Map Literary: A Journal of Contemporary Writing and Art
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      • Fiction 2017 >
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    • 2015 >
      • Poetry 2015 >
        • Adam Clay
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        • Franz Werfel -- James Reidel
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        • Erin Bedford, "Riesenrad"
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        • Adrian Class, "Or Flights"
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        • Rebecca Cook, "What the Hammer Said When the Hammer Hit the Girl"
        • Margot Kelley, "Companion Species"
    • Fall 2014 >
      • Poetry Fall 2014 >
        • Stephanie Anderson
        • John Buckley and Martin Ott
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        • Matt Rowan, "Dog's Best Friend"
        • Kelli Anne Noftle, "Before She Was Olive"
        • Chris Okum, "Ratatat"
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        • Stephen Benz, "Night Then Morning: Elko, Nevada"
        • Joseph C. Jiuliani, "Of Stealing and of Being Stolen"
        • Lindsay Chudzik, "Jailface"
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      • Poetry Spring 2014 >
        • Simeon Berry
        • Molly Brodak
        • Wyn Cooper
        • Brian Foley
        • Tim Kahl
        • Caroline Knox
        • Rob MacDonald
        • Benjamin Paloff
      • Fiction Spring 2014 >
        • Gareth David Anderson, "Cupcake"
        • Halsted M. Bernard, "Your Hands"
        • Patrick Cole, "Pick-up Lines"
        • Joshua Graber, "This Fine Experience"
        • Lola Grace, "Natural Birth"
        • Robert E. Tanner, "Non-Disclosure Disagreement"
      • Art Spring 2014
    • 2012 & 2013
  • Pedagogy
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CRAIG FOLTZ

Without Stigma


Contrary to what history tells us, we will remain blissed out during the interrogation. Three more girls arrive in this fenced-in perimeter to discuss low monthly rates. When they open their mouths no sound comes out.

One suggests gray through dark honey. One detects the pouring of concrete by putting their ear to the ground. Another shreds her clothes into little ribbons and lets the wind carry the pieces out over the sea.  She looks me in the eye and says, “Try harder.”

Hopefully, the distinction between form and function is becoming clearer to us now. How shall we heave this flimsy ocean of florets onto our shoulders?

Is it possible that I spent the night with a woman named Misha? Of course it is. Perhaps there was more than one. Whoever she is, I understand, she simply fell to earth.  

The locals greet us with teeth bared and weapons drawn. They hustle us into their primitive, igloo-shaped dwellings. One of the locals, their leader apparently, says, “For a species to survive, descriptive events must be flayed of their skin.” He begins to lick the edge of a long, thin knife in between his lips.

Exhausted, we slump against the damp, wooden walls.

Then again, Misha tells me the year is 2012. She tells me the year is 2013. She tells me 2014 is on the way. She says, “Don’t ever say those words again.” Either that or she tells me nothing at all.

It is impossible to not oversimplify things. Information disclosure is dependant upon the person across the room, but the person across the room is hanging by their fingernails. Without emotional honesty, there is no influencing the weather.

Other locals are less threatening. One twiddles with knobs and hones in on the crinkly sound of AM radio. Another focuses on unraveling the mystery of syllables. The syllables have an internal structure, like spiky pollens of dust. Another tells you that the state of affairs will be revealed in a slowly unfolding sunset.

There’s something else, I think you know, but regardless, I can’t talk about that right now.

She says, “Did you notice? The fence around the compound seems lower now, like we could just pass right over.” She has the lips of a stranger. Collectively, we agree on the efficiency of handles and other simple utensils. Survivors rely on dusk primrose, desire, and memory.


Craig Foltz

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Craig Foltz is a writer and multi-media artist who currently lives on the shores of a jagged island without remorse or teeth. For more info please visit www.craigfoltz.com. 


published by
The Department of English
College of Humanities & Social Sciences
The William Paterson University of New Jersey
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Map Literary

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