One of our 2026 Pushcart Prize Nominees.

Every morning, after brushing my teeth and taking my shower, I dab a little lubricant on a silicone two-by-two-inch cube, squeeze the object between my thumb and fingers and insert it into my vagina. The cube is called a pessary, and it supports my prolapsing uterus. If you are unfamiliar with the word “pessary,” you are not alone. I only learned of it when I was prescribed mine a few years ago. The spell-checker for the writing program I’m using does not even acknowledge it as a word.

Learning new vocabulary is just one advantage of becoming an older woman. You are less susceptible to the darts of the male gaze. You may get to have grandchildren. If you’re lucky enough to be financially secure, you can do many of the things you’ve always wanted to do, maybe travel or be a writer. But there is no way to avoid the gradual degradation of the human body.

We, the Our Bodies, Ourselves generation, have been aware of our female parts most of our lives. Fifty plus years ago, I volunteered in a free woman’s clinic and learned to do basic pelvic exams. With a plastic speculum and a mirror, you could even do one on yourself, see your own cervix, the small, rounded part of your uterus through which future babies might come out.

The days of self-pelvic exams were far behind me when, in my late thirties, the midwife told me my uterus was prolapsing after giving birth to my second child. The sinking uterus made it a little more difficult to use my preferred form of birth control, the diaphragm, but otherwise, life went on as gravity and the wear and tear of bodily functions took their toll.

Thirty-three years after that last birth, in the early months of the Covid pandemic, my insides were slipping out. I didn’t need a mirror and speculum to feel the smooth, round protrusion of my cervix when I sat on the toilet. When I walked around, I could feel a part of my body that was supposed to stay inside me hanging outside. The midwife had not told me this would happen, and I was scared. [Continued inside Vol.5]

KRESHA RICHMAN WARNOCK is a writer who retired to the Pacific Northwest with her husband, Jim, in January 2020. She is writing a memoir contrasting her days as a campus radical to her current role as the mother of a police officer and is in love with her first, tiny granddaughter, whom she finds a delightful distraction from writing. Kresha’s essays have been published in Dorothy Parker’s Ashes, The Brevity Blog, Screamin’Mama’s and the On Being Jewish Now Substack. Her essay, “The Survivor”, received Honorable Mention from in the Proud To Be Anthology published by Southeast Missouri University Press. For a complete list of her work, please visit her website, www. https://kresharwarnock.com/ Follow her on Instagram @kresharwarnock.

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Kresha’s full award-nominated piece is in Vol.5. Consider subscribing to support Anodyne Magazine and its contributors. We pay our contributors dividends for each purchase! Plus, this is the only place you’ll find an ebook + print subscription combo.

JADE EISNER has been illustrating since her grandmother gave her a watercolour set at age 8. Jade bought a one-way ticket to Berlin, Germany and brought her suitcase full of her life’s work in 2021. Jade has created children’s books and health-focused zines, makes films, and works with disabled children. Jade is disabled and queer, and won best LGBTQIA+ film at DOC Berlin Film Festival in 2023. She lives with her two pet snails, Maizie and Martha. Jade creates disability and queer focused books to open safe spaces for children and adults of such identities. Find Jade on IG: @ipaintbugs

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A cavity-nesting bird,
fist of trembling
sinew and feather,
thrumming.

Hollow-boned,
stitches stretched thin
to snapping.

Muscle sliced
and folded.
Beak drumming,
drumming,

its cadence skipping.
Fast-breath and bound.
Straining to fly.

ALEX PRINCE (she/her) is a queer poet and novelist with a long-term heart condition. She lives in Shropshire with her two children, across the river from her girlfriend. She holds an MA in Creative Writing from Sheffield Hallam University where she graduated with distinction in 2024. Her work has been published in Humana Obscura Magazine and in the anthologies Queer Responses to Dante’s Paradiso by Carrion Press, and It’s Not Symptomatic It’s Systemic by Sunday Mornings at the River Press. Through her writing she examines complicated relationship dynamics, identity, and the drama that happens ‘behind closed doors’. She is constantly writing poetry and is currently working on her first novel. You can find her work in progress and responses to prompts on Instagram @alexprincepoet.

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Alex’s work is in Vol.5. Consider subscribing to support Anodyne Magazine and its contributors. We pay our contributors dividends for each purchase! Plus, this is the only place you’ll find an ebook + print subscription combo.

How cruel
to ask you
to love me.

How unfair
to hand you
such a burden.

How selfish
to ask
for so much
when I offer
so little
in return.

I am
so small
and I am
trying
really
trying
to grow.

But I wonder if,
like height,
there is a limit
on our capacity
for change.

Something
in my bones
that knows
this is as big
as I’ll get.

The same way
I am sure
there is a limit
on how much love
I deserve.

EMMA TUTHILL (she/her) is a queer writer and freelance designer based in West Michigan. A classic earth sign, if she’s not designing, writing, or sewing, you can find her hiking with her dog, collecting plants she doesn’t really need, or trying to identify new birds. Oh, and watching horror movies. You can find more of her creative work on Instagram @thebrandanthropologist, on Substack @tinyfullspaces, or her website www.thebrandanthropologist.com.

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Emma’s work is in Vol.5. Consider subscribing to support Anodyne Magazine and its contributors. We pay our contributors dividends for each purchase! Plus, this is the only place you’ll find an ebook + print subscription combo.

Found in the garden behind my house
in Endicott, New York,
Birthplace of IBM,
Home of the Square Deal:

Chamomile florets, apple-breathed,
a plump, tight-lipped toad,
wax-beans strung from unpitched bushes,
an aphid egg unhatched.

Glassy sheets of web with dew,
a half-eaten wild plum,
ladybug-speckled clover-leaf cover,
a pollen-coated snout.

Twisted heirloom-carrot roots,
an overripe, bruised tomato,
spots of fire-blight on twigs,
a piece of snakeskin, bleached.

Pages of a medical journal,
a pair of matted shoelaces,
12-gauge shotgun shells, unspent,
a Clydesdale figurine.

An empty box of Junior Mints,
data-entry keyboard gaskets,
one gift card to Starbucks, 2012,
wire-mesh full of glass.

An EPA identification number,
formaldehyde-based embalming fluid,
nitrate filmstock, benzo(k)fluoranthene,
trichloroethane (methyl chloroform), chlorobenzene,
acclimatization society, debt consolidation loans, pipeline
supercharger impeller superstructure stockholder melanoma heptachlor-epoxide
clean-up blue-chip cathode ray mono-pump slaughterhouse tax-cut jet-propulsion crypto
15 U.S.C. §3701 4-(4-amino-3-chlorophenyl)-2-chloroaniline 59 FR 7629 4-methyl-2-pentanone (methyl isobutyl ketone) 42 U.S.C. §2011 indeno(1,2,3-cd)pyrene 16 U.S.C. §1531 E2021008617





seasons of future-compost, layered,
sets and sets of barn-red gloves
in dirt.

Our neighborhood tabby with unnamed kittens,
a small claw-hammer, borrowed,

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Samantha Sharp is published in Vol.5. Consider subscribing to support Anodyne Magazine and its contributors. We pay our contributors dividends for each purchase! Plus, this is the only place you’ll find an ebook + print subscription combo.

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In the garden tonight, I cut free the growth points
of this years tomato crop, hoping to ripen their stubborn green fists.
Embryonic and deviant, fruits crouch like villains in the understory.

These dear girls, waxing metastatic
in their spring green, their chaste abundance.
I work against a metaphor for womanhood but fail.

I imagine the ovaries of my mother, grandmother.
Picture the rosary, unspooled,
a clutch of frogspawn in the cold fist of memory.

Seeds form in their jelly, a wet rope wrung
by the savory jazz of death.
Fecundity waits, bated. Dense and wicked as a black hole.

I picture the packed brown scales of milkweed roe,
wedded in silk to the air. Picture the monarchs,
their keenness of instinct.

I was, for a time, the last good kick
of a wintering cricket. The last whole note.
I was the strong brown river, packed with turtles.

Before, I willed God to remake me
and was made in the image of my mother.
Winter women– the tart irony of January’s desolation; its rare, intimate heat.

Winter women, an animal truth. I was made in the image of a liver.
A cervix. A brain. But tonight, in my hand, we are the earth’s brief fruit.
Evergreen and everlasting. My mother, her life burrowed in me like a seed.

Her laughter in my mouth.

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Rose Cobb is our Featured Writer in Vol.5. Consider subscribing to support Anodyne Magazine and its contributors. We pay our contributors dividends for each purchase! Plus, this is the only place you’ll find an ebook + print subscription combo.

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