Last post for August…and last post before we start a month of postings of flash fiction/poetry from Six Minute Story ūüôā

Got some amazing original response pieces, as well as new poetry from Michael Stephen Daigle and bit from Big Truths, with Tom Jones to round us out.



Emily Walker’s work always grabs hold and shakes me about like a chew toy. This piece, from Big Truths (Little Fiction’s nonfiction arm), this gorgeous and heartbreaking essay pulls no punches. It simply tells the tale as she lived it: dancing with suicide and depression, diagnosis of Biopolar II, and the parallel journey of her grandfather into the distorted and disconcerting landscape of dementia.

So this goes out to all those who have struggled with any/all of that, who’ve battled to just get out of bed, who’ve looked over at that bottle of Vicodin and thought, “Hey cutie…” and thought they were totally alone in it. It’s for all those who’ve been there for someone they love beyond loving…watching as they slowly deteriorate, and being there anyway.

Emily Walker was born in England, and lived on the island of Crete, Greece, before settling in Portland, Oregon. She spent almost eight years in Vancouver, BC pretending to be Canadian, before recently returning to Portland. Her fiction and nonfiction has been featured online on Gawker, The Tyee, Little Fiction, and The Vancouver Observer, and in print in The Los Angeles Review and This Magazine. In 2012 her nonfiction was shortlisted for the Event Magazine nonfiction contest.


For Boys who Kill my Brothers, by A is 4 Advocate

Read by A is 4 Advocate

If player does not display, click here.


Re Entry, by Michael Stephen Daigle

Read by Diane Havens

Spare, beautiful, rhythmic poetry from Michael Daigle.


Racial Profiling, by Chuk Stubz

Read by Chuk Stubz

Chuk writes…



Tom Jones Book X Ch 1, by Henry Fielding

Read by Mark Turetsky

If player does not display, click here.

Mark writes…

Book 10 Chapter 1 of Tom Jones.

This is part of an ongoing project in which I will record and post one chapter per week of Henry Fielding’s Tom Jones over the course of four years.

Since this is the start of another volume of Tom Jones, Fielding starts us out with another didactic chapter on writing, or in this case, on reading. First, he warns critics that they should not yet judge his work, as they haven’t read it as a coherent whole yet. Second, he tells the reader that the sign of a good writer (and of a good reader) is recognizing what makes seemingly similar characters different. For instance, he compares the two inkeepers from books 7 and 9. However, as the narrator of these two characters, I think I might have missed his lesson.

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