Month: August 2026 (Page 1 of 2)

The First Raspberry

Poetry by Meredith Escudier

The first one, not purple but pink
not yet luscious, but lovely

the promise of sweet abundance
of a backyard crop-to-come.

My grandson spied it,
seized it, plucked it,

placing it like a prize
on the tip of his finger

because just the right size
to snuggle into a raspberry’s insides.

Look, Grandma, the first one!
Together we inspected and admired it,

our forerunner raspberry,
rosy precursor, ephemeral elder.

Would he eat it, offer it, save it
for later, nibble away meticulously

tiny bit by tiny bit…or instead
gobble it up, here we go, let ‘er rip?

He surveyed his treasure
just a little longer, still safely perched

on his dancing index finger then
jubilantly (whoosh) popped it into his mouth.

He swirled it about as it released its juice,
his 5-year-old eyes crinkling and creasing

and with a catch in my throat,
I got a passing glimpse

of my last little grandson
far off into the future

on a day when an old man
yet relishes a raspberry.


Meredith Escudier has lived in France for over 35 years, teaching, translating, and raising a family. She writes about French language and culture, food and music. Her latest book – Play it Again, Jacques – features 20 French singer/songwriters who have accompanied and enriched her life over the years.

Contentment

Poetry by Nancy Kay Peterson

Late August hint of fall hides in
the pulsing breeze, scented dusty green.
Each time the wind pauses, the sun asserts
its waning summer strength, toasting
the back of my flannel shirt.

We two sisters stand on the foot bridge that
spans the dry creek between our parents’ house
and garden, silently shucking corn.
Soft silk threads tear away easily
from ears stunted by drought.

Cob tips have broken through
their green shells. End kernels
not gnawed away are mahogany colored.
We snap off spoiled ends,
toss them over the bridge rails.

Remaining bright yellow half-cobs
fill bags to be carried inside
and cooked within the hour.
My hands are sticky with milk,
the sweet smell of new corn.

I could do this forever.


Nancy Kay Peterson’s poetry is in The Bluebird Word, Dash Literary Journal, Earth’s Daughters, Last Stanza, RavensPerch, Spank the Carp, Steam Ticket, and Tipton Poetry Journal. She co-published Main Channel Voices: A Dam Fine Literary Magazine (2004-2009). She authored two chapbooks, Belated Remembrance (2010) and Selling the Family (2021). See www.nancykaypeterson.com.

What my wife remembers about the land

Poetry by Peter A. Witt

In Illinois, the land opens wide
as a held breath, cornfields shimmer
in the August heat, soybeans whisper
to the wind’s long sweep.

Her father, born in the front bedroom,
pulls on his boots before the stars are gone,
the day already dawned on the 300 acres.
He walks the fields like a man
reading scripture, hands roughened
by plow handles, hours measured
in sunrises and the ache of his back.

Her mother begins her day before first light,
pies breathing steam on the sill,
cinnamon rolls uncoiling their sugar
like secrets, moves through the chores
of the house, then feeds the chickens
that lay a bounty of daily eggs,
laundry snapping white on the clothesline,
vegetables, warm from the sun
lifted from the garden, still warm from the sun.
Noontime she rocks by the window,
radio murmuring cattle and hog prices,
numbers rising and falling
like the notes of a hymn.

After they were gone, house vanishes,
outbuildings folded into the ground,
the garden buried under road to road corn.

Now only the low rumor of machinery
crosses the fields, and in the hush between passes
you can almost hear the chairs creak,
the screen door close, the sound of voices
calling from the yard.


Peter A. Witt is a Texas poet, twice nominated for Best of the Net. Peter also writes family history, is an avid birder and photographer. His poetry has been published on various poetry sites and appears in several anthologies.

Shoplifting At Whole Foods

Nonfiction by Randi Schalet

I slip a container of Fage yogurt into my canvas bag and wait, braced for the self-checkout machine to protest. It doesn’t. The silence feels like permission.

I ring up a few more groceries—a head of broccoli, oat milk—then drop in an unscanned item. Still nothing. A single clerk oversees eight registers. I’m short, white-haired, someone no one looks at twice. I call him over with a pointless question. When he steps away to help someone download their Prime code, I tuck in a bag of pancake mix. My heart doesn’t speed up. I’ve had too much practice.

The prepared foods are so overpriced, I’d never buy them without my own buy-one-get-one “discount.” I weigh one hot bar box, then stack it beneath a second heavier one—mac and cheese, rosemary potatoes, all butter and salt.

I leave with two overstuffed bags and a small receipt. Outside, I hand ten dollars to a man in red sneakers sitting in the parking lot. I unpack the food and eat at a shaded picnic table.

Money was the language of my family. It wasn’t only about having more, it was about getting it the clever way. Don’t work too hard. Don’t ask for approval. Smart people had money because they knew how to take it.

Before they divorced, my parents owned several discount clothing stores that eventually went under when the neighborhood changed.

In the first years, the Brooklyn store was crowded—people waiting in line for the makeshift dressing room, layaway tickets stacked at the counter. My father hated shoplifters and was obsessed with catching them. Once, from behind the jewelry case, he spotted a man slip something into his pocket. He jumped onto the case, shattered the glass beneath him, and chased the man down the block, blood streaming down his calf.

The register was set to charge ten percent tax, even though New York’s rate was seven. It bothered me. When he left me alone up front, I charged seven, running the seven-times table in my head. At night, the numbers kept repeating—7, 14, 21.

The clothes my father sold as new were actually “seconds”—ripped seams, crooked stitching. He bought them in bulk from Hasidic wholesalers in the garment district, their corkscrew peyos swinging as they argued. His yellow yarmulke, printed with another boy’s bar mitzvah, kept slipping off. The men would laugh, and I didn’t know if it was at the price or him. I sat on the concrete floor and watched.

He trucked the boxes to a small, wiry woman in a dark railroad flat who replaced broken zippers and missing buttons on her machine. She was paid by the piece. When we returned, she told him how much he owed, pointing at some numbers she’d scrawled on an envelope. He said it was too high, already pulling out his wallet. She shrugged and said that was the number. I leaned against the buzzing fridge.

I only got caught shoplifting once. I was in high school, meeting friends at a parking lot flea market. I walked past tables of things nobody needed—a segmented snake with a painted head, a two-foot sword with plastic rubies—and shoved both under my coat. I just wanted to take them. The sword was practically sticking out. When a security guard with a beer gut tapped my shoulder, I jumped.

“Unbutton your coat, young lady,” he said. The sword clattered to the ground. He shook his head and led me to a tiny office with a metal desk. “You need to call your mother. I’m not letting you go without a parent.”

I called a lesbian aunt who I hoped wouldn’t tell. She didn’t answer.

He shoved a yellow pad at me. “Write down your name and phone number.” I wrote our home number, assuming no one would pick up. It was Saturday—my father was at the store.

Fifteen minutes later, he burst in, shouting, an unlit cigar clamped in his mouth. He wasn’t mad at me; he was yelling at the guard. “How do you know she didn’t buy this stuff?”

Then he turned to me. “Did you pay for it?”

“Yes,” I lied instantly.

“Give it back to her,” he told the guard.

“Pick it up,” he said to me.

I clutched the things to my chest and walked beside him to the car. In the back seat, I waited for the explosion. Nothing. He dropped me at home like the errand was finished. I ran up to my room, shoved the loot behind my bed, and never looked at it again. I didn’t grow out of stealing; I just got better at it.

I’d always known my mother took small things, switching a belt from one coat to another, rearranging a top and bottom on a hanger so they went together. After the divorce, she bought things on sale in Macy’s, changed the tags at home, then returned them for more. We still had a price gun and tagger from the store. When she had Parkinson’s and was in a wheelchair, I took them home. In department store dressing rooms, I switched tags, the gun clicking once. I folded the old tags into tiny squares and dropped them behind the bench.

I think my father hated shoplifters because he saw himself in them. He just preferred to steal on the business side—no income tax, extra sales tax, and “new” clothes stitched together in a stranger’s kitchen.

In my childhood, taking was a skill, and I learned it. I get a bit of a buzz from my weekly Whole Foods runs. Bezos won’t notice, and I stay alert enough not to get caught. Breaking the rules is where I come from.


Randi Schalet is a retired psychologist living in Berkeley, California. Her non-fiction memoir pieces have appeared in Chicago Story South, Peauxdunque Review, The Manifest-Station, Under the Sun Magazine, Belmont Story Review, The Write Launch, and Rumen. Her poetry chapbook, The Last Things I’ll Remember, is forthcoming on August 21, 2026, from Finishing Line Press.

Old Mother Shipton

Poetry by Elizabeth Starck

I’m just a little alarmed by you in your grey dress.
You – a menacing moth on my window
               the part between the screen and the glass
               (where you can’t really tell what’s in and what’s out)
watching me in my sheets as I eye you sideways,
as if to say I see you, yet not enough to
touch you
               lovingly, with affection, maternally
               or to run from you.
And once I’m past the skip in my heart,
I sit dazed and daunted, aware that you’re there.
Yes, I am a bit alarmed by you,
always reading my mind and when suddenly
I see you inside, it is I
who won’t leave that closedwindowroom,
afraid you will empty my brain
of its greybrown bits and tell me what I really am.
For you have been watching me all along
and I only saw me when I noticed you.


Elizabeth Starck is based in Ohio and Western New York. Her work explores family, embodiment, and the quiet violences of care. Her poems come from her notes app, and were written late at night (or early in the morning, depending on how you look at a night).

What I Don’t Tell You

Poetry by Marianne Lonsdale

I don’t tell you
That I think about the logistics
More than I think about missing you
Instead I bring home
the rustic sourdough bread
and red wine you love

I don’t tell you
that I’m picking the music
I cry in the car, listening to In My Life

I don’t tell you
I want the gift of time
To say our good-byes
Nothing sudden please

I don’t tell you
To put your arms around me
So I can breathe in your spiciness
My eyes moist with dew

I don’t tell you
I’ll sell the house
And move to something small
That does not require your care

Don’t go


Marianne Lonsdale’s Marianne Lonsdale’s debut novel, When The Road Curves, was published by Sibylline Press in 2026. She writes fiction, personal essays, and poetry. Her work has been published in several print anthologies and various online journals including The New York Times, The Bluebird Word, Literary Mama, and Pulse. She’s committed to youth literacy efforts and volunteers with 826 Valencia and the Oakland Literacy Coalition. She lives in Oakland with her husband and their dog, Ricky Ricardo.

A Passion Butterfly Embodies the Muse at Folly Beach

Poetry by Gene Hyde

We hover like an orange and white cloud,
sampling the floral smorgasbord at the resort.
I’m watching this outlier human in the corner,
scribbling verse, taking photos of me and my kin
as he sips his coffee in the poolside shade.

Whiffs of sunscreen and tobacco fill the air
while people sizzle in the sun, as if waiting
for a giant spatula to come from the sky
and flip them. “Over easy, please,” intones
a bronzed one, “keep my yolk intact.”

Minutes before noon the poolside crowd chats
while quaffing cocktails and coffee, and I flutter
by the older poet in the corner, tucked away
from the solar celebration, his homage to Sol
paid years ago. Dozens of my kin feed near him
as he sits in repose in the shade, cane by his side,
pen in hand, a testament to human anachronism.

I swoop down and land on his page, feeling
his joy as he catches his breath, stops writing,
and puts down his pen. The muse take all shapes,
he thinks, and, smiling, starts to write again.


Gene Hyde‘s poetry, essays, and photography have appeared in such publications as Cold Mountain Review, Amethyst Review, Salvation South, Appalachian Journal, San Antonio Review, Shelia-na-Gig Online, Third Wednesday, RavensPerch, and elsewhere. He lives in the Blue Ridge Mountains of North Carolina with his partner and a scruffy little dog.

Camping Mid-day

Poetry by Jeff Burt

The camp children have taken to the hillside
like sheep, grazing in all directions.

My wife hears them sing, watches their hand motions,
devices to help the song sink into memory,

and while she thinks of dishes yet to dry
and the coffee yet to brew,

her hands lift, cupped in praise,
then wave to the left, make like an eel

swimming in water, then a dolphin
continually leaping, then the spread

to east and west, the three quick claps,
the splash of water to the face.

The irises have never looked so blue,
The yolk of eggs never quite this yellow,

children both far and intimately near,
sky a plain, pure blue, and cloudless.


Jeff Burt lives in Santa Cruz County, California, with his wife and a July abundance of plums. He has a new book of poems, The Root Endures, out from Sheila-Na-Gig. Read more at www.jeff-burt.com.

Can Love Be a Sofa with a Sprung Spring?

Poetry by Lana Hechtman Ayers

Today there has been so much talk of romance,
so much so, that I want to run into the frozen
streets and join myself to the icicle hung
streetlamps with my tongue, Valentine
kissing the Hallmark holiday into hypothermia.

But isn’t love something else, a dog that drops
her bone at your feet as tears plop down your cheeks,
a man on the subway who offers his seat to the young
woman who looks a hundred months pregnant
ready to pop like a 4th of July firework?

Or maybe its my ex whose been a friend all these years,
calls once a decade or so to say, I remember
how agile you are
, though he has no idea how I argue
with my aching body now about what it puts me through
like a typewriter whose keys only go halfway to the page?

And then there’s my husband,
who hauls out the blender that groans
like a lawn mower to make me fresh hemp milk
three times a week, though I could do it myself
and the jar has to be washed by hand

and he has a million other more important things
on his agenda, but there he is, scooping
and measuring and whirring
like a maestro on a Steinway, creating what I need
out of the raw materials of clean water and seeds.

That’s how love grows best, I think, how it proceeds
almost unseen in the everyday like mighty Atlantic
roaring away, always there, salt spray and spume
akin to the drooling kisses of a dear grandmother who
is always happy to see you, arms open wider than sky.


Lana Hechtman Ayers shepherded over 150 poetry collections into print as managing editor for three small presses. She lives in Oregon on unceded lands of the Yaqo’n people with her beloved husband and fur babies. On clear, quiet nights she can hear the Pacific ocean whispering to the moon.

Redemption

Poetry by Benjamin Green

Like the sleep of a bird
on its roost, tossing
in the heat of sunlight,
the old man lets the
canyon do its work.
A bead of sweat
from his skull, tugged by the moon
and pushed by wind, slides
down his forehead, nose, and
he tastes it on his lips.
He lets the sky
do its work.
A piece of rock
calves from the mesa wall;
a small cloud of dust,
a flock of ravens chortling,
seven of them, black,
sun-glared, circling, morphing
the dust into a cloud
that brings rain.
He lets the water do
its work.
He clings to mystery
like redemption.


Benjamin Green is the author of twelve books including His Only Merit (Finishing Line Press). At the age of sixty-nine, he hopes his new work articulates a mature vision of the world and does so with some integrity. He resides in Jemez Springs, New Mexico.

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