Flash the Court

Category: Prose Poetry

  • “Ladies Prefer Blonds: Fragments of an Undoing” by Ali McKenzie-Murdoch

    “Ladies Prefer Blonds: Fragments of an Undoing” by Ali McKenzie-Murdoch

    “Ladies Prefer Blonds: Fragments of an Undoing” by Ali McKenzie-Murdoch is a prose poem that fixates on one deceptive word: rubio, which means blond but with bloodred roots. But it’s also a flash fiction that tells the story of a woman enmeshed in an obsessive love: “Red says danger.” Readers must parse blond from blood, light from dark.  —Court Harler

    Rubio, they call him. It makes her skin burn. Clio mouths it like a secret, as if saying it will bleach her tongue. Golden, honey, caramel, strawberry. Blond as seduction, as light, as warmth.

    Rubio comes from rubeus, red—not golden. Bloody. Not the chill flaxen tresses of northern fairy tales, but the burn of the south, the sun, his gaze.

    In German fairy tales, gold is the reward. The endless braid. Escape, spun from strands.

    Real or from a bottle?

    In Renaissance Venice, women bleached their hair with horse urine and lemon juice, lying on sun-soaked roofs. Blonde, they believed, was closer to the divine. The sting, the smell, the heat.

    The first boy Clio ever kissed had hair tousled with salt and sand. She remembers his cool blue sun-cream scent but forgets his name.

    Blond is not a colour. It’s an obsession.

    Toria once told her, “You like blonds because you think they’ll be softer.”

    Later, Clio will learn that blondness cuts.

    When did she start seeing only fair-haired men in every room? Not the albinos—all sunburnt necks and white lashes—but sand-coloured men, sculpted from the beach. The ones who fall between the dark and the light.

    She thinks she’s chasing illumination. Or is she chasing erasure?

    Ru-bi-o. Almost Rubicon. The river Caesar crossed—a point of no return.

    He calls her morena. Dark. Sometimes it feels like a compliment. Sometimes it presses against her skin.

    In Rome, ruber meant red like rust, wine, wounds. The raw underside of things.

    His comrades call out Rubio across the parade yard, across the beach, their voices laced with soft mockery. His hair clipped close, but not sharp. More like a dull-edged sword.

    Blondness is recessive. Like power, it must be fed.

    Clio kept her childhood hair in a box, wrapped in tissue paper. Her mother burned it when she turned twelve, leaving the room smelling like melted sugar and loss.

    She once wrote his name in lipstick on her inner thigh. Not a blond mark, but rubeus. A red closer to violence than romance.

    The light in Ceuta bores into Clio, hard and brilliant as peroxide.

    Sometimes she catches herself staring at the backs of fair-haired men in cafés, in airports. Not desire, but recognition of blanched hope.

    In Marrakesh, she saw girls selling blonde hair extensions. Gold packaged in plastic. Dreams plastered over darker scalps.

    With age, his hair has darkened—like bruised fruit, like lead white in an old painting. Blackening.

    Later, she will see his name as a warning. Rubio. Rubious.

    Red says stop.

    Red says danger.

    Red spills when skin breaks.

    In the end, it won’t be his blondness that undoes her, but his distance.

    Ash. Platinum. Dishwater.

    These are the shades Clio will paint herself in shame.

    Naming the lightness won’t keep him from slipping into shadow.

    To know him will leave her marked with a darker hue.

    She thought she was chasing light.

    Now she knows it was only heat.

    And heat leaves ash.

    ALI McKENZIE-MURDOCH’s work appears in X-R-A-Y, Fractured, Your Impossible Voice, Litro, Bending Genres, and more. Her work was shortlisted for the Bath Flash Fiction Award 2025. She’s working on a novella-in-flash about liminal spaces—theatre stages, no-man’s-land, the foreshore—places where boundaries blur.

    Featured image by Paolo Gregotti, courtesy of Unsplash.

  • “What It Takes, What It Gives” by Cheryl Pappas

    “What It Takes, What It Gives” by Cheryl Pappas

    “What It Takes, What It Gives” by Cheryl Pappas is a prose poem, an ekphrasis, and a eulogy. Impressions of life; remainders of death. The bold hues and shapes taken from Lee Krasner’s 1971 Palingenesis are reawakened in words: a passing of souls from paint to page.  —Court Harler

    After Lee Krasner, Palingenesis

    My soul is a splendid, manufactured thing,

    creaking cranes and wrecking balls—

    the noise keeps me up at night.

    Hard edges smoothed with berry cream, mixed with hard-earned blood. Generations get rebirthed when bodies from my past crush into molten ash.

    I can smell the talcum powder from here.

    Multitudinous shapes linger on my tongue (how insensate I am depends wholly on pressing tasks at hand): black patent leather shoes, jackets used for blankets during the war, a hypodermic needle, a vinyl record, a candle.

    Holiness is a crowd of color, clanking in greens and pitched pinks, barely contained, but held. I spin out new levels like fans twirling fast back into the bowels of earth.

    I am my brother

    I am my father

    I am my mother

    They are dead.

    I am food

    Let it begin.

    CHERYL PAPPAS is the author of the flash fiction collection The Clarity of Hunger, published by word west press (2021). Her work has appeared in swamp pink, Fractured Lit, Wigleaf, Hayden’s Ferry Review, SmokeLong Quarterly, The Chattahoochee Review, and elsewhere. She is a 2023 MacDowell Fellow.

    Featured image by Michael Hamments, courtesy of Unsplash.

  • “Farmed Out” by Katrina Irene Gould

    “Farmed Out” by Katrina Irene Gould

    Ever wonder about the person who grows “your potatoes and greens”? How they spend their days and cold-cold nights? How they rise “earlier even than the crows” to a “black sky” to plant and harvest and plant and harvest in a never-ending cycle of work and work and more hard work? Katrina Irene Gould provides a glimpse of the grower’s life in her new prose poem, “Farmed Out.” What’s “love” got to do with it? the speaker wants to know.  —Court Harler

    Soft-gray dreams give way to a black sky, pinprick stars, a new moon. Long johns, scratchy wool socks, boots she’s learned to upend and shake after that one squishy-mouse time—never again, thankyouverymuch. The iris bulbs in the mudroom fail to cheer her. They wait, as she does, gnarled and dirty, for when the sun will unfurl their impossible, velvety, muzzle-soft petals.

    You’d like to think the hush of the barely-morning still shakes awe into her, but today the barnyard is a frozen sea, her careful steps—she’s awake earlier even than the crows—compelled by habit and obligation. So what if your potatoes and greens weren’t harvested with love most days? Who else do we ask to love their work so much that in the consuming of it, you feel their care? That can be your dream: that in this coal-black morning, a person has risen to make you feel loved.

    KATRINA IRENE GOULD has spent thirty fulfilling years counseling in Portland, Oregon. ​Her writing ​has appeared in Dorothy Parker’s Ashes, The Gilded Weathervane, HerStry, Glacial Hills Review, Mukoli, Literally Stories, and others. Gould examines our knotty experiences in hopes of helping us all to hold our struggles more lightly.

    Featured image by Sonny Mauricio, courtesy of Unsplash.

  • “Bullet List for My Aged Kidnapper” by Patricia Q. Bidar

    “Bullet List for My Aged Kidnapper” by Patricia Q. Bidar

    “Bullet List for My Aged Kidnapper” begins with a gun and ends with a song. With a list form, Patricia Q. Bidar leads us down the long dark alleyway of time, where traumatic recollections ricochet off “bathroom sink[s]” and “stucco neighborhoods.” Both a prose poem and flash essay, Bidar’s hybrid piece seeks a semblance of peace, but does not grant absolution.  —Court Harler

    I did not provide my parents’ phone number for you to demand money they didn’t have. I provided made-up digits, only coming clean with your gun to my skull.

    I did not tell the police the whole story. Safe at the hotel where I worked, I answered their dark blue queries. Behind their eyes I discerned that I wasn’t the kind of victim they had to care about.

    • Did not disclose I’d been raped
    • Did not throw away my underpants, which remained unwashed at the bottom of the hamper until your sentencing day, when I torched them in the bathroom sink
    • Did not retain my name, fearful of being found
    • I did not have a safe relationship for decades. I scraped together abject connections—men who were beneath me, cocaine, weed, alcohol—sinkholes of regret

    I didn’t argue when men accused—the rare times I talked of it—Crutch! Fabrication! What they really meant was, What the hell you expect me to do?

    • I don’t leave my shutters open at night
    • Or during the day
    • I have not forgotten what I learned: sexual violence, like politically motivated torture, is human and intimate
    • Did not look for you until decades passed

    Once, you brutalized me. Now you are an old man on a dismal patio in the same stucco neighborhood as before. I am an old woman, in faraway but similar environs. We both arise early for the senior discount day at the market. We falter on stiff hips. We wait overlong before we INSERT CARD! and QUICKLY WITHDRAW YOUR CARD!

    At home, we rest our eyes. We doze. Outside our front windows, people flirt, fight, fling food wrappers on our patchy lawns or in our gutters. We mutter profanity to the weeds. Sing aloud, sometimes.

    PATRICIA Q. BIDAR is a native of San Pedro, California, with family roots across the American Southwest. Her work has appeared in Wigleaf, Atticus Review, SmokeLong Quarterly, Little Patuxent Review, Waxwing, and Pithead Chapel. She lives with her husband and dog in the San Francisco Bay Area.

    Featured image by Mathias Reding, courtesy of Unsplash.

  • “Mrs. Luzajic as Hebe” by Lorette C. Luzajic

    “Mrs. Luzajic as Hebe” by Lorette C. Luzajic

    “Mrs. Luzajic as Hebe” by Lorette C. Luzajic is part poem, part essay; part dream, part terror. Hebe is the ancient goddess of the prime of life, but “when you’re dying, nostalgia kicks in the way desire once did.” The narrator journeys near and far, searching for chardonnay and ceviche, but also seemingly never leaves her own kitchen. There, she brews espresso and spins stories. There, eventually, she lives and lives and lives, thank the goddesses.  —Court Harler

    a love poem for Brent Terry

    Under the knife, under the needle. I can’t even say I was determined to survive. The reaper had followed me for so long, in different disguises, with an impressive array of tactics, I was not certain I’d outwit him again. I hoped for the best and planned for the worst. I took my medicine. 

    When you’re dying, nostalgia kicks in the way desire once did. Hard and hungry. Tantalizing flickers of foolish yesterdays: I had my middle finger to the world and an arsenal of dreams left to shatter. Then, there, driving through Dakota. The stars from the back of the pickup. Patti Smith growling her poems from the front cab radio. A bottomless bottle of bourbon. Now, here, you are a deer caught in the headlights. You’ve been caught with your pants down. Life has you by the balls.

    When you are careening along that winding hairpin cliff, the Pacific Coast Highway, everything you know unravels. You are unbecoming. You let go of unfinished things. The details whir past in a slurry, intangible. I took that highway again, later, further south, in Mexico, on a bus, splattering iguanas. Reeling into the turquoise forever with a gone friend, who was, then, there, mirror Ray-Bans and eggshell linen trousers. I prayed my heart out for the driver. And we made it to the sea.

    There was more: the portent glow of a bright moon and the sound of silence in the southern swamps. The bats in Barcelona. Their swooping, and the swallows.

    What you find here in the valley of the shadow of death is how every moment matters. The beauty, of course, yes, sublime: Spanish guitar; pastels de nata; head-back laughing; good chardonnay that tastes of cigars. But also: every single fucking hurt and hell is a magic spell.

    And then, sometimes, you come back. You find yourself in the kitchen, measuring out Lively Up espresso beans, getting ready for work. You find yourself at a table with good friends, slurping ceviche and lime. And you realize you really don’t have a clue how you got there. But here we are.

    I grew so much closer to God. And so much further away from knowing what that even means.

    There were times when I didn’t know who I was. And then I did. And sometimes, I felt like I had always known. Sometimes when I was flickering in the liminal, I saw the ghost light: beacons in the dark loam that slowly swallowed me, the lighthouse that was a friend.

    I had spells where I thought about strange things. Like, what if, you already were? What if your whole life was really the story of your unbecoming?

    LORETTE C. LUZAJIC reads, writes, and teaches flash. She is the founder of The Ekphrastic Review and The Mackinaw: a journal of prose poetry.

    Featured image by The New York Public Library, courtesy of Unsplash.

  • “on the brink” by Carolyn R. Russell

    “on the brink” by Carolyn R. Russell

    A cliché is a well-meaning tidbit of wisdom, built upon a solid generational foundation, even it’s meant to be made a mockery of itself. In “on the brink,” Carolyn R. Russell interrogates the very idea of the cliché—why we do and don’t say them, why we do and don’t (or can’t) believe them. In the end, we are only our irreplaceable selves, as diverse as we are divine.  —Court Harler

    most of us can’t afford to go big or go home or do one thing every day that scares us or fail forward. can’t throw a mix of seed and compost into the wind and wait for it to land in the deep pocket of a father’s friend or the ear of a mother’s former lover. if we’re lucky we might conjure a single slender stem, true-leaved and pale, and urge it into a bright and stubborn bloom. the sum of my father’s best intentions and my mother’s cheerful madness: one scrawny green moonshot to carry us all beyond reproach.

    A Best Microfiction winner and a Pushcart Prize, Best of the Net, and Best Small Fictions nominee, CAROLYN R. RUSSELL’s short stories, poetry, and creative nonfiction have been featured in numerous publications. Her collection of cross-genre flash is called Death and Other Survival Strategies (Vine Leaves Press, 2023).

    Featured image by Artiom Vallat, courtesy of Unsplash.