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You do not mean this
as slang. Time, literally, stops
by your house, fucks your mom.
It’s not non-consensual, she
too is hungry to move below Time.
And she is open to alternatives.
You hear them all night,
their wails gag the walls,
the floorboards, the ceramic
of your bones. She has thrown
away her cloak and alarm clocks.
She measures dawn by absence
of desire, moon by rage
or sorrow. She does not measure
anything else—asafoetida for curry,
salt for meat, your fluctuating weight,
the distance between conception
and creation, banks and beggars,
thirst and pissing, how many islands
compose New Zealand—600
or 2, depends on how alone
you feel. Time, you hear her
murmur over the phone, offers
the most pussyblowing cunnilingus.
Time’s tongue knows tongues no man
has patience to learn. Do not mistake
any of this for metaphor.
She examines her hands all
evening, concludes one is larger
than the other. Symmetry is a myth,
like beauty, like DNA, like time
zones divorcing countries that waste
men on war. A waterfall
of bullets is the melody Time
whets its teeth with. You hate to end
a sentence like that. There is so
much time to think—think!
Everything will be over
by the time you walk
into her room, the orchestra
of their bodies having received
its applause, Time bowing down,
and your mom trying
to remember where she is
in her cycle.



Karan Kapoor is the Editor-in-Chief of ONLY POEMS. A finalist for the Diode, Tusculum Review, and Iron Horse Literary Review chapbook prizes, their poems appear or are forthcoming in Best New Poets, AGNI, Shenandoah, Colorado Review, Cincinnati Review, North American Review, and elsewhere, fiction in Joyland Magazine and the other side of hope, and translations in The Offing and The Los Angeles Review. They’re on the editorial board of Alice James Books.
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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