Flash the Court

Tag: Sensory Detail

  • “Precious Alchemy in the Margins” by Denise Bayes

    “Precious Alchemy in the Margins” by Denise Bayes

    In her new flash fiction, “Precious Alchemy in the Margins,” Denise Bayes offers the reader a feast for the senses: the warmth of “the fox’s fur,” the slime and slither of the “molluscs,” and the mystical sound of “creatures gather[ed], playing instruments.” And in secret spaces, in “the marginalia” and “the cloisters,” sharp reminders of the unrequited, or the “lured,” refuse to remain unnoticed, shimmering “golden” like tempting treasure.  —Court Harler

    Clever Foxes

    Mosaic gold glints on the fox’s fur, tin and sulphur fused in magic by medieval scribes. I unfold from my study of the manuscript, blink into the darkness of the college library. Memories of my Reynard, the russet warmth of our undergraduate love nest.

    Fighting Snails

    In the marginalia, humans battle slimy molluscs. We always lose to the crafty creatures.

    They remind me of her.

    I remember her arrival at college, a Fresher slithering her way into the midst of our Medieval group, flattering him with her fake enthusiasm for Chaucer. How she listened wide-eyed to his words, flicking flirtatious glances at his golden hair.

    She lured him from me on silver threads.

    Bands of Animal Musicians

    In The Book of Hours, creatures gather, playing instruments. Scholars say they show the world turned upside down.

    My world turned upside down.

    Try for Fellowships, she told him.

    Academia is hungry for your words, she whispered.

    His head turned towards the glittering dream.

    The day they married in the College Chapel, I cloistered in the library until the last chords of dance music died. Trampled home across a carpet of crimson confetti.

    Warrior Women

    Now I head to my study through the quad, past the latest huddle of alumni reliving their glory days in noisy reminiscence under the curve of the cloisters.

    I freeze at the sight of him. My Reynard.

    His hand runs in a remembered swirl through tawny hair, now flecked with grey. My fingertips flinch, recalling the coarse texture beneath my palms. I remember his warm breath against my bare neck.

    He looks up just then, across the courtyard, straight into my eyes. The air shivers golden between us. 

    I step onto the manicured lawn, passing the sign.

    ‘Fellows Only.’

    I know he follows my every footstep.

    DENISE BAYES’s writing has appeared in New Zealand’s Micro Madness, Oxford Flash Fiction Anthology, Free Flash Fiction, National Flash Fiction Day Anthology, 100 Word Story, Thin Skin, Temple in a City, and Underbelly Press. Denise lives in Barcelona, Spain, with her husband and a cavalier called Rory, who is usually under the desk. Find her @deniseb.bsky.social.

    Featured image by kevin laminto, courtesy of Unsplash.

  • “The day they bomb the art gallery” by Belinda Rowe

    “The day they bomb the art gallery” by Belinda Rowe

    “The day they bomb the art gallery” by Belinda Rowe is a flash fiction with the beating heart of a prose poem. Note certain poetic techniques, such as the well-placed repetition of the “enigmatic smile.” Or how the images of color burst upon the page in fits of sensory delight. The narrative itself is a puzzle that both resists and relishes its completion.  —Court Harler

    I sweep up a scrap of canvas with a woman in a bright-blue robe being abducted by a soldier. My sister picks up the intact face of an unremarkable woman. People are looting scraps of Poussin, Raphael, Renoir, Géricault, da Vinci, Matisse, Caravaggio, Delacroix. Art is jigsaw. Art is carried on the wind – my sister and I are swept up in the fervour.

    Our mother’s at home when she hears the news and calls. Are you both okay?

    A man on a raft waving a scrap of red-and-white fabric sails past us on the wind. Buildings collapse, ravens caw, the air is acrid.

    Art is everywhere, I shout. Emile found a young woman’s face –

    – describe her, our mother urges.

    She’s nondescript – black shoulder-length hair, dark eyes, long nose, an enigmatic smile.

    Is she painted on canvas? our mother whispers, as if someone might hear.

    Wood –

    – quick, put her in your backpack, don’t let anyone see you.

    The streets are filled with people stuffing sacks with splinters, details, fragments of Naples yellow, vermillion, carmine, azurite blue, malachite, bone black. We step over marble limbs, the torso of a bare-chested woman carrying a blue, white, and red flag, then slip through a storm drain into the catacombs, wend our way home along dark, dank passages, our phone torches lighting the way.

    On the black market and the dark web, people trade art, barter for potatoes, cheese, bread, offer cash, whatever they have. People want to reconstruct: ‘Has anyone found John the Apostle and Judas from The Last Supper? I’ll trade you for a scallop shell with the feet and legs of Venus.’ 

    We decorate our houses, workplaces, car windows: a philosopher meditating, swirling clouds, stars, a crescent moon, Aphrodite’s marble head, a pearl earring, tiny skaters on a frozen pond, sunflowers, a young lacemaker peering at her work. People wear fragments of canvas, marble, and jade around their necks; fashion hats, trousers, sundresses from medieval clothing. Someone puts an intact porcelain urinal in their loungeroom window.

    I search for the poplar-wood panel depicting the sixteenth-century dress – raven black, elegant, simple, possibly silk with subtle gold embroidery – that belongs to the woman with the enigmatic smile. When no one replies, I make quick work detaching the woman dressed in the bright-blue robe from the soldier abducting her, trade him for a piece of poplar-wood panel and oil paints, enough food for two years.

    I set to cutting, splicing, gluing the woman with the enigmatic smile onto the piece of poplar-wood panel – apply lead white pigment, blacks, browns, greens – bring her chest, her low-cut bodice, her dress, her right hand resting on her left wrist, to life, a blurred soft smokiness. Art is compulsive, tenacious. Time contracts, my fingers smooth, blend, layer. We aren’t flies you can squash, I whisper.

    BELINDA ROWE is an emerging short-fiction writer. Born in Aotearoa (New Zealand) she now lives in Walyalup (Fremantle), Western Australia. Her recent fiction appears in Unbroken, Literary Namjooning, Fractured Lit, New Flash Fiction Review, and Vestal Review. She was a SmokeLong Quarterly Emerging Writer Fellow in 2025.

    Featured image by Ashkan Forouzani, 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.