Home Economics by Soramimi Hanarejima

After your mother sells the house, you return home one final time to help her pack up things for the movers. A couple days into boxing all the paraphernalia of decades spent living here, you’re emptying out the drawers of your mother’s desk and come upon a worn ledger. Curious how she managed the finances, you open this old notebook—and quickly find that it kept track of not money but time, with numbers that neatly slot hours and minutes into blue-lined columns. Beside them are descriptions that together read like a concise chronicle of shared moments—dinosaur exhibit, play rehearsal, dental cleaning, oboe lesson, slumber party prep—a long-running list that takes you back to that afternoon you found an old-fashioned stopwatch sitting atop this very desk, its inert hands reading 1 hour and 17 minutes.

“What lasted that long?” you asked.

Standing beside her by the kitchen sink, you held the stopwatch up to your mother, its white dial with bold numerals filling your palm like a little handful of time.

She wiped her wet hands on her apron, then answered, “That was our visit to the park yesterday.”

“It was over an hour?”

“It was! Remember all the things you did? Putting on your jacket and shoes, walking down the street, petting the neighbor’s old pug, playing on the swings and jungle gym and slide, having cheese and crackers at the picnic table. When you add up everything, even a simple visit to the park can take a while.”

“Why do you need know how long all that took?”

“Because it’s important to know how we use our time.”

Now, looking at the calculations in the ledger, you realize this is how she knew how to use her time. It’s why she was up late that night after taking you to the park—the light from her study surprising you when you got up to use the bathroom—and why she accepted all those playdate invitations from Elana’s mom on your behalf and why you went to art camp that summer before the wildlife cruise. In these pages, time spent with you was always paired with a measure of time set aside for her work.

Because “Discoveries take time,” your mother always said. And she was able to make some really good ones, thanks to this ledger.

In your hands now, it seems to have been waiting for you all these years, for you to add to its pages the gains and losses you’ve accrued as a result of the way she handled time. Several spring to mind: a childhood crush on the tween babysitter; a love-hate relationship with art; an adherence to doing chores regularly and thoroughly; a predilection for vapid video games with cartoony graphics. But an accurate accounting would involve delving into more than you could ever know about yourself and your past. And a distaste for inaccuracy is a quality you’ve long shared with your mother.

So you close the ledger and place it in the box next to you, the interior already half full with old letters, passports, journals and crayon drawings on newsprint.


 

Soramimi Hanarejima is the author of the neuropunk story collection Literary Devices For Coping. Soramimi’s recent work appears in Pulp Literature, The Offing, Black Warrior Review, and The Cincinnati Review.

Slam by Sam Moe

When I return from a thirty-hour travel day my back feels feverish. I cannot figure out what is wrong with me. Why is my skin like needles? I ask my partner. I always ask questions that remind people I’m unlovable. Such as, why are we friends and why do you love me and will I die and can you tell me if my toe looks wrong. France was too green. I couldn’t focus on the lake beyond. Spent days wondering if the light reflection was tinfoil or skirt hems or coins. My stomach dissolved. People slammed kitchen doors. Basement doors. Arms on tables. Hands into hands. I grew up in an angry home. I sat after the slamming of the faux-gold front door set my heart in the path of a red drill and thought about dying. Every day everyone asked if I was okay. Twenty-four hours after returning home I packed my bags for Virginia. I was sobbing again because things kept falling to shit and a man was brutal and he wasn’t sorry. Not really. Suddenly I remembered. While we were watching television my partner slammed the length of his arm against my back. As a joke. He often play-punches me. Hard. My brain ate the memory for sixteen hours. Upon arriving in Virginia I seek out a bruise but find none. I call my partner and accidentally interrupted him so he ends the call. I call back to ask what his problem is and he hangs up again. This happens six times. There is another man who joked about saving me. I can’t elaborate right now. What else does this body remember when pain blooms beneath my skin? One day at residency I couldn’t eat and someone brought me a single slice of turkey. He asked, “Can you eat this?” I should have taken a picture as proof. I seek out evidence like a blood hound. This really happened to me. You must believe me because I’m covered in blood. Then I remember when my mother first grabbed my red arm and screamed until my skull changed shape. I would make the worst detective. I imagine inviting entire truckloads of evidence into a case. I go up against men who don’t believe my evidence and I spend the rest of my life trying to convince them. This doesn’t matter. It hurt. It was real. I’ve spent the summer disappearing into my skeleton but you have not yet seen my bones so you don’t believe I have a second situation. One day I might be wire. That’s not what I want to tell you. Once, I thought you were my home. Something, something, I’ll make my own damn home. Something, something, tire fire. Rage-red May. Death-try in June. I hate you in July. You reveal yourself in August but I’m already a dead egg. Nothing could have been done.


 

Sam Moe is the author of eight books. Her most recent poetry collection, RED HALCYON, is forthcoming from Querencia Press in 2026. Her debut short story collection, I MIGHT TRUST YOU, is out from Experiments in Fiction (2025). She has attended the Sewanee Writers’ Conference and received fellowships from the Longleaf Writer’s conference and the Key West Literary Seminar. Sam has also attended residencies at The Writers’ Colony at Dairy Hollow, VCCA, and Château d’Orquevau.

Opening a Door by Tessa McHattie

I longed for memories and I have begun to receive them. Like exotic birds flying through nondescript Toronto skies. Grade six and going to sleep away camp, breaking up with my boyfriend at the beginning of the trip and finding a new one by the end, enthralled by the drama of it all. The boy I broke up with is still cute, I don’t know what happened to the second.

I remember being four years old and enraptured with my babysitter, Sylvia. She was sixteen, approximately the age that I imagined all my dolls to be. She was the only teenager I knew and just knowing her was like being in on a secret. We watched girlie movies together, the kind my brother would protest to, but with Sylvia on my side, we would watch them anyway. She’s living in New York, I think. I wonder if it would be strange for me to contact her. I wonder if I’m ready to take the beat of seeing her almost 40. I guess if I waited, she would only be older. The beat comes whether you like it or not. Swing sets make me nauseous now. I buried my dog and I wish I didn’t have to, but the fact is, I did.


 

Tessa McHattie is a Canadian writer living in Brooklyn, New York.  Her poems have appeared or are forthcoming in Shoegaze Lit, Eunoia Review, and Star*Line, among others.