bath or on the beach but it addresses a lot of deeper issues, like grief, friendship and the expectations and pressures placed on women to view love and relationships in a certain way. It has also been translated into Russian and German which I think is exciting!

Q. You share poems on Instagram and have said that poetry is a new form for you. Can you please tell us a bit about this, and explain what your process is when it comes to writing poems?

A. When I first started sharing my writing on Instagram I didn’t even realise what I was writing could be classified as poetry! I didn’t know much about poetry at all apart from being a huge fan of Yrsa Daley-Ward. But it was lockdown, and I was also going through some health issues, as they’d found a large cyst on my ovaries which needed operating on, so I wrote a few lines trying to explain how I felt being so dismissed by doctors and the general process. I was also supposed to be writing my second book but was struggling to concentrate for long periods of time so writing short pieces helped me creatively.

At first, I’d find these little pieces would pop into my head – in yoga class, just before bed, on nights out – and I’d want to get them down as quickly as possible and just put them out there. I didn’t want to overthink or over-edit them. Now I try to do a bit of both, when an idea comes I’ll write it down straight away and then over the next couple of hours try to edit myself more, tinkering and playing with different lines. I tend to write in pen, then in my notes app and then transfer over to pages before posting. But sometimes, admittedly, I will write something a bit drunk and just post it before I get scared! I’ve also been reading and discovering other poets, buying collections and attending workshops to learn more about it.

At the moment I am writing poems largely based on the things I’m addressing in therapy which is interesting… but maybe posting them on Instagram isn’t the best outlet, as it’s a platform based on getting you hooked on external validation. But, saying that, I love how Instagram has connected me with amazing people who relate to my writing, but also introduced me to lots of other amazing poets. I know some people are against sharing poems on Instagram and I do have a love/hate relationship with it, as I worry it can hinder me in some ways (e.g: I try not to write for what I think will get me the most ‘likes’ but it can be hard to break out of that mindset) but at the same time I think the snobbery surrounding it is totally unjustified. I don’t believe in the idea of ‘Instagram poets’ – it’s just writing shared on a platform.

Q. Thank you for contributing A Woman’s Choice to the Family Issue of Popshot. Can you explain a bit about your inspiration for the piece?

A. I’ve just turned 36 and my entire life I’ve been fed the idea that once you’re past 35 your fertility drops off a cliff. I’m still very much unsure whether I want children or not and, from this, have noticed that I’ve found myself feeling really unsteady about my ‘value’ as a woman if I don’t. For women, it can often feel like we’re only worth something if we’re attractive (which we’re often told is young and thin) or we’re reproducing. Even in our careers, particularly the industry I work in, youth is fetishised. Past a certain age it can feel like the only acceptable route to go down is childless career women (“her job is her baby”) or motherhood. And if you’re neither, well, you better be ‘hot.’

I was raised by a quite unconventional family unit (my mum was the feminist writer Sue Innes and my dad is the transgender playwright Jo Clifford) and had the importance of rebelling against what society expects of you drummed into me from a young age. Yet I still absolutely find myself playing into these expectations of what a woman should and shouldn’t be. The poem is exploring the impact external messaging can have on the way we see ourselves. But mostly it’s a bit of a rant I wrote at 4am when I couldn’t sleep as I was fretting so much about how others perceive me.

Follow Catriona on Instagram @catreenaah

Find her poem in The Family Issue of Popshot Quarterly, on sale now!

WRITE FOR POPSHOT: SUBMISSIONS ARE NOW OPEN FOR THE WINTER ISSUE

Submit work for the next issue between today and Tuesday 31 August. Details of the theme and guidelines are below. Illustration by Martha White.

The next issue of Popshot will be on the theme of…“Uncensored.”

We have just finished putting together the Family issue (thank you to all who submitted, the magazine will thump through letterboxes and appear on newsstands soon), allowing us to open the doors for new submissions.

Our next theme is ‘Uncensored’ and we are interested in writing that looks broadly at all types of censorship, whether personal, political, familial or social.

Writers might want to consider why words or actions are prohibited or suppressed by censors, and what happens when those “rules” or “norms” are ignored or deliberately flouted. This issue is an opportunity to name hidden or difficult truths, to come out and admit, through fiction or poetry, things which you might not dare to name in life. We’re not after memoir, but if you’ve managed to uncensor yourself through your writing, all the better.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Winter issue are open until 9am (UK time) on Tuesday, 31 August 2021.

The Uncensored Issue will be published in November 2021.

Guidelines for submission:

  • Poems: 12 to 40 lines
  • Short stories: 1,000 to 3,000 words
  • Flash fiction: 100 to 1,000 words

Three entries maximum. Entries over the word count will not be considered.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Uncensored – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Family issue, which will be on sale from 5th August.

Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

THE ARCTIC TERN

This short story by Natalie Wolf is about a childish wish to grow wings that comes true. Illustration by Tiffany Dang

It took two months of wishing for the wings to grow. After standing in front of his mirror each night, scrunching his shoulder blades together, and hoping with all his might, the boy woke one morning to feel the new appendages smushed unpleasantly beneath his blankets.

When he sat up and threw back the covers, they spread wide without warning, one knocking the lamp from his bedside table. He felt them delicately with his fingertips to make sure that they were real and then ran downstairs to show his mother.

She was surprised at first but soon grew accustomed to the idea. People were far more accepting of difference these days, so why should her son’s wings be any concern? Although there were certainly some logistics to consider.

The wings were small where they connected to the boy’s back but widened out, so any slits she cut in the backs of his shirts would have to be quite long to accommodate. She decided that a few buttons at the tops and bottoms of the slits would do the trick. Or maybe snaps instead of buttons. He was still young.

The wings were a soft, buttery cream colour, with a few cocoa-coloured feathers near the tips and the shoulders. The boy had been hoping for black, to better blend in with the night, but people who grew wings in their sleep couldn’t be choosers. He wanted to test them out immediately, but his mother insisted he wait until after school. What with brushing his teeth, eating breakfast, and figuring out a short-term clothing solution, there surely wouldn’t be any time to fly before the school bus arrived.

When he stepped onto the bus an hour later, his wings now poking through two slits in his t-shirt held shut with strategically placed pieces of duct tape, the other children slowly turned from their conversations to stare. After a few moments of stunned silence, they crowded around him, pushing and shoving for a better look. They examined where the wings met the skin of the boy’s back and felt the appendages with their hands, their small fingers nestling between the feathers.

The wings were wide enough that the boy now had a seat all to himself, so he was already seeing some perks.When he first walked into his classroom, the teacher fainted. In the absence of smelling salts, one child kindly removed a sock and pressed it into her nose. After jolting awake, she summoned the principal, the school nurse, and the school psychologist, who all determined that this problem would require some serious thought and consideration.

For now, they moved the boy’s desk several feet behind the rest, so that his wings wouldn’t block anyone else’s view of the whiteboard or swat out and hit the other children. He didn’t seem to have complete control over them. At recess, a number of children set out to find the winged boy whose story had spread throughout the school. Upon spotting the wings, they quickly converged around him. The teachers assigned to recess monitor duty were huddled near the building, rapidly discussing the boy’s “situation” and all assuming that someone else was watching the children.

After stares, pokes, and a few unceremonious yanks confirmed that the wings were indeed real, the group of children paused, uncertain of how to proceed. After a few moments, a small, mousy child with mismatched shoes pushed his way to the front of the crowd. He looked the boy up and down and then spoke in a voice that seemed somehow too large for his body.“Where’d they come from?”

“I don’t know.”

Well this was hardly a satisfying answer. The child with the shoes tried again.“Can you fly?”

“I hope so.”

“You hope so? You don’t know? They’re your wings.”

“I haven’t had time to try them out yet.”In this sort of situation, there was only one demand to be made.

“Try them.”

The boy paused. He looked into the expectant faces of his schoolmates. He glanced over at the teachers, huddled nearby, at the school’s edge. Then he turned and looked up into the sky, at the sun still shining bright, illuminating every earthly action. “No.”

“No? Why not? Are you scared?”

The boy shrugged. “Not really.”

“You’re scared! Scaredy cat! Bet they don’t even work! Bet you’re like a penguin!”

“Okay.” The boy edged past the group gathered before him and headed to towards the jungle gym. It had been ages since he’d used the monkey bars. The rest of the day passed without ordeal, and the bus ride home was less eventful than the one to school. The novelty of the wings had now faded among the children, especially since word had spread of the recess incident.

When the boy got home, he asked his mother once again about flying, but she just said that homework came first and herded him up to his room. She saw little purpose in flight if he couldn’t master basic multiplication.

When he came downstairs that evening, he found her in the kitchen, throwing a pizza in the oven and conversing with the boy’s father over the phone regarding what exactly he might have been smoking in the summer of two thousand and eight. Her back was to him and she didn’t seem to have heard his steps, so he headed past the kitchen and out the front door.

The sun was just beginning to set, and the cars of the neighbours had returned to their driveways for the night. He walked over to the large pine tree that stood beside their house and began to climb the lowest branches. The boughs were close together, piled one right next to the other, so he had to scrunch his wings close to his body to fit between them.

As he ascended, pine needles scratched at his face and hands and sap made his fingers sticky. As he neared the top of the tree, he turned and scrambled onto the edge of the roof with a small jump, landing with the front half of his body on the shingles and wrangling his lower half up after it. The jump was just far enough that his wings fluttered a bit in response, and it sent a thrill up his spine.

He stood and turned towards the open air stretching beyond the roof. He spread his arms wide, and his wings followed. He closed his eyes, and with a final, deep breath, he jumped.

It had been two months since he first saw the bird programme on the nature channel. Parrots with sapphire wings gliding through the dripping rainforest. Peregrine falcons diving at two hundred miles per hour. How a hummingbird’s shimmering wings whipped back and forth faster than the eye could perceive. They said that arctic terns travelled from one end of the globe to the other every year, heading south from Greenland each fall. They followed the light of the sun, seeing every sight on God’s green Earth.

For a moment, he was falling, and then his wings kicked in with muscle memory he didn’t know he had. He rose above the yard and began to glide over the neighbourhood houses, their neatly ordered gardens and screened-in porches. A dog caught sight of him and began to howl. He soared higher, away from the houses in their pristine rows, the streetlights that would soon turn on to blot out the stars. The hum-drudgery of human civilisation. The darkness quickly filling the skies would cover him as he flew, shield him from the eyes of those who might try to stop the flights of little boys, to call in others to pull him back to Earth.

He looked to the setting sun, hanging bright and flaming beside him, and determined that he was currently flying north. Winter would be coming soon. He headed south.

This short story appeared in The Growth Issue of Popshot Quarterly. On sale now.

SHAKEDOWN

Barry O’Farrell’s flash fiction examines lockdown in a prison setting, and a curious escape. Illustration by Marta D’Asaro.

Despite the late hour, the phone was answered on the first ring. “Warden Ackley, this is your new Deputy Shane Parker. We have an escapee. One prisoner is missing.”

“Did you follow procedure? Tell me what you have done.”

“Sounded the alarm, alerted State Police, put the jail into Lockdown.”

“Good man,” replied Warden Ackley reassuringly. “I’ll contact Sergeant Tremaine and set a 4am. briefing for him and his shakedown team. You’ve done well.”

“Thank you sir,” said a relieved Shane Parker, noticing his hand shake as he hung up the phone, and thinking to himself, I’ve only been Deputy Warden for three days. This was the last thing I ever wanted to happen on my watch.

*

Warden Ackley was looking forward to retirement. The amount of administrative paperwork had grown exponentially over the years and was bogging him down mentally. His hair was suddenly grey too.

Action is what he thrived on. The news of this escape suddenly made him feel 10 years younger.

“Perimeter report,” called Warden Ackley looking toward Deputy Warden Parker, who swallowed hard then responded as clearly as he could speak. “Our team have examined the perimeter. The fences haven’t been cut, bars aren’t missing, no obvious signs of digging. There is no physical evidence of a breakout.”

“What do you make of that, Sergeant Tremaine?” asked Warden Ackley.

“Probably hiding in a corner somewhere like a rodent. Dogs will find him if he is,” was the monotone response from this mountain of a man, whose uniform strained to contain his overly muscular physique.

“Three and a half years ago we confiscated five cell phones in the whole year,” said Warden Ackley, warming to his favourite topic. “Last year one hundred and thirty three phones. The cell phone is the best tool ever invented to affect a prison escape. Have we had the conversation previously?”

“I believe we have,” replied Sergeant Tremaine in his same monotone.

“Well that’s right. At our national convention last year, the guest speaker presented a paper on the very subject. We have to be on the lookout for phones at all times. When you brief your team, please ask them to be alert for any sign of a phone.”

“Always do.”

*

At the end of the day’s fruitless search, Sergeant Tremaine walked into the Warden’s office simultaneously knocking on the door. Shane Parker moved out of his way.

“How many phones?” asked Ackley.

“No phones so far, sorry. All that’s left now is the computer room. I will need a walk through for me and my three handpicked officers. Two are waiting outside. The other will meet us there.”

Shane Parker held the door open. The Warden picked up a file and motioned for Parker to lead the way. Simultaneously he started his preamble. “Because most of our inmates are in here for white collar crimes, uhm remember this is a medium security facility, part of getting them ready for return to the outside, is to give them training to bring their computer skills up to current. Our terminals are loaded with tutorial exercises and educational programs.”

“Internet access?”

“Limited, and closely monitored,” smiled Warden Ackley grimly as he walked through the door of the computer training room with his guests.

Warden Ackley acknowledged with a nod, the waiting presence of the final member of Sergeant Tremaine’s handpicked trio before asking him, “Any phones?” The guard responded with a shake of his head.

“Fan out,” instructed Sergeant Tremaine to his trio, ”Use your mirrors. Don’t touch anything. How would you rate the computer skills of your trainees?” asked Sergeant Tremaine, showing interest for the first time.

“Most have used computers previously, so I’d say Intermediates. We do have some few Beginners.”

“Advanced?”

“I wouldn’t say advanced. More likely rusty. Great parts of this course are best described as ‘Refresher’.”

“Tell me about your escapee. His computer skills?”

“Let me check his file”, said the Warden flicking it open. “Oh yes, I remember now. He was one of the better skilled. In fact, he volunteered as an aide on this program. He was helping tutor other prisoners. Hmm…Superior skills, probably.”

“And you have no concerns…”

“Yo! Found something!” The shout from one of his team interrupted Sergeant Tremaine before he could finish his question, or Warden Ackerley could answer.

“Last table,” specified the officer raising one arm.

“A phone?” yelled the Warden, hopefully.

“Something else,” came the reply.

When they gathered around the terminal, the officer explained, “There is a USB flash drive in one of the ports on the left side of the terminal.”

“Don’t anyone touch it,” commanded Sergeant Tremaine. After a pause he asked, “Anything else?” only to be greeted by silence.

“Our inmates are not permitted flash drives,” said the Warden quietly, “This is contraband.”

“Quickly check all the other terminals people. I want to know if anyone else has left their handiwork behind.”

One by one each of the officers called, “Clear.”

“Looks like the only one,” summarised Shane Parker.

More silence followed.

“It’s just become ugly,” uttered Sergeant Tremaine before raising his voice. “Has anyone spotted this, or am I the first, gentlemen?” he asked the room in general. His unsheathed Bowie knife pointed at the keyboard.

“What is it?” asked the Warden on behalf of everyone.

“Best guess, I’m thinking a small piece of paper. It has been folded and re-folded into a wedge. It’s been deliberately shaped and then forced into place to keep one of the keys depressed.”

“Which key?”

With all eyes focussed on the area of the keyboard covered by the blade, Sergeant Tremaine slowly moved his knife to reveal the depressed key. The key inscribed Esc.

This story appeared in The Escape Issue of Popshot Quarterly.

LAURA BESLEY ON THE MAGIC OF 100-WORD STORIES

100neHundred, Laura Besley’s collection of 100 stories of 100 words, is published tomorrow. It opens with a story first published in Popshot Quarterly last year.

My love of flash fiction began around ten years ago. I had already started writing, initially non-fiction about my years living and travelling in and around Germany, but whenever I tried writing fiction I always got stuck after a paragraph or two.

One day I stumbled across Calum Kerr’s blog who, at the time, was the Director of National Flash Fiction Day. He had set himself a challenge to write a piece of flash fiction every day for a year and post them all online. I decided to follow suit (except I only posted one ‘best of the week’ story on Fridays).

I’ll be honest, I didn’t write a complete story every single day, but the things I learned that year were invaluable: I learned that I have more ideas than finished stories; I learned that I will probably always find endings hard, titles too; I learned that I’m not a planner; I learned that writing is essential in my life, is essential to who I am as a person; and that I love flash fiction.

In the years since then, I’ve written hundreds, maybe even thousands of pieces of short fiction. Writing 100-word stories started specifically when I discovered Morgen Bailey’s online monthly competition in which you can enter up to three pieces on a theme and I’ve entered nearly every month for several years. Over time, I amassed a lot of stories, and the idea started brewing about a collection of 100 x 100-word stories.

The opening story in my micro fiction collection, ‘Arrhythmia’, was first published in Popshot Quarterly (Issue 27 – Mystery) and remains one of my favourites. The first draft of that story was written at the side of the pool while my eldest son was at his swimming lesson. It was originally intended for a daily tweet story (based on the #vss365 prompt for that day), but I couldn’t get it right. I redrafted it several times, making it longer and shorter, adding in different aspects, taking them out again until, finally, I was happy with it.

One of the things I love most about short fiction is the invitation to experiment. Below is the opening line of ‘Arrythmia’, which didn’t change throughout the various drafts. It’s immediately obvious that this is, what I like to call, a quirky piece wherein anything is possible. I love writing these pieces because it’s never apparent which direction they’ll take. They don’t always work, of course, but no writing is ever wasted. Or thrown away.

“Dave carries his girlfriend in the left-hand breast pocket of his shirt, thinking – for he is a thoughtful man – that she’ll find the steady rhythm of his heart comforting.”

It’s a misconception that writing short fiction is ‘easy’ or ‘quick’. I’ve found the shorter the piece is, the harder it is to write; trying to convey meaning in as few words as possible and writing to a specific word limit makes it even harder. I always write first drafts by hand (often in one of the many notebooks I have lying around the house or in my bag for when I’m out), but once I get to the editing stage, it’s easier on the computer. Sometimes I spend half an hour on one sentence alone which can feel immensely frustrating, but is also intensely satisfying when, at long last, it’s exactly right.

I’d love to think that although my stories are short, they still carry enough weight to be a satisfying read and maybe even linger in people’s thoughts for some time after they’ve finished reading them.

100neHundred is out on 27 May 2021, published by Arachne Press. 

POPSHOT 32 – THE GROWTH ISSUE

The Growth Issue is a collection of vivid writing, exploring the different ways we can flourish and change. It cuts deep, exploring the pathos of failure to grow, the agony of adolescence, the hilarity of abandoned house plants that become monsters, and tenderness towards the green shoots of life.

Words by: Holly Kybett Smith, Elizabeth Gibson, Marissa Higgins, C. P. Nield, Alys Key, Joy M. Humphreys, Erin Coppin, Chizoba Nnagbo, Sophia Harris, Heather Lee Shaw, Joseph Elliott, Tomas Marcantonio, Lucy Smith, Maya Kalev, Christine Collinson, Subhravanu Das, Harvey Duke, Jill Munro, Natalie Wolf, John Newton, Thomas Whitehouse, C. J. Patrick, Laetitia Erskine, Sarra Culleno.

Illustrations by: Alex Hahn, Andrea Šafaríková, Cinta Fosch, Connie Noble, Daniel Macleod, Dilianny Espinoza, Emily Louka, Emma Thrussell, Freya Lowy Clark, Gus Scott, Katie Scarlett Griffin, Lea Reusse, Lucia Biancalana, Mathias Ball, Raffaela Schöbitz, Ruthie Gibbs, Scott Wilson, Simona De Leo, Sophie Standing, Tiffany Dang, Virginia Mori, Wendy Denissen, Zoe Jackson, Zofi a Chamienia.

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THE GROWTH ISSUE IS HERE!

The 32nd issue of Popshot Quarterly is now on sale featuring a poem by guest author Joseph Elliott. Cover illustration by Freya Lowy Clark.

Popshot is a beautifully illustrated quarterly magazine showcasing imaginative short stories, flash fiction and poetry by the best new writers.

The Growth Issue is a collection of vivid writing, exploring the different ways we can flourish and change. It cuts deep, exploring the pathos of failure to grow, the agony of adolescence, the hilarity of abandoned house plants that become monsters, and tenderness towards the green shoots of life.

Words by: Holly Kybett Smith, Elizabeth Gibson, Marissa Higgins, C. P. Nield, Alys Key, Joy M. Humphreys, Erin Coppin, Chizoba Nnagbo, Sophia Harris, Heather Lee Shaw, Joseph Elliott, Tomas Marcantonio, Lucy Smith, Maya Kalev, Christine Collinson, Subhravanu Das, Harvey Duke, Jill Munro, Natalie Wolf, John Newton, Thomas Whitehouse, C. J. Patrick, Laetitia Erskine, Sarra Culleno.

Illustrations by: Alex Hahn, Andrea Šafaríková, Cinta Fosch, Connie Noble, Daniel Macleod, Dilianny Espinoza, Emily Louka, Emma Thrussell, Freya Lowy Clark, Gus Scott, Katie Scarlett Griffin, Lea Reusse, Lucia Biancalana, Mathias Ball, Raffaela Schöbitz, Ruthie Gibbs, Scott Wilson, Simona De Leo, Sophie Standing, Tiffany Dang, Virginia Mori, Wendy Denissen, Zoe Jackson, Zofi a Chamienia.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £24. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

JOSEPH ELLIOTT: THE GOOD HAWK AUTHOR ON THRIVING ON DEADLINES AND EARLY STARTS

The Shadow Skye author and children’s television actor talks to Popshot about publishing books during lockdown, his writing life and the poem he wrote for the Growth Issue.

Joseph Elliott might be recognisable to parents of young children as a professional pirate in CBeebies’ Swashbuckle, and as several different characters in CBBC’s Big Fat Like, but, as well as writing for both programmes, Elliott is also the author of a three-part middle-grade fantasy series, the Shadow Skye Trilogy.

The first two Shadow Skye books, The Good Hawk and The Broken Raven, came out last year and this January respectively. The narrative follows Agatha and Jaime on an epic adventure through an alternative version of Scotland.

Elliott is also a poet, and kindly contributed a piece to the Growth Issue of Popshot Quarterly. We caught up with him to talk about his success, his writing life and publishing his debut just before the country went into the first Covid-19 lockdown.

Can you please set the scene for readers who haven’t yet come across the Shadow Skye Trilogy?

Of course. Shadow Skye is an epic fantasy adventure series set in a mythical version of medieval Scotland. It centres around a fearless fifteen-year-old girl with Down syndrome called Agatha and an anxious fourteen-year-old boy called Jaime who are members of a clan which lives on the Isle of Skye. Together, they must cross the haunted mainland on a perilous mission, battling ferocious wildwolves, murderous shadows and dark magic. The series has been described as ‘Game of Thrones for teens’ which I think sums it up quite nicely – although it’s definitely suitable for adults as well!

The Broken Raven was released earlier this year and The Good Hawk came out just before the first lockdown – can you tell us what it’s been like publishing books during these strange Covid-19 times?

To be honest, it’s been tough, especially as a debut author. It’s hard to build momentum with bookshops shut and schools closed, and all of my promotional events and festival appearances were cancelled. Luckily, I have a fantastic PR and marketing team at Walker Books who have worked tirelessly to help promote the book. Word of mouth has also been essential in spreading the word, and I’ve been delighted to discover that the book has already found its way into the hands of many loyal fans.

You’re a screenwriter as well as an actor and many people will know you from CBBC and CBeebies. How do you balance television work with novel-writing?

It’s a tricky balance! In general, the two often fit around each other well, as there is a degree of flexibility with both; you can usually predict when deadlines are coming up and work around them. Sometimes, though, there are big clashes – like last year when I had to hand in a huge edit for my third book at the same time as writing, producing and acting in Big Fat Like. That was quite stressful! It resulted in lots of multitasking and very long days, but I thrive on deadlines and having lots to do, so I quite enjoyed it really.

What’s your writing process like day-to-day?

I’m really productive first thing in the morning, so I’ll get up and start writing straight away. I never set an alarm, and I don’t look at the clock when I wake up, so it could be 8am or 3am for all I know – either way I’m just as productive. I work fairly solidly until midday (maybe not quite that long I’ve been up since 3…) and then give myself the middle of the day off. I’ll cook lunch, go for a run, catch up on admin etc, before squeezing in another couple of hours writing between 4 and 6.

This issue of Popshot is all about growth. Without spoilers, can you give us a sense of the struggle and growth of your main characters in the Shadow Skye series?

Ooh that’s quite tricky without spoilers… Okay, I’ll try: Agatha is often belittled and patronised by others because of the fact that she has Down syndrome (although the condition is never specifically named in the novel), and part of her journey is proving just how capable she is, and that her differences are often her greatest strengths. For Jaime, his struggle is internal; he suffers from panic attacks and has low self-esteem. His journey of growth is one of self-discovery and self-belief, which I hope many readers will also be able to relate to.

Check out Joseph’s poem in the Growth Issue of Popshot Quarterly.

WRITE FOR POPSHOT: SUBMISSIONS ARE NOW OPEN FOR THE AUTUMN ISSUE

Submit work for the next issue between today and Monday 31 May. Details of the theme and guidelines are below.

The next issue of Popshot will be on the theme of…“Family.”

We have just finished putting together the Growth issue (thank you to all who submitted, the magazine will thump through letterboxes and appear on newsstands soon), allowing us to open the doors for new submissions.

Our next theme is ‘family’ and we are interested in writing that looks broadly at all types of families, whether conventional or unconventional, biological or otherwise.

Writers might want to look at real or imagined families, the pressures and pleasures only people who have raised you can inspire, toxic families, perfect families, accidental families, and the tests to these supposedly unbreakable bonds, and what they might result in. As ever, you can address the theme head-on or tangentially. Your short stories, flash fiction and poems can relate to the present, can shoot us into the future, back into the past or into an alternative, absurd or fantasy universe.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Autumn issue are open until 9am GMT on Monday, 31 May 2021.

The Family Issue will be published in August 2021.

Guidelines for submission:

  • Poems: 12 to 40 lines
  • Short stories: 1,000 to 3,000 words
  • Flash fiction: 100 to 1,000 words

Three entries maximum. Entries over the word count will not be considered.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (during lockdown this might be more difficult, but here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Family – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Growth issue, which will be on sale from 6 May.

Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

HOW POETRY HAS HELPED PARENTS THROUGH LOCKDOWN

Lucy Beckley explores how mothers have turned to poetry for solace and inspiration during the darkest days of the Covid-19 pandemic. Illustration by Silvia Letter.

 

There’s a little spot in the kitchen, where I often find myself. Sandwiched between the breakfast bar and the stovetop—it’s a tiny space, truly uncomfortable but standing there means a pause for me. It’s a sanctuary, where I am hidden from my children, the constant chatter of Zoom calls and the non-stop demands for the next snack that have become an everyday soundtrack to these long days. It’s in this little square, where I sneak moments to write poetry. I stand typing furiously into the Notes app on my phone, trying to unpick the pain, to process the trauma and still the swirling thoughts. A pause placed between the piles of dirty dishes and the shelves lined with unfulfilled wishes, a chance to immerse myself in the act of noticing and make sense of this all. Sometimes, I share these thoughts online and at other times, they remain stored in a note on my phone, another little time capsule of a moment in the pandemic.

But I am not alone in this act, in fact far from it.

Thoughts have been held captive in the corridors of our minds during this past year of stop-start confinement, and for many mothers, the usual decompression chambers of playdates, coffee dates, long commutes or chance meetings at the school gates have been glaringly, achingly absent. Motherhood, at the worst of times, can often feel like one of the most lonely of times, yet poetry has provided a much needed outlet and lifeline to mothers across the globe.

From the recent publication of Ana Sampson’s beautiful anthology, Night Feeds and Morning Songs, to the blossoming online communities of The Mum Poet Club and the Blood Moon Journal, the chorus of mothers roaring through rhymes and making sense of the world through the poetic form is growing louder and louder. 

Whispering our woes through rhyming couplets, our day-to-day realities are captured across counted syllables while poetry prompts provide a welcome distraction from the drudgery, grind and repetition. Shaping and moulding words to form a picture of motherhood in 2021; from the loss of loved ones and the babies we never got to meet, to the relationships with our bodies and partners, to the everyday ordinary that becomes extraordinary through the lens of motherhood. For many mother poets, the compressed nature of poetry provides the perfect form through which to articulate the reality of parenting right now. Concise and compelling, layered with depth and feeling, it is the perfect vessel to express and carry the emotions that arise through the experiences of motherhood.

All the mother poets that I spoke to when writing this article mentioned how cathartic it has been, especially this past year, to take a moment and unravel life in the pandemic through words, it has been ‘a way to stay sane’, to ‘verbalise the opposing feelings of motherhood’, an ‘escape’ and ‘something positive to focus on’. Indeed, the pandemic has cast a harsh spotlight on the gender divide, the imbalance of caring responsibilities and the ‘mother-load’, so it really is no wonder that the call of the mothers is growing ever louder. 

In the face of uncertainty and days that are drenched in monotony, the art of noticing through poetry becomes an act of certainty as we put our pens to paper or furiously tap away in our phones. 

A chance to roar and rhyme our way through these long, long days. 

Lucy Beckley is a writer, wanderer and wonderer. She recently moved to Lisbon from Cornwall and can often be found trailing after her children on the beach, taking a moment to find the extraordinary joy in the ordinary. She is currently working on her first poetry collection and a novel. @lucyabeckley 

The Mum Poem Press was started during lockdown last year by poet Katharine Perry, The Mum Poem Press is a poetry publishing venture that explores all aspects and experiences of motherhood. Through the Mum Poet Club they support, connect and champion mothers who write or would like to try writing poetry. Every quarter they publish a zine featuring poems written by members of The Mum Poet Club and host regular open mic nights and other events. Their most recent publication was a poetry zine edited by the award winning poet, Hollie McNish, called ‘Why Mums are Amazing’. In May 2021, they will publish their first full length anthology of poetry about motherhood written by poets and mother writing today. Profits from sales of the anthology will be donated to a mental health charity for mothers.

HUMANS

This poem by James McDermott features in the Intimacy Issue of Popshot and is about a beautiful moment between male friends. Illustration by Martha Bräuer.

sat in the quiet pub waiting for him to get the drinks
at another table when their girlfriends have gone to the toilet
I see

him drape his arm over his mate’s
shoulder and then stroke his friend’s face
not sexual not romantic
affectionate

and thinking they don’t have an audience
so don’t have to act natural and play the parts of men
on the seventies sitcom set that is this pub
masculinities slip

they don’t make a joke about the stroke like men but
they smile at one another like
humans

 

Find more great poetry, flash fiction and short stories in The Intimacy Issue of Popshot Quarterly, on sale now.

MY FLATMATE, HER NEW BOYFRIEND AND MY EMOTIONAL AVAILABILITY

This piece of flash fiction by Ellie Brundrett was inspired by the different kinds of intimacy we experience as humans. Illustration by Sarah Wilson

I woke up to the sound of them having sex in the shower. I recognised the rhythm of Hannah’s breathy moans and Ian’s deep grunts through the thin walls, reaching their crescendo as I gained consciousness.

Having abandoned my attempt to get back to sleep, I was sitting in the living room enjoying a black coffee and the weekend papers when Ian appeared. He was naked on top, with a towel wrapped loosely around his waist: a view I’d prefer to avoid. I politely averted my eyes from his hairy nipples (an evolutionary mistake if you ask me), and noticed that he was enthusiastically brushing his teeth with Hannah’s toothbrush: the bamboo one. Disgusting.

The final straw came when they joined me at the table for their breakfast. Not only did they proceed to feed each other mouthfuls of pancake, kissing after each bite as if they were recreating a scene from Lady and the Tramp, but Hannah actually used her finger to pick a strawberry seed from out of Ian’s front teeth, where it had become stuck. As she began crooning about what a “mucky puppy” he was, I felt it was time I fled to the solitude of my bedroom.

When retelling the experience to my boyfriend Jamie later on that day I embellished the details a little, adding some picking of bogies for good measure and suggesting they’d probably take communal dumps if our bathroom had two toilets. I wanted to make him laugh, for him to wrinkle his nose at their obscene oversharing in the same way that I had done.

His response of, “At least they feel comfortable enough with each other to shower together,” came as a bit of a surprise. Naturally, I demanded to know what that was supposed to mean, to which he replied that he wasn’t sure this was working, and perhaps we should take a break for a while. Something about my being emotionally unavailable, and wanting to be with someone who actually likes him as a person.

I laughed at this. “You seem quite happy to put your cock in my mouth, whether I’m emotional available or not.”

According to him that was the problem, that I only seemed to care about sex. I told him to go fuck himself, asking whether his hand was more emotionally available than me as he proceeded to walk away.

“You’re better off without him babe,” Hannah said comfortingly, as I cried into my takeaway on the sofa that evening. “You always did say your vibrator made you come more often than he did.”

This piece of flash fiction can be found in The Intimacy Issue of Popshot

DAISY JOHNSON: ‘WRITERS CAN BE VERY UNFORGIVING TO THEMSELVES’

The Booker-shortlisted author, Daisy Johnson, talks to Popshot about her success, writing life and the short story she contributed to our latest issue.

The stunning short story, Marla, which features in the latest edition of Popshot Quarterly was written by none other than Daisy Johnson, author of Sisters and Everything Under, latter of which was shortlisted for Man Booker Prize in 2018.

The Oxforshire-based author first made her name with a collection of short stories, Fen, published in 2017. We are honoured to include Marla in the pages of Popshot. It is a visceral portrait of young women on the cusp of their thirties and motherhood, and a rather unusual turn their desire to reclaim their own physical power might take.

We spoke to the author about her process and approach:

1. You’re a short story author and novelist. At what point in your process can you tell whether an idea will fit a specific form? 

Short stories and novels are such distant cousins, I don’t think they would get on with one another if they met at a family party or funeral. It is true that sometimes writing a particular short story takes years but mostly they live with the writer for a brief flare of time, intense moments of illumination. Novels, on the other hand, have to sustain a writer for much longer. They are the cousin who moves onto the sofa and never quite leaves. Short story ideas tend to come to me in single sentence summaries whereas novel conceptions often arrive as a broad theme or type of writing – for example retelling or horror – a big enough subject to dig into and live with for a long time.

2. Journalists frequently mention your age, because you are the youngest Booker-shortlisted author. And yet, you’ve been working as a writer for far longer than many older novelists (who may have come to it later). Do you find those questions annoying? What role do you feel age plays in the voice of a work of fiction?

It was, of course, an enormous and delightful thing to become the current youngest Booker shortlisted author… however long that might last! At the time I did become exhausted by the question because it implied a lack of expertise, that I had not spent enough time on the work.

There is certainly an obsession with youth in the publishing world, with the next bright young thing. What is really important is the book, no wonder the age of the writer, and how well and innovatively it tells the story.

3. Thank you for your short story, Marla. It is wonderful. This issue of Popshot is about intimacy, and I wondered having read your short story, if you could talk a little bit about violence and intimacy. In the story it’s as though the main character can only explore a certain wildness, a physical form of destruction, with the people she shares an intimate history with (a sister and an old school friend), but it’s not something she can explore in her lover or understood in a previous lover.

Thank you for publishing the story, I’m so glad it found a home. The story came from wanting to explore violence in relation to women’s bodies and violence as a way of taking control. The women in the story feel their bodies don’t entirely belong to them, ahead there is childbirth or the possibility of this or there is slow aging; the acts of violence the women do to each other is a way of taking back control. It is also an exploration of the gendered nature of violence. So often men are expected to be violent, the “boys will be boys” mentality, and it is presumed necessary for them as stress relief or a way to connect with something inside them. The opposite is presumed of the woman’s body which belongs not to themselves but to the maternal or the beautiful. Marla is a retelling in a way of a story which explores this masculine need for violence, it is my feminine spin on it.

4. Sisters is such a fantastic novel. I read it recently and found it deeply absorbing but also a bit terrifying. What is it about the intense intimacy between sisters that fascinates you?

I’m so glad that you enjoyed it. The seed of the novel was that I wanted to write a haunted house story but as I was working on it the book really became about these two sisters and their very intense, co-dependent, often unpleasant relationship with one another. I have a younger sister of three years and, though we get on very well now, it is true that when we were children we fought a lot, sometimes physically, always very emotionally. I have known her for her entire life and seen her grown and change and she has seen me do the same. It’s a fascinating relationship. I’ve always been interested in writing about relationships between women and relationships which stray over lines into possessiveness or harm, the extent of the things we do to one another. Writing about sisters seemed the perfect way to explore this.

5. What are you working on at the moment?

Among other things I’m working on my fourth book. We have a very love/hate relationship with one another, we are currently wrestling. It’s a bit of a monster and I am trying to get the better of it but I’m not sure who will come out the winner. For inspiration and patience and fearlessness I am trying to follow a quote from Helen Garner’s brilliant diaries, published last year, which goes: ‘The beginner will cling and cling to her thin first draft. She clings to the coast and will strike out into the ocean only under extreme duress.’ Though this is by no means my first draft (oh for the simple uncomplicated joy of a first draft) I am trying to use this to make myself brave.

6. What’s your working day like. Do you follow a routine or is it different every day?

Some weeks I am blissfully routine-based. These tend to be when I am writing rather than planning or editing. On these weeks I try and write 4,000 words a day. I am a fast but messy writer and much of this will be slaughtered later. This rarely works often because I haven’t plotted well enough or put enough thought into the section I am working on and need to go back to the big A3 pieces of paper or the inspiration books where I tend to begin. I try and work from 9am until about 5.30pm, which is arbitrary, but the breaks from the work are as good as the writing for figuring things out so these hours are important. Within these hours, however, there are inevitably emails and other projects and Zoom meetings and online events, grumpy thinking walks along the river and reading. I think this sounds more idyllic than it is. Although there is potential for every one of these days to be completely wonderful and perfect, I’m not sure anyone is more nasty or less forgiving to themselves than the writer. They are their own worst enemy and no one should have to spend time with them, but unfortunately they have no choice but to spend time with themselves.

Read an extract from Marla here and find the complete story in The Intimacy Issue of Popshot. Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £24. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

POPSHOT 31 – THE INTIMACY ISSUE

The Intimacy Issue is a collection of vivid writing about human connection. Providing a window into other people’s sex lives, comic observations of intimacy, and sharp moments of missed affection, it also includes a short story by Daisy Johnson.

Words by Trista Wilson, James McDermott, Kayla Jenkins, Victoria Jeynes, Anna Dempsey, Steve Head, Erin Coppin, Amy Barnes, Alan McCormick, Hannah Hodgson, Daisy Johnson, Alan Semerdjian, Iona Rule, Andrew Dias, Marie O’Shea, Rowena Warwick, Elaine Ruth White, Holly Challenger, Victor Ugo, Emily Wilcox, Rosemary Gemmell, Rebecca Myers, Megan Thomas, Madison Rahner, Ellie Brundrett.

Illustrations by Allie Sullberg, Andrea Safarikova, Beatrice Simpkiss, Cara Rooney, Chuchu Briquet, Ciaran Murphy, Clare Davis, Freya Lowy Clark, Jason Chuang, Jodie Welsh, Jonty Howley, Kasia Kozakiewicz, Katy Streeter, Liam Woodruff, Lizzie Quirke, Lorna Dolby Stevens, Lucy Morwen, Martha Bräuer, Natka Klimowicz, Natsumi Chikayasu, Nina Goodyer, Sarah Wilson, Simona De Leo, Tzu-Chun Chang, Wesley Barnes, Zach Meyer.

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THE INTIMACY ISSUE IS HERE!

The 31st issue of Popshot Quarterly is now on sale featuring a short story by guest author Daisy Johnson. Cover illustration by Chuchu Briquet.

The Intimacy Issue is a collection of vivid writing about human connection. Providing a window into other people’s sex lives, comic observations of intimacy, and sharp moments of missed affection, it also includes a short story by Daisy Johnson.

Words by Trista Wilson, James McDermott, Kayla Jenkins, Victoria Jeynes, Anna Dempsey, Steve Head, Erin Coppin, Amy Barnes, Alan McCormick, Hannah Hodgson, Daisy Johnson, Alan Semerdjian, Iona Rule, Andrew Dias, Marie O’Shea, Rowena Warwick, Elaine Ruth White, Holly Challenger, Victor Ugo, Emily Wilcox, Rosemary Gemmell, Rebecca Myers, Megan Thomas, Madison Rahner, Ellie Brundrett.

Illustrations by Allie Sullberg, Andrea Safarikova, Beatrice Simpkiss, Cara Rooney, Chuchu Briquet, Ciaran Murphy, Clare Davis, Freya Lowy Clark, Jason Chuang, Jodie Welsh, Jonty Howley, Kasia Kozakiewicz, Katy Streeter, Liam Woodruff, Lizzie Quirke, Lorna Dolby Stevens, Lucy Morwen, Martha Bräuer, Natka Klimowicz, Natsumi Chikayasu, Nina Goodyer, Sarah Wilson, Simona De Leo, Tzu-Chun Chang, Wesley Barnes, Zach Meyer.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £24. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

WRITE FOR THE SUMMER ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and Monday 1 March. Details of the theme and guidelines are below.

The next issue of Popshot will be on the theme of…“Growth.”

01/03/2021 UPDATE: SUBMISSIONS ARE NOW CLOSED

We have just finished putting together the Intimacy issue (thank you to all who submitted, the magazine will thump through letterboxes and appear on newsstands soon), allowing us to open the doors for new submissions.

Our next theme is ‘growth’ and we are interested in writing that looks broadly at all forms of growth, from spiritual to metaphorical, physical and personal.

Writers might want to look at individual or collective forms of growth, ideas around exponential growth in a universe that is perpetually changing, how growth impacts on families, friends, politics and our sense of identity. You might examine the growth of a particular body part, something unusual in the garden, your characters might sprout horns or grow wings. Whatever your fiction cultivates, we want to hear about it – and, as ever, this kind of growth can be thematically tangential.

Yur short stories, flash fiction and poems can relate to the present, can shoot us into the future, back into the past or into an alternative, absurd or fantasy universe.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Summer issue are open until 9am GMT on Monday, 1 March 2021.

The Growth Issue will be published in May 2021.

Guidelines for submission:

  • Poems: 12 to 40 lines
  • Short stories: 1,000 to 3,000 words
  • Flash fiction: 100 to 1,000 words

Three entries maximum. Entries over the word count will not be considered.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (during lockdown this might be more difficult, but here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Growth – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Intimacy issue, which will be on sale from 4 February.

Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

I’M GRADUALLY STEALING ALL THE PENS FROM RUPERT’S DESK

Jesse Little’s poem is about an irritating work colleague  is based on a real-life Rupert, and he owns a lot of his pens! Illustration by Nell McKeon.

I’m gradually stealing
all the pens from Rupert’s desk.
It’s my largely unacknowledged
form of silent protest.

So as my cheeks redden
to loud jokes at my expense,
my mind can drift away
to this quiet recompense.

The giggles of our colleagues
cost him books of Post-it Notes.
And each whisper in the kitchen
means missing envelopes.

So he can act the big man
while his sycophants look on.
Then rifle through his drawers
thinking “where’s my Tipp-Ex gone?”

See, I may not have his quick-fire wit;
his knack for ridicule.
But what I do have is his stapler,
And I’ll take his hole punch too.

And even though each item
takes just moments to replace,
I love to watch the beaten look
on his stupid fucking face.

This poem appeared in The Protest Issue of Popshot Quarterly. On sale now.

EAT THE FOX

Harry Wilding’s flash fiction might speak to anyone who is currently doing Veganuary. Illustration by Where I Draw.

The fox. Chased. Ripped apart. Killed. Unrecognisable to the living animal it so recently was. Disgusting! I rip open the plastic packaging and remove the raw steak. Those poshos, doing something so ridiculous and barbaric just because it was what their parents and ancestors did before them. Morons! I rub the steak with oil. Add salt and pepper. Pop it in the oven. My gran’s method; it makes me think of my childhood. And for what? Some fleeting pleasure? Horrible! I am excited. My knife cuts into the meat, juices flow. Succulent. Bloody lovely. I smile. I chew. I eat.

This piece appeared in The Protest Issue of Popshot Quarterly. On sale now.

THE INTIMACY ISSUE UPDATE: SUBMISSIONS ARE NOW CLOSED

We are reading your submissions. Huge thanks to everyone who sent in work. We couldn’t make Popshot Quarterly without you.

Thank you to all who submitted poetry or short fiction to the Intimacy Issue. We are currently reading through the inbox and will contact successful authors in late January.

In the meantime, we hope our brilliant community of readers and writers are staying safe and continuing to flex their creative muscles.

We will reopen for submissions in February, so sign up to the newsletter or check the website then for details of our next theme.

The Protest Issue is on sale now.

 

STUMBLING OVER BRISTOL

Lucy Thorneycroft’s flash fiction examines the weight of history on a place, inspired by the toppling of the statue of slave trader Edward Colston in Bristol. Illustration by Lizzie Quirke.

On a sunny day in the city of Bristol, Esme stumbled in the street. The tip of her boot caught against a raised paving stone and she clattered to her knees. There was a small golden square of metal on the floor: Fugra from Freetown. Enslaved 15 years old. Arrived in St. Helena 1731. Died of tuberculosis 1735.

The feet of commuters, screaming children and shoppers beat the pavement as Esme crouched on the concrete. Another raised stone glinted next to the first:

Grafton. Enslaved 5 years old. Arrived in Charlston, S.C aboard Edgefield 1732. Died, unknown 1780.

Another and another metal plaque erupted out of the smooth stone.

More appeared on the road, in the doorways of shops and restaurants. People started to stumble and fall over them. A man fell heavily beside Esme, his phone bouncing onto the ground, the voice on the other end still jabbering. He grabbed the phone, stood up and continued yelling into it as he weaved his way down the street.

“Who the hell are these people s’posed to be?” said a young woman as her eyes and fingers flickered over the new stones.

“Don’t know,” replied her friend. “But they hurt like hell. Bloody annoying.”

The two women helped each other up, glared at the metal plaques and strode away with their shopping bags banging against their hips.

Esme saw another woman with dark skin rubbing her eyes and mouthing silently as she stared at the stones. A white man held her arm, but she didn’t seem to notice.

A siren started to draw closer and soon blue lights flooded the street. A loud speaker announced the clearance of the area and the immediate evacuation of the road. Esme felt people bang into her body as they swarmed up. The crowd stumbled in confusion over the stones. The once well-known street, had become unfamiliar and uneven under them.

Police cordoned off the end of the road and the side streets, ushering people away and shouting for people to get a move on.

“What are you going to do with those stones?” Esme asked a policeman.

“Whatever the council decides to,” he replied. “Our job is just to clear people.”

Esme was ushered behind the temporary barriers. She looked back to see a woman standing in the middle of the street. Her fist was raised above her head and her eyes were fixed on the stones. She opened her mouth but before she could speak a police officer walked over to her, blocking her from sight. Another officer took Esme’s arm and asked her to vacate the area.

“I think it’s best if you went home for now,” the officer said. “This will take a while to clean up. Besides,” he said, looking at the sky. “I think it might rain.”

Esme walked down the side alleys, main streets and through the malls of the city. Road after road was cordoned off. Blue lights flashed against the golden streets. The sky was getting dark and spitting drops of rain started to fall on her face before she arrived at her front door.

The quiet of Esme’s flat was interrupted when she clicked on the TV. The screen showed the mayor stood outside the town hall in the light of journalist’s cameras.

“We have decided to remove the unauthorised stones which have appeared throughout the streets of Bristol. It is dangerous to provoke debate without understanding the consequences. It is important to the city that the full history is told. However, this history must be decided together. We, the people, must decide who we honour and where we honour them.”

Esme turned the TV off as a representative started discussing the public hazard of the new stones. Outside the window, she could see the reflective jackets of workers illuminated in the street lights. They were bent over the stones wielding pick axes, jack-hammers and there wa one solitary figure with a screwdriver. Some had jackets emblazoned with ‘Volunteers for the Protection and Upkeep of the City’.

The next morning, the stones still glittered in the streets. Unmoved. Undamaged. Undisturbed. Workers with red eyes and big yawns stood behind the barriers.

Esme lay in bed scrolling social media on her phone. It was flooded with images of the stones as well as hashtags, stories, articles and videos.

When Esme next walked out of her front door, she saw council workers drilling holes into the walls and hanging blue plaques. The descriptions on the plaques recognised the new golden stones:

The history of the trans-Atlantic slave trade and the slaves who were forced to labour within. Much of Bristol’s wealth and historical importance owes to the slave trade’s business in the British Colonies. However, it is hard to judge the actions of the past by today’s standards of morality and …

There was a sharp metallic noise. Esme stopped reading and turned. A teenage boy held a pair of pliers to a blue plaque. Esme watched as he pulled it off and placed it into a bag slung over his shoulder. He moved methodically down the street, stepping between the stones on the floor.

“We get to decide history,” he said before he disappeared around the corner.

A moment later a council worker rounded the same corner, took another blue plaque out of a bag and started affixing it to the wall. Once he had finished, he stood back and smiled before walking to the next spot. He tripped on a stone and stumbled over another before he came to a halt.

“We get to decide history,” the man said to Esme. Then he affixed another plaque. And another. And another.

Lucy Thorneycroft is a teaching assistant and recent English Literature graduate from the University of Warwick. Her work has been published in Thrice Fiction, Cobalt, Kamena and some other small magazines and online publications. She lives in the New Forest in England.

“My piece was inspired by Bristol’s recent protests and the toppling of the Edward Colston statue into the harbour. I wanted to look at the aftermath of social upheaval in the city, what cannot be ignored and how historical monuments as interpreted and received. The idea of stumbling stones comes from Europe where they have stones in the pavement, which you literally stumble over, that have names and dates of Jewish Holocaust victims on. I wanted to explore how art can work with protest and how the difference in perspectives comes out in that art.”

This flash fiction appeared in The Protest Issue of Popshot.

POPSHOT 30 – THE PROTEST ISSUE

The Protest Issue is a collection of vivid writing about what leads people to take to the streets or to speak out in protest. It includes literal and allegorical forms of opposition, from loud and shouty activism, to awkward but neccessary acts of solidarity, and hidden demonstrations of dissent.

Words by Harry Wilding, Lyn Patterson, Niklas Salmi, Vivian Pencz, Jonathan Pizarro, Kevin Mannion, Veronica Mattaboni, Jesse Little, Oeil Jumratsilpa, Lucy Thorneycroft, Leila Slim Diakomanolis, Sophie Kearing, Shagufta K. Iqbal, Sam Roberts, Sam Burt, Eva Hibbs, Gail Anderson, Adam Schwartz, Chiara Bullen, Elliot Harper, Peter Grandbois, Elle Heedles, Tammy Zhu, Alison Binney.

Illustrations by Antoine Doré, Charlotte Bayliss, Connie Noble, Freya Lowy Clark, Hazel Mason, Isip Xin, Jack Holland, Janina Diller, Jared Briggs, Jen Yoon, Jet Hilferink, Lea Linin, Lizzie Quirke, Maisy Summer, Naomi Ann Clarke, Neil Webb, Nell McKeon, Where I Draw, Sabba Khan, Salvador Verano, Sophie Parsons, Sophy Smith.

Orders will be dispatched within two working days.

UK / £6 + p&p
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THE PROTEST ISSUE IS HERE!

The 30th issue of Popshot Quarterly is now on sale featuring a poem by guest author Shagufta K. Iqbal. Cover illustration by Neil Webb.

The Protest Issue is a collection of vivid writing about what leads people to take to the streets or to speak out in protest. It includes literal and allegorical forms of opposition, from loud and shouty activism, to awkward but neccessary acts of solidarity, and hidden demonstrations of dissent.

Words by Harry Wilding, Lyn Patterson, Niklas Salmi, Vivian Pencz, Jonathan Pizarro, Kevin Mannion, Veronica Mattaboni, Jesse Little, Oeil Jumratsilpa, Lucy Thorneycroft, Leila Slim Diakomanolis, Sophie Kearing, Shagufta K. Iqbal, Sam Roberts, Sam Burt, Eva Hibbs, Gail Anderson, Adam Schwartz, Chiara Bullen, Elliot Harper, Peter Grandbois, Elle Heedles, Tammy Zhu, Alison Binney.

Illustrations by Antoine Doré, Charlotte Bayliss, Connie Noble, Freya Lowy Clark, Hazel Mason, Isip Xin, Jack Holland, Janina Diller, Jared Briggs, Jen Yoon, Jet Hilferink, Lea Linin, Lizzie Quirke, Maisy Summer, Naomi Ann Clarke, Neil Webb, Nell McKeon, Where I Draw, Sabba Khan, Salvador Verano, Sophie Parsons, Sophy Smith.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £24. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the apphere to read Popshot via ISSUU, or here to read via Readly.

SUBMISSIONS ARE NOW OPEN: WRITE FOR THE SPRING ISSUE OF POPSHOT QUARTERLY

Submit work for the next issue between today and Monday 30 November. Details of the theme and guidelines are below.

The next issue of Popshot will be on the theme of…“Intimacy.”

We have just finished putting together the Protest issue (thank you to all who submitted, the magazine will thump through letterboxes and appear on newsstands soon), allowing us to open the doors for new submissions.

Our next theme is ‘intimacy’ and we are interested in writing that looks broadly at all forms of human intimacy, from love and physical intimacy to deep and spiritual connectivity.

Writers might want to look at the emotions behind intimacy, barriers to intimacy, the impact of lack of intimacy and the journey to reach positive connection with others, whether those people are your lovers, your friends, family or total strangers.

As ever, your short stories, flash fiction and poems can relate to the present, at a time when intimacy is disrupted or heightened as a result of the pandemic and its related lockdowns, or can shoot us into the future, back into the past or into an alternative, absurd or fantasy universe.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Spring issue are open until 9am GMT on Monday, 30 November 2020.

The Intimacy Issue will be published in February 2020.

Guidelines for submission:

  • Poems: 12 to 40 lines
  • Short stories: 1,000 to 3,000 words
  • Flash fiction: 100 to 1,000 words

Three entries maximum. Entries over the word count will not be considered.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (during lockdown this might be more difficult, but here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Intimacy – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Protest issue, which will be on sale from 5 November.

Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

WHAT I ALWAYS WANTED POETRY TO TELL ME

Elizabeth Gibson’s beautiful poem is a joyous explosion of feelings on sexuality, body image and how poetry can set you free. Illustration by Chu Chu Briquet.

Hey, being gay is fine – it is actually quite lovely and warm,

and here is this woman I have fallen for, here are descriptions

of her that will make you cry with relief, see stars of desire.

And oh, god, the human body is wonderful: all hair and sweat,

round like a planet or slack as a river, it is life and history

and poetry and yours will be a miracle to someone, someday,

and it is fine for it to change, fine for your mind to change,

and did I mention it is just gorgeous and brilliant being gay?

It can be soft and careful, or it can be the ocean and fire,

and you are welcome to read my accounts of it with hands

between your thighs – nothing is dirty inside you, I swear,

it is okay to search yourself to find an answer, find many.

This is how I have got here intact, how I fought the pain,

so please – stay. You have something to offer, I guarantee it.

This poem appeared in the Freedom Issue of Popshot Quarterly.

LOCKED IN A BOX

This comic flash fiction by Harry Guild examines how caged animals feel about humans fighting for their rights. Illustration by Vicky Hughes.

Kate looked at Pete as if he had just ordered her grandmother’s corpse, pan-roasted with Cabernet sauce and asparagus.

“You know they never see sunlight? And they spend every waking moment in a two-foot box?”

He did know. During isolation, they had both seen the same documentary on Channel 4, Locked in a Box: Veal or No Veal. Watching Noel Edmonds shout at Belgian cattle farmers, Pete had made himself two promises: he would never eat veal again and he would never, ever dye his hair.

“I know. But…”

“It’s just barbaric of you. It’s twentieth century. Worse than that, it’s hypocritical. You always give me shit about not being green enough, about putting black plastic in the blue bins, and then without even blinking you go and order veal. Can’t you see how unfair that is?”

“That’ll be all, thanks,” Pete said to the waiter, who collected the menus and fled at a velocity rarely seen in any restaurant, let alone a Parisian one. “Kate, I’m sorry. I had chicken for lunch and you know I don’t like sea bass. Can we please move on and try to enjoy tonight?”

“It’s murder!”

“It’s a meal!”

“Ok, fine then,” said Kate, taking out her phone. “Let’s spoil our night.”

Pete stared down at the table he had spent two hours queuing for. His red face mooned back at him from a butter knife.

“I’m sorry, monsieur, we do not accept table reservations,” the maître d’ had slurred down the phone. “It is possible, however, to book a space for two in the queue.”

“The queue.”

“The queue, yes. Typically, it is a thirty-minute déviation with complimentary tea.”

“What if I don’t book a place? Can’t we just join the queue?”

There had been a pause. “Monsieur, this is La Paresse Langoureuse. This is not your local Post Office. You cannot just wander in and demand a place in the queue.”

And so, he had booked, left work early, joined the fifty-deep queue outside the bistro that had once been frequented only by a few red-nosed old men but was now #2 on TripAdvisor’s Hidden Parisian Gems list, and inched forward in two metre stretches, mentally rehearsing his speech over and over (“Kate, it’s been the most incredible four years…”). By the time Kate had joined him, he was three complimentary teas in and sweating heavily.

All this, only to order the veal. His thoughts squarely on the little black box in his suit pocket, he had just said “the veal” as mindlessly as he would a “bless you”. And now here he was, thrown overboard, plummeting to the ocean floor, Kate some ever-diminishing speck above him.

A Gallic cough broke the silence. The waiter had returned. He stared at the floor as he served them.

“The baked sea bass in a chive velouté, mademoiselle. And for sir, the veal.”

Pete picked up his cutlery.

“You’re actually going to eat it?” Kate said. “That poor animal.”

“Oh, for fuck’s sake,” said the sea bass.

Kate turned to the fish on her plate. It was lying in a puddle of chive sauce, its body rising and falling as if it were breathing. She prodded it with a fork. “What, so you’re ok with eating veal?”

“Sure. Everyone weeps for the baby cow.” The fish spat a little as it spoke, spraying oily bubbles over the tablecloth. “But what about me, where was my choice? You think I spent my school days dreaming of stuffy French restaurants and chumps like you?”

Kate took a sip of Pinot. Four years of watching such sips told Pete the fish was in for a rough ride.

“I’m not a chump,” she said. “I’m a pescatarian. Fish simply aren’t sentient like cows are.”

The sea bass snorted.

“Don’t be so pig-headed,” she continued. “Every waking moment of that calf’s life was torture. You just spent yours swimming – that’s a hobby.”

A muffled sob came from Pete’s plate.

“Mine truly was a most sorrowful existence,” said the veal, its flesh quivering like the skin of a hit drum. “I saw nothing but darkness and the slaughterhouse. Born into a death sentence. ‘Out, out, brief candle! Life’s but a walking shadow…’”

The fish rolled its eye.

“We didn’t choose this fate either,” wailed Pete’s asparagus tips in chorus.

“‘Now cracks a noble heart.’” The veal started to sob, fat globules of Cabernet sauce running down its sides. Pete stifled the urge to dip his finger in it.

Kate pushed her chair back. “I’m getting the bill. This whole night, from start to finish, has been horrible.”

“What’s wrong?” spat the fish. “Has your food disagreed with you?”

She looked around for a waiter, but managed only to catch the eye of a passing lobster platter. It lifted a claw and made the wanker sign at her. Pete put his head in his hands. The bass swivelled around on the plate to eyeball him. Waves of sauce followed in its wake, cresting the plate rim and spilling onto the table.

“I don’t blame you. We’re surrounded by side-dishes and shed-dwellers,” it hissed. “Is your wife always such a cow?”

Pete stood up. He grabbed the fish and held it close to his face. It spat at him, but he thought he could see something like fear appear in its eye.

“She’s not a cow,” Pete said. “She’s a pescatarian.”

And with that, he threw the fish into the ice bucket where Kate bludgeoned it repeatedly with a bottle of Pinot Gris.

They were swiftly asked to leave the establishment. Not for the violence, but on account of the passionate display of affection that immediately followed. Tables were climbed, shirts ripped. And as the lovers were escorted off the premises, a pot of steamed mussels broke out into song:

All we have to see is that I don’t belong to you

And you don’t belong to me, yeah yeah

Freedom!

Freedom! (oh freedom)

Freedom! (my freedom).

This story appeared in the Freedom Issue of Popshot Quarterly.

PROTEST UPDATE: SUBMISSIONS ARE NOW CLOSED

Thank you for submitting to The Protest Issue of Popshot. Our submissions are now closed.

We are currently reading through all the submissions ahead of contacting illustrators and putting together the magazine.

As ever the standard is startling in its quality and we are excited at what we are discovering and at the stories and ideas that have been developed in response to the theme.

Protest seemed incredibly prescient when we called for submissions a month ago, and even more so today.

We will contact chosen authors before the end of October and the issue will hit newsstands in November.

Thank you as always for submitting and for reading! The Freedom Issue is on sale now in book shops, WHSmiths and online.

SIDE GIG

In Andrea Holck’s brilliant (and she would like to make clear, not autobiographical!) story, we find out what one woman is willing to do for £50. Illustration by Esther Lalanne.

A woman with an internet connection can find financial redemption at almost any time. I, a woman, an artist, do not have the energy resources for a full-time job. I do part-time work in a library shelving books and such, but the pay is not enough to cover the rent for my studio. So when money is tight (which is all the fucking time) I take on additional work.

I find it mostly on Craigslist. Mostly using the library computer, and mostly during my working hours. It’s not because I don’t have a phone, I do. It’s just that the job’s not exactly titillating, so I make up chores to do on the computer when what I’m really doing is getting paid to look for other ways to get paid.

I’m not really an artist. I only said that to make my situation sound nobler. I do paint walls in colours with names like aubergine and breath, which is something I recently did for cash. I also don’t have an actual studio, unless you count the single room I rent from a sad empty-nester. The rest is mostly true.

The thing is, I don’t have any specific skills to market, so I mostly respond to ads. I’m no idiot, I just always liked the artsy classes in school, which doesn’t turn out to be a predilection society is that into, fiscally speaking. So I find this ad that says: Got feet? Will pay.

I know right away it’s a sex thing, so I sit on it for a while. I’ve done some weird shit for cash, but never sex stuff. Not yet. Safety, you know. But I decide to dangle a carrot. My response is: Have feet, will travel.

The answer immediately arrives: Four pm, 28 Winchester Blvd, Apartment Six. £50 cash. Extra for no active participation.

Cryptic. Whoever it is seems confident I’ll know what the fuck they’re talking about. Four pm seems safe so I send a thumbs up.

I spend the rest of my shift imagining possible scenarios. A poorly-groomed socially inept reprobate, probably taking a break from playing Fortnite. Or maybe unkempt and hungover? He’ll open the door and I’ll say something like “Hey.” I should be chewing gum to add to the breezy nonchalance I’ll be emitting. I’ll push past him as he holds the door open, rolling my eyes and taking a seat on his ratty couch. Kick off my leather ballet flats, which I’ll already be wearing without socks. Taking off a sock seems wrong when I play it in my mind.

He’ll kneel before me, take my foot in his hand, probably sniff it or something. I imagine him whimpering with a sort of bizarre reverence. I’ll read my magazine while it’s happening. Maybe pop a bubble just to be a bitch. He’d probably like that. My assumptions of how it will pan out seem reasonable, if a bit cinematic.

Winchester Boulevard is lined with gleaming Mercedes and Audis, its buildings Victorian and impossibly clean. That it could be a teenager hasn’t occurred to me, but it’s suddenly obvious. He must be living with his parents. If he looks any younger than twenty, I’ll leave. I’m not gross.

I locate number 28, a terraced house joined to its neighbour like Siamese twins. Apartment Six is in the back, a tiny alley leads around the side where the walls are dingy and weeds poke through cracks in the concrete walk. This is closer to what I had imagined, although the general vibe has thrown me off a bit. At least it doesn’t seem like the kind of place where people routinely get murdered.
Before I ring the bell the door opens. From behind it comes a male voice that can’t possibly be a teenager’s.

“Saw you on the camera, come in.”

I step through the door where I am told to wipe my shoes on the mat. Please.

The inside of the apartment is white and the only room I can see into holds a floating bookcase filled with books. Their spines are black or white or grey. Actual potpourri rests in a gold bowl on a tiny table next to me. The scent brings me back to my senses.

“You can leave your shoes on until you’re ready,” he says, stepping from behind the door. His face would be easy to draw; straight symmetrical lines, soft brown hair swept back from his face. He looks me in the eye. I feel shame and possibly love. I am willing to offer him anything at all. He can do whatever the hell he wants to my toes.

“I’m fine,” I say. Ridiculous.

“I’m in a hurry.”

“Right.” I wiggle inside my shoes, sweat sticking my toes together like cement.

“Here goes nothing,” I say. Idiot. I step out of my shoes and watch him, expecting him to respond to my bare feet in some way. Maybe I have it wrong. Maybe this isn’t a sex thing. Maybe he’s a podiatrist. Or a shoe designer. Or a sock engineer. Oh god, deliver me.

He leads me to the living room and motions for me to sit down in a yellow chair, the only coloured item in the room.

“I’ll need to be under you,” he says, standing in front of me.

“Oh, okay.” I bite my lip. “Sorry, I need a bit more instruction than that.”

“First time?” he asks with zero intonation.

“Yes.”

“Women like you are mythically rare,” he says. I do not know what to say to that. The only thing he knows about me is that I have feet I am willing to sell like cheap candy. I mumble, kind of half-smile and giggle. I want to die.

“A woman who is willing, I mean. It’s harder than you would think.” He lowers himself before me, bending both knees to the ground simultaneously.

“May I?”

I mean, what am I going to say at this point? Ask to take it slow? For a glass of wine? This is not a date, although it could be the end of a very good one for how heated up I am feeling. I ask for a glass of water, anyway. Just to take in my surroundings.

He seems put out. “ I have a meeting at five.”

So, he’s fitting me into his schedule. How typical. I watch him walk away to fetch the water. I imagine him naked, of course. It’s only natural. By the time he returns, I’m pretty aroused. He hands me the water and straightens his tie.

“Thanks.” I attempt a seductive expression. He sighs. He lies down at the foot of the chair.

“Place your foot on my face.” I wince. I can actually smell my putrid foot. I start to apologise.

“I’m so sorry, maybe if I could use your bathroom I could freshen —”

He cuts me off. “Do it.”

I place the sole of my foot against his cheek and quickly withdraw. The sole of my foot is ticklish, and if I’m not careful I might laugh. I bite my tongue hard and replace the foot. I feel the course stubble on the thin skin of my arch, my toes feel around his lips and he slips his tongue out to taste one. It’s slippery and warm, a contrast to the cold white room.

Holy shit. I peek down, afraid to make eye contact. Remember, I am not supposed to be participating. His eyes are closed, his brow creased in concentration. I watch him turn his head slightly for a better angle to take the toe into his mouth. I can’t help it: I moan. I peek again to find him staring up at me.

“Please don’t,” he says simply, then closes his eyes again. “Other foot.”

I swap out the feet, and again, he starts. He takes a whiff, a little lick, a taste, and then one whole toe is in his mouth. I clamp a hand over my mouth, squirm in my chair, need to cross my legs, do something to take the edge off.

He stops. I see him looking at me. Disappointed. Unimpressed. Bored.

“Okay, that’s enough,” he says. “You can go now.”

Devastation. He leads me briskly to the door, opens it, and hands me a fifty.

He thanks me with such comportment I am tempted to bow. Had I not been so crestfallen.

“I’m mythically rare!“ I want to yell at him. To thrust the money back and offer my feet for free! Forever! For whatever! I’ll control myself!

“Can I use your bathroom?” One perfect eye brow lifts skeptically. “Er, I’ll be very quick. I have a long way to walk.” It’s true. Another sigh.

“Down the hall, on the left.” He doesn’t shut the door.

I won’t say too much about what happens in the bathroom, only that I don’t flush (I hope he’ll find it alluring) and I do not wash my hands. When I return, he is already outside smoking a cigarette. A black cigarette. The way he smokes it disturbs me. He pulls on it so hard his cheeks hollow out. I imagine it’s my nipple. I have to get away.

“Later, then,” I say. I feel it’s best to come off casual. He doesn’t say anything, just tilts his chin up at me and ashes his cigarette. I walk away mechanically.

I left the money in the bathroom.

Side Gig features in The Fantasy Issue of Popshot Magazine

POPSHOT 29 – THE FREEDOM ISSUE

The Freedom Issue is a collection of vivid writing about the importance of liberty, free will and feelings of wild abandon. It includes an exclusive poem by Simon Armitage, stories about sexual freedom, breaking out of society, mutilated gods and a land where dogs fight for equal rights.

Words by Harry Guild, Chloe Tomlinson, Cody Lee, Mathapelo Mofokeng, Simon Armitage, Elizabeth Gibson, Steven Feeney, Cecile Bol, Helen Cross, Clare Hill, Jill Munro, Eithne Bradley, Cammy Thomas, Kathy Anderson, Eoin Smith, D Parker, Summer Jeavons, Kathryn Anna Marshall, Louisa Wolfe, Anthony Howcroft, Abigail Flint, Claire Miller.

Illustrations by Amy Moss, Carson McNamara, Chu Chu Briquet, Clare Davis, Claudie Linke, Dominic Twigg, Elisa Caroli, Emily Dayson, Gina Shord, Hannah Bigley, Lauren Morsley, Le.BLUE, Lorenza Cotellessa, Michelle Wagenaar, Pei-Hsin Cho, Ruby Sgueglia, Shut Up Claudia, Sue Gent, Vicky Hughes, Vita Sleigh, Weronika Skierka, Zach Meyer, Zena Kay.

Orders will be dispatched within two working days.

UK / £6 + p&p
BUY NOW

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THE FREEDOM ISSUE IS HERE!

The 29th issue of Popshot Quarterly is now on sale featuring an exclusive poem by Simon Armitage, Poet Laureate. Cover illustration by Lorenza Cotellessa.

The Freedom Issue is a collection of vivid writing about the importance of liberty, free will and feelings of wild abandon. It includes an exclusive poem by Simon Armitage, stories about sexual freedom, breaking out of society, mutilated gods and a land where dogs fight for equal rights.

Words by Harry Guild, Chloe Tomlinson, Cody Lee, Mathapelo Mofokeng, Simon Armitage, Elizabeth Gibson, Steven Feeney, Cecile Bol, Helen Cross, Clare Hill, Jill Munro, Eithne Bradley, Cammy Thomas, Kathy Anderson, Eoin Smith, D Parker, Summer Jeavons, Kathryn Anna Marshall, Louisa Wolfe, Anthony Howcroft, Abigail Flint, Claire Miller.

Illustrations by Amy Moss, Carson McNamara, Chu Chu Briquet, Clare Davis, Claudie Linke, Dominic Twigg, Elisa Caroli, Emily Dayson, Gina Shord, Hannah Bigley, Lauren Morsley, Le.BLUE, Lorenza Cotellessa, Michelle Wagenaar, Pei-Hsin Cho, Ruby Sgueglia, Shut Up Claudia, Sue Gent, Vicky Hughes, Vita Sleigh, Weronika Skierka, Zach Meyer, Zena Kay.

Buy it now.

By subscribing to our print edition you can read all four issues published throughout the year from £24. A printed copy of the magazine will be delivered direct your home each quarter—and you will also get access to our full digital archive. Click here for more information.

The digital edition of Popshot is available for reading on tablets and desktop and you will receive free access to the complete magazine archive with your subscription. Click here for the app, here to read Popshot via ISSUU, or here to read via Readly.

SUBMISSIONS FOR THE PROTEST ISSUE OF POPSHOT

UPDATE 2 September: Submissions for the 30th issue of Popshot Quarterly are now closed. Any submissions after this time will be disregarded.

The next issue of Popshot will be on the theme of…“Protest.”

We have just finished putting together the Freedom issue (thank you to all who submitted, the magazine will thump through letterboxes and appear on newsstands at the end of next week), allowing us to open the doors for new submissions.

Our next theme is ‘protest’ and we are interested in writing that looks broadly at all forms of protest, whether quiet or noisy, political or familial or something else.

Writers might want to look at the emotions and ideas behind taking to the streets, less traditional examples of protest, the challenging nature of fighting for something that may be ideological, the conflict that happens when good people are forced to do things that might be illegal or construed as “bad”; and the spectrum of interpretation that any “cause” can be viewed within.

Your short stories, flash fiction and poems can relate to the present, at a time when protest is one of the few things we are doing en masse, or can shoot us into the future, back into the past or into an alternative, absurd or fantasy universe.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, social commentary, honesty and thrilling storytelling. We welcome all genres and writing styles so long as they follow our guidelines for submission (for more on which, click here).

Submissions for the Autumn issue are open until 9am GMT on Tuesday, 1 September 2020.

The Protest Issue will be published in November 2020.

Guidelines for submission:

  • Poems: 12 to 40 lines
  • Short stories: 1,000 to 3,000 words
  • Flash fiction: 100 to 1,000 words

Three entries maximum. Entries over the word count will not be considered.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent (during lockdown this might be more difficult, but here are a few other ways you can safely find it). You can subscribe to either hard copy or digital editions. Four issues are published per year showcasing the best emerging fiction writers.

To see your writing published and illustrated, head to our submit page for the full guidelines. Include the issue and form of your work in the subject line (i.e. Freedom – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Freedom issue, which will be on sale from 6 August.

Drop us a line at hello@popshotpopshot.com

Follow us on FacebookTwitter and Instagram.

JUST AN ILLUSION

Katie Oliver’s brilliant piece of flash fiction was inspired by news of billionaires buying remote islands and land to escape to in the event of a climate catastrophe or pandemic. Illustration by Fran Hu.

“How hard can it be?” he thinks, hitching up trousers that pouch around the jutting bones of his hips. His once-pristine shirt is filthy and threadbare, yellow sweat stains hardening at the armpits. But no matter: he’s always had a can-do attitude, always been solution-focused. Blue sky thinking. He ignores the fact that the sky above his head is a sickly shade of green, and begins to scrape at the dry earth with his fingertips.

He’d been smug at first, when he’d arrived on the island, purchased at enormous cost after a brandy-fuelled evening in Silicon Valley. It was still lush and green then, as yet untouched by the stain of disease and drought. The house was an architectural feat complete with wraparound solar panels, and more importantly, there was an underground bunker crammed with tinned goods he’d never really believed would run out. For a while he’d enjoyed the freedom of scooping tuna straight from the can, the anarchic eschewing of kitchen utensils that went hand-in-hand with the rolling news coverage.

Intermittently he wonders what happened to his pilot, Rico; he’d left to transport someone else to their island and never returned. He thinks about Agata daily, with a pang in his heart and a growl in his belly. He’d always assumed she’d be with him, but she was one of the first to go when the virus hit. She’d just stopped turning up to work one day. He finds that twenty four hours pass very slowly now that the newsreaders have stopped turning up as well.

As he claws at the parched earth his fingers crack and bleed, oozing scarlet drops of blood that remind him of ripe cherries. He scatters the seeds and covers them over, pausing to stare accusingly at the queasy, cloudless sky. A sudden movement catches his eye and his heart pounds when he sees it is a beetle. He falls on it gratefully, fragments of shell ricocheting from the corners of his mouth as he crunches. He feels like howling, and so he does.

A few days later the rain comes and he weeps on his knees with his mouth open, patting the damp earth as if it were a dying animal. The fat drops of rain catching the light make him think, just for a second, that he can see a pair of long-forgotten diamond cufflinks twinkling in the dirt. He looks down at his bloodstained, tattered sleeves and shakes the worthless jewels from his mind. He realises that it was just an illusion.

 

This piece appeared in The Earth Issue of Popshot Quarterly.