Short Stories from MSJ Alums

Several of our MSJ alum have had stories reprinted, newly published, or coming soon!

Both Maureen Bowden and Judith Field have stories reprinted in the Fabula Argentea 5th Anniversary Anthology.

Laura Arciniega, who has a quarterly-exclusive story in Mad Scientist Journal: Winter 2018, recently had her first published piece in issue 3 of Burnt Pine Magazine. You can read her story, “Prostrate Lay the Water Bears,” there!

Liam Hogan and Darren Ridgely have stories set to appear in Gothic Fantasy’s Endless Apocalypse anthology.

Calvin Demmer and Gwendolyn Kiste have stories in the Hardened Hearts anthology.

Evan Dicken’s story, “How I Killed Your Mother,” has been podcast at StarShipSofa.

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Hello! Please Read Me

An essay by Me, as provided by Kate B. Brokaw
Art by Luke Spooner


Oh good, you’re here. Now listen up, here’s a story I want you to remember:

I used to be a human. But that was a long time ago. Like everything living inevitably does, I died. I died and my body wasted away in the ground for years. Slowly decomposing, it was the bacteria in my gut that began tearing me apart first. Ironic, really. What had once helped me digest my own food now feasted on me instead.

They escaped from the cage of my intestines and quickly spread throughout the rest of my body. And as they fed on my tissue, the fermented sugars they produced caused me to bloat. So much so that my skin blistered and sloughed off. It intensified until the pressure inside me grew and grew and my abdomen exploded. My putrefied insides, now liquid, had splattered everywhere, and the rest oozed out through any escape it could find. I hated making a mess, but there was nothing I could do about it. Remember, I was dead–it was a real fucking inconvenience.

Luckily for me, I had the blowflies to clean it up. They took whatever they wanted, and what they didn’t, they made a home out of and laid eggs in. Before I knew it, I became the residence of hundreds of their children. They hatched and lived off of me until there was no flesh left to consume.

It was then that I truly began to lose myself. I was no longer me, but rather parts of hundreds of bugs. I was always told “you are what you eat,” but from my experience, it was more like “you eat what you are.” Because it wasn’t the blowflies that became me when they ate my flesh but rather me that became a part of them.

I’m going to be honest with you. I didn’t remember any of this until I came back to myself years later. It’s hard to form any thoughts when you’re spread out between hundreds of lives and even harder when those lives are broken down and spread out even further. I ceased to be me and became a part of so many other things. Like the edge of a concrete sidewalk, the mold in a drain, and the molecules that made up the sky. I traveled to space and back, and at the same time made it to the deepest parts of the ocean. There was nothing I couldn’t be and nowhere I hadn’t gone. Or at least that’s what I thought.

Like everything else, I should have continued to break down. Spread out. Disintegrate until every last one of my atoms were torn apart and permanently merged into the fabric of the universe.

But, that’s only what should have happened.

Instead, in one of the most colossal and magnificently terrible coincidences, the pieces that had once made me, me were reunited into one organism again. In every possible way, the odds were against me. I mean, really, the chances that all my pieces would be together at the same time in the same place? Infinitely small. But that’s the thing with probability; the infinitely small is bound to happen at some point.

And with me, it did.

Art for "Hello! Please Read Me"

Ironic, really. What had once helped me digest my own food now feasted on me instead.


To read the rest of this story, check out the Mad Scientist Journal: Autumn 2017 collection.


I am the chill running down your spine. That slight nagging in the back of your head. You may think this was just some cute little story. But one day, when you’re sitting in some nursing home trying to remember what date it is, you’ll realize that you’ve known me all along.


Kate B. Brokaw graduated from Furman University with a B.S. in Neuroscience. She is an aspiring science fiction writer and scientist. Currently, she lives in northern Virginia where she is working on completing her first novel.


Luke Spooner, a.k.a. ‘Carrion House,’ currently lives and works in the South of England. Having recently graduated from the University of Portsmouth with a first class degree, he is now a full time illustrator for just about any project that piques his interest. Despite regular forays into children’s books and fairy tales, his true love lies in anything macabre, melancholy, or dark in nature and essence. He believes that the job of putting someone else’s words into a visual form, to accompany and support their text, is a massive responsibility, as well as being something he truly treasures. You can visit his web site at www.carrionhouse.com.


“Hello! Please Read Me” is © 2017 Kate B. Brokaw
Art accompanying story is © 2017 Luke Spooner

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Strange Science: Babylonian Trigonometry

Ziggurat

Michael V Fox, Public domain (http://imp.lss.wisc.edu/~mfox/)

For years, mathematicians and scientists have believed that the Greeks developed trigonometry. However, an new analysis of a 3,700-year-old Babylonian artifact has changed their tune.

Plimpton 332, a Babylonian tablet that was excavated in the early 1900s, contains the world’s oldest and most accurate trigonometric table. Modern math uses multiples of tens for most operations, while this tablet uses a base 60 system. Because it’s easier to divide by 60 than 3, this makes the calculations on the table much more accurate. So not only does this tablet disprove the Greeks as the fathers of trigonometry, but also presents opportunities for mathematicians to refine their trigonometric data.

The article on this analysis appears in Historia Mathematica, the official journal of the International Commission on the History of Mathematics. But if you want to read more about it, you can find another article here!

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Review of Cry Your Way Home by Damien Angelica Walters

Cover art for Cry Your Way Home

Cry Your Way Home (Apex Publications, 2018) features seventeen of Damien Angelica Walters’ previously published short stories in a brilliant collection showcasing her beautiful prose and carefully plotted tales. Not for the faint of heart, the stories contained within this book veer frequently toward the creepy and unsettling.

The opening story, “Tooth, Tongue, and Claw,” sets the stage for what is to come, telling the story of a secondborn daughter who is given to a monster so that her people can enjoy their continued well-being. Many of Walters’ stories involve female protagonists who struggle against the circumstances that life has brought them. And not all of those stories have happy endings, either.

Among my favorite stories in the collection were “Deep Within the Marrow, Hidden in My Smile,” “S Is for Soliloquy,” and “Umbilicus.” The first of these stories examines the relationship between stepsisters, but goes in an unexpected direction. “S Is for Soliloquy” starts out innocently enough, but the twist in this story is absolutely fantastic. And “Umbilicus” is creepy and atmospheric, while still having just enough touches of realism to keep it grounded.

If you’re a fan of spooky stories and well-crafted prose, Cry Your Way Home is the book for you. Cry Your Way Home is available for pre-order at Apex Publications or Amazon and other booksellers, with a release date of January 2, 2018.

The publisher provided us with a free copy of this novel in exchange for review consideration.

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Killing Stone

An essay by Upton Stone, as provided by John A. McColley
Art by Errow Collins


Dr. Elias Stone was a brilliant man, no one will argue. He gave us gene therapy cures for Meiriss Syndrome, Ecks-Nuab Disorder, and Klecks. He perfected the external womb and a dozen patented processes for DNA manipulation. All of these, in their own ways, led to me.

I go by the name Upton Stone, though he called me Gamma. He wasn’t very good with names, or perhaps he didn’t think of us as much like people. I suppose it’s all moot now. I’m here, charged with his death. The hands on which blood spread looked much like mine, I admit, but they were not these. These hands have never hurt anyone, would never. I shall address each piece of so-called evidence against me, beginning with the physical.

The clear, most obvious thing in this whole situation is that every piece of DNA and forensic evidence will lie to you. There were five of us. We’re five years old, though we look like the good doctor did in his early thirties. I think he liked that on one level, having evidence of his progress toward immortality, turning back his own genetic clock, on hand. He was keeping more than one eye on his prize.

Yes, the killing blow was performed by a male of five feet, ten inches. Yes, brown hairs were found, and again, the DNA found in their root bulbs matches mine. That blood, like those found in other parts of the lab and attached house, will appear to be mine. As I’m certain you will understand, these things, so damning against the average person, narrowing down a field of billions of varied genetics, ages, heights, and weights, to one, are irrelevant in this case. We five all appear identical in these circumstances. There is simply no way to tell us apart with biometrics.

Means? Opportunity? Of course all of us had access to the candleholder that killed Stone, could lift it with the same ease. All of us were present, though two of us tried our best to stop Beta. We were too far across the room, and he moved with such speed, having decided on his course of action. The others, Alpha and Epsilon, seemed to be in on the thing, holding Delta and I back.

Motive, ahh, now we get to the crux of the thing, do we not? That’s where the tale draws out …

~

“Alpha! Beta! Gamma! Delta! Epsilon! To the common room, please!” Our creator’s voice beckoned us over the public address system. We each set down our work–for that was the point of us, you see, of having five more of himself, to pursue each field of his interest, to not have to give up on any tenable idea. We were not just research, but his research team. We entered the open area onto which each of our labs opened more or less at the same time.

“Are you ill?” Alpha had spotted it first, a bit of gauze taped to Stone’s inner elbow.

“No, no, of course not. Nothing like that. I’ve drawn blood for some more experimentation, an expansion of our workforce, you might say.”

“To reiterate, ‘Are you ill?'” Beta asked, always defensive, always snide. But he had a point. Stone had already expanded his personal impact on history, humanity, the universe, with our creation. Who else gets six lifetimes to do their work? “How far do you think you can take this thing before someone begins to notice? There are laws, you know. We’re all subject to destruction if someone outside realizes what you’ve done. We’ve committed no crimes, but we won’t get trials. We’ll be sanitized like old petri dishes.”

“No one will know. Construction of a larger facility is nearly complete.”

“In what dread locale? Antarctica? Under the sea? Detroit? Where will no one notice–what, another six? Another dozen Stones?”

“One hundred. There will be one hundred more of me–of us–in an underground facility. Worry not, my colleagues. We are all equals. We will work democratically to change the world in the ways we collectively find best. You are safe.”

Art for "Killing Stone"

The magnum rolled toward me, a wave of muddy brown fluid ahead of it, as Delta succumbed, his flesh betraying his rage at what Beta had done. Everything was ruined now.


To read the rest of this story, check out the Mad Scientist Journal: Autumn 2017 collection.


Upton Stone claims to be a clone of Elias Stone, famed bioresearcher. He also claims to have witnessed several murders, of which authorities can find no evidence. Stone, regardless of first name, has been remanded to the local mental health facility after his apparently self-inflicted wounds were seen to.


John A. McColley claims to be a recent father of three, living at the edge of a three-hundred-acre wood. Evidence mounts that he, too, has lost touch with reality after months of sleep deprivation, spinning tales of mechanical men and magic. He reports waking many times a night to the screaming of very cute, but very angry, tiny, twin demons who demand milk and diaper changes.


Errow is a comic artist and illustrator with a predilection towards the surreal and the familiar. She pays her time to developing worlds not quite like our own with her artist fiancee and pushing the queer agenda. She probably left a candle burning somewhere. More of her work can be found at errowcollins.wix.com/portfolio.


“Killing Stone” is © 2017 John A. McColley
Art accompanying story is © 2017 Errow Collins

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Strange Science: Ecological Impacts of Mass Mortality

When many animals die at one time, what happens to the landscape where their carcasses remain?

Scientists at Mississippi State University came up with a way to study this question, while also dealing with an enormous problem of feral pigs in the area. The feral pigs, which were culled to stop their impacts on the area, were placed in a remote area where researchers could watch what would happen to the environment as their corpses decomposed.

The feral pig carcasses also attracted a large number of scavengers, which had their own ecological impact on the landscape. Three months after the experiment began, little remains of the actual carcasses, but the scientists continue to monitor the areas to see what happens next. They plan to check in on the area until it is indistinguishable from the surrounding landscape, though they are unsure at present how long that will take.

If you want to read more about this experiment, National Geographic has a story about it!

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Awesome Finds: Comics by Miles Greb

Cover art for After the Gold RushWe recently came across a few comics that might be of interest to mad scientists, by Seattle author Miles Greb.

His comic After the Gold Rush involves the last scientist, Scout, returning to Earth to study it, but finding it a wilderness rather than a place of high technology. The story also deals with the conflict between religion and science. In addition to being available as a regular comic book, After the Gold Rush also has a webcomic version, which takes place prior to the events of the regular comic book run. You can follow the webcomic here and through the author’s Patreon.

Also of interest is Clovis, a graphic novel that follows the story of a woman in North American in 12,000 BC. The artwork in the preview looks gorgeous, and from what we’ve heard of the story, it sounds fantastic!

If either of these titles sound interesting, or if you’d like to see other comics that are in the works, check out Miles Greb’s webpage here!

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Machine to Describe a Moth

An essay by Dr. Phillip R. Bates, as provided by J. Lee Strickland
Art by Leigh Legler


I found the street, although my anxiety about the city would often turn the simplest directions into a trial. It was lined with attached single homes of Gothic aspect, steep gables fronting on the street and windows with leaded panes set deep in the stone facades. The entrance to the house I sought was set to one side and raised above the street three or four feet with a stone staircase and landing leading to it. Beneath the landing, obscured by the overhanging masonry, there appeared to be a downward leading staircase and perhaps a door–a basement door of some sort, I thought.

I looked at the note in my hand. The number was correct, but I could not bring myself to mount the stairs to the door. I was not expected. Doubts clouded my mind–to arrive unannounced at the home of a stranger–and the object of my visit was unsettling even to me. I strolled to the end of the block. The trees that lined the street gave it a pleasant air that contrasted with the dour, colorless stone of the buildings. A carriage rolled by on the avenue, the horse’s hooves echoing as it passed. I turned and made my way back, but again hesitated at the stairs. Another walk to the end of the block, and I began to feel I might be making a spectacle of myself, although no other person was in evidence.

I reversed my course, determined now to abandon my project, when a figure emerged from the house in question–a woman, plump and short, wrapped in a heavy cloak with a market basket in her hand. She descended the stair and, without a glance in my direction, made her way toward the opposite end of the block, where she disappeared around the corner. What motivation this gave me, I don’t know, but I returned to the house, climbed the stairs, and rapped smartly on the door.

I waited a moment. Nothing stirred. I was dressed in my best, hoping to offset any negative impression my unexpected appearance might convey. I even carried my finest cane, its ebony shaft tipped with a chased silver boss, the silver grip fashioned as the head of a bird. I used the cane to knock on the door. I imagined I heard activity inside, but the door remained closed. I was about to knock one last time, when the door opened a crack. The crack widened. Fingers curled around to grip the edge of the door as it continued to move until it had reached its full swing.

The person who opened the door was dressed elegantly–his attire rivaled my own–but no veneer of elegance could mask the strange form of this human who stood before me. He was short–no more than four and a half feet tall–broad at the shoulders with a barrel chest. His legs and arms were foreshortened, giving him a comic disproportion. His head, perched on that unlikely torso, was enormous, his eyes bulging, luminous orbs. The pleasing bilateral symmetry that defines us as humans was in him distorted and confused. From head to foot, he was like a puzzle badly assembled.

“I am sorry. My housekeeper just stepped out. How can I help you?” His voice had a hollow quality like an echo, and it did not seem to issue directly from his mouth, but from the side, like some ventriloquist’s trick.

“I’m looking for Dr. Monard. I hope I’ve come to the right place.”

“I am Dr. Monard.”

Taken by the unsettling quality of his voice, I hesitated. I had my card in hand, and I offered it to him. The card was modest, just my name followed by a sprinkling of my academic titles, and beneath that, “Patents Consultant.”

“My name is Phillip Bates. Please forgive my calling unannounced. I have a matter of some importance I’d like to discuss with you.”

He looked up from the card to my face. His eyes seemed to grow larger. “Is this some sort of solicitation?” He made no attempt to hide his irritation.

“No, Sir,” I cried. “I assure you it is not.” In my naiveté, I had not imagined that I might make such an impression. I gripped my cane with both hands, a kind of supplicating gesture. He seemed to focus on the cane, stared at it, silent for a few moments.

“Please come inside, Mr. Bates.”

Art for "Machine to Describe a Moth"

“Moths, as you know, are one of my specialties.”


To read the rest of this story, check out the Mad Scientist Journal: Autumn 2017 collection.


Dr. Phillip R. Bates is a patents inspector working under contract for the Office of Patents. He is also available as a technical consultant. He holds a B.A. in Philosophy from Nottingwood College, an M.A. in Dialectics, M.S. in Applied Technology, and a PhD. in Advanced Etherics, all from Caledon University. His broad knowledge of steam technology, hydraulics, and miniaturization, as well as machine theory, makes him uniquely suited to assist in the development of projects that broaden both our practical and theoretical understanding of the universe.


J. Lee Strickland is a freelance writer living in upstate New York. In addition to fiction, he has written on the subjects of rural living, modern homesteading and voluntary simplicity. His work has appeared or is forthcoming in Sixfold, Atticus Review, Icarus Down Review, Latchkey Tales, Scarlet Leaf Review, Workers Write!, Pure Slush, Small Farm Journal, and others. He served as a judge for the 2015 and 2016 storySouth Million Writers Awards. He is at work on a collection of connected short stories vaguely similar in format to the long-defunct American television series, Naked City, but without the salacious title.


Leigh’s professional title is “illustrator,” but that’s just a nice word for “monster-maker,” in this case. More information about them can be found at http://leighlegler.carbonmade.com/.


“Machine to Describe a Moth” is © 2017 J. Lee Strickland
Art accompanying story is © 2017 Leigh Legler

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Strange Science: Studying Monsters

Artist's rendering of medieval monsters

Sebastian Münster: English: [Illustrations of monstrous humans], Public domain (https://commons.wikimedia.org/wiki/File:Sebastian_M%C3%BCnster,_Illustrations_of_monstrous_humans_from_Cosmographia_(1544).jpg)

Did you know that there’s an entire organization devoted to the study of medieval monsters? They’re called MEARCSTAPA, which stands for Monsters: the Experimental Association for the Research of Cryptozoology through Scholarly Theory And Practical Application. The name of the group sounds like a bit of a nonsense word, which is partly intentional. But it’s also a word that appears in Beowulf, applied to Grendel, which translates to “border-walker” or “margin-stepper.”

Though their focus is on medieval depictions of monsters, their true goal is “the study of how individuals and groups—particularly powerful groups—dehumanize, disempower, and ultimately attempt to destroy other groups.” Often times, the monsters that they are studying were used as a metaphor or a cautionary tale about people who didn’t fit in with the ruling group in a culture. As such, the monsters that people focus on in a given era can say a lot about what their true fears are. So these scholars study an interesting blend of cryptozoology and human psychology.

You can read more about MEARCSTAPA at Atlas Obscura or at their own website.

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Mad Scientist Journal Open to Submissions in December

Cover Art for Mad Scientist Journal: Autumn 2017For the month of December, we will be looking for submissions of quarterly-exclusive stories (which do not have to be first person) and classified ads. To learn more about these types of submissions, check out our submissions page. All submissions should conform to standard manuscript format and be submitted through our Submittable portal, which is linked on the submissions page, and goes live on December 1st.

The deadline is midnight Pacific Time on December 31st, so be sure to submit your stories before we close! After that, we won’t be open for regular submissions again until June 2018!

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