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Tuesday, May 7, 2024

“Floating Light Over the Waves” • by Brandon Case


After weeks at heaving sea, I arrived at Tristan da Cunha, the world’s most remote inhabited island. 

I came burnt out, seeking solitude. But the isolation was heavier than I imagined.

The quiet howled. The calm was a hurricane of absence.

Lost, I stood in the island’s small harbor.

An old fisherman approached, his eyes wrinkled like nets pulled from the ocean. He said, “Son, your heart sinks, but modern loneliness has no place here. Visit our potato patch and help a family harvest.” Into a little red boat, he departed alone but light, floating over the waves.

I did as bidden, helping with the potatoes of one family, then another. When a roof needed repair, I lent my hands.

Little by little, my heart quieted enough to accept the island’s stillness. A balm found not in solitude but community—at the remote edge of empire, where neighbors still rely on each other.

Of the old fisherman, none of the islanders knew.

But on quiet evenings, I often glimpse a little red boat, floating light over the waves.




Brandon Case
is an erstwhile government cog who fled the doldrums into unsettling worlds of science and magic. He has recent or forthcoming work in Escape Pod, Air and Nothingness Press, and The Dread Machine, among others. You can catch his alpine adventures on Twitter and Instagram @BrandonCase101.

P.S. If you appreciated this one, be sure to check out Brandon’s other recent contributions to Stupefying Stories, “Divided Sky, Stolen Life,” “Leave the Plasma Gun, Take the Cannoli,” “Writers Strike Reaches the Office of Predestination.”, “Spin Drive Class with Captain Ryan,” and more!

 

Most recently, his flash fiction piece “Astronaut Countdown” got a lot of love from readers of Stupefying Stories. Check it out!


 




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The Pete Wood Challenge is an informal ad hoc story-writing competition. Once a month Pete Wood spots writers the idea for a story, usually in the form of a phrase or a few key words, along with some restrictions on what can be submitted, usually in terms of length. Pete then collects the resulting entries, determines who has best met the challenge, and sends the winners over to Bruce Bethke, who arranges for them to be published on the Stupefying Stories web site.

You can find all the previous winners of the Pete Wood Challenge at this link.

Monday, May 6, 2024

“Canned Kraken” • by Tobias Backman


I stepped out of the gale, into the old factory. Alex had called for an island meeting, because of the giant lobster-squid-thingy blocking Calshot Harbor. First meeting since the blackout, since last contact with the outside.

He still ran at a mainlander tempo, though. Had not bothered waiting for stragglers.

“…Take pictures and sail east. Should get the tourists pouring back.” Alex grinned, spread his arms wide. “The Kraken of Tristan da Cunha.”

I shook my head, limped towards the makeshift dais. He was young but had an old-world way of thinking.

The last of the researchers shouted something about samples and universities. More old-world thinking.

I could not let two mainlanders throw something like this away, because they dreamed of a world that had probably been burned to ashes.

I got through the crowd, glanced at the abandoned canning equipment. It would drain our last diesel reserve, but only an idiot chose diesel over food.

“Cut it up and can it.”

The researchers turned green. I could not help smiling.

Kraken probably would taste like shit, though.





Tobias Backman is a Danish fantasy and science fiction author. He dreams of writing novels one day, but right now his attention span is limited to the shorter side of fiction. His stories have previously appeared in magazines such as Daily Science Fiction and Grievous Angel. He occasionally rambles about stories and writing in general over at www.tobybackman.com.




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The Pete Wood Challenge
is an informal ad hoc story-writing competition. Once a month Pete Wood spots writers the idea for a story, usually in the form of a phrase or a few key words, along with some restrictions on what can be submitted, usually in terms of length. Pete then collects the resulting entries, determines who has best met the challenge, and sends the winners over to Bruce Bethke, who arranges for them to be published on the Stupefying Stories web site.

This time the challenge was to write a flash fiction story of no more than 175 words in length, set on the island of Tristan da Cunha, “the most remote place on Earth.” It’s a fascinating place. When you have spare time, you should read the Wikipedia article about it.

You can find all the previous winners of the Pete Wood Challenge at this link.

More stories to come!

Sunday, May 5, 2024

The Week in Review • 5 May 2024


Welcome to The Week in Review, the weekly round-up for those too busy to follow Stupefying Stories on a daily basis. The theme for this week was “April showers bring May flowers,” so we published five stories at least tangentially related to this notion, plus continued our conversation on the topic of AI-generated narrations for audio books. One of these days we’ll have to use Amazon’s A.I. to generate an audio book of René Descarte’s Discourse on the Method of Rightly Conducting One’s Reason and of Seeking Truth in the Sciences. That way, we really can hear an A.I. say, “I think, therefore I am.”


“Symbiosis” • by Jeannie Marschall

The humans came to this planet to study the ecosystem. They didn’t expect to become a part of it.

Published: April 29, 2024

“The Flowers I Grew for Her” • by Avra Margariti

Continuing with this week’s theme… oh, I’m not going to give you any spoilers. You’ll just have to read it.

Published: April 30, 2024

The Never-ending FAQ: A.I. and U 2

Continuing our discussion of A.I.-generated audio book narration. No Irish rock bands were involved. However, Brown Swiss cows were.

Published: May 1, 2024

“Rocket Spring” • by CB Droege

“You know, the weather on your planet would be much nicer if it was just a bit closer to the sun. You don’t mind if we move it, do you?”

Published: May 2, 2024

“The Phoenix in the Rain” • by Michael Ehart

In which we jump a few years into the future to catch the last-ever performance of Rigoletto in the Gran Teatro La Fenice. It was beautiful.

Published: May 3, 2024


“Seedling” • by Eric Fomley

We end the week with the sort of happy little tale we’ve come to expect from the writer who prefers to be known as “Prince Grimdark.” Feed me, Seymour!

Published: May 4, 2024


Next Week: The Pete Wood Challenge returns, with new stories from Tobias Backman, Brandon Case, Kai Holmwood, Kimberly Ann Smiley, and Ian Li!


Saturday, May 4, 2024

“Seedling” • by Eric Fomley


“Doctor Mendez found a clue to our missing research team, but she needs your help,” the captain says in my comm. “Do you mind checking in with her, we’ll head there too.”

“Copy,” I say. The habitat is a labyrinth of hallways connecting small labs and crew quarters. The emergency lights do little to light the way. My heart thrums in my chest, mirrored as an alert in my visor.

I’d told the captain I didn’t want to spread out when we left the shuttle. The air on this planet is not healthy to breathe. The flora outside the habitat’s windows looks dense and twisted. Anything could have happened to the research team. He’d told me I was skittish.

I find the doctor’s bio sign and traverse the narrow halls.

“You needed a botanist?” I ask, as I step from the narrow corridor into one of the habitat’s small labs.

Doctor Mendez doesn’t respond. She leans over a prone human in an orange environmental suit. When I step closer, I notice the faceplate is shattered. A purple bioluminescent flower bursts from where the victim’s face should have been.

My guts twist.

“What the hell is that?”

“I was hoping you might be able to tell me,” she says. Her scanner band bounces between peaks and valleys.

I tighten the muscles in my stomach, willing myself not to puke, and kneel beside the victim.

The flower has four long leaves with a central bud. It pulses, the phosphorescent glow more intense every third or fourth second. Almost like breathing.

That’s when I notice the rise and fall of the victim’s stomach.

“Oh my god, are they still alive?”

Mendez meets my gaze. She looks spooked, like I’ve never seen her. It unsettles me more than whatever lies between us.

“Something is. But I can’t make heads or tails of it. The vitals I’m getting don’t make any sense. I wanted to know your thoughts as we’re dealing with something from both our backgrounds.”

I nod, close my eyes, and suck in a breath of filtered air to clear my mind.

When I open them, I grab my own scanner from my pouch. The readings are bizarre, but my device is different from Mendez’s. “It seems to have a mix of human DNA, but the structure in the body is changing. Its roots feed on the victim’s veins, worming their way deeper into the circulatory system.”

I stop and look at a patch of floor away from the victim to keep my breakfast down.

“I came to the same conclusion,” Mendez says. “So, what we’re dealing with is no longer human, but not quite plant, it’s an all new creature.”

My comm crackles. The captain’s voice, but I can’t make anything out between bursts of static.

“Try again, Cap.”

A short crackle, then silence.

Footsteps approach from the hall. Slow. Heavy.

Mendez looks at me. I shrug because I don’t know who it is.

“Captain is that you?” Silence in the comm. “Captain, do you copy?”

The sensors in my suit malfunction. I can’t detect anything beyond this room. I start to rise. Doctor Mendez looks over my shoulder, eyes wide.

A huge creature blocks the door, a flower bursting through its helmet. The suit it wears is torn in several places where additional appendages breach, curling with dozens of ivy tendrils that squirm like cilia.

Mendez approaches it, palms out. “We’re here to help you.”

It croaks and surges forward, wraps its vines around Mendez and slams her against the metal wall.

“Mayday Mayday! Captain, we need help.”

I search the room for something to attack with, grab a chair, and launch it at the creature.

It bounces off and clatters to the floor.

Mendez’s screams end in a sick crunch.

I turn to run. Something grabs my ankle. The victim we’d scanned. I pull hard but the grip is a vice.

I grit my teeth as I scream and kick the creature. It pulls me to the floor. Pins me with both hands and shifts its weight onto me.

As I look up at the bud in the middle of the flower, it opens. Inside is the face of one of the researchers, his face locked in a permanent scream, dead milky eyes stare into mine. It vomits onto my faceplate.

No, not vomit. Pollen covered in acidic mucus.

Shards of ice jolt through my veins. I try to push it off me, but the inhuman strength pins me to the steel floor.

I gasp in the cool air until the mucus on the faceplate starts to sizzle and the fresh, cool air turns bitter. The pollen enters my lungs.

I scream and close my eyes.



 


E
ric Fomley's stories have appeared in Clarkesworld, Daily Science Fiction, Galaxy's Edge Magazine, and many other places including, of course, here on Stupefying Stories, where he’s been a fairly regular contributor since 2021. (We’re particularly fond of “Getting Sponsored.”) You can find more of his stories on his website, ericfomley.com, or in his Portals or Flash Futures collections. 

You might also want to check out our mini-interview with him, “Six Questions for...”, which ran last August.


Friday, May 3, 2024

“The Phoenix in the Rain” • by Michael Ehart

 

Jerry settled into his seat as the orchestra began the preludio

Maria took longer to settle into hers. Her hip injury was bothering her again, and the seats were a little damp. They weren’t used to sitting in the orchestra seats, so close to the stage, but they were the best that were still available.

The audience was thin today. You would think the final performance of Rigoletto at Teatro La Fenice di Venezia would be packed, or at least well attended, but maybe there just weren’t that many opera fans in Venice anymore. Still, this was the theater where it was first performed, in 1851.

Jerry had loved the opera since he was a kid. A friend had tricked him into attending a concert with Shirley Verrett, whom he had just barely heard of. She came onto the stage, a tiny middle-aged black woman, and waited for her cue with a half-smile on her face. Then she opened her mouth, and Jerry was transfixed. After what seemed moments later, but was at least 90 minutes, the crowd was on their feet, waves of applause washing though the auditorium. He went home in a daze and dreamed of sopranos. That night, the hall burned down. He liked to think that it was because there was nothing left to be sung there.

The soprano singing Gilda, Rigoletto’s daughter, was no Shirley Verrett. Her voice was thin and wavery, and between phrases she coughed discreetly into a handkerchief held in her left hand. Also, the lone viola was having trouble keeping its tune, perhaps because of the damp.

Charmingly, in the third act, the storm scene, it started raining hard enough that Maria was forced to open her umbrella. It pattered though the hole in the roof onto the rake of the house, and ran down into the pit, further flooding its already soggy expanse. After the roof collapsed a few months ago, they had moved the orchestra onto the stage. That was okay because the company was down to less than a dozen players. Many parts were doubled up, and the crowd scenes just had to be imagined. It was part of its charm that Rigoletto could be done with fewer players. It was too bad that they had lost the tenor, Vitorio, a few weeks before. He had just disappeared, like so many others, swallowed by despair.

In due course, Sparafucile, who doubled as Count Ceprano, stabbed Gilda, Rigoletto prepared to throw the sack with her corpse into the river, but discovered that it was his dying daughter, who still had enough breath to sing a final aria, though by now interrupted by near constant coughing. The orchestra stumbled to a close, and with Rigoletto’s cry of “La maledizioe!” it was done.

There was scattered applause, and the thirty or so opera lovers filed out around the waterlogged chairs and broken chunks of fallen gilt plaster from the balcony façade. Jerry helped Maria as best he could, but to be honest, he wasn’t all that spry himself. They hobbled together into the Campo San Fantin, and then over the rickety makeshift wooden bridge to the Piazza San Marco. They made their way around the edges of the square, sheltered from the rain, but the water was ankle deep and filthy. Maria hitched her dress up over her green Wellington boots, and they splashed in silence to the Doge’s palace, where they were staying, along with several other survivors from Maria’s cruise ship. They could see the hull of it though the drizzle to their right, run aground in the lagoon, listing and scorched from the blast. 

Most of the world was worse, of course, buried under the snow of Nuclear Winter, but Venice, Queen of the Sea, was drowned by three years of ceaseless rain.

“The final performance of Rigoletto,” Jerry said aloud. “Maybe the final opera, ever.”

Maria didn’t reply, of course, but she nodded. Her vocal cords were scorched when she screamed in the blast. She was a beauty, before the burns. She folded her umbrella, straightened her dress.

Rigoletto. A good choice. And the end of La Fenice.” He stared out from the overhang at the remains of Piazza San Marco. He remembered it being full of happy, bustling tourists, before. Now a bare half-dozen figures skulked along the edges as they had, trying to avoid the unavoidable rain.

“You know, La Fenice burned down four times in 300 years? Each time they rebuilt it, a true phoenix, reborn out of the ashes. Now who will?”

Maria shrugged, and turned to go in.

“Fire couldn’t destroy it. Fire couldn’t destroy the Phoenix, but rain did.”

 




Michael Ehart
has been at various times all the expected things: laborer, seminary student, musician, shoe salesman, political consultant, teacher, diaper truck driver, stand-up comedian, and the least important guy with an office at a movie studio. He made his first sale to a magazine at age 15, which means he has been writing for over 50 years, with the aforementioned occasional breaks for gainful employment. He lives in the upper left hand corner of the United States with his wife and youngest daughter.




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Thursday, May 2, 2024

“Rocket Spring” • by CB Droege


We howl.

We can feel the change coming to our little home. The cold nights we have grown so accustomed to over the last eighty generations on this ball of ice and rock are growing warmer.

We knew it was coming, and we could see it in the measurements as each year passed, but for the first time, we feel it in our bones, we fluff our fur and roll in the snow to cool our skin.

We howl.

The rocketfolk, who claim to be our cousins, said that this would happen. They say it’s a good thing, that life will be easier when the vast fields of ice can flow toward the valleys and become permanent oceans, that this was always what was meant to happen here.

They say more pups will survive to adolescence if Sol is larger in the sky, as it has become slowly over a lifetime. The oldest of us can remember when Sol was just another star in the sky. A very bright star, but just another star. Now it is a clear presence, a sun, lighting up the landscape the way the rocketfolks’ electric lights do.

We have a little lake already. Enough water to drown in, and some of us have, but we’re learning. Someday, perhaps we’ll swim.

In that future, we’ll have a sky. Blue and white they say it will be, but none of us alive now will still be here to see it. Our great grandpups will see the sky when they are old, and their children will rule over a world of dirt and water and flora, with food and space in abundance. And another, larger world will hang in the sky.

More of the rocketfolk will come then, and live here with us. If there will really be so much food and space, perhaps it will not be so bad. They do seem kind.

The rockets flare in the distance, shooting flame into the sky and pushing our ancient home just a little further toward its distant new home.

We howl.



 

CB Droege is an author and voice actor from the Queen City living in the Millionendorf. His latest book is Ichabod Crane and the Magic Lamp. Short fiction publications include work in Nature Futures, Science Fiction Daily, and dozens of other magazines and anthologies.

Learn more at cbdroege.com




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Wednesday, May 1, 2024

The Never-ending FAQ: A.I. and U 2


Continued from last week

We’ve received a lot of questions lately about our recently released AI-narrated audio books, mostly revolving around why we did them and what the process entailed. Before we go any further, here’s the list of books we’re talking about. Free samples are available at the links. I’d encourage you to go listen to at least two samples—say, Emerald of Earth and The Counterfeit Captain—before forming an opinion.

Amazon AI-generated “Virtual Voice” narration
Emerald of Earth
The Midnight Ground
Hart for Adventure
The Recognition Run
The Recognition Rejection
The Recognition Revelation


Actual Living Human narration

The Counterfeit Captain
The Fugitive Heir
The Fugitive Pair

Our reason for doing the AI-generated audio books was simple: we were offered the chance to participate in an Amazon Beta program, and we thought we’d give it a try. We’ve been interested in adding more audio books to our lineup for a long time, but The Counterfeit Captain, The Fugitive Heir, and The Fugitive Pair were hellishly expensive budget-busters to produce, and the voice actor we booked to do The Midnight Ground never did deliver finished and usable files. 

So we figured: why not give this Beta a try? We can always pull the audio books from release if we don’t like the results. We picked Emerald of Earth as the first test subject because the idea of using Amazon’s AI to narrate a novel about an evil AI bent on world domination was just too ironic to resist.

When Amazon’s AI generated and published the 8-hour-long audio book in less than two hours, as compared to the weeks it took to produce each of our human-narrated audio books, that was when we decided to generate audio books for The Midnight Ground, Hart for Adventure, and the Recognition Run trilogy, to see how they turned out.

Q: Will you be producing audio books for Stupefying Stories?

A: No. We don’t buy the audio book rights to the short stories we publish. Therefore, AI narration or not, we won’t be publishing audio book editions of Stupefying Stories. We do have an audio book edition of The Odin Chronicles in the works, but this was created using living human narrators.

I would like to put together a collection of short stories narrated by their authors, but the logistics of doing so make this a blue-sky dream, not a practical project.

Q: How did you select which books to convert? 

A: Amazon did the initial selection based on something intrinsic to the epub files to which we are not privy. They presented us with a list of our books they said were suitable for conversion. We selected the ones we wanted to convert.

Q: What can you tell us about this Beta program?

A: Not much, I’m afraid. I’m sworn to secrecy. I can tell you though that this does seem to be a real Beta program. They’re frequently asking for feedback, and do seem to be taking our input seriously. I’ve already seen two of the issues I’ve raised addressed in program updates. Every time they issue a new update, they invite us to re-generate the books, to take advantage of the new changes.

Q: How much control do you have over the virtual voices?

A: At this time, not as much as I’d like. Amazon initially provided us with eight virtual voices from which to choose, which amounted to these polarities: male-sounding or female-sounding; American accent or British accent; and “tense” or more relaxed sounding. (Yes, that makes eight choices. Two to the third power, you know: 2 x 2 x 2 = 8.) We were required to select one narrative voice for the entire book, and had some limited ability to fine-tune pronunciation on a word-by-word basis, but not much.

The first thing I asked for was the ability to assign narrative voices by chapter, rather than by book, because we have some books in which the story is told from alternating characters’ viewpoints. The second thing I asked for was greater age range in the virtual voices: right now all the A.I. voices sound middle-aged. I’m told both these changes are in the works and will be rolling out later this year.

Q: Wouldn’t it be cool to have [insert your favorite wish-list item here]?

A: Yes, it probably would. But remember, this is a Beta program, and the objective here is to use the power of A.I. to generate a serviceable audio book straight from the Kindle e-book file without having to do a lot of extra markup coding.

I for one would dearly love to have a full and proper audio book markup language, incorporating elements of both IPA and music notation, so that I could really fine-tune the pronunciation, pitch, pace, timing, dynamics, and delivery of the lines by the virtual voices. But having that would require us to produce yet another source file, which would blow the whole point of being able to produce the Kindle, print, and audio book editions all from one common source file.

At the same, I realize that having such a markup language would really play to my perfectionist tendencies. Remember, I’m the sort of person who could spend six hours in a recording studio trying to get the perfect three finished minutes on tape. If I had such an audio book markup language, I would waste ungodly amounts of time trying to get the narration absolutely perfect, and that would be a huge mistake.

I have written both scores and scripts. Part of the charm of working with living performers live and in real time is that you don’t have total control over what happens on that stage; you can only provide your performers with a framework for what you want them to do and then hope they follow it. Until A.I.s can flub a line or miss an entrance and then try to ad lib and improvise their way out of it, A.I.s will never truly be able to replace humans.    

Q: How come there’s a photo of cows at the top of this column?

A: To illustrate a point. I took that snapshot with my phone the other morning, and to my surprise, as soon as I framed the shot, my phone recognized the scene as a pastoral landscape and launched an A.I. filter to “enhance” the photo by making the grass look more lush and green and smooth-out the colors of the cows. I didn’t even know my phone’s camera had A.I. software in it. It didn’t used to. It must have been something that was downloaded during the last software update.

This is the way A.I. is going to come into your life. It’s not going to be a single thing that sits up one day and says, “Cogito, ergo sum.” It’s going to be a swarm of little enhancements and apps that slip into your life quietly through the back door, and then patiently wait for opportunities to start making subtle but significant changes to everything you see and read…

And write.



 

If you like the stories we’re publishing, become a supporter today. We do Stupefying Stories out of pure love for genre fiction, but in publishing as in tennis, love means nothing. To keep Stupefying Stories going at this level we need to raise at least $500 USD monthly, and rather than doing so with pledge breaks or crowd-funding campaigns, we’d rather have supporters. If just 100 people commit to giving $5 monthly, we can keep going at this level indefinitely. If we can raise more, we will pay our authors more.

Please don’t make me escalate to posting pictures of cats in sombreros…

Tuesday, April 30, 2024

“The Flowers I Grew for Her” • by Avra Margariti


Ciara asks me to the summer festival a month after my adoption from foster care. 

All growth spurts and brown eyes, she’s the first of my classmates to welcome me to my new town. When we first kiss under an awning strung with fairylights, the flowers in the pots and wreaths around us bloom wild and fragrant.

The night before her parents ship her off to boarding school, Ciara presses her lips to mine as if for the final time. “I’m sorry, Emily,” she sniffles, pulling away from me: her parents’ goal all along.

She leaves behind the scent of cut roses dying in their vase.

§

Cecily wants to make apricot jam. She doesn’t order me to stop moping around the house and go shopping with her. When she starts the car, however, she leaves the passenger door open in invitation. I cross our front garden, the April grass crunching dry and brittle beneath my feet. My adoptive mother prides herself on our garden’s biodiversity. But now most plants have yellowed. Their leaves stick like hay to my sneakers as I climb inside the car and let Cecily fiddle with the radio in silence.

While Cecily inspects the fruits in the produce aisle, tutting at the bruised skins among the apricots painted like a tie-dye sunset, a shopping cart bumps into ours.

“Excuse me,” the woman behind it says. Once she takes a better look at me, however, she falls silent. I recognize her as Ciara’s mother, dressed in a business suit, holding herself prim and proper.

“Why?” I ask, the word like a sob ripped out of my throat. Why did you steal her from me? Why did you take away my sunlight?

“I don’t know what you’re talking about,” Ciara’s mother insists, but her eyes tell a different story.

She’s even taken Ciara’s phone away and had the school destroy all my letters addressed to her.

Cecily comes up behind me, laying a gentle hand on my shoulder—when did I start shaking? Under her calm stare, Ciara’s mother huffs and wheels her cart away.

I turn around to thank Cecily, but she’s no longer looking at me. Her eyes are wide as they take in the apricot still held in her palm. Black juice oozes between her fingers, the formerly pastel-colored fruit now a shriveled, charcoal stone.

I whirl around the produce aisle. Every fruit and vegetable has suffered a similar fate.

§

Soil cracks like poorly fired pottery. Shrubs and herbs wilt dead, while ash-gray flowers fold in half on groaning stalks. Everything smells like rotten tomatoes and sickly-sweet nectar, like milk spoiling in the sun.

Cecily’s beloved garden, ruined. We worked on it together after we moved here, the first thing we did as a family. Side by side, hands in the dirt, roots safely cradled by the soil, and for the first time I felt cared-for and content.

When I don’t emerge from my bedroom all day, she knocks gently on my door.

“I’m sorry about your garden,” I mumble against my pillow. I can’t look at her face in the doorway, for fear of seeing the anger I deserve. “I don’t know how to make it stop.”

“Don’t be sorry,” she says, her weight settling on the bed beside me. “You did what you had to do. Externalized your emotions so you wouldn’t feel like this on the inside.”

I turn around to face Cecily. Her expression is sad but determined as she gently settles her hand over the bedcovers. “Emily, I don’t want your heart wilting and withering.”

“But I miss her,” I whisper, and even the words hurt. “There’s no Spring without her. She has no flowers in that gray, cold place.”

I’ve heard of the boarding school Ciara has been exiled to, and it’s little more than a luxury conversion camp. She feels so far away from me, she might as well have been trapped in the Underworld.

A warm smile spreads across Cecily’s face. “Then why don’t we bring Spring to her?”

§

Ciara stands in her dorm room’s second-floor window, shadowed by the metal bars trapping her inside. Her smile glints silver in the darkness, and I feel like a wingless magpie.

“Emily! You’re really here,” Ciara exclaims, a balmy breeze caressing my skin. It comes as a relief that the teachings of shame and self-hatred haven’t changed my beautiful girl.

I close my eyes and picture her safely held in my arms, her lips on mine, my hand in hers. The limp rose bushes around the steel-gray building quiver. Sparse ivy shoots forth vines that climb up the wall and rip the bars away from the window. The vines twine into a swing, cradling Ciara as she is lowered onto solid ground.

I offer her a single pink rose. If I play it cool, maybe she’ll ignore the tears staining my cheeks.

Cecily, who has been watching the scene unfold from a respectful distance, clears her throat. “I’ll start your getaway car.”

Ciara lunges into my arms, causing us both to fall onto the ground. I expect my back to hit hard soil. Instead, we’re both hugged by silk-soft grass.

“It’s okay, you don’t have to go back,” I say.

Ciara shudders in my arms. She holds on tighter.

When the gates open and angry adult voices reach us, we scramble upright and run to Cecily’s car, piling into the backseat.

“Girls,” Cecily greets in her unflappable voice. “Fasten your seatbelts, we’re going home.”

“Home?” Ciara asks, looking between us with her huge, brown eyes.

“Our home,” Cecily clarifies, “until we figure things out. My guest room is yours for as long as you want.”

All the way back, Ciara nuzzles the crook of my neck. Inside every pothole and through every crack in the tarmac, resilient dandelions bloom.



Avra Margariti
is a queer author, Greek sea monster, and Rhysling-nominated poet with a fondness for the dark and the darling. Avra’s work haunts publications such as Strange Horizons, The Deadlands, F&SF, Podcastle, Asimov’s, Vastarien, and Reckoning. You can find Avra on Twitter @avramargariti.

“The Flowers I Grew for Her” was first published in If There’s Anyone Left.




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Monday, April 29, 2024

“Symbiosis” • by Jeannie Marschall


It was almost time. Tension saturated the air, thick as treacle and just as stickily sweet. Soon the trees would make their move and then all hell would break loose, with heaven nipping, razor-toothed, at its heels.

We should be safe at home, as Leadership had decreed, behind the locked sliding doors and steel-shuttered windows of our settlement’s domed houses, while the almost-palm-leafed forest seethed outside. Yet when had humans ever listened, particularly when the risk was this thrilling and the prize this honey-glazed?

So we pretended to huddle obediently in our rooms and workshops and laboratories, staring right through research papers or aimlessly tinkering with our equipment, music playing in the background to drown out the sound of feet and claws and pincers outside. The creatures of this wild place were restless, searching for bounty that was dangled so close but would not be given, not yet. Even we could feel the drag on our bones, beckoning us, luring us. Won’t you come out, won’t you run with them, get ready, get ready…

We resisted, because there was no sense in letting our instruments drop from our shaking fingers yet. We were still rational enough. You couldn’t reach the pods before they were ready. High up between the fronds, guarded by spikes and poison and a vine-lashing parent’s snarling protectiveness, there was no getting at the glossy, football-sized treasure chests before their time. All the way back at the beginning of their cycle, there had been no incentive to do so, either: the trees knew which substance to release into the air to repel any cradle-robbers as their young matured. Only later—only now—did they change the dance of molecules seeping from their pores into something riveting; something irresistible; something that, ever since we witnessed it for the first time a year and a half after this colony’s foundation, had driven Leadership into fits of uptight rage, making them insist that order and control had to be maintained throughout this night.

This planet had other ideas, millions of years’ worth of plans of reproduction, of proliferation and distribution. We were the distributors. We were not allowed to resist.

More than that, hidden in the tremors of our lungs and the sideways glances we cast at the cameras we knew Leadership was watching us with: we didn’t want to resist.

What for? whispered on the sugar-stained air that we could not filter in any way that mattered. What’s the harm? A few limbs missing, a little blood lost? So what, in the grand scheme of things? So what, when all we wanted to do was live, all of us, just as we were, in all our motley, awkward, gangly, scarred and stretch-marked, perfectly imperfect glory?

After another hour or another lifetime of waiting in something very akin to agony, when we were almost ready to tear our skins off, already shedding the scratchy layers of cloth from our over-sensitised bodies—finally, finally, with a coordinated cracking wave—the trees broke open their seedpods and scattered their forbidden fruit all over the forest floor in a final eruption of scent, saccharine and beatific. They were the emperors distributing gifts to the tumbling masses, and every single creature, born of this planet or not, went into a frenzy. We burst out of the husks of our homes and ran among the many-legged alien shapes large and small that were scrambling between the trunks, and knew that for all their high-and-mighty speeches, the domes of Leadership, too, would stand empty.

Screams and hisses and our colleagues’ shouts rose in the air as we all scrabbled in the dirt for the sweet bounty of the forest, wrestling them from each other’s hands, talons, beaks, slingers, and stuffing them in our various mouths with gasps of laughing, shrieking, warbling ecstasy that filled the forest, while the trees swayed and sang and waited for us to devour every last one of their children. Too drunk on the drug-drenched air, too ravenous to do anything but gobble up and swallow the wrinkled, brown, thumb-sized fruits, our myriad teeth would miss the precious, armoured kernels within. We’d do as the trees asked—feed, rave, race about, roll in the rich, dark soil as we fought, or sang, or fucked—and then, much, much later, in the cool, still, early hours of the morning, the assembled creatures would break up and slink back to their dens, carrying the next generation of forest giants off to where they might fall, creating a far-flung nursery of palm-like trees very similar to Earth’s Phoenix dactylifera from the ashes of our excreta.

Bruised and sated, leaning on each other’s always-infinitely-beautiful bodies, all drowsy and gloriously filthy and feeling nearly reborn ourselves, we humans would look into the rise of an opalescent sun and know that come next year, rules or no, we’d all be just as wholly not-sorry to be recruited into the nocturnal celebration of what we, with inane grins, had come to call Date Night.

 

 


 

 

Jeannie Marschall is a teacher from Germany who also writes stories and poems, mostly of the fantastical and queer variety. The other half of her time is filled with hiking, foraging, and tending a semi-sentient wild garden.

Find more of Jeannie’s works at Black Spot Books, QueerWelten Magazine, or Snowflake Mag. Longer works are brewing and almost ready for consumption.

BlueSky: @JeannieMarschall.bsky.social 

 

 

 

 



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Sunday, April 28, 2024

The Week in Review • 28 April 2024


Welcome to The Week in Review, the weekly round-up for those too busy to follow Stupefying Stories on a daily basis. This week we published five stories, opened a can of worms, and said goodbye to a friend.

 

“One for the Road,” by Sean MacKendrick

In celebration of Earth Day, we need a good stiff drink. Maybe two.

Published: April 22, 2024


 

“Is There Anybody Out There?” by L.N. Hunter

Continuing with our week-long celebration of Earth Week, we take a few steps further out. And then a few more…

Published: April 23, 2024


The Never-ending FAQ: A.I. and U

Normally we flee from controversy like a startled guinea pig, but today we dive into the very hot topic of A.I. and the creative arts. Let the arguments begin.

Published: April 24, 2024

“The Heartbeat of Ashentown,” by Michael M. Jones

Everything has a natural lifespan; even a city. Here’s how it ends. 

Published: April 25, 2024

“Ragnarök on Ice,” by Probert Dean

This is the way the world ends. Not with a bang, but with a hell of a party.

Published: April 26, 2024


“Last of its Kind,” by Nyki Blatchley

Today we wrap up Earth Week with a trip to the Museum at the End of the Universe, to take one last stroll through its legendary galleries.

Published: April 27, 2024

Vaya con Dios, Ray Daley

With sad hearts we report that Ray Daley, frequent contributor and stalwart supporter of Stupefying Stories, has left the planet.

Published: April 27, 2024