"Thence up he flew, and on the Tree of Life,— John Milton, Paradise Lost, Book IV
The middle tree and highest there that grew,
Sat like a Cormorant; yet not true life
Thereby regained, but sat devising Death
To them who lived."
A surveyor hired to map a flooded valley begins to suspect the water is mapping him back. Somewhere beneath the surface, the old cartography is still running.
Three sisters inherit a lighthouse. The light has been keeping something out.
The signal has been repeating for eleven years. Nobody agrees on what it means.
Something is happening to the men in a small logging town every autumn. Nobody talks about it.
The fog has been coming in lower every year. The old-timers say it started the winter the mill closed.
Horror, dark fantasy, science fiction, weird fiction, slipstream, and speculative fiction.
A surveyor hired to map a flooded valley begins to suspect the water is mapping him back. Somewhere beneath the surface, the old cartography is still running.
Three sisters inherit a lighthouse after their mother's disappearance. The rotating light has been keeping something out. The youngest sister starts to wonder if it's been keeping something in.
The signal has been repeating for eleven years. Nobody agrees on what it means. The linguist sent to decode it suspects they were chosen because they're expendable.
Something is happening to the men in a small logging town every autumn. Nobody talks about it. The new doctor is starting to notice things she wasn't supposed to notice.
The fog has been coming in lower every year. The old-timers say it started the winter the mill closed.
Every October the men go quiet and the women stop asking where they go at night.
The valley had been underwater for eleven years before anyone thought to map it properly. Elias Vane got the commission on a Tuesday in late October, forwarded through the county surveyor's office with a note attached that said only: unusual terrain. prior surveys incomplete. He did not ask why they were incomplete. He had learned, in twenty years of fieldwork, that the answer was never useful.
The drive out took three hours. The road narrowed twice and then petered into a gravel track that the county maps showed ending at a boat launch. The launch was still there, green with algae, listing slightly to the east as though the ground beneath it had shifted in its sleep. Beyond it, the water began — flat and grey and absolutely still in a way that water out of doors was almost never still.
He stood at the edge and looked out. He could see, maybe forty yards from shore, the top of what had been a grain elevator. Further out, the peak of a church steeple. Further still, barely visible, the rusted crown of a water tower. He had read about the valley before coming. Eighteen families. A school. A post office that had been operating since 1887. All of it under sixty feet of reservoir now, sealed in 2014 when the dam came online.
The county needed updated bathymetric charts for the dam relicensing review. That was all this was. He had done jobs like this before. He set up his equipment on the launch and called his contact at the county to confirm his arrival, and when he raised his binoculars to scan the site before deploying his sonar equipment, he noticed something he could not immediately explain.
The water tower was closer than it had been a moment ago. He was certain of this. He had marked it against the grain elevator and the steeple, triangulating distances by habit, and now the tower was perhaps ten yards nearer to shore than his eye had placed it thirty seconds before.
He lowered the binoculars. He raised them again. The tower was where it had always been — the same distance, the same rusted crown, the same faint geometry of the scaffolding beneath the tank. He had imagined it. He was tired from the drive. He noted the time and weather in his field log and got to work.
He did not write down what he had seen.
Cormorant is a home for writers. Here's how it works.
To be considered for our featured page and editorial payment, submit your work to notarealemail.com. We read everything we receive.
Cormorant account holders can also publish their own work directly to the site. All work must adhere to our community guidelines — anything in violation will result in a permanent ban.
Short fiction up to 7,500 words. We do not currently accept novelettes or novel excerpts.
We aim to respond within 90 days. Work that reaches a third and final reader will receive a personal note regardless of outcome.
Standard manuscript format. .doc, .docx, or .rtf. Include a brief bio (2–3 sentences) and word count in the body of your email.
One submission at a time. These restrictions apply to direct uploads as well. We will not accept work published elsewhere, or work with graphic sexual content or gratuitous gore. Poetry and nonfiction are welcome as uploads but are not eligible for editorial payment.
Email your submission as an attachment to the address below. We'll be in touch.
A harbor for stories that exist at the edge of things.
Cormorant is a home for fiction of all kinds — a port for those who feel cast out, and those in need of escape and an Eden of one's own.
The name comes from a passage in Milton's Paradise Lost (found on our homepage), where Satan — exiled, aching — perches in the Tree of Life as a cormorant, watching Eden, and planning humankind's demise. But Milton's Satan is not so one-dimensional an evil as that. Like us humans, Satan devises death into the world not out of pure malice but so that others might feel what he feels, so that humans might see in him what his father could not — the pain that comes with existing out of place. In many ways, that is what writing is — the cultivation of empathy.
Here at Cormorant, we tell stories to break the narratives we are told to hold sacrosanct. To write against our fathers and the gods who fail to understand we are not too different. Satan devises Adam and Eve's rebellion against God the way God devised Satan's rebellion against paradise. And in similar fashion, writers devise characters who rebel against themselves — the creators of their circumstance. It's a loop. In this way, we are mirrors all the way down.
Good writing is rebellion against circumstance. We rip down from the aether that which will inspire in our readers what stirs inside us. But unlike Milton's Satan, we can recognize the reflections in our traditions and parentage. Perhaps Milton's God then is like ourselves. And if that's the case, perhaps there are no gods anywhere. Just writers, all the way down.
Work that takes its monsters seriously. Not atmosphere as substitute for story — the thing under the stairs, and the reason it matters that it's there.
Futures and fractures. Stories that use the speculative not as escape but as diagnosis — the world as it is, distorted until the truth shows through.
The uncategorizable. Work that sits at the edge of every genre and belongs to none of them entirely. The strange made stranger, and somehow more true for it.
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