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Unbroken #45: 
The Average Lifespan of a Patron Saint

Noah Lane Browne

Blockbuster Video 1992

Photo by Sean Benesh (unsplash.com)

We are young maybe eleven and nine in Blockbuster video when those still existed and wandering through the low-pile carpeted aisles with tall displays of VHS tapes in plastic rectangular boxes with blue stickers that say in bright yellow letters BE KIND REWIND and Mom wants us to rent Lilies of the Field in order to quote expand our cultural horizons as she likes to say and adds that she’ll throw in ice cream with her homemade chocolate sauce if we opt for Sidney Poitier but when she shows us the cover it’s black and white and so it must be like 100 years old and we want to rent Beverly Hills Cop I or II it doesn’t matter which one because Axel Foley the main character is hilarious in both and also we know she’ll let us have ice cream with homemade chocolate sauce either way when suddenly a man in a jacket and jeans walks up to Mom as she’s holding Lilies of the Field and he says to her “Do you want someone to watch that with?” and while I don’t blame him because Mom is really pretty and has clear blue eyes the kind that can see inside you and graceful fingers like a dancer because she actually is a dancer my brother and I just stare at the wall of plastic rectangular boxes and we’re frozen and we don’t say anything because this is all still new and hard this family of now-three but without hesitating Mom who is quote petite but powerful as she likes to say looks at the man in the jacket and jeans and points to us and says “I already do” and I guess he got the message because he just walks away and then we rent both Lilies of the Field and Beverly Hills Cop I or II and go home to eat ice cream with homemade chocolate sauce.

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Noah Lane Browne writes about family, memory, and survival. His work has appeared or will appear in Chicago Story Press, 1922 Review, Disco Kitchen, and Qu Literary Magazine. He lives in Washington DC with his wife and cat.

Ceridwen Hall

poem without GPS

How do you define sex? My friend means success — a sly trip of syllables: a funny accident since people do use sex as a proxy for success. My friend tries to apologize for this, but the car is full of sunshine and laughter. She’s driving me to where I’ll read some poems and later she’ll extricate me from the party, tuck me into her spare bed. And if this isn’t love, I don’t know what is. Trees we can’t name blossom and nod in the breeze. Success might be measured, or measurable, beaconed. But today I’m into joy. We’re on a country highway — beautiful platonic winding ahead of us, and behind. And my heart is like the river, mud-rich, leaping with spring rain.

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Ceridwen Hall is a poet and educator. She is the author of Acoustic Shadows (Broadstone Books, 2024) and two chapbooks: Automotive (Finishing Line Press, 2020), and fields drawn from subtle arrows (co-winner of the 2022 Midwest Chapbook Award). Find her at ceridwenhall.com.

Annabelle Taghinia

Joy

I had seen her before. On second dates with girls who remembered which songs I liked, she was in front of us to order ice cream, sitting next to us in the movies, eating alone at the table beside ours. In the houses of people I loved, I caught glimpses of her through the window as we drank lemonade or soda or beer or wine. She would be biking past, or walking a dog, or running with her ponytail swinging behind her. She was the intern working at the front desk when I was hired for my first real job. She was the client in the next office when I was promoted to my dream position. She was leaning against the bar at my wedding party when I came over for a drink. We watched my wife dance, a spinning diamond in a sea of suits and dresses. That was the first time she spoke to me. "Enjoy it," she said. After that, I saw her more. She watched movies with me sometimes, or visited me at my job. Sometimes she ate dinner with me and my wife. On long, lazy Sunday mornings, the three of us would stand shoulder-to-shoulder in that tiny kitchen on Boulder Ave. She often joined me while I walked the dogs, and we drank coffee together on the cool autumn afternoons. She would put her latte on the grass so she could scratch both hands through Lucy’s thick blonde fur and I would watch Ross as he danced around her teetering cup and ask, “Why don’t you ever stay?” And she would look up at me, small mouth forever curved into a smile, breathing in cool, spiced air and breathing out sweet espresso, and say, “You’re not the only one who deserves me.” And then she would stand up, pick up her cup, and move on.

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Annabelle Taghinia is a young writer from New England. She is a junior in high school and spends her free time writing poetry and fiction. Her work has been recognized by Scholastic Art and Writing, and has appeared or is forthcoming in BULL, Yellow Arrow Journal, and Levitate.

Kiersten McMonagle

Patron Saints

My best friend wasn’t raised Catholic, but her boyfriend was. He tells her the stories he learned in church every Sunday and she imagines them the same way I imagine falling in love after I spend the night asking my Tarot cards about a woman who won’t text me back tomorrow. She walks away with vague ideas of sacraments and confessionals, decides to believe in patron saints the way she believes in astrology. She chooses a saint for herself, reads through stories on Britannica and sifts through them, each one more horrifying than the last, settling on Laura Vicuña because she was just a normal girl, because “she just really loved the church, and they decided that was enough”. That night, I Google the saint I chose for the first time in 20 years, searching for meaning I can claw out like a tumor. St. Lucy, Patron Saint of the Blind, plucked her own eyes out to make herself less desirable to a man who wanted her, a metaphor so obvious I’m not sure it’s worth writing, and I wonder who my patron saint would be if I could choose over again, could shed the one I’d chosen at 12-years-old while my mother spent evenings weaving guilt into my veins, could have chosen for beauty rather than obligation to a promise I’d made before I knew what a promise meant. Maybe that obligation made me who I am before I ever knew what it meant to be someone. Is there a patron saint of women trying to figure out who they are without their mother there to tell them? Of a woman finding desire for the first time in her 30s, wondering if it’s too late to learn how to love, checking the weight of an orgasm in the palm of her hands and imagining what God would think of the want she fills between the cracks of every poem she writes? I imagine trailing my fingers across her throat, can almost feel her hands between my thighs, and it’s holier than any God I could have imagined. I know forgiveness is the virtue I’m meant to strive towards, remember teachers and priests evangelizing it, can line up all the times I’ve been told to forgive and have buried my resentment to make space for it as a timeline that spans the length of my spine. But is there a patron saint of people who aren’t inclined towards forgiveness, who can tell me where to put down all the anger I’ve been carrying since birth, since I inherited it from my mother and from her mother before her, handed down from one generation to the next like an heirloom none of us ever wanted? I’ll spend forever reckoning with the impact of a God I never quite believed in on my life, will never really be able to make out the blurred line between His voice in my head and my mother’s.

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Kiersten McMonagle is a Philadelphia-based writer. She’s been writing since she learned to hold a pencil, with her recent work focusing on the balance between her queer identity and her upbringing in the Catholic Church. She can be found on Instagram @Kiersten_McMonagle.

Priya Rajalakshmi Chandrasekaran

Pilgrimage, Hemkund

Govindghat to Gangaria. Remember this. How quickly a feeling can change. The violet blue butterfly. Flies. Rushing river softens stone, a little. Warmth is welcome against my sweat soaked shirt. On this first day, old men, sahibs, tread slowly up, clutching thin bamboo canes. They are passed by strapping men in the prime of life whose postures speak of military training. A woman, barefoot, wears callouses thick as the soles of my boots. Another stubs her toe and limps, leaving blood on the rock. Behind the young and fit who underestimated the challenge are those whose backs hunch with what life has made them carry or under the sheer weight of years. What moves them onward? The power of faith? Those who came before? Those who dared not try? The proud will not turn back after having started. The wise know that in their calendar of appointments the one that remains unwritten is the culmination of all others. Onward, onward. This is the way. Centuries ago a warrior poet retained a memory from a previous life. There was peace. He saw a jewel lake, cradled by peaks. So, onward for another day, and receive sweet chai and khichdi prepared by strangers, as much as desired to fill one’s empty vessel. And then seconds and thirds. There is no counting, no matter who asks or how one arrives. No one shall leave hungry. Now, in the thin air that made breathing hard, how grief will float. An icy dip will freeze out the pang of fear or doubt. Those shivering may dry by the fire that cooks the food. Perhaps someone told them. The route is hard. If you do not make it, you will be carried down or subject to the sympathy of others, and if you do, the view is a world beyond your reach. But take heart! For when you slip or your ankle twists or your heel sticks in the mule trodden mud, a hand may lead you to the river, rushing down from where you are headed, and you will hear the burbling and you will feel the coldness of wet stone against your feet as the sun heats your back. And then, onward. Try not to anticipate the exhilaration of arrival and having nothing more to climb. For when you are there, each moment here will weave into a blanket with colors like no other and it will envelop you, thick with feeling and the company of others moving onward.

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Priya Rajalakshmi Chandrasekaran’s fiction has appeared in J Journal and Silk Road. She has received a New York Foundation for the Arts Artists Fellowship in Nonfiction Literature and is an anthropologist who teaches Liberal Arts at Juilliard.

Ryan Griffith

Nightprayer

Storm cloud, mirror, gibber of wind. Father, I search my book of symbols for you. I find you only in glass, that country where you live in my reflection, eyes like blank receipts for all we owe. Father, I taste you in dark bread, absinthe, the silence of stone, I hear you in bloodsong, nightbloom, pulse of earth. Where does memory go when we die, Father? How to read your book of wounds?

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Ryan Griffith's work has appeared in Best Microfictions and The Wigleaf Top 50 Very Short Fictions.

DB Jonas

Whispers

Photo by Zachary DeBottis (pexels.com)

Solitary

 

It isn’t the room. The room seems fine, as rooms go, with its little window high up on the wall, the tiny sink, the steel commode, the sturdy table and chair, the shiny grey walls, the skinny mattress on its sagging springs. It might be as good a place as any for someone like myself, happy in his thoughts, benign in my own company, as it says in a book of poems I once read. I’m at liberty here, in most ways, wandering in my thought, nested like an oyster in its pearly shell. No, it’s the way the light seems to taunt me through that window, from under the door, a grey light mostly, without warmth. And the way the heavy grey walls, instead of damping, seem to amplify the anger that erupts in the galleries out there, the hoots and howls that explode in the oceanic, lamplit night I imagine behind the door. It is, I guess, the impossibility of anything like solitude, here in this waking space, which makes me think Solitary’s the last name you’d use for this situation. Everywhere here, the dreadful irony of that word. It’s not so much an exile, this circumstance, not so much the fact of my expulsion, this exclusion from the world, but the peculiar way the world seems to hold me at its absolute center, where I cannot manage to step back, to stand apart, where I’m subject to the smallest things, exposed to the narrowest light, to the pendant bulb in its cage, where I seem to be endlessly reoriented by the familiar, somehow altered and strangely destabilized by my unchanging circumstance. In the fragile stillness of my narrow bed, I can’t escape the rasp of labored breathing. In every dream, the feathery, insinuating breath of isolation on my cheek, the licentious whisper of my absolute detachment, the undying echo of an unremembered judgment assigning me to this specific, unremarkable room at the unstable center of an indifferent circumstance, exposed to something more intimate than the violence out there, something somehow older than this separation: the rasping murmurs of a solitude without privacy, a solitude that never manages to find me simply by myself in this empty space, an isolation that doesn’t leave me alone.

 

* * *

 

God Walks into a Bar

 

Actually, it was I who walked in. He was already there. How long had he been seated there, I wondered, in the darkness of a far corner, at the little table, nursing a little Cognac, wreathed in the heavy pipe-smoke of his Cavendish? I was late to the assignation, as always. He seemed unperturbed. At that time of day, it was the just the two of us, if you don’t count the occasional squeak of a bar towel against the glasses that the proprietor stood polishing, endlessly, holding each one up to the grey light from the little windows up front. He’d been happy to interrupt His schedule for my sake, or so He said, to indulge me in this little interview. It was awkward, to say the least, this conversation between someone without belief and Someone who doesn’t exist. He readily acknowledged this latter point, I’m happy to report, the issue of His nonexistence. It relieved the tension I’d expected and dreaded. His cheerful concession to nonexistence broke the ice, and as I recall he seemed to focus on his status, above all, as a name. If memory serves, He was saying how the word, the name, isn’t exactly a thing, but something that points, that “stands” for something other, something on the way to something else, somewhere else. Nonetheless, after putting a few brief questions to Him that I’d prepared in advance, the pipesmoke started to get to me. The cloud that enshrouded us seemed to be getting thicker. I began to feel lightheaded and faintly nauseous, so I had to cut the conversation short, make my apologies, and hurry back out into the Autumn afternoon, grateful for the open air and the nearly empty street. All in all, I’d say, the talk went well. As well as might be expected. I’d come away with what I needed, I thought. He said He’d be happy to meet up again any time. That if I ever needed to get back in touch, He was in the book. I don’t know. Maybe. The thing is, I’ve gotten so used to speaking with folks who, like me, seem to enjoy some form of existence. And when I got back to the office, I was dismayed to find I couldn’t make heads or tails of the notes I’d taken there, dutifully, painstakingly, in the dim light of that bar. All I had managed to come away with, it seems to me now, was the sound His voice made. Something indistinct. Something other than information. An inhuman sound that returned me to the world. Something between a growl and a whisper.

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DB Jonas is the author of two poetry collections, Tarantula Season and Other Poems (Finishing Line Press, 2023) and Flight Risk: Poems and Translations (Kelsay Books, 2025). Further examples of his work can be accessed at jonaspoetry.com.

Sheri Flowers Anderson

Baldness

He resembles his dead brother — a startling resemblance after shaving his head. He shaved his head clean in solidarity with his wife's butter-smooth baldness from her chemo treatments. Her chemo treatments, both a hope and a tender hurting, corner him into the denial of unthinkable loss. The losses he's encountered have sheared his senses, his chalky taste buds and burning nose and nerves while he also navigates his father's rapid dementia and his mother's serious heart condition. The condition of his own health is background noise: his extra weight of years, borderline diabetes, and high blood pressure. The pressure, the pressure, to be okay, burdens his heart into palpitations and splinters the mirror into silver tears over his dead brother's face, his shaved head. He shaved his head, and his hair is not growing back. He's not young anymore — his hair may never grow back. It may never grow back. He can't go back. He can't hit undo. He can't un-love all he loves.

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Sheri Flowers Anderson lives in San Antonio, Texas. Her work has appeared in Sixfold Poetry, Pensive Journal, and Atlanta Review. She's the author of a poetry collection entitled House and Home, winner of the 2023 Naomi Long Madgett Poetry Prize. When she's not reading or writing, she watches too many TV movies.

Haylee Schwenk

Falling

When I was 21 I twisted my ankle playing softball and the next morning fainted and fell off the toilet onto my face, bending my glasses and giving myself two black eyes. The old doctor at the university health center diagnosed a bad sprain, wrapped it up, told me to keep it elevated as much as possible, and said, “you’re a fainter, then?” I started to protest that the only time I had fainted before was that time my broken nose was set, and, well, when the phlebotomist started the fasting blood-test draw, and maybe one other time for no reason I could remember. So, the other day when someone proclaimed that I “fall in love easily,” my first thought was to dispute it, because, come on, I am 60 years old and have probably been in love only twice, most recently with the same man for 35 mostly consecutive years. But I guess I was playing softball that day partly because I was falling in love with the left-handed center fielder. And in just the last few months I have fallen in love with our children many times all over again, with the bright pink cosmos, planted in pots outside my dining room window, that waited until September to burst full color on top of tall flimsy stems, with the sound of Italians speaking, with the light filtering through the apple tree, with the way that same outfielder’s sister savors the bistro olive mix one salty green or black fruit after another, with life, slowly, all over again.

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Haylee Schwenk is a poet and editor who has lately been considering the many communities that hold her up and save her life, over and over. Her work has been published in Great Lakes Review, Sheila-Na-Gig, Panoply, and in the anthology Light Enters the Grove, from Kent State University Press in collaboration with the Cuyahoga Valley National Park.

Jeffrey Hantover

Weeknights

“How much do I love you? Count the stars in the sky. Measure the waters of the oceans with a teaspoon. Number the grains of sand on the seashore. Impossible you say.” — Last lines, Einstein on the Beach (1976, opera in four acts by Philip Glass)

 

Come on, I said, enough with the Hallmark cards. You can do better. He sat on the couch drinking his beer, quiet for a while. I will take out the garbage every night. I will unclog the toilets and clean the gutters in the fall. I won’t say a word about that brother of yours. I will listen when you tell me how your day went. I won’t count your shoes in the closet. I won’t restack the glasses and dishes after you’ve put them in the dishwasher. I will say you look beautiful every time we go out to dinner even when you and I know you aren’t. I will remember our anniversary and your birthday. That’s better I said. And I will make love to you on weeknights until the mattress cries “Uncle.” I smiled, “It’s Thursday,” I said.

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Jeffrey Hantover is a writer living in New York. His novella, Sweet Willie Gold Has the Blues is forthcoming in Running Wild Novella Anthology Volume 8: Book 1. His poetry and short fiction have appeared in various literary journals.

Justin Lacour

Romance

On our last date night we had a piece of paper long as a dinner table a green crayon we shared and you said let this circle represent a story so old it’s like it was found under a stone and wasn’t it Helen Vendler who complained about the “I” in American poetry there’s no “I” in fairy tales there’s a woman in a high tower in the circle you drew a prince galloping furiously to rescue her until the woman starts a second tale where her tower is guarded by dragons surrounded by a forest of briars a hill of men’s skulls loaming nearby the prince believes this tale and turns back which is the function of the tale the woman wants to be left alone or at least keep her autonomy from the city of men so you draw lines from the circle to the woman’s tale to the story she births of princes staying home the woman keeps birthing new tales so we draw long into the night interrupted only by children asking for water or freedom from nightmares you write in the margins how the woman in the story protects herself from the story how given the choice to be a princess or a witch she chooses both.

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Justin Lacour lives in New Orleans and edits Trampoline: A Journal of Poetry.

Gary Fincke

Magnitudes

Monogamous

 

The lesson of the small, but athletic, male anglerfish, who can outswim the female for the old reason of necessity. Like each of his brothers, he suffers from dependency, his speed a desperate gift. Pursuit is abundant, but she looms five times his size, a final exam for ingenuity. Where safety is absent, opportunity often shouts a widespread commandment. Unable to feed himself, he must hook to her bulk, monogamous for life. Fused, he has her blood to borrow, commitment an unspoken absolute. And in return? She receives his sperm, his swimming, by now, a thing outlived. He settles for riding on her as she drifts into deep water. Her luminescence will lure the curious close enough to devour, how the beautiful often live.

 

* * *

 

The Accomplishments of Birds

 

Ravens remember past relationships. Crows recognize the individual voices of birds of other species, and lyrebirds, the males, can mimic any sound they hear, from cameras to car alarms, to attract quiet females for mating. Such singing in Australia, but here, for the third consecutive year, doves have chosen the central crotch of our weeping cherry, fluttering from the lawnmower and car doors slammed in the nearby driveway. For the third consecutive year, the nest has collapsed in an early summer storm, eggs strewn underneath the helpless shelter of drooping branches. Persistent, those doves, remarkable as the couple next door who are paying for pregnancy, the wife acknowledging each failure with something akin to pride, her news, just now, of the accomplishments of birds, how studies have shown that a mother hen’s screeching can wake her chicks unhatched in eggs.

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Gary Fincke's latest flash collection is The History of the Baker's Dozen (Pelekinesis, 2024). His new poetry collection is For Now, We Have Been Spared (Slant Books, 2025). He is co-editor of the annual Best Microfiction anthology.

Photo by Matthew Anderson (Threads, @yerboymatthew)

Mikki Aronoff

Fledging

One, two, twenty strokes on the keys and the words won’t come, but birds do. They caw to their mates and more soar in. Wouldn’t you know, their mates have mates and so on and so on. The shift and ding of the carriage return spawns a cacophony of rattles and clicks as the birds knock into lamps, tangle in curtains. She hovers her hands over her typewriter as the crows try to grab the paper from the platen. She yanks it away, sprints downstairs, arms-over-head, packs picnic, pen and paper, and runs outside, Spot trotting after.

 

The birds find the food. They swoop and wheel and dive. Not a dish survives, not the slice of pineapple pie, the wedge of brie, her cucumber sandwiches trimmed of crust. Soon no sun tea and she really must pee but the birds are stealing the scribble and scrawl of her work. She shoos and shoos, bundles what’s left into the tablecloth and trudges back up the hill, nothing left to spill but words, so she perches at her desk, shoulder-hunched, wishbones poking through the back of her thin linen dress. Pinfeathers drift to the floor. She pecks. The birds don’t come, but words flock in. Then another and another and wouldn’t you know, the words have friends, and so on and so on and so on. They flap and rise on tiny wings, beat a murder onto the page.

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Mikki Aronoff lives in New Mexico, where she writes tiny stories and advocates for animals. She has stories in Best Microfiction 2024, Best Small Fictions 2024, and upcoming in Best Small Fictions 2025.

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