Issue 23, Summer 2019 (digital)

$4.99

Have a sip of summer wine with Kelly Robson, enter mythic worlds with Lena Zaghmouri and Christian Walter, crack the code of another Fairmount Manor Mystery by Mel Anastasiou, peek into sixteenth-century Ecuador with an excerpt of What the Wind Brings by Matthew Hughes, and read the final chapters of Allaigna’s Song:  Aria by JM Landels. All this plus poetry by Casey Reiland, Raluca Balasa, Alison Braid, and Lola Street with Chaille Stovall, as well as  flash fiction from Susan Pieters, Deborah Davitt, Josephine Greenland, and Zoë Johnson.

Description

Greetings, our spectacular cover painting by Akem welcomes you into Issue 23, where …

  • Featured author Kelly Robson shows us that wine making is a labour of love, and sometimes hate, in ‘Good for Grapes’.
  • Matthew Hughes’s magnum opus, What the Wind Brings, debuts aboard the Spanish galleon La Virgen, with an epic struggle brewing on the horizon.
  • Stella Ryman is ready for new adventures in Stella Ryman and the Locked Room Mystery by Mel Anastasiou, while Allaigna must make hasty goodbyes in the final chapter of Allaigna’s Song:  Aria by JM Landels.
  • It’s a dog-eat-dog world — or wolf-eat-dog world — in Christian Walter’s ‘Wolf, Dog, Sun’, and Zoë Johnson reminds us to take stock of everyday miracles in ‘Inherited Love of Unexplainable Things’.
  • Take a draught of heady poetry from Casey Reiland, Raluca Balasa, and Alison Braid.
  • Lena Mahmoud breathes new life into an old Arabian folk tale with ‘The Thieving Pot’, and Josephine Greenland dissects a Thai myth in the Bumblebee Contest winner, ‘Wife Giver’.
  • Deborah Davitt’s protagonists hold out for as long as they can in ‘On the Sixth Day’.
  • Come and get the good stuff in Susan Pieters’s ‘Black Market’, and see the dark(er) side of the financial district in Lola Street’s ‘Wall Street at Night’ illustrated by Chaille Stovall.
  • We have the two runners-up of the Surrey International Writers’ Conference Storyteller Contest in this issue:  ‘Biophilia’ shows us there’s hope in Margot Spronk’s post-apocalyptic world, but not necessarily for humans; while Deepthi Atukorala takes us down an emotional rabbit hole with ‘White Rabbit’.

 

 

 

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