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No one knows why worker bees leave when they leave
there’s plenty of food, an intact hive, a queen, larvae, nurses for the larvae but worker bee says: you can’t love something if you aren’t afraid to lose it. I was born holding a knife and as soon as I use it, I’ll die. I’ve loved you so much I’ve lost myself in every lifetime but this one
And leaving first is a form of loss

I hope I die before anyone I love
no one answers when you need them to, no one can give you what you need
Imagine that worker’s voice, her thorax full of strange ideas, her abdomen, mandibles, parasites, hind legs, middle legs, forelegs, tongue, the insidious glimmer in her compound eyes
Imagine the moment when the hive disappears over her horizon.

everyone wants to be the star but no one wants the emptiness of space

Her gossamer wings hum like—I have left you, my queen, I have left you, my children, my food, my home, my name is leaving and my name is gone
I hope I die before anyone I love
I stepped out for cigarettes and I stepped out for milk and I stepped out for stepping out and
I hope I die before anyone I love

And bees have an astounding sense of direction—an internal compass keeps pointing due hive all roads lead to home, and every flower smells the song of memory but once you choose to go the choice gets easier, maybe the magnetic pull weakens with space and time
I hope I die before anyone I love

The queen dies, then. She starves to death in her empty mansion, in the home she made and populated, decorated with countless children. The larvae starve. The nurses starve
Not even bees can eat hope, no matter how saccharine, no matter how delicious

then there’s the hive, collapsed in the metaphorical sense, structurally sound in the physical one and the memory of a leaving song and a bunch of dead bees

It’s idiopathic, poorly studied, widely misunderstood
no one has learned the leaving song
I hope I die before anyone I love
I hope I die before anyone I love



Asa Delaney (Homo sapiens domestica) is a writer endemic to the northeastern United States. This reclusive, multilingual herbivore is notable for its interest in animal behavior and cat-loving demeanor. Asa can be found in Apparition Lit, Small Wonders, and The Creepy Podcast, or online @UnlikelyAsa on Bluesky or Instagram.
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
Issue 17 Mar 2025
Issue 10 Mar 2025
By: Holli Mintzer
Podcast read by: Emmie Christie
Issue 3 Mar 2025
Issue 24 Feb 2025
Issue 17 Feb 2025
Issue 10 Feb 2025
By: Alexandra Munck
Podcast read by: Claire McNerney
Issue 27 Jan 2025
By: River
Issue 20 Jan 2025
Strange Horizons
By: Michelle Kulwicki
Podcast read by: Emmie Christie
Issue 13 Jan 2025
Issue 6 Jan 2025
By: Samantha Murray
Podcast read by: Jenna Hanchey
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