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after the anthropocene, the rain—
acid, apocalyptic, full of rats
bloody in the subways they slap,
bang, slump against the silver,
yellow, black of the N train—
eternally exposed at Union Square—
where we bought books and sang
copper into velveteen shells
(two guitars fighting over the same
late career Willie Nelson), into
students and stoners and Harold
on the corner selling stolen comics
for eight bucks and change—
but it’s all green now, green
spores carried on green light,
sleeping gentle over steel bones,
crawling rabid up Gandhi and
Washington, watch them fall—
all moss and radioactive daffodils—
free and burning and bright
green like the dogs on the streets
ten feet tall and all grown up,
dressed fancy in ivy and pride—
the dogs want for nothing, the dogs
want us to know it doesn’t matter
that we destroyed the world, we
who once returned a robin—blind,
wet, mewling—to its mother’s nest.



Sophie Fink holds a BA in English and creative writing from Colby College, and calls Minnesota home. This is her first published poem.
Current Issue
24 Mar 2025

The winner is the one with the most living wasps
Every insect was a chalk outline of agony / defined, evaluated, ranked / by how much it hurt
In this episode of the Strange Horizons Fiction podcast, Michael Ireland presents Reprise by Samantha Lane Murphy, read by Emmie Christie. Subscribe to the Strange Horizons podcast: Spotify
Black speculative poetry works this way too. It’s text that is flexible and immediate. It’s a safe space to explore Afrocentric text rooted in story, song, dance, rhythm that natural flows from my intrinsic self. It’s text that has a lot of hurt, as in pain, and a lot of healing—an acceptance of self, black is beauty, despite what the slave trade, colonialism, racism, social injustice might tell us.
It’s not that I never read realistic fiction and not that I don’t like it. It’s just that sometimes I don’t get it. I know realistic fiction, speculative fiction, and genre fiction are just terms we made up to sell more narrative, but I’m skeptical of how the expectations and norms of realism lurk, largely uninterrogated or even fully articulated, in the way readers, editors, and publishers interact with work that purports to depict quote unquote real life.  Most broadly defined, realistic stories depict the quotidian and accurately reproduce the daily events, characters, and settings of the world we live
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