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The jawless skull has eaten the apples,
not the pears. Life is stiller this way.
St. Francis cradles the skull upside-
down in his palms. He drinks blood,
not wine, from the skull's open stem,
thinking it might have been Christ's
or Apollo's. A rope is knotted where
a neck used to breathe, dispossessing
the skull marrow. His cloak's shining
sooty-blue in cave light. Somewhere
else, wherever the jaw sought asylum,
the skull is clapping its skull hands
until they bleed: echoing cave light.
It's a skull, and it don't give a damn.




Richard Prins received his MFA degree in poetry from New York University. Now he divides his time between managing a building in Brooklyn and consulting for an entertainment company in Dar es Salaam. His work appears in Los Angeles Review, Painted Bride Quarterly, Rattle, Redivider, and THRUSH Poetry Journal.
Current Issue
5 Oct 2026

In time, the entire shift’s 138 Express inbound transfers are processed, and I’m free to service passengers from other lines. These transfers are unremarkable. These passengers aren’t refugees.
Forgive me, someone.
Turn on the stove. See it startle.
In this episode of Critical Friends , the Strange Horizons criticism podcast, Dan Hartland is joined by Ryan Elliot and Rosanna Pendlebury, to ask questions about literary SFF. What is it? How do we know it when we see it? And what’s it good for?
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