DP FICTION #107B: “They Are Dancing” by John Stadelman

edited by David Steffen

They hold each other in the shallow cool of an August night, two among many in a backyard arced in string-lights, wrapped up in the music and the celebratory ethereality of a wedding. They dance together like it’s theirs, in a moment that is just itself and what they are within it.

* * *

When they woke it was in what little pocket warmth they’d accumulated between their bodies in the night, clinging together in a sleeping bag as if without the other they would forget how to breathe, or why. When Nash cracked his eyes open to take in this reality it was to Vicky watching him, her face as beautiful as everything behind it, a moment of naked love in which they both wished that they could remain lying here like this, frozen in stasis. Neither needed to say it.

But time moved on. Inexorable, mechanical as a wave in the ocean, as the dissolve of light into dark. They knew it was time to go when Vicky mumbled that he needed to brush his teeth, and Nash said that she’d had too much to drink last night.

“Well, how else am I going to sleep through this?” she snapped, pulling away from him.

“You’re the one who wants to cram us into this one bag,” Nash said. “Not my fault that you can smell my breath—”

“Stop.”

They took a moment to recollect, looking first at the tent walls, then the travel bags at their feet.

“I guess it’s time to go,” Vicky said.

They emerged into a winter in stasis, here in this relic world. The ground cold and hard-packed, overhung by bare trees. Gray sky.

“I’ll get the tent down,” Nash said.

“I’ll pack up,” Vicky said. This was how they handled the moments when the future came too close, advancing behind the fiery orange and red tendrils of the wave that separated it from this world of the past. It brought preliminary effects: budding trees, shoots of green grass, mild warmth that whispered with the summer.

For living things, its effects were the beginning of the state that they would be in, once the time-wave passed over them and brought them days? years? into the future. Like foreshocks to a temporal earthquake, and what waited on the other side?

For Vicky and Nash, it meant that they started fighting. Building up walls and nurturing resentments. Making plans to leave. Once they outran those foreshocks, got beyond the effects, regret filled them and they made up.

Which meant that whatever era of their lives existed beyond the wave, in the future, didn’t involve them together.

And so they ran, the last of the living on this side of time, defying the mechanical, unceasing advance of loss—struggling to stay together, and in love.

* * *

Neither could remember how long they’d been here. Living in this world of the past meant that one’s perception simplified to a moment-by-moment basis, shedding the artificial measurements of hours and days. But here, in this unceasing end? Anything beyond the moment was hard to understand. A freedom in that, at first.

But now, when they woke from scant hours of sleep, suffering those preliminary effects, bitterness and resentment led each to privately wonder a terrible option… so they just went through the motions. Pack up. Get in the car. Eat breakfast on the road. Start talking when the shame from holding those resentments built, then gave way.

Yet there was only so much land left. The geography had gone flat, and though they didn’t know what the road signs for exits and dead towns meant, they knew that these were coastal plains; soon they would smell the ocean.

“We’ll find a boat,” Nash said.

Vicky took his hand. “I don’t know how to steer one. Do you?”

“No.”

She ran her thumb over the back of his hand. “We’ll figure it out, then.”

But they both knew that they couldn’t get a boat running, not before the wave reached them. Before the future did.

* * *

Vicky missed her family. Nash his friends, because they were more like family to him. She couldn’t help wishing that she was back home, speeding down the highway as the sun set over cornfields and a thunderstorm rolled in across the miles. He wanted to stand out on the porch after the rain left and birdsong returned, and the fresh sunlight glittered over puddles in the driveway.

They’d had to leave their dog behind. Neither one could remember him fully, but when they started talking about him it all came back. Who was with him now? If the wave passed over them, would he still be there, back home, waiting for whichever one took him?

Time had nearly overrun them once before, when they’d crossed the mountains with those crooked switchbacks inching them along. But the wave passed over everything in a line, unstoppable—it had come so close that the sky lit aflame with orange and red aurora streaks whipping the sky and land, while phantom leaves eased into being and cars like ghosts materialized. Their screaming match had left them in tears. Vicky had been driving, and finally shouted, “If I’m that bad, then why don’t I just hit the fucking brakes?” And Nash spat, “Because you’re scared.”

That night, lying in the sleeping bag, far enough away from the wave to apologize again and again and believe it, Nash whispered, “I’m scared, too.”

“Is that why we’re still doing this?”

He brushed her bangs from her eyes. “Because we love each other, too.”

“But are we running for love? Or to get away from what’s on the other side?” She paused, then answered her own question. “Both, I guess.”

“Is that…” Nash swallowed. “Is that any reason to stay here? In the past?”

Vicky blinked back more tears—why did she cry so much, being with him? “I don’t know. Isn’t that… most relationships? Sometimes it’s love, sometimes it’s because that’s what we know and we stay because it’s less scary than leaving?”

“I don’t want that to be why.”

“Me, neither.” She kissed him, held him. And they both kept silent the same fear they harbored: What happened when they reached the ocean?

* * *

When they passed the first road sign that announced the distance to the beach, Nash asked, “What’s your favorite memory of us?”

Vicky gave a strained, but real smile. She said, “When we ran off to Seattle.”

“Yeah?”

“Yeah. Just… running off with this wonderful guy. But the moment itself, it was when we were sitting on the patio at that restaurant that looked out over the water. Remember that place?”

“The one with the trout?”

Vicky laughed. “You ordered it but didn’t know they serve the entire fish. The look on your face when they brought it out was just so… real. And cute.”

“Never ordering trout again.”

“But we were just sitting there, couldn’t have been more than half an hour. The sun was out, and all the people were walking by and I looked over at you and you were doing the same thing I was. Just taking in the world. And that was it. That was all I needed, was being in a new city, with you. You were the only thing that was solid for me, in the middle of all this strange newness. Like an anchor.”

Nash squeezed her hand.

“What about you?” she asked.

“It’s dumb.”

“No it’s not. What is it?”

He smiled, keeping his eyes on the road. “Remember when we went to the Fair last year?”

Vicky rolled her eyes. “Not really. Not after the fourth margarita… that night is your favorite? I was blackout drunk.”

“Okay, not that part of it. But it was… I don’t know, when I got you to the car, pretty much carrying you and you were singing ‘Don’t Stop Believing.’”

Vicky groaned and he laughed, but not in a mean way.

“And I got you into the car and drove us back, and you were mumbling about the pigs in the petting zoo, how you wanted one as a pet—”

“I still do.”

“But then you fell asleep, pressed up against the window.” He paused, swallowed through the hitch in his throat. “You needed me right then and I was there. Helping you, I guess… being your man. Just carrying you home.”

She watched him watching the road. Then leaned over the console and into him as best she could, face buried into his neck while he held an arm around her with the other on the steering wheel, wanting more than anything to pull over and hold her back. Eventually, she started to wish he’d changed into a different shirt, but he was always doing that, just picking up whatever piece of clothing was in sight, even off the floor. And he wanted her to take over more of the driving, he was tired and sore and he always had to take the lead.

They separated, back to their sides of the car.

* * *

But there was another memory. Profound for both of them, and maybe if they had mentioned it to each other it would have displaced the patio in a new city, and the late-night drive carrying her home, because for it to be held so deeply by both of them would have made it more than their independent moments. But they hadn’t told each other, hadn’t had the time.

Two of their friends were married in a backyard on an evening in August—the two who had connected Vicky and Nash in the first place—so they were both in the wedding party, had even walked down the aisle together in a bridesmaid dress and groomsman tux like precedents to a different dress and tux. After the service it was dinner and cake and drinks under tents in the backyard, speeches, and as the sun sank the DJ started the music.

Neither of them remembered the night with much coherency, thanks to the open bar. But the clearest moment wasn’t the ceremony, the speeches, any of that.

It was when they’d been dancing, alongside all these friends and strangers, under string-lights with the grass cushioning their sore feet, the music meaning little more than what moved their bodies together and held their eyes in lockstep. A moment—just a light on a string of them, but it glowed brighter than the others. It ended and yet it never ended, swelling into a presence real and powerful and continuing on as separate memories to exist in shared pocket-time, the closest thing to eternity that there really is.

* * *

They sat in the car, staring out at the lifeless gray ocean. No wind, no surf, nothing out there toward where it banded into the featureless sky, because this relic world of the past had lost even its natural phenomenon.

Already Vicky wanted to be anywhere he wasn’t. And Nash just wanted to be alone.

When they walked out onto the beach, stumbling a bit in the loose sand, they kept a wary distance from each other. A marina stood far up the shoreline, but neither had brought up the possibility of taking one of the boats. They resented the other for the four years wasted. Part of them couldn’t believe that they’d been considering marriage—although that was held with the knife-stab agony of having been so close to it.

A beach without surf, without waves dragging fingers up and down the skin of the earth. Elements trapped together and refusing each other. They had stayed here for too long. You couldn’t outrun time no matter how hard you tried, or how much it hurt.

The sky began to lighten. Tufts of beachgrass sprouted, hair on a newborn’s head. Phantom gulls flickered along the sand, their squawking the voice of the sky. The air itself vibrated, and as Nash and Vicky faced each other tendrils of orange and red reached around and between them—thin at first, then thickening, the ligaments of time itself.

He saw her in the autumn night, leaning against the window as he drove her home. She saw the man sitting across the table in a new city. They danced in the August night.

In a moment of fear, they wrapped their arms around not the targets of loathing they were trapped with, but around the only human comfort in this place. A bitter part of them wondered if that was all they had ever been: gripping to the first readily available comfort in this void.

The wave rushed over them, the inexorable mechanical washing forward of time. Among the oranges and reds emerged a core of purple, a deep sunset kiss settling over and around and in them—removing them from the beach and each other’s arms into futures separate and holding for the other memories and regrets and the hope that the other was doing better than when they’d ended things and that they didn’t hate each other really but were too ashamed to cross the breach into some kind of I-miss-you friendship while remembering not the agony of how they’d ended or even the excitement of how they began and not even the anchor in a new city or driving her home but a night in August. And even after they’d long since lost most of those images, the emotion of that night still held the summation of what they’d been at their best, not erasing their worst but holding against it, a moment and memory resting as a light on a string of them in the dark.

* * *

They hold each other in the shallow cool of an August night, two among many in a backyard arced in string-lights, wrapped up in the music and the celebratory ethereality of a wedding. They dance together like it’s theirs, in a moment that is just itself and what they are within it.


© 2024 by John Stadelman

2311 words

Author’s Note: This story was inspired by Ben Howard’s dark, haunting, beautiful song, “Time is Dancing.” Listening to it, I see lovers at their last dance, knowing that what they have between them is ending, but finding themselves, for the duration of a song, in love again—during which the aftermath doesn’t matter, but instead only what they are, together, in that moment. From there I set them running from that end, defying inevitability by stretching that last moment out beyond its natural limit—until finally giving it up.

John Stadelman (he/him) is a writer from North Carolina now based in Chicago. He holds an MFA in Creative Writing from Columbia College, and his recent fiction has appeared in Freedom Fiction, Schlock!, Dark Horses Magazine and elsewhere, and he is currently at work on a novel. Although he doesn’t believe in ghosts, he’s pretty sure he saw a Chupacabra one night on the North Side. Stalk him on Twitter at @edgy_ashtray.


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The Secret Origin of Hestu: Legend of Zelda Headcanon

by David Steffen

If you’ve played either of the two recent Nintendo Switch-based Legend of Zelda games (Breath of the Wild and Tears of the Kingdom) long enough, you know Hestu, the most distinct of the Koroks. After playing these games and other games in the Legend of Zelda series for many, many hours, I have “discovered” (developed a headcanon) that explains the secret origins of Hestu and why Hestu is different from all the other Koroks.

Who Is Hestu?

If you’re not familiar: The Koroks are forest spirits whose home is in the Korok Forest which is protected from the outside world by The Lost Woods which earns its name by being filled with a confounding fog that will take you back at the entrance if you wander from a pre-set path. Although that’s their home, they can be found all over Hyrule, approximately a thousand of them to find in little hiding spaces (plus some more that aren’t hiding). Koroks as a whole look like little roughly crafted humanoid child-like figures with a big leaf for their face. Each Korok looks a little different, from the color and shape of the leaf to the exact proportions of their body but generally they look like this. They can be found hiding under rocks, or will appear from nowhere if you win little shooting games or spatial puzzles or other little challenges. They are generally childish and fun-loving and love to play hide-and-seek. Tears of the Kingdom added a recurring new kind of Korok: the traveling Korok who is going to visit a friend but has packed such a large backpack that it has grown too tired too move. Finding or helping this multitude of Koroks will give you the reward of Korok seeds. Which is a little weird if you think about it–are those like Korok babies? Apparently the game-makers intended them to be Korok poops.

The use for poop-scooping for the Korok kids is unclear until you meet Hestu. After helping with a side quest in Breath of the Wild to recover Hestu’s magical maracas, he asks if you can help him find all the Korok seeds that the mischievous little Koroks have stolen from him, and whenever you do Hestu will perform a magical dance that will expand your weapon, bow, or shield inventory slots.

Okay, so what is Hestu’s backstory? After playing Breath of the Wild, and after playing Tears of the Kingdom for dozens of hours, I had not really given it any thought at all. Why does he need a backstory? He’s the forest spirit dude who expands your inventory and while he is likeable and funny and useful, does he really need a backstory? Until the connection spontaneously popped into my head.

Hestu’s Origin

I randomly realized where Hestu came from: Tingle finally fulfilled his greatest wish to become a fairy. Hestu is Tingle transformed!

I will go into more detail below, but even superficially they have quite a few similarities. They are both adults with facial hair (OK Hestu’s beard is a leaf, but it appears to be in the place of facial hair), taking on the appearance in some way of an adult version of the Great Deku Tree’s children. They both have a love of words they made up (“Kooloo-Limpah” vs “Shak-Shakala”, though the latter is probably onomatopoeia for the sound of maracas, it is not a common onomatopoeia as far as I am aware). They both have a preference for glitter.

Wait, Who?

OK, so if you’ve only played the Zelda games on Nintendo Switch you might not know who Tingle is.

Tingle first appeared in Majora’s Mask which was released in the year 2000. Tingle claimed to be the reincarnation of a fairy, something which has been a central part of his character in all of his appearances. He is 35 years old and his father who works at the swamp tourist center is exasperated by his son’s insistence that he is a fairy. Tingle wears a green jumpsuit with a pointy hood, presumably meant to resemble Link’s classical outfit of a green tunic with a pointy hat. He can often be found in that game floating above a scene attached to a big red balloon. If you pop the balloon he will fall to the ground and will sell you maps of different areas.

He’s appeared in several other games, most notably in The Wind Waker where he has a more prominent role, but keeps the same backstory, claiming to be a fairy.

Supporting Evidence

Bear with me, there are quite a few pieces of information I took into account for this theory.

Tingle does not directly appear in the Switch games, but he is referenced. There is a “Tingel Island” on the east coast of Hyrule. In the Breath of the Wild expansion pack, and in the regular Tears of the Kingdom game, there is a Tingle clothing set. The clothing set could be an alt universe thing, like a branched timeline–it seems like at least some of the Link-themed clothing sets come from alternate universes, so Tingle’s might be the same. But Tingel Island seems like more of a solid clue that it’s not only an alt universe reference. So I think that could be interpreted as meaning that Tingle has existed by that name in the universe.

When Tingle says he is a fairy, what does that mean? Generally when the Zelda series refers to a “fairy” it is most often referring to a tiny flying glowing creature with transparent butterfly wings. These tend to be able to heal damage to Link instantaneously, or when collected and stored in Link’s inventory may be able to revive Link from what would otherwise be fatal damage. There are also fairies with the same appearance (such as Navi, and Tatl) that help Link by helping him target or by giving him advice.

There are also the Great Fairies which tend to take the appearance of giant women who reside in pools of water and grant Link boons (enhanced clothing or better weapons or shields) in exchange for something (money or monster parts or other things).

But I don’t think Tingle is referring to either of these kinds of fairy. His wardrobe is the biggest clue. Majora’s Mask is a direct sequel to The Ocarina of Time. In The Ocarina of Time, Link has grown up in the Deku Forest. He thinks that he is a Kokiri, one of the forest children who all have fairy companions except for Link. But it turns out that Link is not a Kokiri–his lack of fairy is a clue, but the other Kokiri can also not leave the Deku Forest, and the other Kokiri do not age as Link does in Ocarina of Time. For the actual Kokiri, the fairy seems to be an intrinsic part of their existence–there is no Kokiri without a fairy. From a distance, you can’t see the childlike Kokiri, only the flying fairy companion and the Kokiri fades in as you approach. My interpretation of this is that the fairy is the more real or solid one of the pair, and the childlike form is just a projection from this particular variety of fairy. So, in my interpretation, a Kokiri not only has a fairy companion, it is a fairy and Tingle’s wardrobe is meant to show that.

The next step to understand here is that Kokiri are equivalent to Korok (I had not recalled that this detail was supported by game canon in The Wind Waker, at least according to this wiki page). They both have their primary home in a forest connected to the Lost Woods, with their guardian the Great Deku Tree. They are both childlike in both appearance and behavior (apart from Hestu who has a more adultlike proportion and size, but again Hestu appears to be anomalous). To be fair, their appearance differs, and the Koroks are not limited by the boundaries of the forest. If they are equivalent, what accounts for the differences? Apparently the great flood that caused the world to be a series of islands in The Wind Waker caused the transformation. But it’s not uncommon in the series of the games for familiar things to take very different forms from one game to another. In the original Legend of Zelda game the Zora were just another monster, popping their head out of water to shoot fireballs at Link, but through the different games we have seen that they are sentient being, so we have seen how vastly different a species or race can be from game to game. The shift between Kokiri and Korok is less far-fetched than the shift of the Zoras.

Other Theories About the Anomaly of Hestu

I have wondered since I started playing Breath of the Wild years ago, why there are approximately one-thousand childlike Koroks and then there is one adultlike Korok. What life cycle accounts for this? I wondered if the Koroks are an invasive species and the Deku Tree eats them when they get to be a certain age to avoid them crowding out all other life in Hyrule. I wondered if they are always childlike and Hestu is some kind of random genetic variation. I wondered if the Koroks have a social hierarchy like bees, where changes can be triggered by environmental factors like diet, and the Great Deku Tree is the queen, and Hestu is the queen in training meant to take over the hive when the Deku Tree dies (we know the Deku Tree can die, as it did die in Ocarina of Time).

How It Happened

My thought is: Although Tingle has declared that he is a fairy, I think some part of him realizes that he is not a fairy in any objective sense. So, knowing what he wants, he sets out to find a way to become a fairy. He can either see the Koroks, or read about them in some storybook or heard about them in some myth so he finds out where they came from and goes on a quest to find their home. He eventually finds a way through the Lost Woods and approaches the Deku Tree as a supplicant, begging the Deku Tree to make him into a Korok. The Deku Tree considers for a time, and finally agrees, with a condition. The Deku Tree will turn Tingle into a Korok, if Tingle takes responsibility for all the other Koroks. It’s hard to be a parent to something like one thousand mischievous children who won’t grow up, when you’re ancient and very tired, and also when you’re literally a tree so you can’t even chase them around. A responsible adult Korok, on the other hand, would have much more energy and mobility to caretake the Koroks. Because Tingle is an adult when he was transformed, he took the form of an adult Korok even though that was unprecedented.

Conclusion

Hestu may not canonically be Tingle. But, I don’t think it’s unbelievable that the writers could’ve made it a possibility on purpose. Let me know what you think of the headcanon, if you have your own headcanon. Why do you think Hestu appears to be the only adultlike Korok?

#TingleTransformed #SecretOriginsOfHestu

DP FICTION #107A: “A Descending Arctic Excavation of Us” by Sara S. Messenger

edited by Ziv Wities

The surface of the iceberg has long had its taste of bitter cuisine: shimmering snow, wriggling bacterial filament, microplastic granules from the stolen boat you steered across the choppy Arctic waves. But this is new: the woody whisper of your matrilineal family map. The iceberg leeches the warmth from the paper, like sucking air through teeth, trying to latch on— but you bend, shake the map, and tuck it back into your pocket.

Scraping into the snow: your ice drill, the auger bit modified using forbidden ancestral smithery. Encased around the drill: your gloved hands. Encased within your hands: a flourishing commune of microflora.

And so you begin.

Two feet down and you’re already dislodging organisms frozen one hundred years ago, the briny Marinobacter arcticus, the somber Trichinella nativa that lurks in the intestinal cysts of walruses. One tusk of said genus had lain undisturbed in the ice for one hundred and twelve years. Your drill shatters it on its press deeper. Had you tasted the bone-laced melt, you would have savored a bitter lick of seawater that housed Mycobacterium tuberculosis, the lively microorganism who tore apart your mother through her exile. They are frozen with her still, on the glacier from which this iceberg calved. Even now, your intestinal microphages sing her elegy.

Twenty feet down, and you are the first human in twelve hundred years to descend through this ice beneath sea level. Your pituitary gland releases a gush of ancestral recognition: crackling adrenaline for your Streptococcus salivaris to drink. You hammer a pike into the wall and knot your glacier rope. Although you do not know it, the permafrost pulses around you as your salivaris celebrate. The iceberg wants to taste them. The iceberg wants to taste you.

Thirty-five feet down. When you scrape the marker across the ice, you scrape free a colony of nasty Golocii dendramens that haven’t frequented the Arctic since 500 BCE. Do you sense them? Their straining to be free? Or perhaps their more patient twin, the Golocii yuoua, whose steps stalk from cell to cell of foetal narwhals until it can climb the limbs of frostbitten fishermen?

They are not all bad, and that is a promise; after all, their voices, and the voices of their progeny, have crooned such an insightful chorus through the millennia. And millennia you enter, at forty feet down, where the ice is so consuming and crystalline it has perfectly preserved a prehistoric snow-vole and all the nematodes teeming between its whiskers. Your scientists would froth to dislodge it and send it home to their institutions, but what of the nematodes then? The nematodes know their home; they whisper of the fear and the ecstasy of the tundra, the warmth of passing from mother to daughter.

You are halfway down the iceberg, now. You know what you seek. Night has fallen, and the ice barely reflects the dim gleam of the stars far above. Your hands have long gone numb and aching; your drill is weary, but its reinforcement holds—the flutes swallowing the shredded ice upon contact, the auger humming on your deck prior as your compass of final precision. A testament to your long nights at the forge, where you sweated over the spiraling steel, disbelieving the implications of the manual, afraid of what your creation would allow you to unearth.

You cast your gaze upward, surveying the dark, narrow walls of your borehole. This far submerged, the round yellow glow of your headlamp feels like desecration.

At fifty feet, the color of the ice changes. Your flashlight illuminates fractalled black, like the pluming ink of a giant squid, hauntingly beautiful in its etchings. When you press your gloved hand to the wall, its heartbeat pulses against your palm.

You pull your hand back, adjust your earplugs. You do not hear it, but you feel the humming in your ribs: all the iceberg’s denizens are singing. Beckoning.

Your mother’s blood lashes hot in your ears.

Forimanifera saladaati wants to meet you so badly, but it is stuck in free fall from when it pirouetted from a piece of meteorite matter and onto the ice ten million years ago. Dedratida namita does not know it, but its great-times-ten-thousand-grandchild lurked on the door handle when your mother came home from school to tell your grandparents of your untimely conception. After they struck her, that grandchild blistered her bleeding lip.

And when your mother kissed your father for the last time, before he left his job, left to leave forever, that grandchild tasted the condemnation of her peers, no, her nation, no, your planet, in the slick space between his tooth and tongue.

Eibrans thyssambria’s distant progeny was rusting the safe when, two decades later, you drugged your grandparents, broke the combination lock, and stole these coordinates.

The iceberg hums, eager, to the beat of your fury.

And dimly, so dimly you believe you are hallucinating at first and must shut off your headlamp: a light, pulsing beneath your feet. Within the light, jetés in live sequence: Thusina dansii, who felled a hundred thousand hominids in the Pleistocene epoch; Goethye frustoac, who gave rise to the first continental death of forest that became modern oil. They are joyous; they are waiting.

The light licks at the edges of your vision, humming a song of the depths, beseeching you to lay down, lay down and be still forever, but you start your drill again and its ancient singing bares its teeth. The auger destroys: it absorbs the light below, refracts the light above, dashes the light against the rocks. Through this chaos you descend.

You drill deeper, until you’re surrounded by the glow of the curved ice around you, and below you it is brighter still. Here the hum of your bones is so dense you must drill or die, and then a shadow slowly unchips from the glow beneath your feet, until you are tracing a blurry human silhouette.

Here you switch to a thick-bristled brush and calcium chloride, that liquid eager to eat the ice, and fall to your subzeroed hands and knees. Each brushstroke brings greater definition, then skin: you free a withered arm; you defrost a brittle shoulder; and, by centimeters, you finally chip clarity into the face.

I stare up at you.

The long-breathless bacteria, the viruses in stasis, are all in frenzy, to the beat of my endocrinal glands, to the wet swish of your heart. Grandchild witnesses great-great-millennia-old grandmother, and the prescience of mind of her and all her bacterial children, deep in her grandest horde. You are soaked in bacterial musk; you are Noah’s vengeful ark, unearthing ancient horror to bring back to your masses.

I could not be prouder.

With shaking hands, you paint me out of the ice, and though I cannot move, you feel my eyes in the flagella of billions of bacteriocytes tracking your every movement. Clutching my frail body in your arms, you take one shuddering breath, for your mother. Then you cup a frozen hand against my cheek in supplication.

Trillions of my children scream.

I accept.

A seismic shift in allegiance. An entire world distills into your eyes: your severed ancestral cradle, and all its progeny, and every venomous inhabitant. We beat in unified time with your pulse, with your breaths, with you.

Your grand matrilineal secret: unearthed at last, and wanting.

With trembling arms you lay me into the indent from which I came, to my final, easy rest. Every cell of the iceberg sighs.

You loop your foot into your rope, with vengeance.

Soaked with the teeming eagerness of millennia, you begin to climb.


© 2024 by Sara S. Messenger

1272 words

Author’s Note: I was inspired to write this story two years ago after a friend sent me this craft article by Lincoln Michel about story engines. Michel mentioned that an iceberg can be a story structure (referencing a tweet by writer Jeff Jackson). I thought, how can I construct a story like an iceberg? Here is the result.

Sara S. Messenger is a speculative fiction writer and poet residing in New England, USA. She is currently in her post-college life stage of Working and Thinking a Lot About Art. Her short fiction can be found in Fantasy Magazine and The Year’s Best Fantasy, Vol. 2, as well as previously in Diabolical Plots. Her speculative poetry has appeared in Strange Horizons. She reads submissions for speculative short fiction venues PodCastle and khōréō magazine. Her full portfolio can be found online at https://sarasmessenger.com.


You might enjoy the previous story by Sara S. Messenger: “Mochi, With Teeth”. You also might want to visit our Support Page, or read the other story offerings.