Size / / /

Content warning:


It has been knocked flat—
the line between
collapsed and at rest.

***

How to distinguish
cause and effect without errors
of denying antecedent
or affirming consequent?

Can we dowse that line
between self-flagellation
and self-defense?

What boundary arbitrates
passivity when disability is designed
designated as divine punishment, just
suffering?

***

Let the robots do the work!
if we are made in their image anyways
perfect laborers, needless
of thanks.

Tang ping:
a generation born exhausted,
blamed from birth

like it is the fault of bees
that there are no longer wildflowers
to sustain a stolen sunset.

as though sleeping beauty
was a layabout
and not twice cursed.

***

Why struggle to find it:
that boundary that separates
a pile from a heap
when the house is on fire?

When we might acclimate
to accubation, a clime of rest
as sibling to resist

pacifism in passing
without passing on.

***

The nature of a warrior
has ever been as inscrutable
as any of the other great questions

(so many of them thrown here
like knives, obverse to theme)

and yet we raise our silence to say
we fight by refusing
to stack our spines upright
knowing you will only steal them
to make sticks
to beat the others
into further building blocks

the answer as flat as the page
no more dimensions to harm in

just princeless glass coffins
and apologies for writing
the wrong stories
this three-dimensional harm
grew out of.



Lynne Sargent is a writer, aerialist, and holds a Ph.D. in Applied Philosophy. They are the poetry editor at Utopia Science Fiction magazine. Their work has been nominated for Rhysling, Elgin, and Aurora Awards, and has appeared in venues such as Augur Magazine, Strange Horizons, and Daily Science Fiction. To find out more, reach out to them on Twitter @SamLynneS or for a complete bibliography visit them at scribbledshadows.wordpress.com.
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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