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Mermaid stories and selkie stories, mother Eve stories, they always start the same way: with curious girls who want to know. So they leave their homes and lose themselves, but only for a time. Mermaid stories and selkie stories, mother Eve stories, they always end the same way: heads bowed, hearts heavy, they go back. They go home.
Three more big swallows should keep the beast inside. Lupita sat against the wall, on the kitchen floor littered with broken glass, panting from the pain, clutching the canteen in one hand, the bottle cap in the other. Her body screamed for her to stop drinking the liquid fire that would keep her human for another day.
On Yom Kippur, the holiest day of the year, David Lev descends into the library, flouting both Jewish law and university regulations. The building is closed, and he is supposed to be praying, or at least meditating thoughtfully on the wrongs he has committed over the past year, not committing new ones. This is an unfamiliar scale of sin for David, a rabbinical student whose usual Yom Kippur regrets are things like only skimmed a reading and said he’d read it or should call his mother more often. Breaking and entering, not to mention violating the most sacred day of the year, are new ones for him.
A girl is born with a hole in her heart. Her parents cannot touch her for weeks; instead, they whisper in immigrant languages over the rune-inscribed plastic tube in which she sleeps: terrified, for the first time, of death. She is so tiny—fists small as a doll’s, fingers the clenched sepals of some infinitesimal flower—and as they watch the tufts of her hair, her mouth opened in a cry no one can hear, a love swells in them so fierce and pure it hardly fits their skin.
The sound they’ve all been waiting for finally comes at night. It’s a melting pot of noise ingredients: howls and claps, cries and stomps. Laughter and shrieks are sprinkled in like cayenne powder. It isn’t long before the sound crescendos, the pot overboiling with a furor that calls hearts and stomachs. Deron scrambles to the window, momentarily forgetting his tablet and the buggy application he’s been working on.
When I was a little girl, I’d experience premonitions, like the time I sensed that Mrs. Weatherby should stay home and not take her usual walk around the neighborhood, but of course she did anyway, because who listens to a six-year-old? and got caught in the grill of a self-driving car, which were everywhere in those days, like the kudzu climbing up every tree, swallowing abandoned houses like the old Ripken place, where I’d sit for hours, where there was no sound but birdsong (so much birdsong then, and I didn’t know to treasure it) and in that decaying house the vines were invading so fast I believed I could hear them grow, which was ridiculous, since back then nothing grew that fast.
Baron Samedi pounds the drums and the whole floor shakes. That’s his thing, earthquakes. I heard the Skull Suckers played Santa Monica and the Baron literally brought the whole place down during a blistering solo of “The Devil May Ride.”
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This issue's cover art by
chainat / Adobe Stock Image.
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