On the few days out of the year when the range was closed he’d get out the duct tape and stick the PVC-and-wadding suppressor on his Ruger .22 pistol. He’d load it with subsonics. He’d open the window, take out the screen, and throw some empty beer cans out in the yard. Then he’d stand back in the dark of his room and make them dance . . .
Read part six of DARK DAYS IN PORT-AU-PRINCE, our Haiti-set noir short story that was written by Haiti Noir and Haiti Noir 2: The Classics contributors in the style of an exquisite corpse, a collaborative writing process in which each author builds a story based upon what his or her predecessors have provided. Haiti Noir 2: The Classics contributor Roxane Gay returns to finish this haunting short story.
We had switched from beer to a pair of hot rums dubbing around in a reporters’ bar across from the women’s prison downtown. Outside it was storming in late-October style, the first chilly rain that gnaws like winter, and from our polished stools we watched the people tilt their umbrellas at one another like blind knights as they passed . . .
Read part four of DARK DAYS IN PORT-AU-PRINCE, our Haiti-set noir short story that was written by Haiti Noir and Haiti Noir 2: The Classics contributors in the style of an exquisite corpse, a collaborative writing process in which each author builds a story based upon what his or her predecessors have provided. Haiti Noir contributor Josaphat-Robert Large continues this haunting short story.
The last time we moved was because she said an ex of hers had shown up and zigzagged a razor through her wrists. The time before that she said a pair of meth heads broke in during the day and left her barely living after wrapping a shower curtain around her neck . . .
Read part four of DARK DAYS IN PORT-AU-PRINCE, our Haiti-set noir short story that was written by Haiti Noir and Haiti Noir 2: The Classics contributors in the style of an exquisite corpse, a collaborative writing process in which each author builds a story based upon what his or her predecessors have provided. Katia D. Ulysse,Haiti Noir contributor and author of the forthcoming Drifting, continues this haunting short story.
Read part one of DARK DAYS IN PORT-AU-PRINCE, our Haiti-set noir short story that was written by Haiti Noir and Haiti Noir 2: The Classics contributors in the style of an exquisite corpse, a collaborative writing process in which each author builds a story based upon what his or her predecessors have provided. Haiti Noir contributor Ibi Aanu Zoboi continues this haunting short story.
Joel was fishing in Duck Hollow, on an old mill pier. A nice spot, secluded, including a three-street neighborhood accessible only by a fifty-foot bridge. Duck Hollow was surrounded by brownfield developments, but none of them ever touched the neighborhood. Joel knew folks there, knew that they enjoyed their isolation . . .