Short stories from Svetlana Rostova (one of several)

Ecstasy

“The reality of being human is to hope against hope. The believing that there is a meaning to life when we have every reason to believe that we are made of dirt and buried as ash, believing that things will turn out okay when we live in a world with no guarantees and a thousand unhappy endings, believing in humanity even after you’ve watched your kind start wars and commit murders, believing in kindness even after you’ve seen evil.”

  • There is something violently beautiful about pain, and the birth of the stars is no exception. Choking on ash, collapsing and burning, something so tragic can become beautiful, just in a matter of seconds. And then they die, and it all is forgotten.
  • This, of course, is far besides the point, but it lives in my mind most days. I, too, am a container for horror, and making it look effortless. I, too, know how to be born in an awful world, and not scream.
  • I have become a slave to ecstacy, not the drug, but the belief that everything will be okay. A cruel hope, if you will. I suppose I have a tendency to turn everything in my life tragic or manic, but eighteen years a slave will do that to a person. It is cruel, I think, to an extent, to be born so dependent on happiness. It is cruel that we are able to manufacture it, if we just close our eyes.
  • And so, we let it continue.
  • Here are the rules of living in a suburbia: don’t open your eyes, don’t shake your head, and whatever you do, don’t think. Of course, nothing bad will happen if you do think, but hope is a dangerous thing to have, and an even more dangerous thing to lose. And besides, the act of pretending is better if you don’t think: less painful.
  • I have heard when stars are born, a whole universe collapses, a universe made of ash and clouds of dust. I reach out to touch it, the fear, the ache, but I cannot reach it. I cannot feel it. I cannot feel anything at all.
  • My mother used to tell me that there is a place, a place between life and death, where all you see is a blinding light, so fierce it overwhelms you. I chose not to tell her I’d felt this way for years.
  • Evil doesn’t die, it is reborn and reborn like a star.
  • I used to think that murder was savage. I thought that when you were dragged off, you would leave trails of rose petals like blood behind you, crimson staining the cream-fleshed snow. But that is not what murder is like, not at all. You are unpeeled, slowly, like the leaves of a hibiscus flower, and left to take your last shallow breaths, your heart beating within your ribs, your life forgotten already.
  • You are like a lamb, made for the slaughter.
  • But of course, all beautiful things are wicked, dead or alive.

Girl: As a Ship in a Bottle

¨Please¨, I would repeat, over and over again, looking to the stars in the sky.  ¨Let me be free.¨ After the shipwreck, nobody had any words for me other than I’m Sorry. The word was etched into the table I ate at, and sketched into the books I would read. I’m Sorry, I’m Sorry, I’m Sorry. I had no eyes, no ears, no mouth, I had taken them all off so I could no longer notice. The strangers had begun mailing them, sending the I’m Sorry’s small and neatly packed, and when all the boxes and drawers overflowed, I began to keep them in a jar.

At first the idea had seemed faultless. Stacking them up into neat diamond shapes, the well wishes became smaller and smaller, until I seldom felt them crawling up the murky depths of my throat. Seldom felt them like a sickness. It became like a twisted little game, or a song, shoving the pillow over my head, ignoring the chorus of words coming from my bedside cabinet. But still, I could walk, I could run, I could sing, and so I did- sing until the sky faded away, and my boyfriend was gone, and I was all alone, left- to shove a pillowcase over my head to drown out the noise.

The medium of my memories never ceased to recreate itself, taking the form of a little creature or a gaunt damsel tiptoeing across acres/fields. Death, in its ominous omniscience never shows it’s true form, as not to lose it’s mysery. No, rather it stomps and roars in it’s anger, and the I’m Sorry’s just kept coming. When the jar too was filled, I took out a bottle, and set it on the table, waiting. I pulled myself under the covers. It was too dark. And when the next letter came, I grabbed it, meaning to toss it into the sea.

I Love You, I’m Sorry.

Underneath the easel by the table, I glanced at the food on a nearby plate. It’s been tagged-, well wishes, Liz- and I was underneath the easel. Had they painted me on a cross, the me that they wanted to see? I was a legend.

I was a hoax.

I glanced down at the bottle, the one full of secrets and false promises. The one that had kept me within it. Victim, survivor, some sort of chivalrous martyr. And as I set it- to drift, not to sink- I whispered something.

¨Let me out of the bottle.¨

The Dream

“If you were loved in a dream, does it count?  That love- does it count?”

  • reference, The God of Small Things

What is love?

An addiction, perhaps? It’s an addicting feeling, and you just can’t be fully happy once you find out that it exists.

  • To a person who isn’t loved, attention is the closest thing you will ever feel. You will save it, scrap it. You will treasure it. You will earn it. You will do anything for it.
  • To a person who isn’t loved, violence is stronger than any kiss.
  • I have this friend.

I built her out of memories.

I miss her some nights- she now lives in the sky.

  • Does grief count as love? Perhaps hatred of what you never had is proof of something you could have had.
  • Perhaps that’s why the abused search for abuse and murder.
  • Sickness leads to pity, and pity can feel like love. Pity can lead to abuse. Abuse can also feel like love. So maybe I want to be sick.
  • That’s the thing, right? Have you ever wanted something so badly your knees buckled, and your lips trembled, and you felt like you could die? Didn’t you feel alive? Wouldn’t you do anything to feel that want?

Does that sound crazy? Does it? You feel like a wolf feeding off scraps of what other people own.

Mentally ill, they call you. Not alone or desperately lonely. Not made of other people’s actions. Somehow you have become what they have done. Somehow it has become on you.

Well as long as it is your fault, you have to point this out: it wasn’t as if it wasn’t warranted. It wasn’t as if you hadn’t spent thousands of nights alone in your own mind, so who could blame you for becoming what you did?

And that’s the problem, right? When you’re alone in your head? So you start to make some friends.

 

Jacques Fleury reviews Joy Behar’s drama My First Ex-Husband

Woman with light skin and curly dark hair holds open a photo album with the rest of the cast of her play, "My First Ex-Husband."

In the Play “My First Ex-Husband” Ex-Wives Discover Their Superpower

Joy Behar exposes marital complexities with caustic & hilarious wit currently touring at a city near you…

By Jacques Fleury

Joy Behar, legendary comedienne and co-host of The View, gives us an intrepid and authentic adaptation of true stories with serrated comicality–minus any sort of politically correct filters. The play is an introspective of the often-muddled hysterical realities of love, sex, and relationships. Whether you’re joyfully united, guardedly devoted, or considering altering the locks, relationships are intricate—and collectively associable. These stories could be all our stories, except wittier. The basic premise of the show is every weekend, an ensemble of four stars from theatre, television, and film join the show, bringing their inimitable dispositions to voice these tales that may be uncannily familiar to you or someone you know. Shocking yet profoundly germane to the times, this show will reverberate with anyone who has piloted the tempestuous and often prickling seas of love.  In addition to other titillating surprises, the show contests and questions ideologies of patriarchal authority, blind loyalty, self-esteem, physical and psychological abuse, gaslighting, subservience, physical and emotional constraints, lack of respect and more…The play showed to sold out crowds at the Huntington Calderwood at the Boston Center for the Arts in September of 2025 and will resume touring possibly in a city near you. According to the My First Ex-Husband website pending performances will at the following cities: Florida, California, Washington, Colorado, Texas, Connecticut and more…

“The stories are very relatable,” utters playwright Joy Behar. “Even if you never got a divorce, you still have problems with in-laws…or sex, or kids, or money… Marriage is a work in process all the time.” Behar was emphatic about how “true” the ex-husband stories are but said that they were admittedly tweaked for dramatic effects…A touchy yet facetious aspect of the play was when members of the “Ex-Husband” ensemble related tales of how their husbands used to cause them to feel insecure by poking fun at their weight, or “subtly hinting” that they need to improve their appearances to fit their husband’s standards of beauty. The fat jokes scored big and landed like a hilarious thud with audience members.

My First Ex-Husband is a visceral emotionally charged experience that explores and shatters any preconceived notions of marital uniformity. It extrapolates on the gradations, conceptions and misconceptions of marriage lore. With her signature brand of dynamic caustic and facetious wit, Joy Behar “brought it” to the Calderwood Pavilion stage at Boston Center for the Arts along with three of her equally funny female cohorts: Veanne Cox, Judy Gold, and Tonya Pinkins.

When you are embarking on the often symbiotic and potentially precarious journey of marriage, the core of you are could pose as a barrier or asset depending on who you married and your ever evolving marital circumstances. The play “My First Ex-Husband” can serve as a cautionary tale when entering marriage or any type of relationships in your lifetime. Times Square Chronicle declares that My First Ex-Husband “appeals to men, women, and anyone who has ever been in a relationship.”  And I couldn’t agree more…

We are entering the dawn of a post “Me Too Movement” era, where women find personal freedom to discover their own versions of their authentic selves while redefining their own notion of beauty, not what their husbands or patriarchal society’s vision of what they think beautiful should be… In the grand scheme of things, I think until you get to know yourself and find out what your source of power is, you’ll be disconnected from the world hence you would only be moved by external circumstances, not discovering that you’re the one who makes things happen.  In “My First Ex-Husband,” the women discover not only that their super power is self-love and self-respect but also that “true love” is one that frees not imprisons.   

 “My First Ex-Husband” has prodigious comic timing and socially conscious substance suitable to the times…  A witty, emotionally charged and colorful artistic theatrical brush stroke of daring dramedy! I give this in-your-face smartly premeditated rumpus a 5 out of 5 stars!

Young adult Black man with short shaved hair, a big smile, and a suit and purple tie.
Jacques Fleury

Jacques Fleury is a Boston Globe featured Haitian-American Poet, Educator, Author of four books and literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self”   & other titles are available at Public Libraries, the University of Massachusetts Healey Library, Wyoming University, Askews and Holts in the United Kingdom, The Harvard Book Store, amazon etc.  His works appeared in publications such as Wilderness House Literary Review, Muddy River Poetry Review, Litterateur Redefining World anthologies out of India, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide among others. Visit him at:http://www.authorsden.com/jacquesfleury

Silhouetted figure leaping off into the unknown with hand and leg raised. Bushes and tree in the foreground, mountains ahead. Book is green and yellow with black text and title.
Jacques Fleury’s book You Are Enough: The Journey Towards Understanding Your Authentic Self

Essay from Zarifaxon O’rinboyeva

Central Asian teen girl with long dark hair in a ponytail and a green floral blouse holding up certificates.

For My Mother

Anora’s life did not start easily. Her father abandoned her from infancy. Her mother, Yulduz, had also lost her parents early in life. Instead of comforting them, her only brother blamed her for everything: “It’s all your fault; if you had given birth to a son, not a daughter, he wouldn’t have thrown you out of the house. You shamed him in front of his friends, that’s why he kicked you out,” he said, refusing to let her into his home, as if Yulduz was to blame for bringing a daughter into the world.

The poor woman was left on the street with her little daughter. Life seemed to be utterly dark, yet a light appeared within that darkness. A kind person gave them shelter and even gifted Yulduz a sewing machine. She spent her days cleaning and her nights sewing, managing to enroll her daughter in kindergarten. Every morning, holding her daughter’s hand, she would say, “Behind every dark day, there is light.” Anora was still young then and didn’t fully grasp the meaning of those words, but she etched them into her heart.

Time passed, and Anora turned 5. Although she was not yet school-aged, her mother, wishing for her daughter to be educated, sent her to school. Despite being smaller than her classmates, Anora amazed everyone with her intelligence, shrewdness, and diligence. Every day after returning from school, she would run to her mother and proudly announce, “They praised me at school today.”

As the mother and daughter were living happily, God sent them another trial, and this trial was harder than any before. Anora was 14 years old, studying in the 10th grade, when her mother suddenly fell gravely ill. Doctors said that her heart function had significantly weakened and that a large sum of money was needed for treatment. Anora studied during the day, worked at night, and borrowed money from friends to spend on her mother’s health. Crying, she pleaded with the doctors, “Please save my mother’s life; I have no one else but her.” They comforted her, saying, “Your mother will surely recover, just pray.”

But her mother did not recover; she departed from this bright world. Her last words to her daughter were, “My daughter, I will die, but you will live. You will surely achieve your dreams. Be patient, bright days are still ahead.”

Unable to bear her mother’s death, the poor girl fell gravely ill herself. The kind person who had given them shelter and the girl’s teachers treated her. They told her, “If you want your mother’s spirit to rest in peace, you must pull yourself together and continue your education. We will never leave you alone.” She diligently strived to be the daughter her mother had dreamed of, achieving several great successes. Each time she received an award, she would think, “If my mother were alive, I would share this pride with her.” Her teachers had become like a second mother to her. But still, she missed her mother every single moment.

Years passed, and she fulfilled her mother’s biggest dream… she became a doctor. Now, every day, standing by her patients, she sees hope in their eyes. She treats every patient with kindness, as if she were saving her mother’s life.

Now people refer to her as “Doctor Anora.” And the young doctor hears a voice in her heart every time… “I am proud of you…”

My name is Zarina Oʻrinboyeva. I  was born in 2011 in Oqdaryo district, Samarkand region. In 2018, l went to school No. 43 in Oqdaryo district to begin my education. I am currently an 8th grade student at this school, and I am 14 years old.
My favorite subjects are English, Russian, chemistry, Uzbek, literature, and law. In my free time, l enjoy reading books and writing stories. With my knowledge and hard work, l have won several high places in various republican competitions.
I still have many dreams ahead of me, and insha’ Allah, l will achieve them one by one.

Christopher Bernard Reviews UC Berkeley’s Cal Performances’ Production of Red Carpet

Golden chandelier above a stage with a red curtain and people in suits and ball gowns dancing in front of an orchestra with instruments.

The Grotesqueness of Glamour, the Glamour of the Grotesque

Red Carpet

Paris Opera Ballet

Berkeley, California

Reviewed by Christopher Bernard

Cal Performances brought the legendary Paris Opera Ballet to University of California, Berkeley’s Zellerbach Theater over a sunny weekend this October to give the North American premiere of Hofesh Shechter’s new dance, Red Carpet.

The historic company, one of the world’s most celebrated (and the subject, some years ago, of a remarkable documentary by the almost equally legendary filmmaker Frederick Wiseman), traveled from its home at the Beaux Arts Palais Garnier to the modern concrete Zellerbach in a work that combines, mocks, plays with, celebrates, satirizes, and at moments transcends, the poles of an aesthetic whose tension keeps the arts alive: as Schecter says in the program notes, “between glamour and the grotesque.”

Red Carpet is a frieze of a little over a dozen vignettes complexly choreographed on a polymorphous, dimly lit space in a crowd of cohering and crashing styles. We begin in a timeless ballroom dominated by a magnificent chandelier lit by a blaze of artificial candles (a handful sometimes broken and unlit, in vulnerability and decay), beneath which—as it periodically descends to the floor, in full glory, or goes dark, withdrawing into its own ghostly shadow—more than a dozen dancers in a motley array of outfits, from an eye-catching core—a woman in a superbly glittering, blood-red ballgown and others sheathed in glitter-shouldered white—to weaving epicycles of strutters in the post-punk gear of an underground dance club, writhe and strut and wind and defy, as on any modern red carpet surrounded by an audience of obsessed fans, cynical press, and professional gawkers, to the grinding beat of a four-musician band hitting above its weight and whose pounding is layered, when the band falls silent, with the fluting whoosh of an electronically generated sound of perpetual wind.

There’s indeed as much grandeur here as glamour, and an always fascinating grotesqueness (as someone once put it, ugliness is its own aesthetic category, a kind of small change of the sublime).

Each section pits multiple styles against each other—from strained classical elegance to muscular modern, from the industrial synced in brutal competition to violent pop at the edge of disillusion and fury—in little troops of the mass dominating the piece.

There were only two extended solos, brilliant takes on a wild male chaos driven crazy in the dance of modern life, by Takeru Coste and a mohawked Loup Marcault-Deroud, in the performance I saw. And three quarters the way through, a quintet in sudden white dances against an ox-blood red curtain, suggesting the naked human form beneath the jungle of self-representative fashion hitherto on display, on stage as in human life.

Curiously, the representation of nakedness is often used to represent a kind of authenticity and purity that clothing supposedly hides. Yet here it had the opposite effect for this viewer: it is precisely clothing, makeup, style—the marks of individual choice and taste—that express the individual more directly than the body alone can ever do; the body merely bare, like the skeleton, is anonymous, a ghost, almost a nothing. It seems, if anything, less truthful, less communicative, than the elaborations of personal design. Nakedness, like sexuality, has the paradoxical effect of destroying the individual.

Red Carpet is an exhilarating experience, with many stunning moments and memorable gestures—a hammering of fist on fist in a forest of ecstatic writhing, a disco mass pointing skyward, an old-school butter-churn at one moment, at another an indrawn intensity apparently unaware and uncaring of being seen. Above all the deliberate density of movement, the obscurity and obscuring, of each dancer’s actions, like a fugue so densely worked out you can’t possibly follow any individual voice, or like the rituals of certain religions that are seen by parishioners behind a screen so their exact character is never certain, only their importance to the parishioners’ salvation.

And yet I came away with the frustrating sense it could have been even better than it was. It is such a fine piece, brilliantly danced by the company, yet it missed that perfect sense of rightness that the greatest dances, even those expressly aiming to express chaos, can provide.

Too much of the inventiveness in the piece is front-loaded, giving it little space to grow into later. In the final third, there was a feeling of exhausted inspiration, of repetitiveness, even of silliness (the quintet aforementioned quickly devolves into a series of pantomimes that, for this viewer, were both too obvious and too disconnected from the rest of the piece). And the ending of the piece was strangely unsatisfying; the world may or may not end in a whimper, but this dance, alas, does.

Nevertheless, what I remember most vividly is the grand ball of a crowd endlessly diverse in style, approach, movement, and form that, seemingly despite itself, combined in a strange rightness that was as moving as it was exciting: like a great abstract painting in motion, at those moments (and there were many) everything fell into place. Or like a living, moving forest that Shechter himself evokes: “[Choreographing a dance] is like being in a forest. . . . I continue to explore. I haven’t left the forest.”

Red Carpet was created by the Paris Opera Ballet’s multi-talented Shechter along more dimensions than usual: he also designed the atmospheric set and wrote the unrelenting music, which was performed by Yaron Engler (who also collaborated on the music) on drums, Olivier Koundouno on cello, Marguerite Cox on double bass, and Brice Perda on an array of wind instruments. The moody lighting was by Tom Viser. It frustrated some members of the audience, as they loudly proclaimed in the lobby afterward—but not this one: straining to see what was going on, as suggested above, seemed part of the point, though the point was sometimes over-drawn. But I’m a bit of a sucker for ghostly effects, so I have few complaints.


_____

Christopher Bernard is the author of The Socialist’s Garden of Verses, which won a PEN Oakland Josephine Miles Award and was named one of the “Top 100 Indie Books of 2021” by Kirkus Reviews.

Poem by Perwaiz Shaharyar, translated by Maria Miraglia

South Asian man in a corduroy brown coat, white collared shirt, and a red and orange tie, and short brown hair.
Dr. Perwaiz Shaharyar

DONNA, OLTRE L’INDICAZIONE DEL CORPO

Occhi come lago/ Labbra scarlatte come corallo/ Capelli ricci e sinuosi

Attragono in tutte le quattro direzioni

Questi sono labirinti

Il viso e il fascino fisico sono delle tende, in vero

Un’arma per tenerti lontano dalla dimora desiderata

Una vera donna vive altrove

Oltre l’indicazione del suo corpo

Seduta accovacciata come una reclusa

Proprio come una cosa astratta

Come un sogno di nuvole bianche di neve

A volte, simile alla notte  senza la luna

Fulmini dormienti, pieni della loro potenza

È necessaria una meditazione estremamente dura

Per aprire gli strati più profondi del suo cuore,

L’amore è considerato la vera perla di una donna

Questo può essere scoperto procedendo oltre il suo corpo

Altrimenti, nulla giace nel vortice del corpo 

L’uomo vuole sopraffare

Il corpo urlante di una donna

Ma il corpo è una duna di sabbia/ una fiera di desideri

C’è solo miraggio e poi miraggio

La donna è solita nascondersi, 

Da qualche parte nel suo io interiore,

invece di essere trovata nel suo corpo manifesto

che è come il centro epico di un vulcano attivo

un uomo per tutta la sua vita

corre sempre dietro a volti affascinanti

come quegli uomini idioti

che sulla superficie dell’acqua

spesso fissano le onde che s’immergono e galleggiano

con i loro occhi curiosi

giocano tutto il giorno con le conchiglie  delle spiagge

forse non sanno

che le vere perle si trovano inutilmente

nelle profondità di un mare,

dove il respiro non sostiene molto i subacquei

per raggiungere perle così sconosciute nelle profondità del mare

bisogna aspettare che le valve della conchiglia si aprano

per arrivare all’essenza originale di una donna

dovrai alzare la cortina del volto ingannevole

dovrai scendere

nella stanza nascosta del suo cuore

dovrai bussare e bussare ancora

alla finestra ermeticamente chiusa della sua anima

una donna non è un  un oggetto di lusso

non una merce di compra-vendita

Nemmeno un corpo fatto solo di carne e ossa

Il vero nome di una donna è ——

Amore, amore e solo amore!

Translation in Italian by the esteemed poetess from Italy Hon’ble Maria Miraglia 

Original poem in English by Dr. Perwaiz Shaharyar, Editor, NCERT, New Delhi, India 

Italian woman with pink highlights in her dark short hair, pearl earrings and a black and white blouse.
Maria Miraglia

WOMAN, BEYOND THE INDEX OF BODY

Lake like eyes/ Scarlet coral-like lips/ Curly-curvy hairs

Attraction all four directions

These are mazes 

Face and physical charms are curtains, indeed

A weapon to keep off you from the desired abode

A true woman lives in somewhere else

Beyond the index of her body

Sitting crouch like a recluse 

Just like an abstract thing

Like a dream of snow-white clouds

Sometimes, similar to the moonless dark night

Dormant lightning, full of its potency

Extremely tough meditation is needed

To open her inner layers of heart,

Love is considered to be the genuine pearl of a woman

This can be discovered by proceeding beyond her body

Otherwise, nothing lies in the whirlpool of body

Man wants to overpower

The screaming body of a woman

But the body is a dune of sands/ a fair of desires

There is only mirage and mirage

Women used to be hidden, 

Somewhere in her inner self,

Instead of, being found in her apparent body

Which is like an epic center of a live volcano

A man in his entire life

Used to run after fascinating faces

Like those idiot men

Who is on the surface of the water 

Often, stare at diving and floating waves 

With their curious eyes

Use to play, the whole day, with shells lying on beaches

Perhaps, they do not know 

That the true pearls are senselessly lying 

In the depth of a sea, 

Where the breathes not much support the divers 

To achieve such unknown pearls in the deep sea

Needed to wait till the lips of the shell get opened 

To get the original element of a woman

You will have to raise the curtain of deceitful face

You will have to step down 

Into the concealed room of her heart

You will have to knock and knock again 

At the tightly closed window of her soul

A woman is not a thing of luxury

Not a commodity of marketing

Not even a body of only bone and flesh

The true name of a woman is —— 

Love, love, and only love! 

Poetry from Fiza Amir

The Barren Lands Of My Heart

She sat on a greenish boulder beside a lake beneath a maple tree. Her soft little hands were trembling with the weight of the letter she was holding, a letter of goodbye from someone who once used to sit next to her on this same boulder. They used to compete on who could throw rocks farthest into the lake. In her mind, she was lost in a typhoon on a wrecked ship with no signs of shore.” Tears kept running down her eyes from her cheeks to her chin, later turning into white shiny pearls dropping  on the letter, blurring the words:

“My love, you are the sole beacon of fire, Fervor of my life, Elixir of my soul’s Obscurity. I forget how to breathe in your absence, I’m just a body whose soul is entrapped within yours. Each night I spend in this dugout staring at the stars, the brightest of them reminds me of you. The cold dazzling wind in my ear whispers your name. I close my eyes and see you in my arms, as if Vega itself has landed on Earth. Sometimes fire shells land near my dugout. Every day feels as if it’s going to be my last. It does not unnerve me, for love of my soil steels my heart.”


“It ignites a fire of passion in me, laying down my life for my country, so that I can honor the oath to which this uniform bound me. And the thoughts of me returning to you bloom a garden of daisies in the barren lands of my heart. If death finds me,  when we are apart, I promise you to accompany you as a sheltering maple tree beside the lake where we sit, play and laugh. As a full moon brightening your darkness, as night jasmine blossoming a fragrance around you, as the rainbow that comes after rain. As the spring that comes after the autumn, and as a melody of love that adds rhythm to your a capella. If Death takes me away from you, I shall return to you as my letters of love to you, and if my corpse is placed in front of you, just know I’m standing right beside you, grasping your shoulder, holding you close to me, and like a brave lady, accept my keepsakes of valor with a smile.”


Amidst the typhoon on the wrecked ship, she was moving towards shore, but suddenly someone called her name. The shore disappeared, she began to drown. She screamed, struggled to reach the surface, but it was no help. She fell deeper and deeper, but it wasn’t merely a physical ocean, it was the oceans of her sorrow,  which engulfed her and her world, bit by bit.


“Amber, Amber! The ambulance is here!” said her childhood friend Anne. Anne paused, looking at the ambulance. “He kept his word. He came back.”

Fiza Amir is an emerging writer, poet, and medical student from Pakistan. Her work explores the intersection of empathy, memory, and the human condition. She has been published in Fevers of the Mind and Pandemonium Journal.