All posts by Phil Slattery

Publisher, Rural Fiction Magazine; publisher, The Chamber Magazine; founder, the Farmington Writers Circle. I have written short stories and poetry for many years. In my careers as a Naval officer and in the federal government, I have written thousands of documents of many types. I am currently working on a second edition for my poetry collection and a few novels.

“Clyde” Short Story by Travis Flatt

"Clyde" Short Story by Travis Flatt:  Travis Flatt (he/him) is an epileptic teacher and actor living in Cookeville, Tennessee. His most recent stories appear in Heavy Feather Review, Jake, Had, and elsewhere. He enjoys dogs, theatre, and theatrical dogs. 

We stopped at a phone booth to tell mom we’d found Morganton. Cell phones were only TV props in the early ‘90s. Our motel wasn’t open yet. While my dad went to the booth to call, an old man wearing a rainbow wig and dirty tuxedo jacket rode by our truck on bicycle, jingling the bells to greet the empty street. The morning was hot. Dad’s buddy, Clyde, leaned over in the truck cab, said, “There goes the mayor.” I giggled as I giggled at everything Clyde said, joke or not. He made you laugh so much you were just ready. The Mayor was the first homeless man I’d ever seen.

Dad came back and said he’d woke her. Up the street was a diner. Clyde and dad ate bacon, biscuits, scrambled eggs–but I didn’t like eggs, thought they tasted like fart smells. I had a hamburger. The motel opened and we saw bullet holes in the door. Dad said we’d ask Carson, the man we’d come to visit, if we could stay with him. The thought of staying at Carson’s house perked me up: I’d met his daughter, Ashley, once at an art show in Nashville. I recalled her hair was blonde and her skin sun-kissed. Carson lived on the lake.

Dad and Clyde drank beer until noon. We drove to Carson’s, which was large and wood and glass. It sat on the edge of Lake James. The boat we’d hauled was Clyde’s, a white bass boat with bench seat in back, the type with built-in cooler. Clyde dove scuba for the Nashville police, and drummed on recordings with famous musicians, even if I didn’t recognize the names. Clyde was a superhero.

Carson greeted us at the drive, gave dad and Clyde beers, and offered me one, too. Dad waved this off, though I knew Clyde would pay me back on the boat.

“Ashley’s still asleep,” Carson said, as if we were great friends. Clyde took dad and I out on the water. Carson stayed back. I wasn’t sure why. 

Dad and Clyde were high on pain pills.

We fished in heat for hours, catching nothing because we’d waited too late. I drank a beer, felt nauseated, and needed my dad to bait my hook. Fish frightened me, I didn’t like the fin spines spiking my hands. I was glad we didn’t catch any, didn’t like Clyde seeing me struggle. 

Late afternoon reached the mid-ninties. Clyde called this “dog-screwing weather.” We laughed and returned to Carson’s who’d made vegetarian lasagna. Most my dad’s college friends were hippies and vegetarians. Except for Clyde. Ashley joined dinner and she was prettier than I remembered. We didn’t share a word. After dinner, Carson took us to his pottery studio. Around the country his stuff sold to galleries. It was his career. Ashley, he insisted, should show her own plates. She grew embarrassed, blushed, and tried to refuse. Clyde said he wanted to buy one. They were better than Carson’s. He nudged me. I said that they were good and I agreed.

While the adults drank and smoked hash, Ashley and I wandered the yard, floundering at conversation. I wondered about sleeping arrangements. There was no timid first kiss, no hand-holding by firefly light. It smelled like hot mud and pine. She asked me if I liked fishing; I asked if she liked comic books.

My hopes of bunking with Ashley fell far short. Dad spread my sleeping bag at his feet. I lay curled there like a dog–a sun-baked and slightly hung over dog. Clyde snored like a chainsaw and I barely slept. They woke at dawn for better fishing and we went out to catch a couple bass.

The bass we ate for lunch. Dad announced we needed to head home. Back at his clinic there was a cancerous cat that, for some reason, he didn’t trust his employees to check on during the weekends. Dad died a workaholic. Never retired. 

###

The last time I saw Clyde on his feet I was a senior in high school. He accidentally walked in on my girlfriend, Amanda, and I on the couch in my parent’s basement on his way to the garage. We were making out heavy. Hardly had time to cover up. He passed by quickly, eyes dead ahead, presumably to fetch something from his car. He’d said he’d stay the night, but instead drove straight back to Nashville. 

Between our trip to Morganton and the incident in the basement, Clyde, whose real name was Michael Bayer–“Clyde the Clap” was his musician’s nickname–continued to abuse pills in increasing dosages and strengths. Where he got them I couldn’t say, and wouldn’t if I could. His liver failed my first year of undergrad. When we visited him in the hospital, I asked him if he remembered the Mayor of Morganton. He laughed and asked if I was still dating Ashley. I think he confused Ashley with my girlfriend, Amanda. I told him I was.

Shortly after Clyde passed, my dad started drinking. Our county relaxed its liquor laws and dad sent employees Saturdays to buy cheap white wine in crates. Dad didn’t want to meet a client at the liquor store. He thought it would start gossip, hurt his business.

I bought a bass boat, started taking dad out on the lake to give us an excuse to be together. Dad was drunk when he told me about the pills. We were fishing on Old Hickory, which is where Clyde would scuba for the police. Dad told me the same stories, over and over: Clyde drumming for James Brown, how Clyde earned his nickname. He never stopped missing Clyde. When he started losing his hearing and the quiet spells grew longer–him lost in the silence, trapped in head–I began letting him bait my hook again. Or try to. His hands trembled. I don’t think my dad ever liked fishing much more than I did. Not the baiting and casting and reeling and catching parts. 


Travis Flatt (he/him) is an epileptic teacher and actor living in Cookeville, Tennessee. His most recent stories appear in Heavy Feather Review, Jake, Had, and elsewhere. He enjoys dogs, theatre, and theatrical dogs. 


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If you would like to be part of the Rural Fiction Magazine family, follow this link to the submissions guidelines. If you like contemporary dark stories and poems, you may also want to check out The Chamber Magazine.


RFM Now Posting Simultaneously to Facebook

Rural Fiction Magazine Cover as of October 1, 2023

As of October 1, 2023, RFM is now publishing its stories and poems to its Facebook/Meta account at the same time the story/poem is published on the website. We are already publishing simultaneously to Mastodon and Tumblr. Follow us on any of these accounts to receive our moving and beautiful stores as soon as they appear on the main website.

Also, don’t forget that RFM is open to submissions of stories and poems about rural life in the US or around the world 24/7/365. Visit our submissions page for more information. There is no pay other than the publication credit and exposure, but we strive to reach a worldwide audience and to give our contributors as much exposure as possible.

Call for Literary Submissions from Around the World

Rural Fiction Magazine (RFM) would like to publish more writers from around the world, regardless of your country of origin.

I am seeking short fiction and poetry and non-fiction articles on topics of interest to a rural audience in any nation, but I am open to more than just fiction and poetry. I am also open to short plays, folklore, legends, tall tales, essays, etc. I am open to almost all genres such as fantasy, science-fiction, horror, mainstream, literary, romance, etc, so long as they are connected to rural life and/or have a rural setting.

Rural Fiction Magazine (RFM) would like to publish more writers from around the world, regardless of your country of origin.

I am seeking short fiction and poetry and non-fiction articles on topics of interest to a rural audience in any nation, but I am open to more than just fiction and poetry. I am also open to short plays, folklore, legends, tall tales, essays, etc. I am open to almost all genres such as fantasy, science-fiction, horror, mainstream, literary, romance, etc, so long as they are connected to rural life and/or have a rural setting.

Your work must be in English. It can a translation from your native language, but it must be in English, which is spoken around the globe and gives the work and author substantial worldwide exposure.

For more information on what I am accepting and on the submissions guidelines, please go to my submissions page.

Please note that there is no pay for this other than a publication credit and exposure to the American and English markets. However, all rights remain with the author.

Currently, RFM is publishing material within a few weeks of acceptance, though this may vary depending on the number of submissions.

Please re-post or share this announcement to give it maximum exposure.


“The Heifer Come Spring” Microfiction by Jeff Burt

On the fourth day after the heifer went missing, Billy and I, twelve, ran the length of the grazing field in the snow and at the far end before the woods, found the gate bent enough the yearling might struggle through.

We picked up a trail of hoofprints, of a low belly dragging through the deepest snow, determined swipes at a sluggish pace that showed the heifer desired freedom from head to hoof.

The clouds were monochrome but after ten broke and sunlight shone on southern facing slopes.

The day’s dusting melted as we approached fearing an animal raised to be beef would be prematurely turned to hide and woodland feast for coyote, crow, and all the crawling crowd of underground microscopic feeders.

We never found her. We traipsed fence lines and woods and not a sign. In spring we took a tractor and looked for femurs and vertebrae but nary a bone poked up in the fertile earth.

Years later I woke in the early morning to find new snow fallen on my deck and that heifer came to mind, that child’s delight we had that one heifer had defied the fatal stockyard zap in the head, had defied butcher, farmer, the walking dead. It gave us hope for surviving school.


Jeff Burt lives in Santa Cruz County, California, and has contributed to Williwaw Journal, Willows Wept Review, Rabid Oak, and others. He has a digital chapbook available at Red Wolf Editions and another forthcoming from Red Bird Chapbooks.


Four Poems by John Grey

Four Poems by John Grey:  John Grey is an Australian poet, US resident, recently published in Stand, Santa Fe Literary Review, and Lost Pilots. Latest books, ”Between Two Fires”, “Covert” and “Memory Outside The Head” are available through Amazon. Work upcoming in the Seventh Quarry, La Presa and California Quarterly..
Early Morning on the Farm
Fog shrouds the farm.
Horses in the far field
are like a mirage -
some snow,
grizzled gray trees,
the frozen snort
of a stallion -
it doesn't take much to blur.

Jane's on her way
to the chicken coop.
A flake
lands on her cheek,
a cold, damp, wake-up.

The world is in-between.
The wind is strangely warm.
The coop wire chills.
She's sixteen -
the child, the woman,
more mirages
for uncertain vision.

Hens scatter at her approach.
The rooster rears its comb and crows -
wattles flap, brown feathers flutter,
the day's first certainty.
A Farmer Dreams
Rain-splitter shares dreams with
cool fingered splendor,
one vagueness splattering the roof,
the other touching his hard skin tender.

One moment, he's young enough
for the thrums of memory,
the woman beside him,
shedding years like undergarments.
Then he's land, groggy from drought appeased,
trickles in cracks, floods in crannies,
dust sweetly laid, mud dripping from his thoughts.

He's half awake. His wife is snoring.
He can't wait to get out on the land again.
There's been a shift in pleasure
Life of the Amish Farmer
Humidity overheats
and bursts like a boil.
Heavy thunder, hail,
torrential rain and cooling.
The Milky Way drawn
by a single farm light
dangles out of the black.
By day, tobacco bends to the harvest.
The corn is holding green.
Esther and Daniel are blessed
with a new arrival, Lena.
The burial service for Lydia Yoder
is at 2.00 A.M.

We begin with the weather,
simple thrumming heartbeat.
Then, drawn to the sky,
witness our faith
awakened by its symbols.
The work, of course, is our Gelassenheit,
our sweaty submission,
a God tutoring to muscle,
to heavy footprints in the earth
and head bent low.

In practical epiphany,
the corn fields bind the air we breathe
like veins.
The child is born,
ripens everything.
An old woman dies
so crops won't have to.

Jenna on the Farm
Her face is still smooth
despite the long days in the sun.
The skin below her eyes
has cracked like land in drought
but the cheeks are fine as sand,
brown with just a trace of red
and the lips are unlined,
from years of more doing than talking.
Only the eyes
say the work was hard and wearying.
The back is ironing-board straight
and the neck high and proud,
but the eyes, once again,
a pale and bruised green,
speak the language
of bending and scouring and digging.
Maybe she looked in the mirror one time
and it was all too beautiful
for what her eyes were telling her.
Or maybe it was all like the eyes
and the rest had nowhere else to turn
but lovely.

John Grey is an Australian poet, US resident, recently published in Stand, Santa Fe Literary Review, and Lost Pilots. Latest books, ”Between Two Fires”, “Covert” and  “Memory Outside The Head” are available through Amazon. Work upcoming in the Seventh Quarry, La Presa and California Quarterly..


Please share this to give it maximum distribution. 

If you would like to be part of the Rural Fiction Magazine family, follow this link to the submissions guidelines. If you like contemporary dark stories and poems, you may also want to check out The Chamber Magazine.