Young Americans (First Place Winner of the Marguerite McGlinn Prize for Fiction)

Young Americans

What was the one thing he couldn’t do without? Like, if he was stuck on a desert island forever. He knew his answer right away but took a few moments to ponder so he didn’t seem so strident. “A pencil and a sketchbook, I think.”

“Sorry,” Raquel said, “but that’s two things. The point is, you can only choose one.”

Harry smirked at her, so alert in her posture at the driver’s wheel. A textbook pose from her drivers-ed class. “You can’t have one without the other–they’re an essential pairing.”

“I don’t make the rules, dad. Only one thing.”

“Well, if it’s a desert island, I guess I only need a stick, so I can draw in the sand.”

She threw her head back and laughed without taking her eyes off the road. “You can say anything in the world, and all you want is a stick?”

He showed his palms. “Hey, I’m a simple man. What would you choose, a graphing calculator?”

She peeled her eyes off the road to roll them at him. With her math mind and zeal for detail–about to embark on a degree in civil freaking engineering–she would surely be able to build a beautiful house on her desert island. But maybe he’d sounded sarcastic? He was about to take it back when she said, “I need my music.”

“So an iPod or something?”

“Just a device with all my music on it, that never runs out of power.”

“Don’t you also need headphones? That’s two things.”

“No, it’s just a device that plays any music I want, any time I want.”

“So a transistor radio, with an infinite library of tunes.”

“I guess so, but it has really good sound.”

“So you invented a magical device with access to every song ever recorded, but I can’t have a sketchbook to go with my pencil?”

She made an I-regret-to-inform you face at the road and shrugged. It was the kind of conversation that could last them all the way to California, which was the whole point of this road trip–a last bout of father-daughter bonding before she vanished into college and California and adulthood. He didn’t know if she was feeling as melancholy about it as he was–how could she, with all the excitement and possibility?–but he felt like he was visiting a beloved house for the last time, turning off the lights, closing all the doors.

Movement in the mirror caught his eye with a spike of adrenaline: a truck’s grill and headlight completely filling the sideview. He twisted around to look out the hatchback. The front end of a very large late-model Ford pickup surged at the window, less than a car-length back.

Raquel, both hands gripping the wheel, shot glances in her rearview. “Holy shit, he came out of nowhere.”

“He’s way too close,” Harry said, teeth clenched. Their cruise control was set at 65, precisely the speed limit on this gently curving stretch of desert highway. The center line was dashed, with no oncoming traffic, and there was no reason why the truck couldn’t just pass. Harry lowered his window. Wind battered their cocoon as he jutted an arm out to wave them around.

The truck fell back then gunned ahead, coming within inches of their back bumper. “Steady, Raqui.” He reached over to kill the cruise control. “Let it slow by itself. Hands on the wheel, nice and steady.”

The truck fell back again, then surged forward and cut sharply to the side. With a burst of throaty engine roar, it passed. Someone in the passenger seat banged on the truck’s door as it zoomed by, with shouts that were torn away in the wind. With an abrupt lurch, it pulled back into their lane and sped away, middle fingers flying from both windows.

“Jesus,” Raquel said, slumping but keeping her hands locked at ten and two.

“You’re fine,” Harry said in a calm voice even as his heart slammed. “You did great. Just slow down and let him get some distance.”

“You should’ve wished for a gun instead of a stick.”

           *

            They pulled off at the next town to switch drivers, and ended up scarfing a dinner of beef jerky, corn chips, and soda pop on a picnic table beside a gas station. A galaxy of moths pinwheeled around the Conoco sign in the twilight. Harry was counting off in his head how many more meals he was going to have with his daughter. This might be their second-to-last one, he thought as he chewed. In two days, everything would be different and irreversible. He didn’t say anything about that, because why paint someone else with your own shadows?

It was another hour to Menden, the town where he’d reserved two rooms in a boutique hotel. Harry drove with his eyes flicking from shoulder to shoulder and mirror to mirror, alert for crossing animals and road warrior pickups. Antelope stood bright-eyed and frozen off in the brush, and small critters zipped across the pavement. He slowed when they came around a bend and saw the strobing lights of a police cruiser at the side of the road.

An ambulance was just pulling away, flashing and shrieking and heading back towards the freeway. Harry slowed to a crawl as a cop standing by the squad car’s bumper waved them past. Their heads swiveled as they went by. A compact car lay on its crushed roof at the end of a rutted debris trail about thirty feet off the road. Yellow caution tape demarcated the whole area.

“Dad,” Raquel breathed. He knew what she was thinking but he didn’t want to say it. She did. “Those assholes in the pickup ran somebody off the road!”

“You think so?”

“They were just looking for it.” She twisted around to stare at the wreckage even as Harry sped up. He wanted to tell her to look away and keep the sight of car wrecks out of her head, the same way he tried to ignore a TV in a bar. Why fill yourself with garbage and pain? But he didn’t want to nag. Besides, she had a good head on her shoulders; she could decide what she paid attention to. In the mirror, the ambulance sped away, a UFO streaking across the desert.

*

            Their hotel was a chintzy affair, in the only three-story building in downtown Menden. The town was a leafy oasis in a shallow valley, with lunar crags and mesas surrounding. They’d chosen the town as their stopover on the way to LA because of an article Harry had read about a thriving art gallery scene. “The Marfa of Utah,” the article had called it. A tiny community of ranchers and hippies, with a cabal of transplanted artsy weirdos that made the place feel like a sliver of SoHo relocated to a desert oasis. He knew that Raquel would have preferred to stick to the freeway and stay at a Comfort Inn, but she’d agreed to his plan since this would likely be their last road trip together. Artsy weirdos were his tribe, the way math freaks and programmers were hers.

Raquel disappeared into her adjoining room as soon as they got in. She wanted to check in with friends and get a good night’s sleep, so she’d be fresh for their last day of driving. “You should check in too,” she said, wiggling her phone. “Let her know you’ve been thinking about her.”

He waved his hand to dismiss that, but he’d been thinking all day about a short and clever message he could send to the woman he was planning to see in Santa Monica tomorrow night. He splashed cold water on his face, tousled his greying brush of hair, and pulled on a blazer to head out to Main Street, sketchbook in hand.

*

            A single ink line ascends a blank page, two-thirds of the way up, before cutting to the side to describe a gentle curve, then a collection of interlocking squares and rectangles. The tip of the pen never leaves the page, and its progress across the creamy paper never quickens or slows as it accumulates lines, turning back on itself, dipping into another curve, then finishing with a waving line embellished with tiny tassels.

When he finally lifted his pen, he took a sip of red wine and looked at what he’d done. A straight-backed rocking chair appeared to fly like a kite, high at the end of a string. He chewed his cheek and tap-tap-tapped his pen on the café table. The drawing was decipherable, but lacked zing! He turned the page, this time starting with a wavy ocean horizon across the bottom of the page before sending the string upwards again.

An hour passed, at the end of which he had five pages of flying rocking chair kites. Paging back through them, he found that the fourth one had something special: a looseness to the line, with a higher, smaller chair that really looked like it was pulling at the end of its tether in a landward breeze off the ocean. This was the one.

He pulled out his phone, propped the sketchbook up at an angle to catch the light, and snapped a photo. Then he zapped it off in a message to Jackie in Santa Monica, without explanation. The phone swooshed to confirm delivery.

The table where he sat in the back of the Café Cosmos appeared to be a marble and iron artifact transported here from a Parisian sidewalk brasserie, but it was the only table like that. All the furniture was mismatched, with tapestries and draperies hanging everywhere. Pinpoint Christmas lights gleamed like constellations embedded in the folds of fabric. An arched doorway looked over an outdoor terrace where more tables and chairs were arranged under a pergola that dripped with glowing webs of light.

Besides himself and the bearded man at the counter, the place was deserted. Sixties French pop grooved on the speakers. Gazing through the archway at the softly illuminated courtyard with its archipelago of tables, Harry had a feeling of dislocation. Was this Paris? Istanbul? Barcelona? It felt more like any of those places than a small town in the desert.

The man behind the bar said, “Oh my god!”

Harry glanced up. The guy stood behind the bar holding a phone to the side of his face, eyes wide. Then: “What!”

Their eyes met but the guy didn’t seem to be seeing him. He was fully submerged in whatever scandal was currently unfolding inside his ear. Presently he said, “Jesus, poor Deborah. Does she know yet?”

Harry felt his own adrenaline pumping out empathy for whatever this barista and Deborah were going through. He bent to a fresh page and started a new sketch–another rocking chair kite, this one flying even higher and more distant than the others, tossed by a swirling wind that pulled the string taut. He tried to block out the one-sided phone call. The barista finally wrapped up the conversation and killed the call. He stared at Harry. “Dude, do you drink?”

Harry glanced at his nearly empty wine glass. Before he could answer, the barista came out from behind the counter with a half-full bottle of Bulleit and two shot glasses. He took a seat at Harry’s table and poured two fat shots. He held his up and stared over the top of the shimmering booze with shining eyes. “To life,” he said.

Harry picked up the other shot, raised it. “To life.”

They swallowed and set the empty glasses back down with twin clicks.

The barista—long black hair framing a scruffy face, Jack Sparrow-esque with a scarf and bracelets and a paint-spattered shirt—nodded towards the counter. “That was a death notice.”

“A death notice?”

The barista waved at the archway that opened onto the terrace, a blank white wall on the far side. A scaffold there held paint buckets and tools. “The guy I hired to paint that wall–a muralist–he just got killed in a car wreck on 27.”

“Jesus. Highway 27?”

“Rollover accident, went through the windshield.” The barista poured two more shots.

“Wait–I was just on that highway a couple hours ago. I think I saw that wreck.”

“Completely dead,” the barista said, pouring and raising a fresh shot. “You never know.”

Harry raised his too. “You never do.”

The barista sighed and downed his shot. “Transformation, man.”

“Transformation,” Harry said, and drank.

*

                       That was the beginning of their transformation from sobriety into drunkenness. They finished the bottle of Bulleit and moved on to a bottle of Johnny Walker, taking occasional breaks to step onto the terrace and smoke a joint that the barista offered up. The guy’s name was Julio and he was originally from Juárez, but he’d grown up in the American southwest, and he’d opened this place just last year. He rose to attend to other tables when people trickled in, but always ended up back at Harry’s table where their shared bottle stood. They’d become boozy compatriots in solidarity against death. Julio tapped the closed sketchbook on the table between them. “Sorry, I cut your inspiration. What were you working on?”

“Have a look, if you like.”

Julio spent ten minutes paging through, making little twitches of surprise or interest. Finally he closed the book and narrowed his eyes at Harry. “You’re a real artist.”

“Well, it’s only a sketchbook. Just the raw stuff.”

“You’re a real artist, though. I can see it.”

“Actually, I’m the art director for a greeting card company. There isn’t as much art involved in that as you might think, but yeah. You could say I do art for a living.”

Julio watched him, a wry wrinkle at one corner of his mouth. His eyes glittered.

Harry knew what was coming next. He saw it as clearly as a sign along the side of the highway.

*

            Muted light throbbed behind the drawn hotel curtains as Raquel’s voice called from the hall. “Anybody alive in there?” she said, rapping on the door. Only when he dragged himself back to consciousness did he notice that his phone alarm was chirping. His head was splitting with the ghosts of wine and whiskey and weed. He couldn’t quite remember how the night had ended, only that he’d been out past midnight. And had he agreed to paint Julio’s damn mural? The sketchbook lay on the bedside table and he leafed through it. Several pages were torn out, raggedy edges along the spine.

He remembered that he’d sent Jackie a snapshot of a sketch, and when he checked his phone, he saw her reply: Am I the kite, or am I holding the string?

Yes, he replied with a dimple in his whiskered cheek.

Her response, moments later, was a googly-eyed smiley-face, every bit as ambiguous as his reply.

*

            Raquel laughed when she saw his face as he shuffled into the breakfast room. “Did you get hit by a truck last night?” she said, then sealed her lips, apparently realizing that the phrase was in poor taste after what they’d seen.

“I made a friend,” he said. He sloshed black coffee into a mug and slurped it down standing by the machine, then poured himself some more.

“How about I start us off driving?” she offered.

“Perfect–I can get caught up with my Instagramming.” He meant it as a joke, and grinned, but Raquel gave him an earnest smile and grabbed a couple of bananas from the fruit bowl. Was this what happened on the cusp of the empty nest? The teen transforms into an adult, and the parent regresses back into adolescence. It felt like that switcheroo had been happening for years now, but the pieces had finally clicked into place. All her life, Raquel had been a proto-adult, and Harry had been an overgrown kid. Time had simply sealed the deal.

*

            Harry swiped left, swiped right, swiped left again, as Raquel held their Prius to a steady 75 across the southern flank of Utah. “How about this one,” he said, reading glasses low on his nose as he read the Tinder profile aloud: “‘Social justice warrior bent on world domination via the synergy of good whiskey, hot jazz, and absurd conversation. Be as sharp as you are tall.’ Wow, I think she’s got my number.”

Raquel blew a strand of hair out of her eyes. “Dad, please–she sounds amazing, I’ll give you that–but don’t you think you ought to step away from the Tinder for a while? You’ve got a date lined up already. Don’t be a douche.”

“A douche! I’ve never been a douche!”

Raquel snorted. “Said every guy ever.”

Harry hooked an eyebrow at his daughter. “Have boys mistreated you? You never talk about that stuff.”

She scoffed. “Boys mistreat everybody. They’re boys.”

“Well, not every–”

“Dad! You don’t need to worry about me, honestly. Guys really don’t bother me anymore. I can handle myself.”

“Of course you can, Raqui, I know that.” He held his phone out for her to see the woman’s profile pic. “Look at her. She looks like Annie Hall.”

Raquel wouldn’t even glance at it. “My eyes don’t leave the road, dear father. Swipe left, and step away from the app.”

He sighed and clicked the phone off. “I’m just hedging my bets. Jackie could be a total bust.”

“Are these lines from your upcoming part in The Douche Dialogues?” Smirk.

“Okay okay, let’s just concentrate on driving.”

“And what about this ‘friend’ you made last night? What’s up with that?”

“It was just a dude. He owns the café across the street from the hotel.”

“So what if it’s a dude? Love is love.” More smirk.

“Raquel. The road.”

“I know. We’ve met.”

*

            Across a corner of Arizona, through a descending canyon of shipwreck cliffs, in and out of Las Vegas and then into the traffic-congested desert flats of outer California. Raquel stayed behind the wheel, fueled by bananas and corn chips. Harry’s date with Jackie was set for this very evening, 8 pm, on the Santa Monica pier. He hadn’t seen her since high school, until she’d improbably popped up on Harry’s Tinder when he set his location for Santa Monica in anticipation of this trip. He’d recognized her right away: the big eyes and heart-shaped face, the black curtains of long hair parted straight down the middle. She’d been a stoner freak in high school and Harry had been more a part of the goth weirdo crowd, but they’d connected through mutual friends and spent a season hanging out in her bedroom after school smoking and listening to mixtapes of Bauhaus and Alien Sex Fiend and Sisters of Mercy. Her natural beauty had intimidated the hell out of him, and he’d never made a move to kiss her, although it was nearly all he thought about during those autumn days. He was certain she never thought of him that way. Then she got a boyfriend who rode a motorcycle, and she wore leather pants and sleeveless Harley tees to school for the rest of the year. The deathrock afternoons came to an end. Senior year, she moved away, and he never saw her again–until he stared into her nearly unchanged face on Tinder twenty-five years later. “Haroldo!” she’d responded to his initial message, the only one who’d ever called him that. “You haven’t changed! Did you sell your soul to the Devil? How much did He give you?”

He’d changed plenty, of course. His hair was still thick, but it was entirely grey now. Still, his face was thin, but in a hollowed-out way. Were there really any traces of his 16-year-old self left? He peeked in the sideview mirror where the sun fell directly on his face. Death Valley unspooled all around. He looked haggard, dark under the eyes. Not just hungover but used up. Jackie was not going to even recognize him tonight. Maybe he should just cancel? What were they going to do anyway–sit on the pier and google deathrock tunes on their phones?

*

            The sun pinned them from above. Harry felt better after Barstow, but Raquel wanted to keep driving. He tried to engage her in conversation about her living arrangements, sharing a one-bedroom off-campus apartment with a girlfriend from high school, Priya, but Raquel kept her responses monosyllabic. He started to get the feeling that she wanted to be behind the wheel as an excuse for avoiding conversation. By this time next week, he’d be on the highway back home, alone, and he’d be childless. She’d be a grown person, out in the world, and all his biological duties for propagating the species would be over. “You know, Raqui,” he said, looking out over the plain of cacti marching off to the sun blasted horizon, “the finest line is knowing when to trust, and when to be on guard.”

She glanced at him, then scowled at the road.

“And at your age, you need to err on the side of being on guard.”

“Oh-kay.”

“I think I’ve been more of a friend than a dad these past few years, and that was probably a mistake. I’m sorry, sweetie.”

She glanced at him again, starting to look alarmed now. “Dad–I get it. But you have to get over mom.”

“What? I’m fine. That’s not what I’m talking about.”

“Don’t get all guilt-trippy about it, dad. You did the best you could–the best anyone could. We’re both going to be fine.”

He looked back at the cactus procession. “The best I could,” he said. It sounded like an epitaph. He kept quiet until they entered the outer freeways of LA.

*

            The hug and kiss that Priya gave Raquel when they arrived outside the apartment confirmed a suspicion in Harry’s mind. Raquel’s grin was supernatural, a vision of a long, rich future full of love and challenge and triumph.

They unloaded the car in a headlong rush, Raquel dumping her things in what was clearly Priya’s bedroom. The ocean was visible out the front window in a sliver of space between two buildings across the street, partially eclipsed by a leaning burst of palm trees. But the air was laced with sea salt and sunlight. Twilight flared over the water as Priya poured them each a shot of tequila. They toasted standing on the balcony where the landward breeze played with their hair. “To fathers,” Priya said.

“To the future,” Raquel said. She leaned into him and clinked her shot to a second time and said, softly, “To you, dad. Thank you.”

Harry grinned. “To love,” he said, and all three of them blushed, and downed their shots to hide it.

Raquel looked a degree of magnitude happier than he’d ever seen her, almost to the point of not being recognizable. For his part, he felt sadder than he’d almost ever felt, except for the days and weeks following his wife’s death. But tonight was a different kind of sadness, tinged with a certain satisfaction. He’d gotten his child this far, after all, and she was going to be all right. Even better–she was going to thrive. You could tell just by the look of her.

Dinner plans took shape quickly. Raquel and Priya were meeting friends of theirs at a local watering hole. Priya invited him, but Raquel put an arm around her roommate’s shoulders and said, “Actually, my dad’s got a hot date tonight.”

“Oh?” Priya said, eyes wide. “Who’s the lucky girl or guy?”

Harry waved a hand. “Just an old friend. We’re going to compare aches and pains.”

Raquel nudged Priya. “Old high school sweethearts–and she’s actually hot. I checked out her profile.”

The tiny apartment became a whirlwind of primping and Fiona Apple, and before he knew it the two girls were heading out. Harry realized that his last dinner with his daughter had already come and gone. He thought of that picnic table in the weeds beside the gas station in Nowhere, Utah, where they’d chowed beef jerky and Fritos, in what had turned out to be their last sit-down meal together as father and child. From here on out, they’d just be two adults. A stricken smile played on his face as first Raquel and then Priya give him a kiss on the cheek.

“Do twice as much listening as talking,” Priya said as she went out the door, finger in the air. “Make her feel respected.”

“Who?” Harry asked, bewildered.

“The hot date.”

“Ah, of course.”

Then they were gone and he was alone on the balcony with an empty shot glass. The sun melted towards the edge of the world. He went back inside to put himself together.

*

            He found the arranged spot on the pier–the farthest end, under one of the last lamp posts–and leaned there in his blazer, shivering with the twilight breeze that whipped off the water. A guitar dude was set up nearby with a tiny amp and microphone, playing folky covers of old Bowie. The guy’s CDs were for sale in his open guitar case for twenty dollars. Harry watched him from his lamp post, feeling annoyed to have a soundtrack imposed on the moment, even if it was Starman.

Halfway through Let’s Dance, a woman walked up to him on clacky heels. She wore a gauzy scarf around dark hair, and kept her hands plunged into the pockets of a long leather coat, a vintage find by the looks of it. Her smile was immediately familiar even if the rest of her was not. “I was waiting for Ch-ch-changes, but it was starting to get cold.”

“Jackie. Damn, you look great.”

They shared a hug, then went back to shoving their hands in their pockets against the wind. “So you’ve been waiting a while?” he said.

She waved at a spot a few lamp posts away. “I just wanted to get a look at you first, make sure you were yourself.”

“So I passed that test! I’ve been wondering if I’m myself, you know.”

She squinted at him. “You’ve improved a lot with age, Haroldo. It’s weird.”

“A lot?”

She regarded him, shaking her head, almost angry looking. “Men get to do that–sexy aging? As if you didn’t have all the advantages already. Dudes just never stop getting away with it, right?” Then she broke into a grin.

“Well,” he said, “you’re one to talk. You look amazing.” He wasn’t even sure yet if he meant that, only that it had to be said. But his first glimpse of her suggested that her features had sharpened in a fortunate way. The rosy roundness of her face had diminished, replaced with sculpted angles and lines. He pushed an extra spark into his eyes.

Her look matched his. “Sounds like we’re both going to get lucky.” She laughed and slipped her arm through his.

 *

            Dinner in a bistro along the boardwalk where rented beach cruisers coasted past and people strolled as night settled over the shore. He’d expected to reminisce about Bauhaus and all the elements of their junior year as kindred outcasts—the Aquanet, the Benson & Hedges, the Bartles & Jaymes, Ronald Reagan’s bullshit, their future visions of themselves as famous artists and rock stars—but none of that came up. Instead, she asked question after question about his life, his daughter, his work, his prospects. Harry found himself answering as fully and truthfully as he could, aware that he was dropping the ball on Priya’s advice. He finally said something about that. “You know, my daughter’s ‘roommate’ told me to listen twice as much as I talk, but you’re not really letting me do that.”

Jackie leaned forward in the circle of spotlight that illuminated their small table. The tablecloth was littered with crusts and crumbs of the baguette they’d demolished with their bowls of French onion soup. “Why did you say it like that? With air quotes?”

“‘Roommate’? Well, I think there’s more going on that she hasn’t shared with me.”

“But she did share with you. She brought you into the apartment where she’s going to live with this person, and she didn’t try to hide the hug and the kiss, or any of it. That was sharing.”

“I guess you’re right.”

“And it sounds like this ‘roommate’ knows what she’s talking about when it comes to dating scenarios.” They both fingered the slender stems of their wine glasses.

“Okay then,” he said, “now I ask the questions.”

She laced her fingers in front of her, squared her shoulders, and beamed.

*

            She’d been married, ten years, to a chef. During that time, she’d gone to culinary school as well, and they’d opened a restaurant together in Silver Lake. A gourmet vegetarian joint with craft cocktails. But the husband kept screwing the waitresses and hostesses, and she’d finally left him and opened her own place not far from here.

“Why aren’t we eating there?” Harry wanted to know.

“It’s where I freaking work, you know? Besides, I always like to see what the competition is up to.” She looked around with slitty eyes, tenting her fingers together.

“That explains all the cockroaches in the soup.”

Her eyes popped for just a second before they disappeared into crescents under the smile that was unchanged after all these years.

*

            They finished a bottle of wine, then walked back to her condo where they had sex, watched a couple episodes of The Office, had sex again, and fell asleep on her couch. Harry awoke, disoriented. The dawn sky was a grey sheet hanging over a grey ocean outside her balcony door. Jackie’s hair curtained over his face as she leaned down to peck a kiss on his forehead. She was in a bathrobe, puttering in the kitchen where a kettle started to whistle.

“Why didn’t we do this twenty-five years ago?”

“You were too shy,” she said, heading for the stove.

He rubbed the sleep from his eyes. A gull hovered in mid-air, almost close enough to touch, just beyond the balcony railing. “You mean if I’d just said something?”

“Well, it depends what you said.” She joined him on the couch with a tray of tiny earthenware teacups and an iron pot that wafted the scent of jasmine.

He pondered. “So it took me twenty-five years, but I finally found the words. Which ones were they?”

“It was all of them, in combination.” She poured steaming ribbons into both cups. “Plus general horniness, and a desire to recapture youth. And the Bowie songs. And the wine. Don’t forget the wine.”

“I won’t forget anything.”

Up close like this, in the pale dawn without make-up or wine goggles, he could see the age on her face, but it worked for her. He hoped the same was true of himself. She seemed to like looking at him, at least.

“You said you were only going to be here a couple days,” she said quietly. “Is that still your plan?”

“No. At this point my plan involves never leaving this couch.”

“I see.” She scrunched her lips in thought. “That means we’ll probably end up screwing a few more times before I get tired of you and kill you.”

“A few? Could be worth it.”

*

            He ended up staying two more days, ostensibly occupying the couch at Raquel and Priya’s tiny place, but actually spending both nights at Jackie’s. She was gone for twelve hours both days and came home exhausted and already a little drunk to find Harry sitting on her balcony making sketches of the street below. The rooftops, the palm crowns, the ocean horizon. She never made him feel unwelcome or that she wasn’t happy to see him, but he knew that the time had come for him to go after they skipped the sex on the third night. He’d dropped into the middle of these people’s lives, and it was time for him to ease back into his own and get it flowing again.

His farewell dinner with Raquel ended up being a home-cooked affair with Priya, who helped him slice onions and garlic. They rustled up a batch of linguini and asparagus with cream sauce. It was simple and good enough. “I never really taught her to cook for herself,” he said to Priya as they were plating nests of noodles. Raquel was setting the table out on the balcony under a web of lights. Strange music made puzzle pieces in the air. “I meant to teach her how to make salsa, and omelets, and beef bourguignon. All she ever wanted to make herself was ramen and cereal.” It felt like an admission of failure.

Priya caught the look on his face and patted the counter between them. “Well, Mr. Stills, you got her this far. Now she’s got people.”

“Please, call me Harry.” He grinned into the warmth of her smile. “And thank God for people.”

They ate under the gradual twilight with the ocean murmuring. “To the future,” he offered, and they clinked their white wines. There was nothing else momentous in their conversation, just a lot of easy chatter about TV shows and antique shops and coffeehouses that stayed open late. Harry felt himself faking a smile at first–he really would be leaving, any minute now–but before long the smile was real. With a crust of bread he drew a face on his plate in a puddle of sauce.

Later, as he was saying goodbye to Raquel at the curbside, she gave him a tight hug that went on and on. Finally, wet-eyed, she pulled away, gave a smile, and ran back up the walk without a word. Harry raised a hand but she didn’t see it before slipping inside. He almost called out, then let her wordlessness linger. What would more words do? He drove out of town, out of the city, in no particular direction.

*

            The Pacific Coast Highway held his attention for a few days. He found rooms in small towns and motels in a meandering route that took him back over the mountains and into the same desert they’d crossed a couple of weeks earlier. His sketchbook had grown full of cross-hatched drawings of vineyards seen from rest areas, lines of telephone poles marching to the horizon, distant thunderheads.

Coming back into Menden in southern Utah, he cruised down Main Street under the noon sun. There it was on the side of the café, on the courtyard wall: a rocking chair straining at the end of a kite string, buffeted in the wind. Bold black lines on a white background, with colorful clouds and mesas along a low horizon. Someone’s name–not his own–was stenciled in the lower right corner, along with birth and death dates. A dedication, he supposed, to the late muralist. He saw it all while stopped at a light and moved on when a horn bleated behind him.

Freaking Julio–the café guy had stolen his sketch! Or–here Harry paused and considered–had he offered it to him? He couldn’t remember the details. Now his design had been recreated on the side of the wall, with Harry’s name nowhere in sight. He smiled to himself. Am I the kite, he thought, or am I holding the string?

He sat pulled over at the side of the road, looking at the wall. The chair strained against the line, reaching for the sky. You make things you love, you send them into the world, and then you let go. And then the next thing happens, and the next thing after that.


A.C. Koch is a two-time Pushcart Prize nominee whose work has been published in literary journals such as Mississippi Review, Exquisite Corpse, the Columbia Journal, and F(r)iction. A story of his was selected by Robert Olen Butler to win the Raymond Carver Short Story Award at Carve Magazine in 2003. In addition to short fiction, he is an aspiring novelist, and recently completed a draft of a generation-spanning story about a small group of humans leaving a dying Earth to settle a new planet. He lives in Denver, Colorado, where he teaches linguistics at the graduate level and makes music with Firstimers, a power-pop ensemble.

Twitter and IG: @henry_iblis; Music: firstimers.bandcamp.com

Naming the Unnamed

by Grant Clauser

Sometimes we write poems to put words and names to things there aren’t words for. Poems are often a way we describe feelings that can’t easily be expressed any other way. Think of those common social media posts that begin with: TFW (that feeling when), which are then followed by some description of circumstances, such as TFW you’re so desperate for milk in your coffee that you start eyeing up the sour cream. (I hope no one’s ever that desperate).

Thinking of poems as TFW posts can help get you over the hump of that first line, that first image.

In fact, there’s a whole website, The Dictionary of Obscure Sorrows, devoted to naming feelings that didn’t previously have names. For example, wytai:  a feature of modern society that suddenly strikes you as absurd and grotesque—like zoos, milk-drinking or life insurance.

Here are two ways you can use the idea of unnamed feelings in poems.

First, try a poem based on the TFW (that feeling when) approach. Think of how you feel in a certain place, at a certain time, and write out the first line something like a Twitter post (you probably want to cut the line out of the draft later):

For example: TFW you reach a place in the woods where all traffic sounds disappear and all you hear are birds and your own footsteps.

Then describe it in the poem:

and it’s not so much the quiet you notice,

or the lack of trucks along the highway

heading out of state, but how loud the quiet

world is, how much the sparrows have to say

to the woodpeckers, what the chipmunks mean

when they shake their tails in dry leaves,

and when you close your eyes even the sun

scratching through the trees to finger your shoulder

seems to be saying something you needed to hear

today, of all days, especially.

Second (or first–there’s no wrong order to this), choose a word from the Dictionary of Obscure Sorrows and try to write a poem based on the definition. Describe the scene where that feeling takes place, what it does to your body, how the world looks and smells while you’re experiencing it.

Or, you could invent a new word for that feeling. For the poem above I combined the Latin word for silent (tacet) with the German word for cacophony (kakophonie) and came up with Tacetokophonie, which I think is what I’ll call that poem if I ever finish it.

###

Grant Clauser is the author of five books including Muddy Dragon on the Road to Heaven (winner of the Codhill Press Poetry Prize), Reckless Constellations, and The Magicians Handbook. His poems have appeared in The American Poetry Review, Cortland Review, Tar River Poetry, The Literary Review and others. He works as an editor and teaches at Rosemont College.

Push to Publish 2020 Interview: Alison Lewis

Alison Lewis

This year’s virtual Push to Publish Conference will include all of the great tips, trends, and connections that writers have gotten from this popular, in-person event—but now from the comfort of your home. Below, we talk with Alison Lewis, the editor-in-chief and publisher of Frayed Edge Press. Alison will be participating in Push to Publish as a speed date editor.

PS: Tell us a bit about your background and what you’re doing now.

AL: I’ve always been a voracious reader and have multiple English degrees. I’ve worked professionally as a librarian and a college professor, but I’m happy to be doing all publishing-related things now. At Parlew Associates, I help provide editorial and pre-press services for authors and publishers. I find it gratifying to fill in gaps for small presses that need extra help, and to aid authors in improving and professionalizing their work. As publisher and editor for literature at Frayed Edge Press, I’m excited to work directly with authors whose work we believe in, and to see their manuscripts grow into fully-formed books that they can be proud of.

PS: How did you get into publishing?

AL: I started out in publishing by helping out a friend who founded a small academic press. My background in English and attention to detail proved to be useful and I started getting paid for my work. In 2015, I co-founded a company to expand upon what I was already doing, and to provide services to other publishers and directly to authors. Three years later, we started Frayed Edge Press in order to publish the kinds of work we were most interested in.

PS: What trends are you seeing in the publishing industry?

AL: The dual trend of consolidation and expansion: fewer “big” publishers consolidated at the top, and more small presses, “indie” publishers, and self-publishing authors expanding at the bottom. The continued dominance of Amazon as a gatekeeper for publishing, while at the same time there is an increasing number of interesting alternatives to Amazon springing up. The saturation of the market and the ubiquity of electronic tools and the internet making pirating rampant both impact the ability of publishers and authors to be paid fairly for their work.

PS: How do you think the publishing industry has changed since the pandemic?

AL: We’re scrambling to find new ways of promoting books as in-person readings and author events are largely impossible right now. There has also been a negative impact in terms of bookstores and distributors losing business, or going out of business entirely. Many publishers have cut back on the number of titles published and/or slowed down their production schedules. On the more positive side, there’s still a healthy interest in reading and I’ve personally felt more of a need for reading as a means of “escape” these days. A lot of people stuck at home are in need of a good book!

PS: What do you think writers should avoid when approaching editors or agents?

AL: Avoid sending proposals for works that fall outside of our submission guidelines. When you send something that is in a genre we don’t publish, or that doesn’t meet the criteria for a particular series, you are wasting your time and ours. Avoid sending writing samples that haven’t been at least minimally proofread. No one expects a manuscript to be “perfect,” but multiple glaring errors show a lack of care and are a red flag for most editors and publishers.

PS: What other advice do you have for writers looking to get published?

AL: Be patient. Try to find the publisher that’s the right “fit” with your work. Know that rejection of your work is a necessary part of the business and often is reflective of factors other than its intrinsic merit. Keep writing, seek out helpful feedback, and continue to grow and improve as a writer.

 

Push to Publish 2020 Interview: Jackie Karneth

Jackie Karneth

This year’s virtual Push to Publish Conference will include all of the great tips, trends, and connections that writers have gotten from this popular, in-person event—but now from the comfort of your home. Below, we talk with Jackie Karneth, a literary publicist at Books Forward. Jackie will be speaking at the panel Marketing & Promotion for Authors.

PS: Tell us a bit about your background and what you’re doing now.

JK: I began working as a publicity assistant at JKS Communications, which has since rebranded as Books Forward to better reflect our company’s mission of elevating voices from a diverse community of authors. Now I’m working as a publicist, partnering directly with publishers and authors to promote books of all genres, including short stories and poetry.

PS: How did you get into publishing?

JK: I started my publishing journey early on, while in college. Originally, I’m from New Hampshire, and I always imagined going to a university in the Northeast before I discovered a unique publishing program for undergraduates being offered in Nashville. I joined the program and had the valuable opportunity to learn from industry professionals about every step in the publishing process, from writing a book to promoting it.

PS: What trends are you seeing in the publishing industry?

JK: Certain genres will of course have their moment in the spotlight with libraries and readers each year, with some genres peaking in popularity at unlikely times. Library Journal recently reported how, interestingly, horror and dark fiction is in very high demand at the moment. Some Barnes & Noble stores that had ditched their “Horror” sections reported that they plan on bringing them back, and new genre-specific imprints are being created to fill the demand. And as someone who just finished reading Carmen Maria Machado’s horror-memoir mashup “In the Dream House,” I definitely agree that the genre seems oddly appropriate for the time, as we’re all coping with, and learning from, our sense of fear.

PS: How do you think the publishing industry has changed since the pandemic?

JK: Some challenges lie in the fact that this fall will be a fully-booked publishing season, and large, traditional media outlets won’t be able to cover more books in light of the exceptional number of releases. While the competition is strong in that regard, there are also a lot of opportunities unique to this moment that are exciting and worth pursuing! Now is a good time to promote ebooks and audiobooks especially. Working on your social media presence, and focusing on interaction is also key. Launch celebrations are taking place virtually, of course, and virtual events with two authors in conversation are quite popular. Libraries have also been making the shift to virtual, and many now offer readers’ advisory programs, book clubs, and special events with authors through Facebook Live and other platforms.

PS: What other advice do you have for writers looking to get published?

JK: My advice would be to begin thinking about publicity early on in your publishing process. Every book is unique, and I believe that every book requires a unique publicity plan. In order to determine which approach will work best for you, take the time to weigh out your options and goals – both short term for this release and long term for your author brand. You should aim to set yourself up with a strong foundation to grow your brand and readership not only for your book’s release, but also for the months (and years!) to come.

 

Push to Publish 2020 Interview: Kelly Andrews

Kelly Andrews

This year’s virtual Push to Publish Conference will include all of the great tips, trends, and connections that writers have gotten from this popular, in-person event—but now from the comfort of your home. Below, we talk with Kelly Andrews, the editor-in-chief of Pretty Owl Poetry. Kelly will be participating in Push to Publish as a speed date editor.

PS: Tell us a bit about your background and what you’re doing now.

KA: I’ve worked in academic publishing for the last 10 years in various roles, including as an Assistant Managing Editor, a freelance copy editor, and a writing coach. I founded Pretty Owl Poetry in 2013 with two other editors who have since left the journal, and in the years since then we’ve grown to a staff of 8. My role for Pretty Owl is that of Editor in Chief and I oversee all aspects of the journal production and staff. In 2016, I received my MFA in poetry from the University of Pittsburgh. I currently work as a consulting editor for a nonpartisan public policy research firm.

PS: How did you get into publishing?

KA: For my undergrad, I studied Journalism, and I was very interested in working for the media as a reporter or editor. I thought this was the most practical way I could use my writing and editing skills. Before college, though, I had been studying poetry with Susanna Fry, a writer who was based in Philly for many years. With her encouragement, I took creative writing classes and really started to identify as a poet. After college, I took the first publishing job I was offered as an editorial assistant for a nonprofit and continued pursuing poetry in my spare time. This led to me pursuing an MFA in poetry from the University of Pittsburgh and starting Pretty Owl Poetry. I love the publishing industry and hope to continue working in it for as long as possible.

PS: What trends are you seeing in the publishing industry?

KA: There seems to be more acknowledgment of the need for diversity, equity, and inclusion in the publishing industry and a lot of journals and presses are taking the right steps to make this happen. We’re constantly evaluating our practices and thinking about the need for change within our own publication and hope this trend continues in others.

PS: How do you think the publishing industry has changed since the pandemic?

KA: The obvious change is the move to online platforms for things like poetry readings and workshops that would traditionally take place in person. I welcome this change as it’s allowed us to have more opportunities to feature writers all over the U.S. in online readings and I’ve had the personal opportunity to take classes with writers who I wouldn’t otherwise.

PS: What do you think writers should avoid when approaching editors or agents?

KA: The quality and fit of a person’s work will be the most important factor when an editor decides to accept or reject your submission. I would avoid trying to sell yourself when approaching an editor. Focus on the quality of the work you’re creating and this will be what leads you to successful publication.

PS: What other advice do you have for writers looking to get published?

KA: Read past issues of a journal before submitting your work. So many journals vary in style in what they accept. You want to make sure your work would fit in with that style before taking the time to prepare and send your submission.

 

Push to Publish 2020 Interview: K.L. Walther

K.L. Walther

This year’s virtual Push to Publish Conference will include all of the great tips, trends, and connections that writers have gotten from this popular, in-person event—but now from the comfort of your home. Below, we talk with K.L. Walther, the author of If We Were Us. Walther will be speaking at the panel The Publishing Journey of a Debut Author.

PS: Tell us a bit about your background and what you’re doing now.

KLW: I grew up in an old (but not haunted) farmhouse in Bucks County, Pennsylvania and am the oldest of three children. I played ice hockey from elementary school through college, and graduated from the University of Virginia. Right now, I am revising my second young adult novel and drafting my third!

PS: How did you get into publishing?

KLW: I have always loved to read, and took a creative writing class in college on a whim and discovered I had a passion for creating characters and telling their stories.

PS: What trends are you seeing in the publishing industry?

KLW: In the young adult genre, there is a true call for diverse characters and stories, and that makes it exciting for both writers and readers! Romantic comedies are also on the rise, since everyone loves a hopeful and feel- good story.

PS: How do you think the publishing industry has changed since the pandemic?

KLW: I know most editors are currently working remotely, along with book conferences and events being moved to virtual formats, so reaching readers has changed. Social media is now more important than ever. My own publisher does a wonderful job hosting Instagram takeovers and book clubs to spotlight our work.

PS: What do you think writers should avoid when approaching editors or agents?

KLW: Don’t immediately pitch your book when approaching an agent or editor in person at a conference. Play it cool. If you follow them on social media, or if you read an article about them, or read a book by one of their clients, those are great icebreakers. Pitch them your book when you are scheduled to pitch! If you weren’t able to get a slot, you can always query them later and then use your conversation as a way to personalize your letter. If you do have a pitch appointment, be prepared to talk about your book, and if you need a script, that’s okay! Agents and editors understand it can be nerve wracking. They will ask questions, but you can also use the opportunity to ask them your burning publishing questions too. They love talking about books and the industry, so take advantage of the face time.

PS: What other advice do you have for writers looking to get published?

KLW: You need discipline, tenacity, and a thick skin, since chances are, you will receive more rejections than requests. Be open to other viewpoints, directions, and perspectives. Don’t lose sight or be deterred from your goal! I know that sounds cliché, but if you really love your writing and believe in it, the hard work is worth it.

 

Push to Publish 2020 Interview: Gabriel Cleveland

Gabriel Cleveland

This year’s virtual Push to Publish Conference will include all of the great tips, trends, and connections that writers have gotten from this popular, in-person event—but now from the comfort of your home. Below, we talk with Gabriel Cleveland, the managing editor of CavanKerry Press. Gabriel will be speaking at the panel Publishing Opportunities for Poets.

PS: Tell us a bit about your background and what you’re doing now.

GC: I am a poet with an MFA in Creative Writing from Pine Manor College with years of service in the field of caregiving for people with increased physical and/or psychological needs and the current Managing Editor of CavanKerry Press.

PS: How did you get into publishing?

GC: After 5 post-grad years of trying and toiling in unrelated and aforementioned fields, I joined CavanKerry during a period of transition with a referral from the head of my MFA alma mater, working as an assistant to the other staff, especially Publisher Joan Cusack Handler. It has long been my pursuit to apply my studies practically, and I adopted the role with a fervency that allowed me to quickly take on more responsibilities, and… here we are!

PS: What trends are you seeing in the publishing industry?

GC: I don’t have a thorough answer for this. We are a tiny, independent, nonprofit press, so our scope is limited, but within our own organization, we have consistently pushed for community involvement and equity among readers, writers, and industry as a whole. With a mission of publishing work that is accessible and understandable to all adult readers, as well as a requirement that our authors give back to their community with multiple free outreach programs a year, we have been setting the bar higher and hoping to establish that trend in the wider publishing world.

PS: How do you think the publishing industry has changed since the pandemic?

GC: During the pandemic, obviously a lot has transitioned to digital and, where possible, publishers are pushing more virtual editions of their books, but it seems that physical books haven’t received the death knell that some expected. Rather, the pandemic has highlighted the resilience and innovation of the industry as a whole to serve their clientele with the emergence of new online retail outlets and more remote events.

PS: What do you think writers should avoid when approaching editors or agents?

GC: I can’t really speak to the agent side of things, but when approaching editors, I think writers should pay close attention to meeting the needs of the editor/publisher they are seeking to work with, while retaining their own voice. The English language is nothing if not full of cracks and made of rubber, and there’s a lot that can be accomplished within a publisher’s constraints to craft a work that presents the individual’s world in a genuine, tangible way. When working with an editor on a project that’s slated for publication, especially if that editor is established with the publisher who will be releasing the work, the writer should keep an open mind when receiving feedback. A good editor will sharpen the blade rather than seeking to replace it, and while the process can be a challenge, having the patience to consider the guidance of an editor as valid and possible for improving the work as a whole can really draw more poignancy out of a manuscript while remaining true to its initial intent.

PS: What other advice do you have for writers looking to get published?

GC: It’s trite, but read from a variety of presses to learn their aesthetics, as there’s no hard and fast rule for what the publishing world as a whole is looking for. That said, contrast in your manuscript is important. Sparks of light, hope, or humanity can make a bleak collection of work more palatable, while also making the depths of that collection that much more impactful. Likewise, a narrative devoid of struggle, pain, or obstacles will at the very least come off as unrealistic and at worst be seen as nothing more than fluff.

 

Push to Publish 2020 Interview: Lawrence Knorr

Lawrence Knorr

This year’s virtual Push to Publish Conference will include all of the great tips, trends, and connections that writers have gotten from this popular, in-person event—but now from the comfort of your home. Below, we talk with Lawrence Knorr, the founder and CEO of Sunbury Press. Lawrence will be participating in Push to Publish as a speed date editor and speaking at the panel Querying Your Book Without an Agent.

PS: Tell us a bit about your background and what you’re doing now.

LK: I am the founder and CEO of Sunbury Press, Inc. We have been in business for 16 years and have over 400 authors and 800 titles under managements. We publish in a variety of categories under 10 different imprints, producing paperback, hardcover, electronic, and audio books. Our books are sold worldwide.

PS: How did you get into publishing?

LK: I wanted to publish a family history and didn’t want to pay someone else to do it. I learned a lot of lessons along the way including that I loved publishing books.

PS: What trends are you seeing in the publishing industry?

LK: Audio is on the rise. Amazon is dominating more than ever.

PS: How do you think the publishing industry has changed since the pandemic?

LK: Independent bookstores are really struggling under COVID. EBooks have made a rebound, but Amazon is getting more of than revenue.

PS: What do you think writers should avoid when approaching editors or agents?

LK: Avoid being shy—get right to the point—have your elevator speech ready to go. Avoid presses or agents who do not represent your category. Avoid being disappointed when being rejected. Keep plugging away!

PS: What other advice do you have for writers looking to get published?

LK: Publishers have to perceive the book will sell well enough to cover costs and make a profit—though they sometimes invest in emerging authors whose second or third books might be the moneymakers. Authors remain at a disadvantage because of the sheer number of authors they are competing against. Try to limit that field by knowing how you fit in—find a way to stand out and be unique—or be like someone who sells really well.

 

Philadelphia Stories Names the Winners of the 2020 Marguerite McGlinn Fiction Contest

August 2020, Philadelphia, PA: Philadelphia Stories, a non-profit literary magazine serving the Delaware Valley and beyond, has named Colorado author A.C. Koch as this year’s winner of the Marguerite McGlinn Prize for Fiction for his story, “Young Americans.” Koch will receive a $2500 prize for “Young Americans.”

Editorial board members read through hundreds of submissions to narrow the list to seven finalists, which were then reviewed by the 2020 judge, Karen Dionne, the bestselling author of The Marsh King’s Daughter and The Wicked Sister. Dionne described “Young Americans” as “…[a] short story [that] ticked all the boxes for me. A nuanced, pitch-perfect father-daughter road trip told with an economy of language and an easy rhythm and flow that sucked me right in.” She went on to say, “Clearly plotted, well-drawn characters, along with just the right mix of atmosphere and insight make this story a winner!”

This year’s second place goes to Arkansas author Allie Mariano for her story, “Dead Women.” About this story Dionne says, “A character at a crossroads is always intriguing; how did they come to this place and what will they do going forward? I love stories that focus on undoing the consequences of bad choices. That this story is also beautifully written is a bonus.” The second-place prize is $750.

Third place goes to Philadelphia author David Updike for “Feral Wives.” Dionne writes, “This short story begins with an irresistible premise: women all over the country are leaving their families to live in groups in the forest, constantly on the move, building temporary shelters while they hunt and fish and forage. An engaging and thoughtful commentary on what it means to shed the labels of ‘wife’ and ‘mother.’” The third-place prize is $500.

2020 Finalists:
Charlie Watts, “Almost Happy,” Freedom, NH
Holly Pekowsky, “Almost There, ” New York, NY
P. Jo Anne Burgh “The Women in the Club” Glastonbury, CT
Shanteé Felix, “Magic Hair,” Baltimore, MD

Koch, Mariano, and Updike will be honored at special virtual reception and reading on Saturday, October 10, 2020 immediately following the conclusion of Philadelphia Stories’ annual Push to Publish Conference, which will also be held online this year. Author Karen Dionne will be the keynote speaker. The annual conference is held in partnership with Rosemont College, which offers an MFA in Creative Writing and an MA in Publishing and actively supports the writing community through such literary events.

Letter from the Editor: PS Junior Released Despite Obstacles

By Eric-Ross McLaren

I’m a rising senior at the Friends’ Central School, and I worked on Philadelphia Stories and Mighty Writer’s most recent issue, PS Junior 2020, as the Lead Editor!

I’ve been working with Philadelphia Stories and Mighty Writers since my freshman year of high school. In my two years working with both organizations, I’ve learned that they’re home to a very creative and unique group of students and mentors. They have a very special place in my heart, and I am grateful to the program directors for giving me such a wonderful opportunity.

I’ve gotta say, these past few months have been beyond abnormal. Who knew that we would be told to stay in our homes, and if otherwise, be victim to a nasty this wicked virus.

I remember chatting with a couple of friends a few days before New Year’s eve (2019), talking about how “2020 is going to be the year” and how “it better kick 2019’s butt!” We had yet to learn about a global pandemic sweeping through not only the states, but the world itself. This most definitely caught my friends at Mighty Writers and myself off-guard.

We were working on the PS Junior 2020 issue when Governor Wolf sent out an order to quarantine. It was a very scary and uncertain time, and the mentoring editors and I had to come together to come up with a new gameplan: “What should we do?” The team and I had to follow a new and unfamiliar format when finalizing the issue. We had to hold many “ZOOM calls”, a term everyone had become accustomed to a few weeks into quarantine. Schools were going virtual, and many people’s schedules were running rampant, frazzled with uncertainty.

The editing process of PS Junior follows a carefully planned procedure: gather student-submitted creative pieces, organize editors into teams and assign stories, select and edit the stories, send all creative pieces to our designer, then have the actual issue printed. It’s a very tedious process, especially when we fall back on deadlines. Yet, I am still surprised to this day how cooperative and hard-working the team was during the height of the pandemic. They stayed connected with me throughout the whole “virtual” editorial process, which was very difficult. Many of our editors either had family disruptions, or they had to take care of a younger sibling while also juggling tasks for the issue. I am so proud of every single one of them.

During this whole process — having to transition to a virtual platform while also managing a team of student editors — there’s one very important skill I learned and developed: how to take immediate action as a leader, and how to uplift and embrace those who work alongside you. You are nothing without a team of like-minded, hard-working individuals, and I saw this amongst my team at Mighty Writers West.

I am proud that, despite the pandemic, this team was still able to produce a collection of stories, poems, and artwork that you can read in the latest issue of PS Junior. I look forward to working with the Mighty Writers editorial team on the next issue, PS Teen, for writers aged 13-18. The deadline is October 9. If you’d like to submit, you can submit through this link — we’d like to read your work!