Rock Salt Journal

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Spring 2024 Cover - Rock Salt Journal

Volume 3, Issue 2

Editor's Note

An ice storm in March. Chandelier trees, glittering and clinking, broken branches crushed bushes, dangling power lines. I witnessed the aftermath but didn’t notice the storm. I knew it was sleeting outside, wet and horrible, but my thoughts were inside. I sat on the floor of my brother’s house drinking a canned cocktail. The house was full, my friends, some local, some visiting, my brother, his wife, their baby, my partner. We drank and distracted each other from six to ten. Finally, my brother deemed it bedtime.

Emerging from the house, I encountered the ice. The stairs were round with crystal, the branches moved too slowly in the wind. Heavy and fragile. In the car, we came upon a downed trunk that covered most of the asphalt. The upper stems scraped the side of the vehicle as we passed. Thousands of strings of rock candy, bumping and breaking against us.

I remember another ice storm. December 2008. My eleventh birthday. I woke, and the house was silent. The power was out. We sat in front of the woodstove, an iron leviathan, breath as loud as a coal engine. I sweated and waited for breakfast.

We walked the icy roads of rural New Hampshire, ducking twisted powerlines, hopping past falling branches. They shattered against the road. The winter sun was white and everywhere. Like a house of mirrors, it splintered through the forest, directionless, brighter than burning argon. I bumped a cluster of pine needle windchimes with my mitten.

Writing about New England makes me sentimental. It’s the setting of my childhood, adolescence, and adulthood, different at times, but always repeating itself. Every new thing that happens to me here feels like it’s happened before. Other people’s memories feel like they’re mine. Other people’s stories. Nonfiction and fiction alike. It’s the deciding factor: Do I remember this?

Thanks for coming back. I hope you remember the following.

— J.B. Marlow, Editor

Cover Artist (Reflections 2)

Thomas Philbrick is a draftsman, writer, and composer living in Detroit, Michigan. His graphite artwork has twice been featured at the international art festival ArtPrize, as well as a variety of shows, exhibitions, and publications throughout the United States and the United Kingdom. His work highlights the subtlety and intimacy of the graphite medium by depicting moments of contemplation, introspection, and silence. His primary artistic influences are sculptor Alexander Stoddard, draftsman Jono Dry, and painter Carl Brenders. You can find more of his work on Instagram @philbrick_arts and on his website www.thomasphilbrick.com.

Table of Contents

Fiction

Post Season Death Metal Romping

by Nathaniel Krenkel

“There’s a bunch of dead fish down there”...

Nonfiction

Jane’s World: Encounters With a Nantucket Artist

by Jeffrey Scheuer

I had never heard of the artist Jane Brewster Reid when I arrived on Nantucket in August 2018, crossing by ferry from Martha’s Vineyard...

Fiction

Streaks of Silver Lining

by B.M. Hronich

Broken wood is scattered across the floor, shreds of it splintering from each rod...

Fiction

Mr. Winslow

by Matthew Schairer

Dear Mr. Winslow, I hope this email finds you reasonably well, and I apologize for the apparent randomness of my request...

Fiction

Woke!

by Robert McGuill

When did I stop being the man I am, and become the man I was...

Fiction

An Seanfhear ón Oileán

by Rowan MacDonald

He lights the end of his briar wood pipe and leans against the dry-stone wall...

Fiction

Don't Ask, Don't Tell

by Carl Lavigne

Jesse liked working the lighthouse on Lake Champlain—nice to be a light no one needed...

Fiction

I Like My Parking Spot

by Benjamin Murray

It started like any other day, ya know, going to work...

Fiction

Ill-Equipped

by Devan Hawkins

The gray flip-phone vibrated next to him on the bed...