Youth has a way of slipping away from a man. Some don't take advantage of it while others abuse it. Ideally, one would walk the middle road but men are prone to extremes, one way or the other. The sun always sets just are surely as the sun also rises.
*The above is another excerpt from my forthcoming collection of Heming Ways (hopefully, to be published by August 13, 2021). Heming Ways is a work of 50, 50-word microfictions in homage to Ernest Hemingway, told in his style of prose with reference to his life and works.
Stay tuned for my forthcoming collection, Heming Ways. Heming Ways is an anthology of 50, 50-word "micro" stories and an homage to Ernest Hemingway.
Below is an excerpt -
Lawrence heard the rustling in the bush long before he saw movement. Gradually, a grey shape emerged and he raised the Winchester eye and sight and beast in line. He prepared to fire but could not hold his aim, formerly sure hands today unsteady. Abstinence would cost him the kill.
“Good stories are not literary fast food, made on the cheap; they are intense with a flavour that expands to fill the mind.” (Jonathan Falla)
I am pleased to announce that, over the Memorial Day weekend, two of my short stories and one poem were published. "Hitogui" was released by The Chamber Magazine as were "Lament of the Pandemic Children" and "Curtain Call" in Raven Cage Zine (pages 36 and 157).
Another short story, "The Old, Grey Barn," is to be published today by Purple Wall Stories.
Please check them out and let me know what you think.
Yesterday, I was notified by the editor of Black Poppy Review that my most recent fiction piece, "The Ride," was accepted and published (read here). This was my first attempt at flash fiction (short stories under 1000 words). The goal of flash fiction is to present a big idea as simply, concisely, and truthfully as one can and this with the color of good prose. Flash fiction situates itself carefully upon the border of short fiction and poetry. I enjoyed the constraint of a limited word count as such forces the writer to focus on terse prose without losing the color and I, perhaps, paid even more attention to turns of phrase than I might have otherwise in longer form (though I can't be certain of this).
As I shared the draft prepublication, and others having since read the piece, readers have asked, "It is about death, isn't it?" or "Suicide?" To wit my reply is always that my job as a writer is done, the rest is up to the reader. All writers know that some meanings and themes emerge after piece's completion and were not necessarily in the mind of the writer during the process of creation. That would be way too convenient. Yet such reader-derived meanings and themes are equally valid. That is one of the joys of literature, is it not?
It is interesting to hear what others experience and see in the mind's eye upon reading one's work. Truly, "The Ride" should be read as a dark piece and that was my intent, after all, but who's to say that it might not also be interpreted (validly) by another reader in a more positive and optimistic light--say, as a treatise on how we tend to focus on the past and future so much that we miss out on the present moment? Something to remind us to LIVE NOW as now is all we've got...to motivate...not depress.
I won't say much more about the piece but I will part with this--There really isn't a middle story for our passenger and narrator and that much, dear reader, I can say was intentional. It is for you to write in your own mind, feel it as truth, and to live it out.
- S. Huey
Over the past few weeks I have completed two new short stories, "Hitogui," "The Old, Grey Barn," and a flash fiction piece titled "The Ride." I decided to submit "Hitogui" to three publishers, initially at least, and received a response back within twenty-four hours from The Chamber Magazine, a digital magazine showcasing short fiction, poetry, art, etc. of the darker bent. I thought my story would fit nicely there and I like what the publisher (himself a published author) is doing to help other creatives, particularly writers. Plus, the editor, Mr. Slattery, provided some editorial advice that shifted my story from what was initially a mere outline of an idea to a standalone piece.
"Hitogui" is complete in and of itself but the storyline is fertile ground for expansion of both plot and characters so there is some possibility that this could become my first novel-length work. We shall see where the muse takes it. It is a darker piece and, while I won't delve into the meaning and themes here (yes, they are there), rather permitting the reader to glean from it what he or she may. But to provide a small teaser--At root, the story is about the darkness that is always there, lurking in both shadow and light. There is much going on beneath our very noses that we either are blind to or, perhaps worse, choose to ignore. There is much ugly and evil in the world but what is ugly and evil to one can be beauty and good to another.
People who don't write always ask people who do, "Where do you get your ideas?" To which the honest writer generally answers, "I have absolutely no idea." And this is, in most cases, true. I can say that "Hitogui" was inspired by the time my wife and I spent in Japan, some familiarity with the Japanese culture, interest in their history, and fascination with the formality and ceremony often associated with things that others cultures (our own for example) take for granted and deem banal. Even after coming to know much about the aforementioned, there remains yet a mystery and darkness to Japan. That is about all that I can say.
The job of the writer is to tell a story as simply and truthfully as possible and it is the job of the reader to do the rest. Enjoy the story! I'll be sharing the link once published.