Author: Editor (Page 2 of 71)

Clover Season

Nonfiction by Sarah Banks

Backing my car out of the driveway on an early March morning, I spot a single clover pushing through the dirt beneath my mailbox. I’m not surprised. Spring in Mississippi, a two-month interlude between the wet chill of winter and summer’s heavy heat, arrives before the vernal equinox. The air, tinged with humidity, feels cool this morning, though it will warm to the seventies by the afternoon.

When I see clover, my thoughts turn to the elementary school I attended, its play yard covered in emerald, three-lobed leaves each spring. Sometimes, this memory flashes through my mind then quickly disappears. Other times, like this morning, the recollection lingers, my mind holding it in place during my drive to work. Either way, clover conjures an image of that terra cotta brick building with windows lining the classroom walls.


During recess, while my classmates jumped rope and swung on the monkey bars, I would walk out into the field of clover. I’d squint to see where the end of the seemingly infinite, green expanse met the sidewalk. The leaflets rested against the ground, reminding me of a deep green quilt stitched to the earth. The flowers, tiny white pompoms, dotted the lawn. When wind moved across the yard, the clover shivered.

I would slip my feet out of my shoes, resting them atop the soft, springy clover. My hands inevitably burrowed into the green carpet, thumbs resting on leaflets. They felt soft, delicate—easy to tear. Each one held a small, crescent-shaped marking near the center.

In our classroom’s encyclopedia, I’d read that clover seeds can hibernate in the soil for decades, and I wondered if these had grown from seeds buried in the earth before I was born.

I’d often lay on the clover quilt and gaze up at the sky, imagining myself elsewhere. On those days, the sun hovered high, only a few clouds feathering the soft blue expanse. With no trees nearby, the sky opened wide, stretching so far it seemed to continue past the horizon.


By the end of April, the weed covers my entire front lawn. I’m nostalgic when it comes to clover. I won’t disturb it myself, but each week, my yardman mows it down with his lawnmower, allowing the Bermuda grass to show its spikes. By the end of each week, however, clover once again carpets the yard a deep green. It scatters its flowers across the lawn, daring the yardman to cut them down.

I’m unaware that clover can be invasive until my father mentions it.

“Clover will spread as far as you let it,” he says as we stand outside, surveying the yard. “I can spray it with weed killer if you want. That way, the grass won’t die.”

“Maybe.” My eyes drift toward my neighbor’s yard. She’s already complained about the redbud petals that fell from my tree onto her lawn, so I know she’ll object if the clover creeps into her property. Still, I’m reluctant to eliminate it. “Let me think about it.”


One time after school, I stood in the kitchen in front of my mother and held out my hand. In my palm, I cupped the four-leaf clover I had discovered during recess. The encyclopedia stated that the appearance of four leaves, a genetic mutation, occurs in one in 5,000 clovers. Despite my odds, I’d continued my quest to find one, sifting through the clover each day until I found treasure.

“How can we keep it safe?” I asked my mother.

“That’s easy. Watch this.”

She laid the clover between two sheets of parchment paper, then tucked it between the pages of the worn, hardback dictionary she’d used in college.

“Don’t worry.” She gave a warm smile, her eyes earnest. “I’ll hide it on a shelf in my closet.”

In the years that followed, I would sometimes ask her to open the book. I needed to confirm the four leaves still existed, proof that the clover had chosen to entrust me with its secret. Over time it dried, curling at the edges and fading to a muted green, yet the leaves remained attached to the stem.


In mid-May, I stand on my porch, imagining the clover spreading without interference. A smile tugs at my lips until my gaze moves to my neighbor’s lawn, where the clover inches toward her property line. I glance at the redbud standing against my fence, some of its branches—meant to spill over into her yard—cut to blunt nubs by her shears.

A few days later, I call my father.

“Get rid of the clover.”

I feel guilty for transferring the task to my aging father, but I can’t be responsible.


Weeks later, before I leave for work, I stand on my front porch and gaze at my lawn. After consistent treatment, the clover has disappeared, eradicated by the weed killer. I lift my eyes to the pale blue sky dome. The sun edges above the horizon, and the crowns of the pines appear as silhouettes against the pink-gold light blazing on the skyline.

Backing out of the driveway, I see zinnia shoots peeking through the earth beneath the mailbox where the single clover once grew. Soon, pink and yellow puffs will fill the flowerbed, but I am certain the clover will return next spring. And if it threatens to spread into my neighbor’s yard, I know my father, for as long as he can, will be the one to spray it.


Sarah Banks is a nurse living in Mississippi. Her poetry appears in Rust + Moth, South Florida Poetry Journal, Thimble, Autumn Sky Poetry, and elsewhere. Her fiction has been nominated for the Pushcart Prize and appears in Flash Fiction Magazine, Bright Flash Literary Review, and Fiction on the Web.

A Question of Fruits and Kitchens

Poetry by Kira M. Tjomsland

Perhaps we were feeling slightly hungry as we browsed the art gallery,
stopping before an oil-on-canvas
where ripe oranges made a branch bow low,
and you turned and asked me,

“If your kitchen had a fruit theme, what fruit would it be?”

The question exhales, and from it I inhale
the citrusy-sterile smell
of Grandma’s kitchen,
where dish soap stings my nose with the acidic tang
of the towels, of the bowls, of the plates, of the tiles on the wall
all distinctly, blatantly, unapologetically lemon.

Like a candle with a layered scent profile,
I whiff the undercurrents that made their way
into my own mother’s kitchen,
where the hand soap is always lemon, grapefruit, or tangerine
and the essential oils diffusing are always lemongrass or lime.

While I enjoy lemon-flavored desserts
and a wedge of lime in my water,
is it wrong of me to now associate the smell
with the drudgery of cleaning?

Maybe a strawberry or an apple theme
would better suit my counter’s red appliances;
raspberry doesn’t scream “kitchen” to me,
and cherries are an absolute no.

I think of my childhood friend’s new kitchen,
each appliance painted with a different piece of
a colorful fruit salad.
I think that I’m too picky of an eater
to really pull that off.

But as we meander to the next displayed easel
and I think of the dishes waiting for me,
I glance back over at the orange grove canvas
and think maybe that citrus isn’t so bad.


Kira M. Tjomsland is an award-winning author and poet, Creative Writing MFA candidate, and co-founder of Wandering Lights Literary Magazine. In her free time, she enjoys baking as much from scratch as possible. To read more of her work, see her website kiramtjomslandauthor.com and follow her @kiramtjomsland.author.

blue herons

Poetry by Rose Brightree

this river is scented by its mother
the sea
salt water running upstream
coming to meet it halfway

out of this reunion arise
two blue herons
wearing the sky
on loosened wings

legs floating in midair
like a dancer’s
orange-lily beaks lifted
to the rising sun
gamboge eyes that see the way
light does      touching what cannot be touched
any other way    the tips of mountains
flight of water that is a
cloud

and as they raise themselves
    to the high winds that will
           carry them
       as their bodies join the far-flung distance unfurling
                                                                          its wide blue wings
i know they continue to teach me
    how to live


Rose Brightree is a poet, artist, classical musician, and passionate nature lover and supporter. Her poetry has appeared in Room Magazine, Contemporary Verse 2, Sistersong: Women Across Cultures, Other Voices, the anthologies Revelation and Winners’ Circle (Canadian Authors Association), and in other print and online publications.

I miss my mother on summer nights

Poetry by Terry O’Shaughnessy

I miss my mother on summer nights,
her silhouette crossing the dark garden,
moving with the heavy watering can to
soak the pots of blue salvia
and pink daisies
and all the stars of Bethlehem,
floating white
in the twilight.

No food, only flowers here,
her labouring shoulders inside shirt and vest
cold, even on warm nights like this,
even as she lifts the cool water,
the woods behind her hidden
in the vacuum of night
where the green darkness
smells of light.

When I think I once lay
within this silhouette,
and this moving shadow that
gave birth to me, I think:
only the two of us, here.
in the dark garden, not knowing yet
there will only be the two of us
at the end—
then, will I hold her shoulders,
that moving silhouette,
and try to let her go
when she leaves me in winter
and when later,
I will miss her most
on dark summer nights.


Terry O’Shaughnessy is a former journalist, editor and recovering advertising copywriter. Kayaking and looking for owls in the wild are current pursuits along with traveling and tending a large herb garden in the summer months.

I Believe in Purple

Nonfiction by Sherri Wright

I believe in purple, the perfect blend of blue and red. A mixture of cool and calm,
hot and spicy. Negotiating between red’s passion and anger, and blue’s bravery and wisdom, purple finds grandeur and dignity.

Purple needs just the right balance of pigments—too much red turns into muddy
maroon, too much blue takes on the look of a bruise. Too light and it gets girly like a princess, too dark it becomes like the uniform of authority or the wings of a purple emperor butterfly that feeds on rotting flesh and human sweat.

Originally purple was produced by crushing shells of rare sea snails, extracting
mucus and exposing it to the sun. It took over two hundred thousand mollusks to produce an ounce of the dye. So this “Phoenician purple” was expensive and in short supply – only available to the rich and royals. It came to be associated with wealth and pretentiousness. Roman emperors used it for their robes but forbade its use by citizens. The penalty was death. Only in the 1850s did a synthetic purple pigment become widely available. Rich and royal as purple is, democracy is blessed with an abundant supply.

I believe purple is an essential element of human wellbeing. Purple draws on all
the senses. Think sweet sour purple plum, fragrant April hyacinth, supple velvet robe, purple martin’s throaty chirp and creaky rattle, last arc of the rainbow, the amethyst’s crystal clear healing power.

I believe that nothing can go wrong when you are wearing purple. No podium is too scary when you stand up there in a magenta linen sheath, a lilac silk blouse, a tiny amethyst stud. Even under the most somber black suit, lavender underwear can save the day.

Purple is a lesson in moderation. Drawing equally from feminine and masculine,
earthly and spiritual. Purple doesn’t shout, purple whispers softly, waits for you to take it in.

You do not choose purple, purple chooses you. The “Violet” in your first box of
Crayolas. Iris blossoms you picked walking to school. Petunias printed on the feed sack your mother sewed into a skirt. Your grandmother’s gladiolas. The grape jelly beans. The lilac you hid under your pillow and made a wish. A belief in purple is as powerful as Sunday school.

Ubiquitous, omnipresent purple. You can find it everywhere. But one thing is true. There has never been, never will be, too much purple.

I believe in purple.


Sherri Wright‘s work has appeared in The Bluebird Word, Delaware Beach Life, RavensPerch, and Quartet. Kelsay Books published her chapbook “Winter of My Life.” Bay to Ocean Journal nominated her essay “Braiding Sweetgrass With My Daughter” for a Pushcart Prize in 2025.

Holdfast

Poetry by Amy Nash

I wish I could be there for the seahorse
when she growls.
Build a coral cave for privacy

when she and her future mate begin to click.
I wish I could propel myself
slowly through eelgrass beds

and sing of sunken nights as I reach the next
stratified layer in the water column
without choking on the wait.


Amy Nash has lived in every northern state between Massachusetts and Minnesota (except for Wisconsin and Michigan), resulting in brackish poetry that mixes the Mississippi River with the Great Lakes, Atlantic Ocean, and everything between. Her poems have appeared in a range of journals and anthologies.

Mob

Poetry by Irena Praitis

I can’t see what’s at the core of it—all the wriggling lines,

characters massed         around this point. Was it once

alive, pinned to            concrete, stuck now, in the light, or a

splotch, the dark wedge in a green sea          of dripped

mint-chip cone, the sugary life blood         so compelling

as to draw this group core-ward, to inspire their energetic

massing, their          ganging up, piling on, stripping it

down together, fire, fire, fire—        the text gone viral,

gather, tear, spray your poisons, the compassion nowhere

to be seen, the drive to feed running free?

 

There are 2.5 million ants for each              human, an

estimated 20 quadrillion—there are 20,000 trillions in 20

quadrillion.

 

We could stomp and spray              and fumigate and not

decrease           our per capita of ants by much.

 

Still, their numbers             and those of other insects now

decline. Even in             the quadrillions, you don’t always

have it your own way.


Irena Praitis is a professor of creative writing and literature at California State University, Fullerton. She’s currently serving as department chair. Her poems and translations have appeared in more than 100 literary journals and her most recent books are Rods and Koans and Cage of Bone.

The Gift of Your Voice

Nonfiction by Stephanie Shafran

[Trigger warning: contains reference to suicide]

Hello children, this is Daddy. Have you been good children while I’ve been away? I hope so. I just got off the big airplane after flying in the sky, all the way from Florida to New York. First the plane climbed up and up into the clouds and after a while it straightened out and zoomed along faster than you can imagine. Then it dropped slowly down and down until safely landing and letting all the passengers climb down a ladder and walk into the airport. That’s where I am right now, and I miss you both so much. I’m coming home tomorrow and can’t wait to hug and kiss you hello.

Muted for sixty years, your voice comes alive for the first time tonight, on this self-recorded “Voice-o-graph.” No gift could ever top this one.

You recorded this message at the airport, on your way back home from a business trip in Florida. Were you homesick? In the middle of the small record, a label, in your handwriting, reads: 11-16-54, New York arr from Melbourne Beach Florida, To Stephy & Lee.

I’d have my fourth birthday in a month. Lee had recently turned seven.

You’d end your life just six and a half years later.


Stephanie Shafran retired from a long career as Spanish teacher and school counselor. Her writing has appeared in journals such as Earth’s Daughters, Slant, Persimmon Tree, The Bluebird Word, and The Sun; in anthologies such as Ophelia’s Mom, by Nina Shandler, Ed.D. Stephanie published a chapbook Awakening in 2020.


Editor’s Note: September is Suicide Prevention Month. Resources are available through the National Alliance on Mental Illness (NAMI) and also on the International Association for Suicide Prevention (IASP). Raise awareness, reduce the stigma, and encourage action to help others.

Just Another Ordinary Magical Day

Poetry by Barbara Wiedemann

In the month of June in Moab
the temperature easily reaches ninety-five.

But in the nearby La Sal Mountains
it’s cooler, maybe seventies.

But still it’s a surprise to see inches
of freshly fallen snow on the tree-shaded trail.

The fluff floats down from the aspens
so buoyant, balancing in the air

like dust motes or snowflakes
before gently touching the ground

joining the white already there—
like snow        only not snow

but tiny seeds transported by cottony fluff.


After a career in academia, Barbara Wiedemann, the author of Following the Snow Leopard (Kelsay Books, 2005) and four poetry chapbooks, spends summers living in her van in the mountains of the West, her only companion her energetic blue heeler. Her poems focus on the natural world.

Girls Who Smoke

Nonfiction by Xinyi (Mel) Song

Julie was clumsily unwrapping a pack of Kent No.4

… in the back alley outside a 7-11 in Shinjuku, Tokyo, when I saw a man with long, dark hair in a black cardigan unwrap his adeptly under the streetlight. He knocked the box on his palm, and one cigarette fell accurately between his fingers.

Julie’s fingers were slender, pale. She delicately held the cigarette, took a drag, and coughed into the air. I laughed at the way her nose wrinkled up when she tried to spit out the bitterness in her mouth.

“Why do people torture themselves with this?” She asked with her eyes squinted.

I didn’t have an answer. People torture themselves in various ways. As I traced the shifting grey line on her face – half of it dipped into the darkness, the other half looked tender under the moonlight – I felt a glare from behind. As soon as I turned around, it dissolved in the street’s yellow, fluorescent light.

My friend Chrissy was busted smoking

… in the girls’ bathroom in a Chinese high school, but we all knew she wasn’t a smoker. It was during class time when the principal walked in unexpectedly and found Chrissy and another girl whispering, giggling, and bantering in the stall near the windows.

The principal dragged them outside. Without much hesitation, that girl took out a box of cigarettes. They received detention for a week for smoking. No one ever asked why the box’s plastic wrap was still intact, or questioned why the girls didn’t smell like tobacco but like peach gloss. That was the story they decided to tell, a story less threatening to the school.

Chrissy offered me a cigarette

… outside the airport, two years after graduating from high school. We were flying back to college. She was going to Vancouver, and I was flying to New York. She offered me a cigarette, and I took out my lighter. She laughed at me, saying,

“I thought you hated smokers.”

I did. I couldn’t breathe in the clouds of smoke in the room where my father and uncles used to play mahjong. I was told it was a nasty habit for girls but a rite of passage for boys. But there wasn’t much I could hold on to growing up, so I was beginning to fidget with a cigarette in my hands. A habit might be bad in the eyes of onlookers, but it doesn’t betray you; it doesn’t ask you to change. I was moving from city to city, country to country. Trying to hide the Chinese accent, trying to love who I was supposed to love, trying not to be so different. Smoking is like a safe but moldy blanket for grown-ups.

Julie took her last drag

… while the cackling sound of the burning cigarette echoed in the alley. There was no one around us anymore. I could hear the stub rolling towards the direction of that long-haired man’s silhouette.

She took a deep breath, exhaled, and mumbled,

“I don’t understand the appeal of smoking.”

“It’s ok,” I said, taking over the cig from her, finishing the rest. It tasted like honey peach.

We walked back to our hotel in silence. Our shadows lost in the lights that were like a bright mist. It was 1:00 a.m., but the city was shrouded in a halo. I wanted to tell Julie how I felt, when I smelled the soft scent of tobacco radiating from her icy earlobes. In my hesitation, she threw away that pack of Kent No.4 and swore to never touch it.

She probably wouldn’t have known then how many cigarettes we’d gone through the night, in a few years, when she told her mother about the girl she was in love with; I probably wouldn’t have known then how much I wished that night in Tokyo was longer, when I learned that the girl wasn’t me.


Xinyi (Mel) Song is a bilingual writer. Born and raised in Sichuan, China, she moved to the United States for college and is now based in Boston. Her writing explores family, womanhood, and identity. Her essay, “Everything Is in the Meatball Soup,” is forthcoming in a Pangyrus food anthology.

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