Dancing in the Spark
Slawomir Rapala’s “End of Days”: With Iskald’s information can you sketch a rough map of the Azmattic kingdoms?
How do would-be lovers seem to fare in Bertil Falk’s “The Not-Sinning Ones”?
In Jamie Eyberg’s “Naj Tunich,” how might the Gene-X box be deposited under millennia of undisturbed mud at least ten years before it was constructed?
If “runes” were found at an archeological dig in Guatemala, which would the archeologists more likely suspect: a hoax or a practical joke?
In Sarah Hilary’s “Esmé and O’Ryan,” what is the poetic justice in O’Ryan’s ultimate fate?
Michael Murry’s “Peace with Horror” is a quadruple denunciation. What are its four objects?
Mel Waldman calls his “The Old Country” a prose poem. Would you say it is also an essay or a memoir?
The theme park brings together the representations of places and events without regard for history, geography, or even reality. How do these surreal juxtapositions support the conclusion of the poem or essay?
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