An Ooligan Teachers Guide

You Have Time for This

edited by Mark Budman
and Tom Hazuka

Genre: Flash Fiction (short stories

under 500 words)
Grade Level: Advanced High School
and College
Topics:

Flash Fiction

Global Literature

Relationships

Identity

Personal Loss

Anxiety

Disillusionment

Fantasy

You Have Time For This

Teachers Guide

You Have Time for This

edited by Mark Budman
and Tom Hazuka
Book Description
Urge your busy students to rediscover the joys of reading by introducing them to the briefest of literary commitments: flash fiction. This collection of fifty-three short storieseach under 500 wordsis an
exciting cross section of the flash fiction genre, exploring life through folk tales, fantastic metaphors, and
the quiet lens of everyday humanity. Perfect for emerging writers, or as an introduction to the realm of
contemporary short fiction, You Have Time for This is a quick read full of tension and conflict, as well as the
simple desires and endeavors of life. Take a minute to sample a storyyoull be hooked, and so will your
students.

About the Editors

Mark BudmancoeditsVestal Review, a flash fiction magazine, and has been published widely. His first
novel was released in May 2008. Budman has taught extensively on the subject of flash fiction at colleges
and universities on the East Coast.
Tom Hazukacoedited the first major flash fiction anthology,Flash Fiction,in 1992, as well as authoring
three novels, one work of nonfiction, and more than thirty stories. He teaches English at Central
Connecticut State University.

Introduction
You Have Time for This contains fifty-three pieces of flash fiction of 500 words or less. Brief yet dense, flash
fiction is a wonderful way to engage students with reading and writing. Each of the following lessons may
be easily adapted to the time constraints of a busy classroom.

You Have Time For This

Teachers Guide

You Have Time for This: Diction

By Miranda Cryns and Brian Graham

Grade Level: 11th12th

Estimated Time: Each activity is given an estimated time allotment. Teachers can divide activities between
class days as they choose.
Materials Needed: Read one of the following stories from You Have Time for This:

Reunification, Steve Almond (p. 16)

Skins on Sule Skerry, Sonya Taaffe (p. 72)

The House Broods Over Us, Bruce Boston (p. 96)

Wrong, Aimee Bender (p. 102)

Prerequisites
Students will need some prior knowledge of the conventions of fiction, such as plot, figurative language, diction,
imagery, and perspective.
Overview
Because flash fiction is defined by its limited word count, attention to word choice is vital. Each word must pull its
own weight. The author must make a choice: to use the broad or narrow, the curious or the understood. Diction
must be considered when analyzing flash fiction, because no words were chosen on accident; flash fiction authors
must prune their tales in order to pack all of the meaning into less and less space.
Activities
Pre-Reading Activity
(30 minutes): Compile a list of words that are typically devoid of specific meaning: sad, mad, fun, bad,
good, etc. Have students write more descriptive words for each word and then share in groups or as a class.
What are the differences between their answers? Why does one student write furious when another writes
irate? What do the two words have in common? What makes them different?
Journal Entries/Prompts
(20 minutes): Have students choose one word from the list they created and write a piece of flash fiction based
on the meaning of that word. They may brainstorm about what their word means to them. Have volunteers
share their writing. Allow time to ask questions of the author.
(20 minutes): Have students read a short instruction manual, and have them use what they know about diction to rewrite the manual using more effective language or word choice. Encourage students to choose a time
period, an audience, or a setting to write their instructions. Have students share what they wrote and encourage the class to discuss what the changes meant for the piece of writing.
Post-Reading Activities
(20 minutes): Have students choose one story and analyze it for diction. What was the authors purpose? Did
the word choice convey that purpose? What words were most interesting or relevant in the story?
(20 minutes): If all of the students read the same stories, compile a list of 7-10 words from each story. Have students work in groups of 2-4 and try to figure out which story each grouping of words belongs to. Which stories
did each group choose and why? How did they know which words were in which story?
2

You Have Time For This

Teachers Guide

You Have Time for This: Diction

By Miranda Cryns and Brian Graham
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.RE.11 Identify and use the literal and figurative meanings of words and phrases.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance
of the devices, and explain their appeal.
EL.HS.LI.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme.
EL.HS.WR.01 Use a variety of strategies to prepare for writing, such as brainstorming, making lists, mapping, outlining, grouping related
ideas, using graphic organizers, and taking notes.

You Have Time For This

Teachers Guide

You Have Time for This: Imagery

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: Each activity is given an estimated time allotment. Teachers can divide activities between class
days as they choose.
Materials Needed: Read one of the following stories from You Have Time for This:

The Dead, Beverly A. Jackson (p. 18)

Clawd, G.W. Cox (p. 22)

All It Loves, Avital Gad-Cykman (p. 46)

Memento Mori, Susan ONeill (p. 54)

Nebraska Men, Sherrie Flick (p. 82)

Prerequisites
Prior knowledge would include an understanding of imagery in literature, how it is used effectively, and how it adds to
or changes meaning for a story. These lessons do not cover the foundational concepts of imagery in literature; students should enter these activities ready to analyze.
Activities
Pre-Reading Activities
(20 minutes): Have students look at an image and write about what they see. Tell students that with this piece of
writing, they want to be telling their readers what the picture they see looks like so the reader can recreate that
image. When the students are finished, have them share their descriptions with the class. What was important in
their image? What did some students see and not see? Were all of the images the same?
(30 minutes): Have students get in groups of five or more. Give one student a whole sheet of paper that has a line
of imagery written on the top. None of the other students may see this line. Have the student with the paper sketch
a picture of the line. Have that student then fold the paper over so that the line is hidden and only the image can
be seen. The student will pass the image to the left. The second student will then write a line of text that they think
describes the image the first student drew. The second student will fold the image so that it is hidden but that their
line of text is still showing, and pass it to the third student. The third student will then draw a picture based on the
line the second student wrote. Continue alternating between drawing and writing until all students have gone.
Have the groups look at the sequence and discuss what happened, explain their choices, and analyze the original
text. Have the groups present their experience to the class, discussing what went missing, what got exaggerated,
and what stayed the same.
Journal Entry/Prompt:
(20 minutes): Have students choose a story and analyze the imagery. What are the images used in the story? What
do they add? What would be missing without them? How does the author create these images in so few words?
Post-Reading Activity:
(15 minutes): Hand out colored pens or pencils and blank paper. Have students illustrate an image from one of
these stories. Have students share their selections with the class, first showing the picture, then reading the lines
aloud.
4

You Have Time For This

Teachers Guide

You Have Time for This: Imagery

By Miranda Cryns and Brian Graham
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.RE.11 Identify and use the literal and figurative meanings of words and phrases.
EL.HS.LI.06 Identify themes in literary works, and provide support for interpretations from the text.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance of
the devices, and explain their appeal.
EL.HS.LI.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme.

You Have Time For This

Teachers Guide

You Have Time for This: Figurative Language

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: Each activity is given an estimated time allotment. Teachers can divide activities between class
days as they choose.
Materials Needed: Read one of the following stories from You Have Time for This:

Reunification, Steve Almond (p. 16)

Maybe a Superhero, Deb Olin Unferth (p. 20)

Indian Casino, David Schuman (p. 24)

The Man with the Shovel, Chauna Craig (p. 26)

The Argument for a Shotgun, L. E. Leone (p. 38)

All It Loves, Avital Gad-Cykman (p. 46)

Sleep-over, Bonnie Jo Campbell (p. 60)

The Curse of Fat Face, Michael A. Arnzen (p. 98)

La Luna de los Tres Limones, Steve Frederick (p. 118)

Prerequisites
Prior knowledge would include a rudimentary knowledge of the terms and uses of figurative language. The following
activities should be taught to students who have already covered the conventions and definitions of figurative language and are able to begin looking at how it functions in flash fiction.
Overview
Figurative language, such as metaphor, simile, metonymy, etc., is used often in flash fiction to expand the space of the
story beyond the constraints of the literal.
Activities
Pre-Reading Activity:
(30+ minutes): Place five large pieces of parchment paper at various places around the room. On the top of each
paper, write one type of figurative language; on the bottom, write a line from a story that contains that piece of
figurative language. Divide the students into groups and have one group go to each piece of paper. Each group will
rewrite the line without using figurative language. When finished, have students fold the paper so that only their
line is showing and the phrase with the device is no longer visible. Have the groups switch. The students will now
have the task of rewriting the line they see using figurative language. Have them fold the paper so that the figurative line they just wrote is showing. Continue this until every group has been to every paper. Bring the class back
together and unfold the papers so that the back and forth translation can be seen step-by-step. Discuss what happened, what changed, and the meaning behind the language.
Journal Entry/Prompt:
(30 minutes): Fill three bowls full of scraps of paper with words on them. Have one bowl be filled with nouns, the second with adjectives, and the third with phrases, clichs, or famous lines. Have students take two slips of paper from the
first two bowls and one from the last. Explain that the phrase or sentence is the title of their short story and that the
other four words need to be in the story. Have students pay attention to the figurative language in their stories. Have
6

You Have Time For This

Teachers Guide

You Have Time for This: Figurative Language

By Miranda Cryns and Brian Graham
students share their stories with the class. Who used their words literally and who used them figuratively? Why were
these choices made?
Post-Reading Activity:
(15 minutes): Have students pick a story from the reading list that is heavy with figurative language. In pairs, have
students discuss what purpose, image, or feeling was accomplished by using figurative language instead of literal.
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.RE.11 Identify and use the literal and figurative meanings of words and phrases.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance of
the devices, and explain their appeal.
EL.HS.LI.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme.

You Have Time For This

Teachers Guide

You Have Time for This: Shifting Tenses

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: 20-50 minutes
Materials Needed: Read Lamp by Sarah Arellano (p. 74) in You Have Time for This
Prerequisites
Students should be familiar with how verb tense and point of view are used in writing.
Overview
Students will experiment with multiple verb tenses within their writing.
Activities
Discuss:
Look closely at how the author uses the present, past, and future tenses to describe this woman and the memories
of her. There is a complex use of perspective: while the woman holds the lamp, the speaker remembers the past
and looks forward to the future. How realistically does this represent the thoughts of a disappointed lover?
Write:
Use multiple tenses to write a story like Lamp. You may have a character watching another character, as in Lamp,
while imagining the past and looking forward to the future.

Oregon State Standards

EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance of
the devices, and explain their appeal.
EL.HS.LI.11 Explain how voice and the choice of a narrator affect characterization and the tone, plot, and credibility of a text.

You Have Time For This

Teachers Guide

You Have Time for This: Limited Omniscient Point of View

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: 20-50 minutes
Materials Needed: Read Damn Irene by Susan ONeill (p. 40) in You Have Time for This
Prerequisites
Students should be familiar with point of view.
Overview
Discuss the implications of point of view in a literary text and be able to consciously employ the use of omniscient
point of view in writing.
Activities
Discuss:
This story is told from third person point of view, but is limited to Harrys perceptions of Irene. We are not privy to
Irenes thoughts, memories, and reactions to the action in the story. Is the point of view sympathetic to Harry, or to
Irene?
Write:
Write a story with a limited omniscient point of view. You may provide a window into only one characters experience and thoughts. Will you be sympathetic to this character, or will you be condemning?
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance of
the devices and explain their appeal.
EL.HS.LI.11 Explain how voice and the choice of a narrator affect characterization and the tone, plot, and credibility of a text.
EL.HS.LI.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme.
EL.HS.LI.15 Analyze the impact that literary form has on the authors message or purpose.

You Have Time For This

Teachers Guide

You Have Time for This: Titles

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: 20-50 minutes
Materials Needed: Read one of the following stories from You Have Time for This:

The Dark Side of the Moon, Mark Budman (p. 34)

Utilitarianism, Tom Hazuka (p. 122)

Prerequisites
Students should be able to identity themes and topics in literature.
Overview
Students analyze titles and the influence they have on a work of literature.
Activities
Discuss:
Titles can be very important to works of art. Take a short poem, and discuss how its title reveals or creates the
meaning in the poem.
Write:
Write a short story whose title reveals or creates meaning, or revisit a previous story youve written and see if you
can improve the story with a different title.

Oregon State Standards

EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.LI.06 Identify themes in literary works, and provide support for interpretations from the text.

10

You Have Time For This

Teachers Guide

You Have Time for This: Suspense, Withholding Information

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: 2050 minutes
Materials Needed: Read one of the following stories from You Have Time for This:

Sleeping, Katharine Weber (p. 14)

Buddhas Happy Family Jewels, Vylar Kaftan (p. 58)

Family Therapy, Pamela Painter (p. 66)

Snapdragons, Alex Irvine (p. 86)

The Lothario, M. J. Rose (p. 114)

Prerequisites
Students should be able to understand devices of plot, identify topics and themes in literature, and provide textual
support.
Overview
Students will explore what makes stories suspenseful and how authors withhold information.
Activities
Discuss:
What is revealed at the end of this story? How is it revealed? How does this revelation change the entire story?
What is the readers experience while reading a story like this?
Think of these stories as answering a question at the end that the reader may or may not have had as they read.
Think of these stories as perhaps having a hidden plot or meaning that the author reveals at the end.
Write:
Students should write story with a twist or surprise at the end that answers a major question in the story or reveals
a hidden plotline or meaning.
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.LI.10 Interpret and evaluate the impact of subtleties, contradictions, and ironies in a text.
EL.HS.LI.11 Explain how voice and narration affect characterization and the tone, plot, and credibility of a text.
EL.HS.LI.12 Analyze an authors development of time and sequence, including the use of complex literary devices, such as foreshadowing
or flashbacks.
EL.HS.LI.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme.
EL.HS.LI.15 Analyze the impact literary form has on the authors message or purpose.

11

You Have Time For This

Teachers Guide

You Have Time for This: Reflexivity

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: 2050 minutes
Materials Needed: Read In Flight by Michelle Richmond (p. 44) in You Have Time for This
Prerequisites
Students should have an understanding of literary devices and be able to provide textual support.
Overview
Students will analyze the literary device of reflexivity and apply it to their writing.
Activities
Discuss:
Reflexivity is a modern and postmodern device where art calls attention to itself as being art. In In Flight, the
story looks at itself and announces its artifice and artificiality. It seems as if the author herself is speaking to us as
we read along. What is the effect of these reflexive moments in the story? Do they make it less believable, or more?
What are we being led to believe? How do we believe stories? How do we believe fiction?
Write:
Have students write their own reflexive story and think about the following questions in relation to their writing:
Do you reveal the artifice of your story? Is this revealing an artifice of its own?
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.RE.11 Identify and use the literal and figurative meanings of words and phrases.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance of
the devices, and explain their appeal.
EL.HS.LI.15 Analyze the impact literary form has on the authors message or purpose.

12

You Have Time For This

Teachers Guide

You Have Time for This: Second Person Point of View

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: 2050 minutes
Materials Needed: 7:23 p.m. by Sherrie Flick (p. 62) in You Have Time for This
Prerequisites
Students should understand point of view.
Overview
Students will analyze the effect of second person point of view in writing and apply it to their writing.
Activities
Discuss:
This story is written in the form of a how-to essay, or process essay, using the second person point of view. This
point of view is most commonly used to give instructions or advice. Consider the following questions: How is it
used to tell a story? What is the story? Would the story be as effective as a first person narrative?
Write:
Have students write a story in the form of a how-to essay in the second person. Students may draft the sequence of
events of their story first, and then translate it into the second person perspective. Have students reflect upon the
following question: Do you think more of the reader when you write in this point of view?
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance of the
devices, and explain their appeal.
EL.HS.LI.11 Explain how voice and narration affect characterization and the tone, plot, and credibility of a text.
EL.HS.LI.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme.
EL.HS.LI.15 Analyze the impact literary form has on the authors message or purpose.

13

You Have Time For This

Teachers Guide

You Have Time for This: First and Last Sentences

By Miranda Cryns and Brian Graham

Grade Level: 11th12th
Estimated Time: 2050 minutes
Materials Needed: Read Skin Deep by Robert Boswell (p. 126) in You Have Time for This
Prerequisites
Students should have a basic awareness of how literary devices work and familiarity with finding meaning within
texts.
Overview
Students will explore how the first and last sentences of a story can be used as a literary device.
Activities
Discuss:
The word coffee is in the first and last sentences in Skin Deep and does not occur anywhere in between. How
does the author use this cup of coffee to bookend the action in the story? How does it create meaning?
Write:
Write a story that contains an ambiguous object where the object is hinted at in the first sentence, mentioned in
the last sentence, and does not appear in the rest of your story. This object may appear to have nothing to do with
the action in the story. How does it alter, represent, or create the meaning of the action?
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.RE.11 Identify and use the literal and figurative meanings of words and phrases.
EL.HS.LI.09 Identify various literary devices, including figurative language, imagery, allegory, and symbolism; evaluate the significance of the
devices, and explain their appeal.
EL.HS.LI.13 Evaluate the impact of word choice and figurative language on tone, mood, and theme.
EL.HS.LI.15 Analyze the impact literary form has on the authors message or purpose.

14

You Have Time For This

Teachers Guide

You Have Time for This: What Can You Learn?

By Miranda Cryns and Brian Graham
Grade Level: 11th12th
Estimated Time: 2050 minutes
Materials Needed: Read What You Can Learn in a Bar by Robert Reynolds (p. 116) in You Have Time for This
Prerequisites
Students should be able to find meaning in a text as well as have basic familiarity with literary devices.
Activities
Discuss:
The narrator may not have expected to be taught anything. Have you ever learned something from an unexpected
source? Describe a time where someone tried to teach you something.
Write:
Write a situation where one character tries to teach another character a lesson. Setting: Where does the story take
place? Why are they there (you may not say, but you will know)? Characters: Who are they? What do they know?
Oregon State Standards
EL.HS.RE.01 Read at an independent and instructional reading level appropriate to grade level.
EL.HS.LI.11 Explain how voice and narration affect characterization and the tone, plot, and credibility of a text.
EL.HS.LI.15 Analyze the impact literary form has on the authors message or purpose.

15

You Have Time For This

Teachers Guide

Other Potential Lesson Topics

Ambiguity

Memoir

Snapdragons, Alex Irvine (p. 86)

Clawd, G. W. Cox (p. 22)

Characterization

The Diary of a Salaryman, Mark Budman (p. 84)

Clawd, G. W. Cox (p. 22)

Homeward Bound, Tom Hazuka (p. 36)

Climax

Reunification, Steve Almond (p. 16)

Headless Angel, Tom Hazuka (p. 50)

Metaphor

La Guaca, Daniel A. Olivas (p. 52)

All It Loves, Avital Gad-Cykman (p. 46)

Description

The Argument for a Shotgun, L. E. Leone (p. 38)

All It Loves, Avital Gad-Cykman (p. 46)

The Curse of Fat Face, Michael A. Arnzen (p. 98)

Clawd, G. W. Cox (p. 22)

The Man with the Shovel, Chauna Craig (p. 26)

The Dead, Beverly A. Jackson (p. 18)

Maybe a Superhero, Deb Olin Unferth (p. 20)

Gatwick Blues, Kay Sexton (p. 112)

Reunification, Steve Almond (p. 16)

Headless Angel, Tom Hazuka (p. 50)

Sleep-over, Bonnie Jo Campbell (p. 60)

The House Broods Over Us, Bruce Boston (p. 96)

Relationships

The Man with the Shovel, Chauna Craig (p. 26)

Bleached, Jessica Treat (p. 76)

A Room of Frozen Dust, Marge Ballif Simon (p. 70)

The Illustrated Woman, Pedro Ponce (p. 80)

Dialogue

Lamp, Sarah Arellano (p. 74)

Beer and Gunplay, Neno Perrotta (p. 78)

Skins on Sule Skerry, Sonya Taaffe (p. 72)

Buddhas Happy Family Jewels, Vylar Kaftan (p. 58)

Scene

The Dark Side of the Moon, Mark Budman (p. 34)

Divadlo, Dave Fromm (p. 106)

Homeward Bound, Tom Hazuka (p. 36)

Homeward Bound, Tom Hazuka (p. 36)

The House and the Homeowner, L. E. Leone (p. 88)

Tone

Indian Casino, David Schuman (p. 24)

Damn Irene, Susan ONeill (p. 40)

Rapture, Gayle Brandeis (p. 90)

Sleeping, Katharine Weber (p. 14)

Skin Deep, Robert Boswell (p. 126)

Voice

Utilitarianism, Tom Hazuka (p. 122)

Clawd, G. W. Cox (p. 22)

Foreshadowing
The Dark Side of the Moon, Mark Budman (p. 34)
Grief
The Dead, Beverly A. Jackson (p. 18)
Headless Angel, Tom Hazuka (p. 50)
Memento Mori, Susan ONeill (p. 54)

16

You Have Time For This

Teachers Guide

Stories by Point of View

1st Person Present

2nd Person

All It Loves, Avital Gad-Cykman (p. 46)

7:23 p.m., Sherrie Flick (p. 62)

The Argument for a Shotgun, L. E. Leone (p. 38)

3rd Person Omniscient

Beer and Gunplay, Neno Perrotta (p. 78)

Bleached, Jessica Treat (p. 76)

Buddhas Happy Family Jewels, Vylar Kaftan (p. 58)

The Curse of Fat Face, Michael A. Arnzen (p. 98)

The Dead, Beverly A. Jackson (p. 18)

Exercise, Bruce Taylor (p. 64)

Divadlo, Dave Fromm (p. 106)

The House and the Homeowner, L. E. Leone (p. 88)

Family Therapy, Pamela Painter (p. 66)

In Flight, Michelle Richmond (p. 44)

Indian Casino, David Schuman (p. 24)

La Guaca, Daniel A. Olivas (p. 52)

Infarction, Kellie Wells (p. 56)

The Man With the Shovel, Chauna Craig (p. 26)

Lamp, Sarah Arellano (p. 74)

The Mouth, Lincoln Michel (p. 100)

A Room of Frozen Dust, Marge Ballif Simon (p. 70)

Nebraska Men, Sherrie Flick (p. 82)

Sleep-over, Bonnie Jo Campbell (p. 60)

Skin Deep, Robert Boswell (p. 126)

Three Soldiers, Bruce Holland Rogers (p. 124)

Skins on Sule Skerry, Sonya Taaffe (p. 72)

What You Can Learn in a Bar, Robert Reynolds (p. 116)

3rd Person Limited

1st Person Past

Centerfold, John Briggs (p. 104)

Black Silk, Ian Randall Wilson (p. 42)

Damn Irene, Susan ONeill (p. 40)

Clawd, G. W. Cox (p. 22)

Gatwick Blues, Kay Sexton (p. 112)

The Dark Side of the Moon, Mark Budman (p. 34)

The Lothario, M.J. Rose (p. 114)

The Diary of a Salaryman, Mark Budman (p. 84)

Maybe a Superhero, Deb Olin Unferth (p. 20)

Headless Angel, Tom Hazuka (p. 50)

Sleeping, Katharine Weber (p. 14)

Homeward Bound, Tom Hazuka (p. 36)

The House Broods Over Us, Bruce Boston (p. 96)
The Human Pyramid, Neno Perrotta (p. 94)
The Illustrated Woman, Pedro Ponce (p. 80)
La Luna de los Tres Limones, Steve Frederick (p. 118)
Memento Mori, Susan ONeill (p. 54)
No Questions Asked, Patrick Weekes (p. 128)
On Holiday, Chauna Craig (p. 108)
Parting Ways, Randall DeVallance (p. 30)
Rapture, Gayle Brandeis (p. 90)
Reunification, Steve Almond (p. 16)
Snapdragons, Alex Irvine (p. 86)
The Story of You, Justine Musk (p. 32)
Utilitarianism, Tom Hazuka (p. 122)
Wrong, Aimee Bender (p. 102)
17