Month: November 2026 (Page 1 of 2)

Moments Remembered

Nonfiction by Kandi Maxwell

During our last snow storm, without power, cell service, or internet, I decided to take on my neglected photo project: sorting through a large tub of photo books primarily filled with pictures taken by disposable cameras on my many rock climbing, backpacking, and cross country skiing trips. As much as I loved the photos, I doubted my children would want to hold onto scenes of rock routes in Owens River Gorge, mountain ranges they had never hiked, or pictures of people they’d never met. After hours of work, I was able to reduce my photos in half. I could not let go of them all.

I treasured the tangibility of the old photos, the joy of holding them in my hands. The time-extended process of examining people and places, lingering on thoughts of friendships, reflecting on feelings conjured up by experiences—occasions that have made me who I am.

Even at 72-years-old, I felt the camaraderie of past relationships and the intimacy of community. The way my climbing partners encouraged me with phrases like, “you’re almost there,” or “just one more move and you’ve got it.’ I felt the strength and flexibility of my younger, muscular body climbing granite—rotating my hips outward against a warm rock wall, or jamming my hands into a tight, rough crack causing them to bleed, and later, scab over. I felt sweat drip into my eyes, the tightness in my calves on Mount Whitney’s infamous 97 switchbacks. My frozen breath (and socks) as I kick-stepped into icy snow with my crampons on Mount Shasta. The release of endorphins offering both pleasure and peace.

I saw anew the awe-inspiring views of endless mountain ranges from high-country peaks and aqua-blue alpine lakes in the Sierra National Forest. I smelt incense cedars, the aroma of vanilla in the Ponderosa pine, and the minty fragrance of pennyroyal. I heard coyotes’ howl, the whistling winds moaning through steep canyons, and fast waters rushing over falls.

After several hours of sitting and sorting photos, I needed a break. I looked out the window. Snow was still falling with two feet already on the ground. I got up and put on my snow boots and a hooded jacket, grabbed my hiking poles and opened the back door as our three dogs eagerly rushed out to play. Together we walked in the wet, white world. Thick snow hung heavy in the trees. With it up to their bellies, the dogs joyfully hopped about in the white powder. I pulled my cellphone out of my pocket, because of course, I couldn’t resist taking a few more photos of these cherished moments that I will eagerly revisit in the future.


Kandi Maxwell writes creative nonfiction and lives in Northern California. She is a retired English teacher and former back country guide. Her stories have been published in Hippocampus Magazine, Bright Flash Literary Review, The Meadow, Wordrunner eChapbooks, and other literary journals and anthologies. Learn about Kandi at kandimaxwell.com.

When I Revisit the Nature Preserve and am Among the Trees, in Autumn

Poetry by Stacie Eirich

In thanks for the verses poet Mary Oliver gave us, a lifetime of paying attention & being astonished

I am sitting in the same space, on the same bench

       surrounded by trees and branches, leaves and berries

              and patches of sunlight — as I did six months ago in early spring.

 

The hum of cicadas, chirps of birds above, a hawk circling

       overhead, limbs of branches stretching tall, leaves rippling

              in light breeze, air shuffling, still warm yet cool enough not to sweat.

 

The distant rustle of cars on roadways beyond, whirr of air traffic

       infrequent, chirps louder, longer, insistent as the pour of sun

              through blue and green, as the fly who keeps interrupting my sack lunch

 

of potato salad and grapefruit, as the rise and fall of the cicadas’ song

       which lasts the day — crescendoing and decrescendoing

              as the hour lengthens.

 

A leaf floats in ripples to the thatch covered ground, nestling among bits

       of branches, brown and tan and sprouts of green, sticks

              and stumps and pinecones peppering this sanctuary.

 

Stillness and shadows descend, clouds covering the light, coolness ascending.

       I wait for the sun to swallow the shadows, to peek out again and bathe

              the sky, the trees, the ground, me — in warmth, but it does not come.

 

Instead, I’m left sitting with stillness, with my heart

       waiting for light, watching as it creeps out to shine — first, on purple berries

              perched upon so many branches, then on a brown thrush

 

of ground, patches lighting like connected stitches of quilts.

       The golden glow is mottled, flecked in patterns, almost

              reaching me.

 

I lean in, I hear Mary Oliver’s voice saying “Pay attention. Be astonished.”

       I hear her reciting “When I am among the trees” and another voice saying

              “We are all here for a brief time — a moment…” 

 

What is this moment, and why does it matter? I ask myself questions

       I don’t have the answers to. I ask myself why my child lives

              when others do not, have not, will not.

 

I hear a friend and helper saying I carry grief and hope

       together, praising me for it. I wonder how it is I earned such praise, I

              who write poems and sing songs and sit in nature, listening. 

 

The hawk circles slow above, wings spread, a majestic being

       with laser eyes, killer instinct. My worth feels small

              in comparison.

 

Smaller even more so than this earth and sky and these tall, bending

       and connected, old and strong, resilient trees surrounding me.

              Their lives large and infinite, their growth a thing slow, supple — amazing.

 

To feel the swell of the same breeze, a hitch of breath

       in the same air, the same canopy of light (or is this peace?) as they do

              is a moment to embrace, to give thanks, to realize a blessing of tenderness.

 

The blessing of tenderness in just sitting, breathing, listening

       to chirps and chitters and hums — just being. Stillness

              only interrupted by slight motions…the twirl of a leaf, the crawl

 

of an ant, the light of an insect on a branch, the moment

       my pen rises and falls

              across the paper — softly dazzled, quietly alive. 


Stacie Eirich is a mother of two, poet and singer. Hope Like Sunlight (Bell Asteri Publishing, 2024), is her memoir benefitting St. Jude Children’s Research Hospital & Ronald McDonald House. Her poems have recently been published in The Poetry Lighthouse, Soul Poetry, and The Amazine. She lives in Texas.

Simple Math

Poetry by Sam Barbee

Elementary school, I heralded correct answers
before my classmates could. Shouted solutions
first, so I could expect a better grade. Invoked
intuition to answer simple questions,
simple math problems. I saw Jane run.
Mastered the cursive alphabet before others.
As I aged, I overlooked my unsightly impatience.
Bopped along ignoring any of life’s long division.
No need to show my work.

This morning when I opened your farewell note,
the message stuck in my throat like a lozenge
halfway dissolved. This choking of our passion
proves a lesson I cannot kick down the lane
like fractions. Black coffee in hand, I pause
at the open window, inhale the gray rain’s
fractured scent, and search for something lovely
in your cruel block letters. A deaf heart
must learn the calloused way: one plus one,
plus another, equals one too many.


Sam Barbee‘s newest collection is titled Apertures of Voluptuous Force (Redhawk Publishing, 2022). He has three previous poetry collections, including That Rain We Needed (Press 53, 2016), a nominee for the Roanoke-Chowan Award as one of North Carolina’s best poetry collections of 2016. He is a two-time Pushcart nominee.

This Small Bird

Poetry by Stephen J Cribari

Heedless of the raptor on the wire
This small bird
Forsakes the hedgerow for the treetop higher
To be heard.
More exposed, easier to slay,
Its urge toward song will its undoing bring
Yet this small bird will sing
While it may.

I know we die and know the reason why.
It does not,
And that its song be wasted on the sky
Matters not.
It has its moment, be it short or long,
And in this moment all there is is song.
Come what may.


Stephen J Cribari’s poetry most recently appears in Writings from the Tyrrhenian Coast of Calabria (Rubbettino; written in English and Italian), Fresh Words, Freshwater Literary Journal, and The Bluebird Word. Still Life (2020, a verse novella) and Delayed en Route (2022) are published by Lothrop Street Press. He resides in Minneapolis.

Behind the Microphone

Nonfiction by Courtney Fitzgerald

The plastic was blue, the small oval picture of Zac Efron and Vanessa Hudgens faded, but the microphone felt so real in my hands. Real enough that when I pressed the button and the song echoed back to me—tinny, slightly delayed, and crunchy through the small speakers—I could sing along and feel like a real pop star. I believed it too. I was a pop star living out my High School Musical dreams.

I’d stand in the middle of my bedroom, door closed, the world reduced to four walls and whichever character I decided I was going to be that day. Most days, that meant Sharpay Evans—the kind of girl who had everyone wrapped around her finger. My life was nothing like that beyond those four walls. If I spoke up, I was talked over. Always competing with my four older sisters, who were louder, funnier, better.

But in my room, I was Sharpay. The center of attention. I would put on sparkly clothes and the biggest sunglasses I had and sneak my sisters’ heels so I could be taller. They would hear me now. I would no longer be just their younger sister. I’d be their equal. Nothing would tear me down, and no one could get under my skin. I’d be heard.

Then the door would barge open. One of my sisters would come rushing in with something more important, or better to take over.

“Mikaela and Brian…” she’d say into her phone, not even notice me—walking in, walking out, like I wasn’t even there in the first place.

Reality would hit and the imaginary spotlight would disappear. The music would fade, I’d shed my costume, and I’d step into my rightful role as the supporting character. I’d only be heard if I was echoing what my sisters had already said, and I’d get by unnoticed.

I don’t remember the exact day I stopped using the microphone. Maybe it was when the batteries died from overuse. Or the day my sister caught me singing with it and told me I sounded like a dying pig. Or when my mom took my sisters’ side over mine for the thousandth time. Or the day I wasn’t invited to go with my sister to the park with friends. One day it became something that I stepped around instead of picking up.

The microphone ended up on the floor, then in a bin, in a basement, forgotten.

Sans microphone, I still like to pretend I’m Sharpay—loud, unapologetic, impossible to ignore. She shows up when I’m tired of hiding, when being overlooked has started to feel permanent. When the cloak of invisibility has become too much and all I want to do is be heard.

But being a supporting character does have its own kind of strength. It’s the role I’ve learned in a house where being louder didn’t always mean being heard. It may not come with shiny clothes or the loudest voice, but it has made me the person I am today. Fighting with my sisters for attention has given me a voice that sometimes goes unnoticed but is powerful when needed. It’s a confidence that comes from knowing I found my voice through theirs.

I doubt it’s still in that basement. I don’t have to press the button to know it wouldn’t work or see it to know that the picture of Zac and Vanessa is long gone. I just know that I no longer need it. My voice carries on its own, and when I need her, Sharpay is always there. But I need her less as I grow older and closer to my sisters.


Courtney Fitzgerald is a Senior at Bridgewater State University studying English with a concentration in writing and writing studies. She plans to graduate Spring 2027 and hasn’t quite figured out what she wants to do yet.

City Chandelier

Poetry by Brian C. Billings

We were in Baltimore in March at night,
and when we walked along the harbor road,
my husband gushed about the play of light
that limned the buildings on our left. He slowed

us down and stepped into the glow, but I
went right instead to where a willow oak
was draped across a coffee shop, and high
upon the slender limbs were shards, bespoke

divisions from a sheet of mirrored glass
that swayed and rippled in the bitter breeze
and gave a millionfold a candle mass
in gold and green and silver flame. Oh, please,

don’t let my husband see. I knew he’d sneer
and break the hope inside the chandelier.


Brian C. Billings is a professor of drama and English at Texas A&M University-Texarkana. His work has appeared in such journals as Abandoned Mine, The Bluebird Word, Confrontation, Evening Street Review, Glacial Hills Review, and Poems and Plays. Publishers for his scripts include Eldridge Publishing and Heuer Publishing.

Expert at the Checkout

Poetry by Bonnie Demerjian

The cashier scans the virtuous milk, sultry coffee, and tangle-haired carrots
not choosing, just grabbing and pushing on.
Spaghetti slides past and cha ching confirms it.
Crimson peppers are weighed and registered.

They wink as they’re shoved along and amass in a tumble
with a wedge of brie and the frozen peas all
ready for the bagger who, with easy banter to the clerk,
deftly sorts. First, dependable dairy, the anchors, then

jars of sauces, but not too much weight. Considerate he is.
Off to the side for later, tortillas and oversensitive avocados.
He finds a perfect slot for the tofu, eyeing that sweet spot
like a basketball star. No orphan soup left looking for a home

and all coronated with a crown of bananas.
Such easy confidence that all will come out right.
No wasted motion, he’s a gymnast who stuck his landing, then
with modest flourish, sets his masterpiece in the cart.


Bonnie Demerjian writes from her home in the Tongass National Forest, a place that continually nourishes her writing. Her poetry has appeared in Cirque Journal, Artemis, and others. Her chapbook, Flotsam and Jetsam, is newly published. She has also written four nonfiction books on Southeast Alaska’s human and natural history.

Colors

Nonfiction by Jill Sisson

At first I think it’s a blemish on the kitchen wall, high in the corner where my soapy sponge can’t reach. Then I see it’s a resting moth, sleeping like a small golden leaf waiting to awaken at the end of the day. To search for another dusty-winged soul, to pull the future into their soft reach.

The purple-haired sophomore in my 4th period class, another solo soul.

And the senior who smashed his hand into a table, his hot-pink cast messy with signatures as he strategically fails three of his classes. The future is not something he wants. He’s not ready to fledge; the white-walled world is no refuge for his Muslim/Mexican blend.

Dark is not the worst place to be, with the espresso-brown soil of Earth, with ancestors’ songs and permanent dreams, the ones I keep close to the campfire when I travel away. Away to where the stars gleam. Where bats and coyotes have their say.

It’s mid-morning when an admiral butterfly tastes the rim of my blue plastic cup, as though the caffeine from breakfast or the salts from my fingers fuel her day-long flights of black, white, and stripes of gold. A twitchy chipmunk bounds toward my picnic table, eyes alert, his tail like a wind-tossed weed. The rush of wind high in the boughs, like a river bending our lives.

Dear Mom,

We’ve had our hard times, but I saw a double rainbow late this afternoon.

They used to say that rainbows are the arcs of hope, that God graced our flooded lands with a hoop of colors to save us from despair. Did you get the Billy Graham book I sent you?

There are rainbows everywhere. I keep taking photos of them. There’s one I took for my blog, a tiny rainbow skating across an insect’s lost wing caught on a spider web. (A rainbow on a wing on a web.) And those beautiful rainbow-streaks up in the cirrus clouds—can you still see those? I think they’re called sun dogs. Colorado used to get a lot of those compared to here in Oregon. My friend Tracy (she’s earning her PhD in marine science, you two never met) doesn’t believe in hope, but she studies tiny mollusks that glint like rainbows under her microscope. I guess I’m saying there’s always reason for hope if you look hard enough for it.

Anyway, Happy Mother’s Day, Mom. Call me when you can. xoxo

In loving memory: Alzheimers, January 24, Weld County Colorado


Jill Sisson is a naturalist and educator from Oregon’s Willamette Valley. Her writing is situated in that sweet spot where the everyday overlaps with the ineffable. Western settings, stretching from the Colorado Rockies to the Pacific Northwest, backdrop most of her written work. She has been published in Emerge 24.

Path Through the Woods

Poetry by Karin Eaton

I took the path through the woods again today
behind the farmhouse
through the old wooden gate
dressed in fall colours with trailing vines

I was here yesterday and the day before
searching through a carpet of leaves
for a glove – not just any glove –
the one I wore when you held my hand
the one that holds your imprint and warmth
one of a pair you gifted me last year
Its mate is alone, longing to be reunited

I take the path through the woods each day
searching, hoping, praying, knowing
it’s not the loss of a glove I mourn
it’s the warmth of the touch of your hand.


Karin Eaton enjoys experimenting with memoir, travel, and poetry writing. Her work has been featured in a number of publications including the Persimmon Tree Short Takes, six Quillkeepers Press Anthologies, the Dragon Dreams Anthology – Storm Dragon Publishing, the Cosmic Daffodil Journal, Myth and Metaphor, Four Tulips, and Fantastic Mischief Anthology.

Why I Did Not Get Up

Poetry by Cecil Morris

Because I did not want to, because
the pillow top mattress and your warmth
beside me both said stay, because clouds
from yesterday obscured both moon
and sun and sounded gray alarm bells
and tripped the fire doors, because the birds
in feathered wisdom sang lullabies
to duties, granted worms amnesty,
invited them to pass free and slow
from dirt to dirt, because the chorus
of crickets camping in back and hips
refused all requests for hula moves
and air thickened itself against scent
of coffee and bacon and right there
in the best yoga pose, the corpse pose,
I re-ran scenes of our children’s joy,
the slides and swings at the park, the leaps
into the pool, the splashing and screams,
the puddle-jumping and river trips,
the airfoil kites nearly lifting them
from beach sand, their slimy-handed glee
at disemboweling pumpkins, because
I could in those moments feel each child
in his or her turn squeezed close to me
and captured by my reading voice,
giving them a book’s magic, because,
such early morning reveries beat
out every possible to-do list.


Cecil Morris is a retired high school English teacher, sometime photographer, and casual walker. His first collection, At Work in the Garden of Possibilities, came out from Main Street Rag in 2025. He has poems in The 2River View, Common Ground Review, Rust + Moth, Talking River Review, and elsewhere.

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