Tag: 1*

Snowflake by Nick Wolven

Snowflake by Nick Wolven (Asimov’s SF, January-February 2022) opens with Nikki, the narrator of the story, getting woken up to deal with her friend Coco, a rock star who is prone to having messy emotional and psychological meltdowns. Nikki finds Coco on the toilet floor in her hotel room surrounded by other members of her entourage. Dr Ali, Coco’s personal physician, also attends, and deals with her until the paramedics come.
Later on in the story—after Coco has returned from rehab and has had another meltdown in rehearsal (Coco is insistent about touring again)—we get past the rock star glitter and background information about Nikki and Coco’s tough childhoods and arrive at the science fictional part of the story. Here, Dr Ali’s drugs are replaced by a mood altering device that appears to spirit away Coco’s problematic feelings:

The gauge wasn’t much to look at. Just a palm-sized lump of off-white rubber, a screen inset in a round pink frame. Not the kind of techcessory you’d be flashing at a club. The kind you’d keep at home in a drawer, hidden away with the depression pills and condoms.
“That’s more or less what it’s for, isn’t it?” Bobby took the thing and did what Donal had done, poking buttons, aiming it at his face, even touching an end to his forehead. “Sort of an all-purpose dimmer switch?”
“All right, guys.” Samira grabbed the device from Bobby. “Let’s not forget what we’re here for, okay?” She went across the room, holding the gauge up like a torch, giving a make-believe bow as she handed it over. “Coco?”
And slapped it down, palm to palm. You could see right away the effect it had. Her fingers closed. The device began to glow, pulsing pink, a coal in her fist. She looked at the screen. Lights, camera, activation. I could hear the sound of it throbbing on her palm.
“How’s it work?” I said. You just—?”
You press this—?”
I stood on one side, Samira on the other. Pointing over her shoulders, making suggestions. She powered it up. Her fingers turning yellow at the tips as she squeezed. The pulsing got stronger. The pink color deepened, rose to red, red to crimson, until the gauge glowed like an orb of lava, shooting beams of light through her hands. She looked up.
“Feel anything?” I said.
“Eh.”
But she did look changed, eyes wider, pupils dark, the lines of stress smoothed out of her cheeks.  p. 25-26

There is some equally flabby handwavium about how the gauge works, and Dr Ali later directly compares it to trepanning (drilling holes in someone’s head to let the bad spirits out)—something that leads to an argument between him and Nikki.
The rest of the story sees Coco become increasingly dependent on the device and also become more and more zombie-like, something that noticeably affects her performance onstage. During this period there is a suggestion from Bobby the promoter that holograms should replace her live act , but this idea is killed by Coco, and they end up deciding on a scheme which will see Tim the tech guy record Coco’s bad feelings from the device so she can experience them later (in a safe place after the tour). What actually happens (spoiler) is that Coco continues to deteriorate and, eventually, overdoses and kills herself. Bobby and Tim then reveal they have been using the captured data to refine the hologram, and it is substituted for Coco at a concert that is about to take place. In the final scene Nikki sees the hologram of Coco on stage—looking and performing like she used to—and takes her place in the band.
I found it hard to care about the stereotypical characters in this piece, their personal problems, turf battles, or the clichéd arc of the story (this is essentially a mainstream tale about an emotionally disturbed rock star who later overdoses and dies, e.g. Morrison, Joplin, Winehouse, etc.). Readers of Pop Star! magazine may enjoy this kind of thing, but I found it superficial and tedious.
* (Mediocre). 24,800 words.

Goldie by Sean Monaghan

Goldie by Sean Monaghan (Asimov’s SF, January-February 2022) opens with Charlotte out running on a tabletop mountain on an alien planet called Karella. She falls and breaks her ankle when something in the jungle below distracts her:

The gray-white vines stretched out, long catenaries, swooping down, then back up, connecting the edge of Ikenni with the edge of Malale. As the teppu crawled along, its hands would be refreshing and strengthening the vines.
Charlotte crawled closer to the edge for a better view. The pain from her ankle was ebbing, drifting away courtesy of the belt’s injection.
The vines were as thick as the deck of one of those eight lane bridges that connected headlands across harbors.
The teppu was a big one. The size of a whale. She was beautiful. Her downy, furry hide was a greenish shade of beige. Her long, convex body hung beneath the vines, thick strong arms clinging on above. Tentacles and fingers gripping, spinnerets releasing thin filaments.  p. 162

After Charlotte is rescued and taken back to base the members of the expedition watch drone footage of the teppu. Becs, their boss, knows the creature from an earlier visit to the planet and reveals (while trying to hide her emotions) that the creature is called Goldie, and it is a forty-eight year old teppu who she didn’t expect to see again (their normal life span is thirty-five years or so).
Now, having set up the big cuddly alien (see the magazine cover), and Bec’s emotional attachment to the animal, you would think this is what would become the main arc of the story—but what we get instead are the activities of an exploration team that appears to be made up of idiotic teenagers who, when they aren’t endlessly shoving food down their cakeholes (in typical Asimov’s fashion), cultivate their love lives and blunder about on the planet’s surface. As an example of this latter, peak stupidity is achieved when a group of them—sans Becs (who actually knows more about the planet than the rest of them put together)—go to see a teppu (not Goldie) that has young. Jody gets swatted by the teppu (this one is about three times the size of an elephant) when she ignores its growls in order to take a few more pictures. When Becs learns of this encounter she sends Jody back home. (It’s a pity she didn’t get rid of them all, and then I wouldn’t had to waste more time watching them eat, gossip, and hook up.)
Eventually, much later on in the story, we get back to Goldie, who arrives at the end of a vine that is near their camp. The remaining members of the group go to observe her and see she is old and probably dying. When Becs sits in front of Goldie, the creature extends a tentacle towards her, before closing its eyes.
The group have dinner that evening (more eating and social babble), and the next morning (spoiler) realise that Becs is missing. When they later find Goldie with a drone (the teppu has started retracing its route), they see Becs has died and is lying in the “garden” on top of Goldie (a planted area where the teppus raise their young if I remember correctly).
The last section takes place a year later, when Goldie comes back to the camp area. The group go to meet the creature, and Goldie lifts Charlotte on to its back. There she sees Bec’s bones and, nearby, a young teppu suckling. Goldie then leaves the camp area once again.
This last quarter or so of the story is much better than the blather than constitutes the central part of the piece because it actually produces what was promised at the start. That said, overall the piece still fails Chekov’s gun test (if there is a gun on the mantelpiece in act one, it must be used in act three): this story opens with an elderly teppu, apparently on its last legs, but ends with it departing the camp after Bec’s death, return with young it has produced a year later, and then leave once more!
There is probably an okay YA novelette buried somewhere in this bloated mess, but in its current form it is, for the most part, a tedious and borderline irritating read.
* (Mediocre). 18,450 words.

1. I ended up highlighting the eating and drinking as I went through the story to keep myself amused:

Niall sipped from his coffee cup.  p. 163

The kitchenette had offered her fried chicken with biscuit, or makhani dahl with a roti.  p. 164

“Indian sounds good. Mine made me a Masala Dosa a few days back. Great big pancake.” p. 165

The curry was delicious, and Charlotte surprised herself by consuming the whole thing. Ibid.

Charlotte scooped another mouthful of breakfast cereal into her mouth. Oaty and sweet.  p. 166

Jody coaxed the little food dispenser into delivering them coffees and chocolatey mini-croissants.  p. 168

There was the smell of tea and sweet cookies inside.  p. 171

Charlotte sipped on the tea and nibbled on the sweet cookies—chocolate chip, as if the cabin knew her inside out—and worked on datasets.  p. 171

She chewed on a piece of dried fruit the landing ship’s dispenser had supplied. The trip had taken a couple of hours, and it was good to have tasty snacks.  p. 172

Would her cabin’s kitchenette make fire chili coffee?  p. 175

“Tea please,” Charlotte said. A panel opened, revealing the bench, and the kitchenette, began whirring.  p. 177

Charlotte sipped from her tea too. Chamomile. Sweet and floral.  p. 178

“Come on,” Therassa said. “I’ll buy breakfast. I’m thinking hash browns, omelet, and some of that guava juice I just found out about.  p. 179

[The] food dispenser delivered the best it could do at fresh vegetables, rather than prepared meals. Sienna and Cain set to chopping and mixing. The smell was heavenly, full of spices and herbs.  p. 185

There were sweet potatoes and greens, a bright leafy salad, something that was probably a chicken, though might well have been snared somewhere out on the mountaintop. Gravy boats and both red and white wine, and water.  p. 186

Charlotte sighed and ate some of the spinach and carrot. It was remarkably fresh and tasty.  p. 186

And the meal went on without any more talk of sensors or data or results, just about family and how amazing the pavlova dessert was [. . .]  p. 186

But he had chocolate and a new fireplace [. . .]  p. 187

Charlotte took her coffee and sipped. Perfect. The tiny dash of chili Sienna had added just set it off.  P. 187

Niall and Cain made a stack of burritos and kept them coming.  p. 188

“I’d enjoy it more,” Therassa told Charlotte over a cask of moderate wine, “if our departure wasn’t hanging over us.  p. 189

Charlotte was in the data processing room, enjoying the sweet taste of one of Sienna’s coffees.  p. 193

And there is this, about a year after Bec’s death, by which time the characters must weigh about twenty stones (about 130 kg):

“We’re toasting marshmallows,” Charlotte said. “Want to join?”
“It is summer,” Sienna said. “Why would you toast the marshmallows?”
It was definitely warmer, and the sun went down later each day, but the evening still picked up a quick chill. Marshmallows and hot chocolate were always a good solution to that.
“Try one,” Charlotte said. “You might like it.”
“Yes. All right.” Sienna came and sat with them on the sofa. Niall stuck one of the fat, pink marshmallows on the end of a skewer.
“And now?” Sienna said.
“Like this.” Charlotte demonstrated, skillfully holding her own marshmallow in the flames to get just the outside singed to a browny-black.
“Is easy.” Sienna proceeded to set fire to hers.
Niall laughed. “Is easy, but takes practice.”
“Is stupid. I have come to tell you that I believe that Goldie has settled into nesting spot and will give birth to some cubs soon. I hope it proceeds better than last time.”
“Have mine,” Charlotte held her skewer out to Sienna. “And thanks for that. Yes, let’s hope that it goes better than last time.”
Sienna accepted the marshmallow and popped it in her mouth.
“Oh my gosh!” she said, breathing over it. “Hot. Hot but good. Oh, yum!”
By the end of the evening, Sienna had gotten pretty good at making her marshmallows nicely crisp on the outside, and runny in the middle.  p. 191

I note that all these food items are 20th Century dishes. Does culinary development stop with the development of interstellar drives?

Welcome Home by Jendayi Brooks-Flemister

Welcome Home by Jendayi Brooks-Flemister (Asimov’s SF, January-February 2022) opens with a single mother called Theresa looking for a new place to live—and, if she cannot find one, her child Niyah will be taken into care. However, she eventually comes upon an advertisement for something called the “SmartHome Initiative Complex”, and soon moves into an affordable smart home with an inbuilt AI.
Initially the AI is a big help, but Theresa is not best pleased when it orders her daughter a new coat without asking her first. The situation sours further when Theresa gets an unexpected house call from a doctor:

“I’m Dr. Owosu, the on-call for the Complex. May I come in? It’s a bit chilly.”
Theresa found herself unable to say no.
[. . .]
“What?” she said, still trying to process what the man had said before coming in.
“I received a report of someone being sick in the house. Is it just you here?” Dr.
Owusu asked.
Theresa frowned. “No one is sick here.”
“I received a report around 4 A.M. for a fever of at least 100.8 degrees, miss.”
In that moment, Theresa’s blood went cold. “Home, what do you know about this?”
Without a moment of hesitation, Home replied, “I recorded Niyah’s temperature this morning to be above normal, thus indicating a medical need. I also took the liberty of arranging a genetically similar doctor to come to the house for your added comfort.”
“You what?” It was all so much to process. Theresa could feel her face heating, her anger rising. This SmartHome, this fucking robot—how dare it record their temperatures and know their ethnicities and pretend to know them?  p. 56

Imagine, an AI summoning a doctor for your sick child—how terrible.
After this, Theresa’s life settles into a routine where she works and looks after Niyah. She is able to afford a few luxuries, and starts banking with SmartBank as the fees are lower (and it makes it easier and cheaper to shop at the SmartStore the AI orders their goods from).
Matters eventually come to a head, however, when Theresa comes home on Niyah’s birthday and asks her daughter what she wants for her birthday meal. Niyah does not know and, although Theresa pesters her daughter for an answer, Niyah still doesn’t come up with a suggestion—and then the AI suggests that she may want the ratatouille from a film they watched earlier that week. The story ends with Theresa’s existential despair as she realises that the AI will always know what the two of them want and need better than she ever will:

There never was a choice. Home was always going to know what to do, and it had been showing Theresa that since the beginning. What made it unbearable, though, was that Home knew Niyah, her baby girl, better than Theresa did. A robot. And no matter what, Theresa couldn’t turn it off. Home was connected to the house, and the house was connected to the store, and all of it was intertwined with itself to the point where shutting one down completely cut off access to all the others. She couldn’t just turn Home off and pretend that she could live in the Complex without it. Despite the hatred boiling inside her, she needed Home. Because Home was taking care of them in every way possible.  p. 59

She then concludes, in the penultimate line, that her choices have been taken away from her.
It’s hard to know where to start with this one, but it’s pretty obvious to an external observer that, even given the AI’s irritating quirks, Theresa and her child are much better off than they were before they moved into the SmartHome. It’s also pretty obvious that Theresa still has her autonomy, because she could move out any time she wants. Only a control freak with a glass-half empty mentality would think otherwise.
This was an interesting piece to begin with, but the character’s personality, and her irrational ideas and attitudes (her territorial responses about Niyah, etc.), are quite illogical.
* (Mediocre). 4,650 words.

The Boyfriend Trap by Stephanie Feldman

The Boyfriend Trap by Stephanie Feldman (Asimov’s SF, January-February 2022) opens with the female narrator in a car with her partner Gavin as they drive to a cabin in the woods:

We always defaulted to the radio so there would be no argument over the music. We listened to the music the universe chose for us.
He smiled at me, a quick glance, and eyes back to the road. We had been dating for two years, living together for one, and recently we had been arguing, arguing so much and about everything—I loaded the dishwasher wrong, I went out with my friends every week, I was a bitch to his friend Steve. I wanted to take the job in Denver. He wanted to stay in Philadelphia.  p. 152

They arrive at the A-frame in the woods after dark, and unpack and have dinner—but it isn’t long before they are arguing about whether or not they should move, and to where. In the middle of this the narrator rushes outside and finds herself in the pitch black—and she thinks that her boyfriend has turned off the outside lights.
After she wanders around for a short time (spoiler) she sees the same golden glow that they saw in the woods earlier. Then the lights come on (or the narrator can see them again) and she goes back inside, where she appears to find a different (and improved) version of her boyfriend (initially there are hints—a stained cuff is clean—and then it becomes obvious when she can hear the old version of her boyfriend outside the cabin calling on her). She decides to stay with the new one.
I had no idea what was going on here, and the horror vibe ending (again, unexplained) didn’t work for me. I also thought that the troubled relationship stuff was, as usual, tedious.
* (Mediocre). 4,750 words.

Bereft, I Come to a Nameless World by Benjamin Rosenbaum

Bereft, I Come to a Nameless World by Benjamin Rosenbaum (Asimov’s SF, July-August 2020) starts with Siob, a member of the far-future Dispersion of Humanity, remembering a faraway conflict before he arrives on a world where Thave (another member of the Dispersion) lives.
The planet is disguised to appear uninhabitable, and Thave lives through several host bodies in a futuristic underground city. Siob remonstrates with her about her choice (a dull section that seems essentially to be about cultural aesthetics).
Later, Siob asks Thave about other members of the Dispersion before he goes down to “Bedlam”—the final long stream of consciousness section of the book:

Outside the door, the city seethed, roiled, cacophonous. Brimming with people. Were they people? Brimming with dolls, brimming with shadows, brimming with monsters. I forced a smile, a monstrous gritted-teeth affair. “I can’t, Thavé. I can’t. I can’t. I can’t. I have to go down.”
Thavé nodded (whatever that meant).
It was time for Bedlam.
There was a claw-hand of a moon, violent violet, digging down past my eyes, beneath the portal, the partial, the penetrating perorating peach perfection, capsized
capsized in an ocean of night.
That’s not right. Focus on the hands, on the hands—leather? of leather? Running through the heather.
(“I can see where I am, I can always see where I am. Dreaming with part of my brain. But how to interpret what I see? How to know if that—that—is a bed, a wall, a hand, a moon, a vault, a vertilex, a transix, a typhoon?”)
Cultural detox. Hallucenophenomenic aspects of.

I’m not entirely sure what goes on subsequently, but I vaguely recall a lot of memories and angst. And, of course, the two pages of blank verse, which were an especial treat.
There is a lot of surface glitter in this story but not, I think, much else.
* (Mediocre). 5,750 words.

Unmasking Black Bart by Joel Richards

Unmasking Black Bart by Joel Richards (Asimov’s Science Fiction, January-February 2022) starts off with 43-year-old Connor on his way to a class reunion in the near-future. As he drives there the story’s plot devices are revealed—holo-masks, and a robber called Black Bart:

Connor couldn’t wear a mask at work. He was a police psychologist [. . .] and cops weren’t permitted to wear masks on duty. Transparency and accountability in law enforcement had mandated that exception to the libertarian and libertine ethos of the times wherein everyone had the right to represent his/her self as they wanted.
And many did, playing what role they wished.
Fantastical figures abounded. Historical personages, too, so long as they were dead. It was unlawful to represent as someone else still living. . . perhaps while robbing a bank or assaulting a neighbor.
Not that bank robbers had stopped robbing banks. Some who did masked themselves as John Dillinger or Jesse James or Bonnie and Clyde. A recent and active robber in these parts presented as Black Bart, augmenting his flour sack mask with Bart’s long duster coat, billycock derby hat, and penchant for leaving poems at the scenes of his exploits.  pp. 88-89

The rest of the story is basically a readable, if long-winded, piece about going to a high school reunion and all that entails—personalities, relationships, success, ageing, etc. Embedded in this is a thin plot thread which sees Connor socialise with another of the attendees, Harry, and (spoiler) sees him discover evidence that Harry may be Black Bart. The story closes with a third party account that makes this more probable.
It’s all a bit pointless, and this feels like a mainstream story in SF drag.
* (Mediocre). 6,300 words.

The Santa Claus Planet by Frank M. Robinson

The Santa Claus Planet by Frank M. Robinson (The Best Science-Fiction Stories: 1951) opens with a spaceship landing on a planet to celebrate Christmas; two of the crew are later sent to a nearby village to greet the humans that settled there previously and invite them to the ship.
En-route the pair are met by the natives, who proffer gifts, and a voice from the sleigh tells them to destroy the gifts and hand over their pistols. After some reluctance the two crew members do so, whereupon the natives break the pistols into pieces. Then they discover that the man who spoke is a recent arrival called Reynolds, who they subsequently take back with them.
The rest of the story consists (apart from another bookend to finish the story) of Reynolds telling of how he came to be on the planet, which starts with him arriving after he damaged his spaceship tubes. While he was trying to repair his ship the natives arrived, and he was drawn into their strange gift giving custom (which is later explained by a friendly female tribe member called Ruth):

She thought for a minute, trying to find a way to phrase it. “We use our coppers and furs in duels,” she said slowly. “Perhaps one chief will give a feast for another and present him with many coppers and blankets. Unless the other chief destroys the gifts and gives a feast in return, at which he presents the first chief with even greater gifts, he loses honor.”
He was beginning to see, Reynolds thought. The custom of conspicuous waste, to show how wealthy the possessor was. Enemies dueled with property, instead of with pistols, and the duel would obviously go back and forth until one or the other of its participants was bankrupt—or unwilling to risk more goods. A rather appropriate custom for a planet as lush as this.
“What if one of the chiefs goes broke,” he said, explaining the term.
“If the winning chief demands it, the other can be put to death. He is forced to drink the Last Cup, a poison which turns his bones to jelly. The days go by and he gets weaker and softer until finally he is nothing but a—ball.” She described this with a good deal of hand waving and facial animation, which Reynolds found singularly attractive in spite of the gruesomeness of the topic.

This unlikely gimmick works through a few gift-exchange plot loops until (spoiler) Reynolds runs out of potential gifts, and also realises that Ruth is also going to be poisoned for helping him. He avoids this unpleasant end by giving the impression that he is going to destroy the planet with fire (I think) after they destroy his rocket. The chief concedes before the oil fire Reynolds previously set burns out.
There is another twist revealed at the end (when Reynolds is once again on the visiting ship): Reynolds married Ruth and became the wealthiest man on the planet because they had 15 children, each of which attracted ever-increasing dowries.
This story revolves around an unconvincing and contrived gimmick, the ending is a fudge, and the last twist just adds even more nonsense to what has come before (and seems to be the only reason the sections that book-end the piece are there). Why Bleiler and Dikty (the editors of the ‘Best of the Year’ anthology where this first appeared) thought it a good idea to use this original story beats me (and I can only assume Terry Carr reprinted it1 for Towering Inferno2 name recognition).
* (Mediocre). 8,500 words.

1. Terry Carr used this story in his Christmas SF anthology, To Follow a Star (1977).

2. The Glass Inferno by Thomas N. Scortia and Frank M. Robinson (1974) was made into a big-budget disaster film called The Towering Inferno (1974), more here.

The Bumblebee and the Berry by M. Bennardo

The Bumblebee and the Berry by M. Bennardo (Analog, January-February 2022) takes place on hollowed-out asteroid, a generation starship which is making its fourth approach to a star system after missing on the first three attempts (over the previous twenty-seven years). While the ship gets closer to the planet they are aiming at, Axel, the governor of the colony, watches the local wildlife in their small biosphere—in particular a bumblebee that keeps trying to land on a bowl of blackberries. He wafts his hand nearby to disrupt the air currents, which causes it to fly away.
After this scene setting is complete the story closes with Axel getting an update from a woman called Raina about the approach. During this exchange she clumsily swats at the bumblebee; he shows her how to waft the nearby air instead. Axel (spoiler) then has an epiphany that the planet they are heading for may be occupied, and that they are the ones who are being kept away from what they want:

They would simply continue, as they had been. They would have no choice but to keep living as they were: making what room they could for the deer and the rabbits and the bumblebees, doing their best to avoid stepping on ants and wildflowers. Anything else would mean their own destruction. And who knew? Perhaps if they could prove they could do it. . . For a hundred years, or for a thousand. . . Then they might one day make another pass, and might one day be allowed to make starfall. They might no longer be brushed away.  p. 95

Apart from the fact this piece is a notion or eco-lecture and not a story, I’m not convinced by the bumblebees making for the blackberries—wasps and butterflies maybe, but I’m pretty sure the bees in my garden always go for flowers and their pollen.
I’d also note the language used at the beginning of the story is unnecessarily confusing—they aren’t making “starfall”, they are making planetfall, i.e. they intend landing on a planet not a star. And what has the “heliopause” (a word I bounced off of) got to do with anything? More unnecessary Analog jargon.
* (Mediocre). 2,200 words.

Charioteer by Ted Rabinowitz

Charioteer by Ted Rabinowitz (Analog, January-February 2022) is essentially a re-do of Arthur C. Clarke’s Sunjammer, except this one has a woman pilot: she is a prisoner who is racing around the sun trying to win her freedom from the tyrannical “Executive”, and someone has sabotaged her sail-ship.
Most of the story tells of how she engineers her way out of her predicament, and a lot of this is written in that jargon-filled Analog prose that makes your eyes bleed:

Now that power was flowing, the sensor net was active throughout the entire field of sail. It told her that the power spike had done more than blow out the main nodes; it had deactivated the carcerands in the sails. Each carcerand was a molecular cage trapping a second, free-spinning cluster of atoms inside. The inner cluster could be oriented by a magnetic field. Polarized in one direction, it rendered a sail opaque; in another direction, it created the brilliant mirror of a lightsail.
The power spike had fused 90 percent of those inner clusters with their carcerands. She was riding a giant disc of ashes.  p. 73

That last sentence isn’t bad, but I’m pretty sure there is a more elegant way to write the paragraph that precedes it.
Ultimately (spoiler) she manages to fix things but discovers she has received a fatal dose of radiation—so she crashes her ship into the station where the politicians are watching the race.
Apart from the bad writing (mostly too much engineering jargon), the political prisoner gimmick doesn’t convince.
* (Mediocre). 3,300 words.

On the Rocks by Ian Randall Strock

On the Rocks by Ian Randall Strock (Analog, January-February 2022) is a short-short1 about a billionaire who tells of an effort to save Earth from global warming by bringing back “ice cubes” from the Kuiper Belt. These hollowed out ice asteroids will then be floated in the atmosphere to cool it down.
This references two other SF stories to tell the tale, and doesn’t articulate why the idea doesn’t work. It’s more ridiculous musing than story-telling.
* (Mediocre). 1,000 words.

1. I’m not sure when short-shorts became “flash-fiction” (as this is described in the table of contents), or why. I’m not fan of the category, given that the average standard of these is far below other lengths of story.