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i.
“What is a Monster?”
you ask Mother.
She wraps you in teeth, tendrils,
smiles,
and silence.

ii.
“Am I a Monster?”
you ask Mother,
carrion curdling
in the gaps between fingertips and fingernails.
You are old enough now to lick them clean yourself.

She is quiet
as her head probes the corpse-cave,
questing, searching.
Her scalp is bald,
lined with wrinkles like runnels.
Blood and viscera
are not what clog her ears
like honey,
like sweetened hope.

iii.
On her pyre
your tears, heavy with age,
dissolve her makeup.
Knife-rips, bullet-bites
older than your memory
smile under your grief.
“What are these?”
you ask no-one.
“Who gave her these?”
you wonder
as flames buoy her away.



Sharang Biswas is a writer, artist, and award-winning game designer. His nonfiction writing has appeared in publications such as Dicebreaker and Eurogamer, while his fiction has been published by or is forthcoming in Fantasy Magazine, Lightspeed Magazine, Sub-Q Magazine, Baffling Magazine, and Neon Hemlock Press. He is the co-editor of Honey & Hot Wax: An Anthology of Erotic Art Games (Pelgrane Press) and Strange Lusts / Strange Loves: An Anthology of Erotic Interactive Fiction (Strange Horizons). You can find Sharang on Twitter as @SharangBiswas, or visit his website sharangbiswas.myportfolio.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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