Posts

The lavender light weaving through the window screen is a canvas that paints my internal dialogue / my thoughts stampede / fast and loud / a stream / an assault / a (bubbling) stream of merlot thoughts / (stone sober) / pour / GUSH / flow / sofast / theycatchon themselves / relentless noise / who will read this / no one knows / how alone I feel / (I am not screaming) / yet / it is loud in here / the loneliness / the questioning / the tricks I learned / in therapy / to quench the goblins / she’s quiet because it’s hard to STOP / to interrupt the thoughts / to speak / I miss details / rinse repeat / rinse please repeat / yourself / I didn’t hear / no / it’s not that I wasn’t listening / it’s that I didn’t hear you / over the roaring synapses / rushing through my ears / I wish I could just snap /      / and stand / alone / in a white room / full of nothing / maybe / one window for light / and a chair / (a footstool) / in the wholly / sacred / nothing / I wish I could think / happy thoughts / and lift off the ground / light as Tinkerbell / but there are twelve church bells / ringing in a tower / (God’s temple) / and I can’t reach the top / to turn / off / the Bruno Mars lyrics / this is a portrait / of a woman / on a crowded street / between a crosswalk / and a hard place / my twin bed / (a soft place) / with a three inch egg crate topper / I want to be steeped in a dream / where I float / or fly / I hear normal people don’t think / in color / don’t picture what they think / that sometimes they hear nothing / a mind with nothing / must be boring / must be calm / I joke / to pretend / joke / that I don’t need relief / that it’s either take the drugs / that would make a normal brain / see through walls / fist bump a train / at full speed / the speed is what calms me / down / fuck a normal / resting heartrate / it is good to meet me / (medicated) I am pissed / at four decades of / what if you just / why don’t you just / why can’t you just

CHRISTIE BECKWITH is an author, poet, and freelance editor at Meraki Press. More importantly, she is a sparkle girlie and an excessive consumer of Dunkin’s coffee. You can find her at open mics and all over the US, where she travels for her day job doing Alzheimer’s research. She wants to live everywhere she visits, but is always happy to return to Massachusetts, where she loves her four boy humans, the cat, and their two dogs.

Love it?

Christie has two pieces in Vol.6. To read the other piece and listen to Christie’s voice in the audiobook, purchase a copy below or 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.

The twin scars on my abdomen form a cross. Both lines are vestiges of unexpected medical interventions. First scar (horizontal): an emergency c-section. Four years later, a mysterious lump appeared two inches below my belly button. Cancer scare, surgical extraction, my second scar (vertical).

I’ve learned scars can take two forms: physical or emotional. These too intersect. The physical is often easier to contend with. It leaves a mark — this is proof of something. The things that happen to you, that cause you pain, and do not leave physical scars are often more difficult to put into words. For years, I felt I could not adequately convey how I continued to be haunted by those two medical encounters. Taylor Swift’s “Hoax,” however, helped me find my voice. The song expresses both the physical and emotional components of trauma, weaving them together in a narrative of complexity and nuance.

Taylor Swift released her surprise album Folklore in July of 2020. In inimitable Taylor Swift fashion, the album recalls a bygone era — conjuring up images of a romantic English countryside or perhaps a 1950s gymnasium — while also simultaneously speaking right to the particular heart of the COVID pandemic. Folklore straddles two worlds, past and present. It is both escapist and confrontational, a contradiction. Beautiful and tragic. And it never ceases to amaze me how Swift can write about a specific pinpoint of an experience and make it seem somehow universally relatable.

Cue “Hoax,” the culminating song of the standard version of Folklore. In the documentary Folklore: The Long Pond Studio Sessions, Taylor Swift says that “Hoax” embodies the sweeping themes of the album as a whole: “Confessions, incorporating nature, emotional volatility and ambiguity at the same time … love that isn’t just easy.” “Hoax” is broad and even nebulous in its scope. The song, Swift explains, blends “several different, very fractured situations…” She pulls those disparate situations together and creates a narrative that reads like a prism, refracting out in a multitude of directions. “Hoax” is fascinating in part because it can be interpreted so expansively, with many different layers.

As much as its title evokes nineteenth-century archeological forgeries or P.T. Barnum’s Fiji mermaid, “Hoax” also functions as a lens for the modern FOX / Trump era of fake news. And is a fitting song for my situation in 2021.

[continued in the magazine]

BRITTANY MICKA-FOOS is the author of the short story collection It’s No Fun Anymore (Apprentice House Press, 2025) and the chapbook a litany of words as fragile as window glass (Bottlecap Press, 2024). Her work has been published in Ninth Letter, Witness Magazine, Epiphany, and elsewhere. Read more at www.brittanymickafoos.com

Love it?

Brittany is the featured writer in Vol.6. To read the full piece, purchase a copy below or 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.

I’ve returned to the university hospital
an ellipsis long used to periods as
a doctor has finally listened to me,
has acknowledged that
this kernel inside rubbed-raw flesh,
smooth as a tapioca pearl
when quiet
but the reason I can no longer ride
a bike, this glitch of being sentimentally
active, which became infected, then refused to heal,
this underground node,
a frozen bulb never to flower,
has become a companion to my every move.

My doctorate is only real
because my doctor is also a young woman,
our appointment a mirror
to gaze upon ourselves,
to drink in deeply
the birth control pills she takes back-to-back
to refuse periods because
she’s not courting pregnancy.
And while my flow is already a capillary-thin whisper
of its former self, benumbed by the pill,
her words bloom smiles in my cells
at the promise of one month lapping into the next.
When I open my legs
to the stirrups, it takes her all of two seconds to say,
Yeah, we gotta take care of that.

I am ready for the surgery that
three other doctors refused to approve.
The anesthesia is running
smooth as a bath.
My doctor asks me to count back from 10,
her fingers stroking the top of my right hand, 9,
like the delphiniums I saw for the first time, 8,
having missed the peonies, 7,
like the bride and her bridesmaids floating
through the arboretum . . .

DANA MURPHY lives in California. Her writing has appeared or is forthcoming in carte blanche magazine, The 2River View, Up the Staircase Quarterly, Lily Poetry Review, and Obsidian: Literature & Arts in the African Diaspora. In 2024–25, she is a Fellow at the Stanford Humanities Center.

Love it?

Dana is our featured poet in Vol.4. 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.

Try A Subcription Purchase Vol.4

Artist Statement: Several months ago I went to my local private clinic to receive an IUD. Due to the testosterone I take, and some unlucky genetics, an IUD is my only sustainable option aside from a hysterectomy. It was for this reason that my boyfriend drove me to the clinic and held my hand as I laid back into the stirrups and braced myself. I could not have foreseen how violently poorly my body would react to such an invasion, vomiting and shaking with every muscle clenched like a fist. The two nurses who cared for me were gentle with me, my boyfriend rubbed my sides to soothe me. In the end I was laid on a soft couch facing a window painted like stained glass. It was among the worst pains I have ever experienced, but what would it have been if I had been in a local hospital? I am grateful that I am able to receive this kind of care without speculation, without prying questions.

TOM INFECTION (he/they) is a transmasc autistic artist in New Hampshire. His work discusses queerness, neurodivergence, and whatever else catches his fancy. With a background in agriculture, sound engineering and fish mongering, Tom is now a college student studying art and design.

Love it?

You can find Tom Infection in Vol.3. 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.

Try A Subcription Purchase Vol.3

After surgery, I woke with a welt
on my left earlobe, a deep purple
pool of blood that stayed for a week
until it began to dissipate
and my body did its good work
of calling it back.
I assume that’s where the ventilator strap
had cut across my ear, an accidental interruption
of my body’s normal ebb and flow.
My thighs and crotch were stained orange,
having been doused with an antiseptic
wash, like I was wearing see-through
cycling shorts. I was missing my first inch of pubic hair
by way of a tidy, horizontal shave. Who did that,
I wondered? Grateful. I’d been fixed,
spayed, neutered, saved.
My throat hurt from breathing
through a tube. My diaphragm was sore,
from forcing such deep breaths against
the effort to expand my insides, to form
an internal operating theatre, a cavern
where once was a womb. Water, I drank so much
water, for two weeks straight,
and coughed and coughed mucus
that I thought may never abate.
My belly was bruised by one of the surgical team
who’d taken hold of my fat and pulled
while another filled my abdomen
with gas to create a cavity
where they’d insert the tools — the camera
and all the slicing and dicing devices.
And what was found there? Blood —
old, brown blood, extra thick and sticky
procreative blood that had fastened my uterus
and tubes and ovaries to the back wall
of my body cavity above my sacrum, blood
acting as an adhesive akin to superglue
my surgeon said. And this is why
after years of trying, and even after
taking a concoction of fertility drugs
that made me weird and weepy,
I could never conceive.
Such menacing blood
isn’t meant to enter the abdomen
where it can wreak no end of havoc.
Instead, it’s intended to coat
the inner uterine walls, shed
and spread anew each month,
so that an egg could attach. Yet,
all those menstruating years, I endured the pain
doctors dismissed, when, had one cared
to take a closer look, I might have been cured.
But, yes, I am grateful
to finally have this medical mystery
solved, post-menopause, age 56.
The ovary that had been my doc’s main cancer concern
had shriveled up, a brown knot.
A week post hysterectomy, I learned I did not
have ovarian cancer, no cancer
detected anywhere in or near my defunct
reproductive parts. Sweet relief.
Twelve months earlier,
a surgeon had cut cancer
out of my breast. I’d been radiated
and prescribed a difficult drug. I’d gone
on a special diet and I’d taken up running.
I found I could go faster and farther
if I thought about things that made me mad,
angry. Now, I swim laps and cycle. I do crunches
and planks. I use the rowing machine
and the assault bike in an attempt to sweat
the awfulness out of me.
I do squats and lift weights and
run around and around the lake, the track, out
my front door, uphill and down.
Just look out your window
as you’re driving down the street,
or the next time you enter a gym,
that woman, in the midst of such fury,
she’s me, being grateful.

Maria McLeod is the author of “Mother Want,” winner of WaterSedge Chapbook Contest 2021 and, “Skin. Hair. Bones.,” published by Finishing Line Press in 2022. She’s been nominated for three Pushcart Prizes and has won the Indiana Review Poetry Prize and the Robert J. DeMott Short Prose Prize. Her writing has been featured in several leading literary journals as well as part of Painted Bride Quarterly’s Slush Pile Podcast. Find her on Instagram @mariapoempics and on Twitter/X @maria_mcleod

Love it?

Maria McLeod is our Featured Poet in Vol.2. 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.

Try A Subscription Purchase Vol.2