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

SUBMISSIONS FOR SUMMER 2020

We are no longer accepting short fiction and poetry for our 28th issue on the theme of ‘earth’. Send in your writing before 9am GMT on Monday 2 March 2020.

UPDATE: SUBMISSIONS ARE NOW CLOSED

It’s that time again Popshot people! We are now accepting submissions for the next magazine on a theme of…“Earth”.

We have just finished putting together the Mystery issue (thank you to all who submitted, the magazine will hit newsstands at the end of next week), allowing us to open the doors for new submissions.

Our next theme is ‘earth’ and we are interested in writing that looks broadly at our planet, the soil from which all things spring, theories around and the history or mythology of creation from primordial soup to Earth Mothers that come from different ends of the planet, like Gaia and Papatūanuku.

Writers might want to look at the fight to save our planet from global warming, or the difference (fictions, even) in the interpretations or lack thereof of the crisis we are facing. At a time when some world leaders are denying that there is a problem with what humans are doing to the earth, what might the outcomes be? Your stories and poems can shoot us into the future, look at the earth from afar or teach us the lessons we need to learn now. They might have a human angle, or they may look at the role of our planet from the perspective of the plants and wildlife who also inhabit it.

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, 2 March 2020.

The Earth issue will be published in May 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. 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. Earth – Poetry). We are open to original contributions from anyone, anywhere in the world.

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

Drop us a line at hello@popshotpopshot.com

Follow us on Facebook, Twitter and Instagram.

SUBMISSIONS FOR SPRING 2020 ISSUE

We are now accepting short fiction and poetry for our 27th issue on the theme of ‘mystery’. Send in your writing before 9am GMT on Monday 2 December 2019.

UPDATED 2 DECEMBER 2019: SUBMISSIONS ARE NOW CLOSED

It’s that time again Popshot people! We are now accepting submissions for the next magazine on a theme of…

“Mystery”.

We have just finished putting together the Chance issue (thank you to all who submitted, the magazine will hit newsstands at the end of next week), allowing us to open the doors for new submissions.

Our next theme is ‘mystery’ and we are interested in writing that sets up or solves a conundrum or points to the enigmatic in something ordinary or beautiful.

Writers might want to look beyond the confines of genre, where mystery is central to crime novels and “whodunnits”.  Although we love the satisfaction of having a problem or murder neatly solved, we also want to see writing that is surprising, literary and pushes the boundaries of our expectations when it comes to mystery, perhaps delving into the absurd as well as the more tangible unravellings that happen with any good yarn. 

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, 2 December.

The Mystery 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. 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. Mystery – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Fantasy issue, which will be on sale from 8 August.

Drop us a line at hello@popshotpopshot.com

Follow us on Facebook, Twitter and Instagram.

Illustration by Seb Westcott

BABY ELEPHANT

Is there a baby elephant in your writing room? Farhana Khalique’s flash fiction describes the weighted down feeling of stalled creativity. Illustration by Jake Williams

Baby Elephant is trying to sit in my lap again.

I groan and uncross my legs and she half rests, watching me.

I run my hands over her parchment skin, a palimpsest of grey. Her watermelon head is as hot as desire.

I tickle her parachute ears.

We sit like this on the shadowed plains of my room.

She won’t sleep.

Instead, she gets up and trumpets at the moon, threatens thunder, tiny tusks tear pin-pricks in the sky.

But I’m stuck.

She’s the one who pulls me out. She dips her trunk and sprays me with water, nearly drowns me, before she brings me back.

Get on with it! say the whites of her eyes. She ignores my shivers. She stamps her feet, spanks my hands and blows in my ears, until I pick up my pen.

Only then, she retreats to the sofa, her breath cools and her eyelids smoulder.

Even when she dreams, her tail swishes and sweeps the letters across the margins, onto the lines and into words.

I grab her floating ghost and colour her pink, a candy floss paper weight, a sugar-spun raincloud. The sweet heaviness of her feet rumbles across her airy playpen.

The pages will grow slowly, like her. Moodily, like her. But one day, those legs could be tree trunks, a forest.

For now, her smiles warm the seeds in my brain. And something takes root.

 

This story featured in The Fantasy Issue of Popshot Magazine.

SUBMISSIONS FOR THE WINTER 2019 ISSUE

We are now accepting short fiction and poetry for our 26th issue on the theme of ‘chance’. Send in your writing before 9am GMT on Monday 2 September.

The Chance Issue

UPDATE: SUBMISSIONS ARE NOW CLOSED

We have just finished putting together the Fantasy issue (thank you to all who submitted, the magazine will hit newsstands next week), allowing us to open the doors for new submissions. Our next theme is ‘chance’ and all the potential ramifications of taking a chance — as well as those of its bedfellows coincidence and opportunism.

Writers might want to examine what happens when you take a chance, the positive and negative outcomes of doing something extraordinary through luck or coincidence, chance encounters, impossible coincidences, the “fates” aligning to hand over an opportunity. There’s an old creative writing rule of thumb: “Coincidences to get characters into trouble are great; coincidences to get them out of trouble are cheating.” Do you agree? What would you do with your characters given the chance?

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.

Submissions for the Winter issue are open until 9am GMT on Monday, 2 September.

The Chance issue will be published in November 2019.

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. 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. Chance – Poetry). We are open to original contributions from anyone, anywhere in the world.

At Popshot towers we have just wrapped up the Fantasy issue, which will be on sale from 8 August.

Drop us a line at hello@popshotpopshot.com

Follow us on Facebook, Twitter and Instagram.

Illustration by Shauna Mckeon

OBSOLETION

This flash fiction by Luke Larkin which featured in The Nostalgia Issue of Popshot was inspired by his father’s cassette tapes. Illustration by Toby Morison.

Dad lived in a time capsule because Mom wouldn’t let him in the house. It was an old Buick station wagon, the kind with a rear-facing backseat so that you could ride face-to-face with the other drivers and wave at them, then flip the bird if they didn’t wave back. Only a handful of seatbelts still worked, and you had to crank the windows down yourself. He kept polaroids of us in the glove compartment, outdated maps of old family trips on the dash, a box of cassettes in the middle row. He had no concept of obsolete.

One night in the summer, he dropped by just after dark and honked until Mom stormed through the screen door and sniped him dead with her one good eye. I flew past her across the lawn, wet with sprinkler dew, and dove through the passenger seat window, not even bothering with the door handle. We went for soft serve, then found a hotdog stand and ordered two with everything on them. He asked how school was going and I just said, “It sure is going,” and he nodded. I asked how work was, though I knew by the piles of dirty clothes in cardboard boxes in the trunk of the station wagon that it wasn’t going well. I asked when he would come home, and he said he was home right now, wasn’t he? I said permanently. When are you home permanently? And he said when your mom wants me permanently.

Then we just drove. Through the neon of the city and onto the empty eight lane highway and eventually into the mountains where the station wagon sputtered along the moonlit switchbacks. When the radio signal cut out, I dragged the box of cassettes into my lap and flicked through them the same way Mom flicked through her card-box of recipes, written in swooping cursive on index cards. The Eagles, Fettuccine Carbonara, Springsteen, Bacon-wrapped Scallops. My finger landed on a tape without any markings cradled in a fluorescent green plastic case. What’s this one? I asked.

Dad glanced over and his expression flickered between possible responses. His brow raised and his lower lip drew back, ready to click into either a grimace or a smirk. Eventually, he chose the smirk. Wedding tape, he said, and I popped it into the deck before he could say anything more.

Waves crashed on a beach somewhere, steady and calm, before a pulsing synthesiser introduced a sparse drum. Annie Lennox sang Mom’s name over and over as the synth swelled and chimed and Dad just kept his eyes on the road and I kept my eyes on him as he held his left hand in his lap and stroked a gold band with his thumb. As hard as I tried to conjure images of her strong hands and slender fingers, in that moment I couldn’t remember if Mom still wore hers.

HANGING ON TO A MOVING HOME

This piece of flash fiction by Joshua Preston reflects on the experience of moving and making a life, or lives, with a loved one. Illustration by Jan Siemen.

Stretching its long legs and shaking the sleep from its eyes, our home decided to move. This of course surprised us. You jumped out of bed and ran to hold shut the rattling cupboards. I went around collecting the paintings from the walls and stacked in safe layers the history of our bad taste. As the landscape changed, we watched the prairie give way to skyline to skyline to skyline as our home sprinted from one city to another.

Trinkets from a dozen travels vanished. Shelves toppled over. Books-I-promised-to-read flew out windows and doors. We lost the cat somewhere in Pennsylvania. Things come and go, and we cannot save everything—though you still sometimes talk about that missing sweater.

For years our home kept its pace, and we spent many nights wondering what it was searching for. We never found an answer, but eventually, our home slowed from its youthful sprint to a walk. What we learned from watching the lives of others is that some homes run until they are tired, others until they break. I wish we had that coffee table, and I still feel bad about the cat, but I think we have done well. We are no longer where we started, but we are still here, and how good it has been hanging on for dear life with you.

THE WOODEN VIKING

This piece of flash fiction by Alice Spotorno was inspired by a wooden Viking that stands at the entrance to her local park. Illustration by Charlotte Price

Erik lives in the woods just down the road. Proudly erect, he stands guard by the steps that descend from the muddy, windswept fields into his realm of moss, mushrooms and utter placidity. Tranquil sounds of pine needles dripping to the ground, soft chattering, and the occasional twitchy nose. Birdsong and children in fair weather, squelching puddles and roaring rain in winter. In other words, hell.

A long cut slashes Erik’s helm and his left eye. In his hands, a weather-beaten shield bears a date: MMXIII. That was the year he was carved. Day in, day out, Erik dreams of days long gone. The trickle of dog piss on his legs reminds him of the sea beating against his shins, as he prepared to land with his brothers-in-arms on undiscovered shores, senses tingling and alert at the prospect of battle. When snow falls and covers his head with a soft mantle, he remembers the feeling of velvet drapes brushing on the tip of his nose, and the sweet sweaty smell of a squealing maiden in his arms.

Long has he endured this curse. Once, during a raid, he was captured by a witch. Matted tangled curls and swoops of golden metal circling her upstretched arms, she enunciated foreign words and his spirit was trapped. Erik the Viking was no more, and became Erik the Pine.
Children now clamber along his back, their tiny fidgety hands clinging onto him as the fastenings of his armour once did. Sometimes a deer brushes against him in the dead of night, all watery eyes and bristly fur. How he used to enjoy hunting, the thrill of the chase, heart drumming and mouth salivating in anticipation. A thousand years and more he has been wooden, and yet he still remembers the taste of roasted meat. A thousand years and more, and he is no closer to escape than on the first day.

What Erik yearns for most, more than companionship, more than human touch (he gets plenty of that these days with the kids, though he misses the tickling patter of birds and squirrels from when he used to be a live tree), more than sailing and pillaging and raping, is fire. The golden aura cast by a flickering torch on stone walls, the pool of yellow against the sky from a flaming village, the searing heat of flame against crackling flesh, dripping fat onto the embers.

One night, he sees a spark and his hope flares up like kindling in the hearth. It flickers and dances, dies out; then reappears. Chittering and loutish laughter accompany it this time. In the depths of the woods, somewhere, a group of younglings have lit a bonfire. He can taste the smoke in the air. Steadily, the glow grows larger. When had the last rain been? Summer was on the horizon, he knew that much.

Soon, he found himself praising Odin for the gift of human stupidity, for the sense of untouchable immortality that lives within the young. As the sounds of fire swell around him, a sense of panic takes over the ordinarily peaceful park. Had Erik had lungs, he would have sighed in relief. After all, he relished panic, the adrenaline that came with it. Thundering past him, a group of teenagers run for the field, eyes alight with terror. Had Erik had facial muscles, he would have smiled. This is the moment he’s been waiting for. Despite the wooden fibres of his body – or perhaps because of them – he feels alive.

All around him creatures flee. The night is orange, and fierce. Erik can see it now, eating its way across the path, rapidly engulfing everything. Glee, hunger, lust swell over him as the fire finally envelopes his stunted shape. Then comes the pain. Welcoming this change from the sedated apathy, Erik relishes every scream of his nerves, every crackle and pop, as he goes up in flames.
Ash. Firefighters step everywhere, extinguishing the last pockets of smouldering vegetation, walking across a moonscape of death and blackness. Dismay. Villagers come to observe the disaster, their hearts sinking.

A gust of wind, then more to follow. In a whirlpool of white dust, Erik takes flight, soaring above the blackened stumps of what was his prison for a thousand years and more. Making his way beyond the glistening sea across the rainbow pathway to where he belongs, Erik’s consciousness finally begins to dissolve. The curse is lifted, and he can re-join his companions at last in the halls of Valhalla to share stories of glories past and await together the battle to come, after a thousand years and more.

The Wooden Viking is from The Escape Issue – Issue 24. Order your copy here

THE ESCAPE ISSUE IS HERE

The Popshot editors are pleased to introduce the latest instalment of our journal, The Escape Issue!

We asked our contributors for writing about escape in all its forms, from disappearing to warmer climates to slipping out of terrifying, difficult or mundane situations.

The submissions we received were of an extremely high standard. This was brilliant, but it made our job difficult to select the short stories, flash fiction and poetry for inclusion – thank you to everyone who sent in their work.

In The Escape Issue our writers wrest free from relationships, physical constraints, wriggling out of time and life-threatening situations. The stories and poems included feature escaped jaguars, flamenco classes, magic mushroom tea and monsters.

Whether you’re reading the magazine on the beach, during the commute, or over coffee on a Sunday morning, we hope you enjoy escaping into Popshot.

Words by Daniel Shand, Jonathan Greenhause, Hollie McNish, Imie Kent-Muller, Phillip Mitchell, Mantz Yorke, Hannah January, Suzanne Morrison, Amanda Huggins, Shelley Weiner, Grainne Tobin, Pam Kress-Dunn, Aaron Menzel, Jo Matthews, Barry O’Farrell, Annabelle Markwick-Staff, Maria Castro Dominguez, Jack Williams, Luciana Francis, Flora Jardine, Colleen Baran.

Illustrations by Alexandra Dzhiganskaya, Bistra Masseva, Charlotte Price, Cleonique Hilsaca, Dionne Kitching, Esther Lalane, Jade Moore, Janie Anderson, Jasmijn Evans, Jen Leem-Bruggen, Jodie Welsh, Kelly Romanaldi, Marta Cubeddu, Marta D’Asaro, Martina Messori, Matthew Brazier, Olivia Waller, Renzo Razzetto, Sam Hinton, Sara Thielker-Bowles, Sophie Parsons, Tess Smith-Roberts, Tobi Frank, Vector That Fox, Yiqing Zhang.

Orders will be dispatched within two working days.

UK / £6 + p&p
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Saint Merle of the Desert

Flash fiction by Brian Winters. Illustration by Dave Cutler

Lee was already into his second cup of decaf when he saw Caryl pull his pick-up into the Black Bear Diner parking lot. He folded up the Visalia Times and watched Caryl lock the truck door after getting his cowboy hat. There was that mutual nod of acknowledgment as Caryl walked in behind a family whose bleary-eyed children did not look to be in a travelling mood.
“I’m guessing you read the same thing I did this morning,” Caryl said as he seated himself.
“That I did.”
“So, they’re saying they have nothing in regard to leads.”
“Who is they?”
“The cops. In New Mexico. I thought you said you read it.”
“Right, right. I did. Okay.”
“They have nothing to work with. When I was on the phone with them the other day, they were getting ready to talk to investigators and behavioural specialist people.”
Lee started fidgeting with the coffee creamers. “That sounds like it,” he said nodding. “To analyse him. To come up with speculations then draw conclusions. That figures.”
Both men paused as a waitress brought coffee. Outside, they could see the pale morning light shine on the Southern Sierra Nevada mountains.
“So, for right now, it’s anybody’s guess as to why Merle might have done this and where he disappeared to.”
“Aw, that’s just nonsense. Why else would someone park a U-Haul on the side of the 81 highway, pull out all the things that tied him to life—his coffee machine, his two-thousand-dollar big screen, the diplomas, his custom suits, his iPhone and iPad, the laptop, all that stuff—and just dump them onto the highway, then strip down to nothing, toss whatever it was he had on into some improvised bonfire, then walk bare-assed out into the open desert, looking for a hole to live in like some kind of hermit?”
“Yeah, well, we know the answer to that one, don’t we?”
That was Caryl, unwrapping the silverware from his napkin.
“What I want to know is how this didn’t happen sooner.”
That was Lee, questioning the complexity of a man’s patience with the world.

Saint Merle of the Desert is from The Identity Issue – Issue 23. Order your copy here

The Barber

Sherry Morris is a UK-based writer from America’s heartland. This story was inspired by her love of facial hair. Illustration by Robbie Cathro

The men who come and sit in my chair never ask what I do with their hair.

Why would they?

And why would they care what I do with their hair?

There’s no need to share, reveal the thrill that’s laid bare.

That’s between me and their hair.

 

When the bell over the door rings, signalling another customer, my own bell begins to tingle.

Today, it’s Justin tall, lean, pretty Justin with his well-toned biceps.

He comes with unwashed hair and five-day scruff that’s thick and lush.  

He could wash his own hair. He could shave his own face.

They all could. But they leave it for me. It’s the way I want it.

Perhaps a few have sensed my bond with hair. Appreciated, speculated, even celebrated

The secret that I keep.

 

Justin knows the routine. He sits in my chair, watches me stare at his hair through the mirror.

When our eyes meet, I give him my best naughty smile. We are alone. It is the end of the day.

I can’t resist licking my lips.

‘Shall we begin?’ I ask, though it’s not really a question.

Justin nods. There’s little need for talk.

These men who bring me their hair come dirty, scruffy; they want me to make them clean, tidy.

Scratch that surface, dig deeper. It’s salvation they seek.

Is that the secret they keep? Everybody has one.

 

I don’t cut hair much anymore. Only if there’s need or someone new.

I have enough clients now to concentrate on what I crave the hot towel shave.

I adore all hair, but facial hair is revered, worshipped, adored.

It’s what makes a man a man.

I trim moustaches, shape beards, groom goatees. I’m thrilled they’re all the rage.

I clip and snip. Collect all the bits that fall from their face.

And the ones who desire to be clean, I help them achieve their means.

I take it all off, no questions asked. I’m here to serve and please.

Both them and me.

 

Now it’s Justin with the devilish grin on his face.  

We’re back in the barber’s chair after washing his hair.

I place the cape around the nape of his neck. Let the first hot towel gently steam his face.

While I wait, quick strokes on the leather strop ensure my razor’s sharp.

I exfoliate  massage gel into his skin, lace my fingers under his chin.

Feel his coarse stubble rise in my hands. My heartbeat quickens. Soon it will be mine.

The second hot towel is scented with lavender. And when I’m feeling generous, sandalwood.

I fold and twist the cloth with care around his face, pat his cheeks. Know the bristles are softening, The pores opening, the skin relaxing. Apply thick foam and in a flash the straight-edge is gliding Along the contours of his face.

My own face comes close to his as I work.

It’d be so easy to lean over and plant a kiss, caress a cheek.

But I am a professional.

I stroke up the neck, his Adam’s apple. I want the closest possible shave. And all possible hair.

I wipe and rinse the blade with care. Then bite my lip as my excitement builds.

 

When he goes, when Justin or Joe or Tommy leaves me fresh-faced and smooth, I close up shop.

Gather the stubble, those bristles, that hair.  

It doesn’t matter it’s from different men with different colours and different lengths.

It’s mine now.

At home, on my own, my real work begins. I apply a thin layer of Vaseline to my face.

Then hair. When I see myself in the mirror I exhale. Smile.

Closer to complete, to the secret that I keep.

I experiment with different styles late into the night.

Then I shave myself back to reality.

‘One day,’ I say.

I dare not dream more.

 

Those men who sit in my chair and give me their hair appreciate the special care they receive.

Never knowing my salvation lies partly in their hair.

The Barber is from The Identity Issue – Issue 23. Order your copy here

SUBMISSIONS ARE OPEN FOR SPRING 2019

The Identity Issue

The editors of Popshot are looking for submissions on the theme of identity.

Writers are invited to examine how the self is formed or undermined, how society may shape identity and the lengths individuals might go to in order to find their “true” selves.

Race, gender, sexuality, professional and family identity are ripe subjects for this theme. You might approach it with a big, sweeping idea or choose a single, expansive observation.

Successful submissions must display excellent writing, creative flair and originality. We are looking for a mixture of humour, cutting social commentary, painful honesty and thrilling storytelling. All genres are welcome.

We are currently wrapping up the Nostalgia issue, which goes on sale November 16.

The Identity Issue is out in February 2019.

Guidelines for submissions

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

Three entries maximum.

Submissions for Spring are open until 9am GMT on Tuesday, December 4.

To discover more about Popshot, pick up a copy from WHSmiths or another reputable newsagent. 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. Identity – Poetry). We are open to original contributions from anyone, anywhere in the world.  

Any questions, do drop us a line at hello@popshotpopshot.com

And please do follow us on Facebook, Twitter and Instagram.

Illustration by Sara Gironi Carnevale