Categories
flash creative nonfiction

Blessings, Mormons, and Olive Oil by Ginger Tolman

Blessings, Mormons, and Olive Oil | Ginger Tolman

My body is hot with fever, and I push out an asthmatic wheeze. I am delusional and list a bit in the kitchen chair. My skinny bare legs stick to the Naugahyde. Panic sets in as less and less oxygen enters my lungs. I am crying and gasping and terrified. I am eight.

Men encircle me and hands are placed on my head, steadying me, capturing heat. Deep voices murmur invocations. Warm oil seeps onto my scalp. I reach up to itch it. 

This is my first conscious experience with olive oil. As an anointment, part of the priesthood blessing of Mormon tradition; the laying on of hands to heal. My asthma wanes, my fever lowers, and I go outside to play. 

My father, Leo Tolman, owned Tolman’s Dry Cleaners in Downey, California. He’d traded potato farming and bone-cold Idaho winters for orange groves and fig trees. He found the wife he would adore for 55 years, raised eight children—six of whom were adopted—and practiced his faith with aplomb.

One can ask for a blessing at any age for any reason that feels credible. High fevers, upcoming finals, difficult pregnancies, terminal diagnoses, boyfriend travails, waning faith– all were fair game. Depending on the severity of the ailment, other priesthood holders were called to the home or hospital room, adding numbers to power. 

The ritual began with Dad pulling out a small bottle of Pompeii Olive Oil from the back of the fridge. As a bearer of the Melchizedek Priesthood, he consecrated the vial with prayer. His personal touch was to warm the oil by heating it in a small pan of water, the same pan used for decades to warm baby formula. He would drip a small amount on the top of the afflicted persons scalp and lay his hands gently on their head. Then he prayed, shifting his weight from foot to foot as if to gain steady ground. His voice alone could round a sharp edge and send the darkest fear running. 

When the hands gently holding your head were those of a loved one, a trusted one, and one who believed in his ability to heal, the conjuring of miracles became a common event.

As an adult, I introduced my father to the joy of olive oil as a culinary blessing, and he began to cook as well as heal with it. He purchased in bulk, large bottles of EVOO that were stored on cool, dark shelves, pulled out daily to drizzle, toss, sauté, dip into, and taste. He watched cooking shows on the sly to find new uses. Olive oil cakes soaked in lemon syrup, crisply crusted mushrooms, and fried parsley began appearing on our plates. The small bottle of Pompeii (non-virgin, not first pressed) still resided in the back of the fridge, standing its ground for a different purpose.

My Dad and I considered olive oil a divine agent, a transporter of both culinary and physical miracles. A fresh baguette dipped in a cold-pressed EVOO with a touch of balsamic was some nifty transmogrification. And you couldn’t shake a stick at an asthma attack that ceased mid-breath. 

Eventually, we traded California for Utah to be nearer the Motherland of Mormonism. Shortly thereafter, over a Thanksgiving weekend, Dad was diagnosed with pancreatic cancer. Over the next nine months, we fed him, stroked his head, laughed with him, and prayed with him. My daughter, eight years old, brought him sprigs of mint and white grapes from the vines he had planted in the garden. Her dog, a black Lab named Purple, would not leave their side. 

One Sunday, six of the brethren gathered in his bedroom to offer a blessing. I was there to hold the oil and give it to whomever was asked to administer it.

“I want Ginger to give the blessing,” said my father.

Every man in the room looked askance.

I was a woman, not a practicing Mormon, and not a priesthood holder. I used inhalers for my asthma now, not blessings. 

“It must be the medications,” said Brother Smart. 

“It’s not,” said my father. 

With a sharp glance at the men, I warmed the bottle between my hands, anointed my father’s head, and began the prayer. My father and I held secrets.

After the last blessing, the one meant to ease the passing, not save the life, he took his last rattled breath. As the hearse took away what remained of him, we prepared the house for visitors. I wiped counters and cleared out the fridge for the imminent arrival of endless Jell-O salads and funeral potatoes. There it was. The bottle of olive oil. The one for blessings, not for salad. I reached for it, knowing it would never be used again, and then returned it, gently, to its place. 

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.
about the author:
A smiling woman with long, reddish-brown hair, wearing a black top, stands outdoors in front of green trees.
Screenshot

Ginger Tolman is an award-winning documentary filmmaker and emerging writer. “A Piece of Me” was an Official Selection for the NGO-IFF and Berlin Shorts Film Festival. She is a two-time finalist at The Good Life Review Honeybee Literary awards, a finalist for “Attack”, and winner of the Best Creative Nonfiction essay for “The Laundry Hangs at Noon” (which comes with a jar of magnificent local honey). She has been published in the Salt Lake Tribune and the Park Record. She resides on a Utah mountaintop and spends much of her winter shoveling snow.

Categories
flash creative nonfiction

Speaking in Tongues by Ayoung Kim

Speaking in Tongues | Ayoung Kim

Her face hovered only inches above mine. Her rubbery lips parted, revealing wide white teeth. I smelled garlic and red chili. She inserted her fingers into my mouth, probed my buccals, and smeared kimchi residue along my gum line. This was before hygiene laws that required dentists to glove-up. 

Her cat-eye glasses reflected my distorted twelve-year-old self, exaggerating my too-long-too-pointy chin. The dentist exhaled into my face. My eyes watered.

“Your teeth are crooked!” 

She shook her hair, chopped in a straight line above her eyebrows and trimmed at the nape of her neck, and addressed my mother in rapid-fire Korean. I would need braces; they’d straighten my teeth and reduce my protruding chin. I hid my offending body part with the heel of my hand. 

Patting my head she said, “Good girl. See you at church, ah?” 

Dr. Kim was my dentist and the church deacon. She held a medical degree and had completed seminary. The Korean community hoisted her like their gold medal, representing the best of our race. To my mother, she was a god. 

At church, she positioned herself at the entrance, draped in a white gown, appearing as a heavenly being. Then she opened her mouth. She bellowed like an army sergeant, directing parents, children, elders to correct classrooms. We hustled to obey her commands. Dr. Kim scanned for slow-movers or late-comers trying to sneak past. “Mr. and Mrs. Choi, tardy again!” 

After the initial consultation, my mother dropped me off for my braces-tightening appointments, leaving me alone with Dr. Kim. I renamed her Dentist Kimchi. I dreaded her breath. I dreaded her naked fingers. She inserted fresh wires, stabbing my gums and cheeks. I jolted with the twist of each brace, shock waves of pain drilling into every nerve root. 

“Grace just performed Rachmaninoff’s Piano Concerto 2. Grace is studying AP French. Grace was elected junior leader for Revival Christian Camp.” 

Her daughter Grace and I were in the same Sunday school class. Dentist Kimchi knew I played the piano but hadn’t advanced past Mozart’s Eine Kleine Nachtmusik, or past French I, and she knew I wasn’t chosen to be a Revival leader. At the end of the appointment, I handed her a check from my mother.

I showed up for this oral torture once a month. I sat in her chair for three years; three years of lip-tearing braces that did nada, not one tooth straightened. She provided my mother with convincing updates, concluded with a laying-on-hands prayer. My mother bowed down.

By the age of fifteen, I had quit piano and stopped eating lunch with her daughter. I wore blue lipstick, painted my nails striped like zebras, teased and spiked my hair. Dentist Kimchi regarded me like a wild dog. 

“Grace won the Chopin junior’s piano contest. Grace was waiting for you at lunch time.” She cranked a wire with a viscous twist, as if yanking me on a short leash. “Grace is leading a Bible study class this Saturday. She said she invited you.”

She started to raise my chair, but I popped up—a ghoul rising from the grave. My grotesque visage with a cyanosis mouth, my upper lip caught on some braces as if I was snarling. As if. Dentist Kimchi recoiled. She could no longer pat my head, and we both knew it. 

“See you at church, ah?” I slipped out of the room. “Tell your mommy to come next time!” 

The following appointment, I was her last patient. It was nearly 8:00 p.m. when Dentist Kimchi completed tightening my last brace and set me free. I sprang into the reception area. 

“Let’s go home, I’m starving.”  

My mother reached for her purse and stood up. At that moment, Dentist Kimchi strode into the lobby and locked the door. She got on the floor. She ordered my mother to do likewise. Planted on hands and knees, Dentist Kimchi demonstrated how to speak in tongues: ree-rur-ree-rur-rah-rah-rah. This was considered a high form of speaking to God? Or a performance to exorcise the evil out of me?

My stomach sank as I watched my mother intimidated into kneeling on all fours babbling ree-rur-ree-rur-rah-rah-rah for half an hour. 

Dentist Kimchi shouted, “A-men!” 

Her breath filled the entire clinic. She stood up, her eyes flicking over my face. I tapped my black and white nails on the chair’s armrest. Pfft. She turned away from me and helped my mother, who wobbled to her feet. She thanked Dentist Kimchi and pressed a check in her hands. I wanted to rip it up. 

One month later, we discovered Dentist Kimchi had started an affair with the pastor, who was married with four children. In the ensuing scandal, the wife and children fled to a different state, and Dentist Kimchi’s husband retracted like a turtle in its shell. Grace transformed into a pale, brittle leaf. The congregation split with half supporting the new union, the other half drifting to other churches or faiths. My mother was so disillusioned she joined a white pastor’s congregation. 

I found a new orthodontist—also named Dr. Kim, but male and not church-affiliated—who ripped off my braces, extracted four molars Your jaw is too narrow so that’s why your teeth are still crooked, and fitted me with a retainer which I tightened via a tiny tool every week in the comfort of my own home. My teeth straightened in less than one year. I could’ve knelt on my hands and knees to bow down to Dr. Kim. He’d freed me from the abuse of wires, from metal braces shredding the inside of my mouth. Even during the months I wore the retainer, my tongue continuously swished across my teeth, relishing the smooth sensation. 

A boy liked my teeth. I liked his breath on my cheek, his opened lips over mine. He lunged and his front teeth clicked against mine. Maybe I was evil, maybe I was like Dentist Kimchi, maybe I liked to use my tongue to speak to God.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Bonus audio of Ayoung reading from her essay:

about the author:
Black and white portrait of a woman with short, shaggy hair, looking down with a neutral expression.

Ayoung Kim is a writer and artist. Her work has appeared or is forthcoming in The ManifestStation, Khora, Defenestration Humor Magazine, and Best Travelers’ Tales, among others. She is originally from San Francisco, and her teeth are still crooked.

Categories
flash creative nonfiction

The Percolator by Marlene Olin

The Percolator | Marlene Olin

The 55-cup West Bend percolator looked like a miniature nuclear reactor. A tall stainless-steel body. A snug cylinder tucked inside. The secret to Shirley’s coffee was adding a pinch of cinnamon to the basket before plugging it in. A few minutes later, she’d hear the water churn and the contents simmer. Then the coffee would settle into a slow and steady pulse. Soon Shirley would smell the deep dark aroma of freshly brewed. Decaf, of course. Anything else would send her heart galumphing in her chest.

Now there was a gap in her coat closet, an empty space on the highest shelf. How many shivas had that percolator seen? Each Yom Kippur, she’d schlep it out of the closet every time they broke the fast. She could track the autumns of her life by that machine.

If only she hadn’t lent it to Marg! And for her book club no less!

Marg was her closest friend. One of the few people who understood what she was going through. When Shirley tried to describe the amyloid plaque destroying her husband’s brain, Marg listened, stirred the spoon in her mug, stared at the wall, tried to picture it. Like cottage cheese? she asked. Like curdled cottage cheese, Shirley replied. Then they laughed. They somehow managed to laugh.

For the two of them, swapping heartache had been as natural as swapping recipes. And when Marg told Shirley about her husband, about the blood disease that was a time bomb, about the tests every six months where they held their breaths until the results were in, they sat at the kitchen table together and sobbed.  

That wallpaper, Marg said, pointing with a spoon.

Images of teapots littered the wallpaper in Shirley’s kitchen. Big teapots, little teapots, teapots all the colors of the rainbow. The kind of wallpaper that was popular in the seventies.  When pop colors were in, and good taste was out.   

I’m like one of those teapots, said Marg.  Some days the pressure builds and builds, and I feel like I’m gonna explode.

At first Marg said she’d bring the percolator right back. Then a week passed, and Marg said Monday. Then Monday passed, and she said Tuesday. Then one Tuesday passed after another.

There was a history, of course. Shirley should have known better. Years ago, Shirley lent Marg her fake shearling jacket. Marg’s kids were taking her on a ski trip to Aspen, so Marg had trotted out her mother’s mink coat. It must have been in mothballs for fifty years.  

You want to get spray-painted? asked Shirley. You want the PETA police to knock at your door?

That was another mistake. You think Marg bothered to have it dry-cleaned? Nope. It came back with tissues in the pockets and a chocolate stain on the lapel.

They traded recipes, the two friends. Once, Marg gave Shirley a macaroon recipe and left out the part about using fluted cupcake cups. Shirley’s macaroons came out like shapeless blobs while Marg’s were picture perfect. Then there was the time Shirley shared her brisket recipe. It was a family treasure, the secret ingredients handed down from her Aunt Lil, the index card frayed and stained, her aunt’s shaky handwriting barely legible. And wouldn’t you know? Marj added more brown sugar and cut the tomato sauce in half. She improvised!! And her gravy was twice as thick and three times as tasty.

Twice a year, Marg and Harold head to their doctor’s appointment. She and Harold drive five hours to Tampa, check into a hotel, and talk to the experts at the hospital there. Later, speaking in whispers, Marg relays the news over the phone. It’s like her life is on hold, she tells Shirley. They live from one reprieve to the next.

Shirley can only wish for a reprieve. Alzheimer’s is like a relentless march, like those World War II slogs you see on TV. Her father, a Navy vet, would be glued to the screen watching the movies, reliving the torment, sweating through the swamps, ducking the bombs, dodging the shrapnel.

Those were the good days, he would say. We were in it together. Everyone suffered the same.

Some folks never complain. Some folks not only survive but thrive on pain. Take Marg. She is a breast cancer survivor. Her teenage daughter ran away from home. Her husband’s business partner cooked the books and stole their cash. Yet, each day she puts one foot ahead of the other. We all have something, Marg would say. Heartache isn’t graded on a curve.

Shirley is giving her one more day. The deadline’s tomorrow, the square on her calendar circled. If Marg doesn’t bring back the percolator, that’s it.  A new one costs around $200.  There’s a nice one at Macy’s, she’ll say. It will fit in her closet just fine.

Meanwhile Shirley sits. Sips. Reads the news. A stream of sweat courses down her neck. Beads of perspiration slink down her forehead. And though the stove’s off, it feels like it’s on.  And though it’s sweater weather outside, inside it feels like a rain forest. And when she glances at the wall those teapots threaten to leap from the paper, the kettles hissing, the steam rising, the bubbles boiling, the water doing its little dance. With her hand on her chest, she waits. Because any minute now, any second, those teapots are going to blow their lids clean off.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.
about the author:
A woman with gray hair wearing a black puffy jacket smiles at the camera while standing outdoors on a wooden deck, surrounded by greenery.

I think a good life happens when you meet life’s challenges with dignity and grace. 


Marlene Olin was born in Brooklyn, raised in Miami, and educated at the University of Michigan.  Her short stories and essays have been published in journals such as The Massachusetts Review, Catapult, PANK, and World Literature Today. Her work has been nominated for the Pushcart Prize, Best of The Net, Best Small Fictions, and for inclusion in Best American Short Stories. 

A brief Q&A with Marlene is available on The Buzz.

Categories
flash creative nonfiction

my mother says she wants to go out tonight by Camila Cal Mello

my mother says she wants to go out tonight | Camila Cal Mello

i tell her it’s not a good idea it’s halloween it’s crowded outside it’s kind of cold really it’s a strange thing to want when everything is falling apart but she stands up from her bed says i want to dress up so i gather the boxes of costumes from the garage while she vomits what’s left of her stomach into the toilet i pull out wigs tights cracked makeup props of a past i can’t quite remember i hear her retching i wonder what she wants to be this year what we did for this to be our life what made her so ill this time the pinch of plain white rice the spoonful of soup the tiny mountain of pills on her nightstand but there is no dressing it up the answer is always the same and i pull it out of boxes like a repeated costume that never goes out of style the cancer the cancer the cancer 

she closes the toilet lid and sits on top i appear at the door holding anything i think she might like though surely she doesn’t want to leave anymore but she points at the white makeup in my palm says i want that so i cover her forehead undereye bags sunken cheeks wrinkled lids in a thick white paste i add fake blood like scars all over try not to think any more about blood just this week she had a transfusion the chemo was too strong trying to kill her before she had a chance to survive now what to do about her hair or lack thereof i buzzed it off in the living room maybe a month ago because her black hair was clumped in every corner of the house discarded piles of a person finally she begged i want you to get it all off me at first i said no please afraid i would not know my mother without her waist length hair already she was yanking it out in fistfuls of evidence i know her body hasn’t belonged to me since birth but now it doesn’t belong to her either who was i to deny a broken body’s wish i tuck a silver wig onto her bald head and ask her to pick out a dress

i am a skeleton face wearing all black heating up the car the chemo has made her so small so cold i cannot cure much but i can offer a warm seat when she walks out the front door she is wearing a long grey dress thick shiny strands framing the ghastly makeup i’m not sure exactly what she means to be but the poison port on her chest is hidden her hair is touching her waist again and right now she is strong enough to put one foot in front of the other to sink into the cushion offer me a weak smile enough to make me press on the gas drive us downtown to watch little kids strut next to their healthy parents do you remember when i chose your costumes she asks me and of course i do angel princess pirate nurse devil walking up a driveway with a mother looming somewhere behind who i once was feels so far away now because i know i know how this skeleton face isn’t fooling anyone she puts her pale hand on mine maybe this year is like all the others my mother chose my costume and i wear it year-round look at me look at me will anyone notice i’m dressed up as a daughter 

when we get there i tell her we can always go back home there’s big crowds lots of walking she doesn’t even like candy still she ignores me breathes deep opens the car door we walk down a bustling fifth avenue her arm hooked in mine as superheroes and astronauts blow past us to trick or treat from storefronts some kids stop and stare at us they say children can see ghosts better than anyone else i think they must know just how much i am holding her body upright instead their parents ask for a picture they love my mother’s costume she’s so scary it’s almost real i want to tell them i’ve seen her scarier on wednesday afternoons floating in a chemo chair glazed look in her eyes smooth skin gone sour cheeks lips tongue so pale it’s like her face was erased how i sit beside her watching the rise and fall of her chest i want to tell them give me all the zombies monsters spiders there is nothing scarier than loss i hold my mother’s arm tighter as if she isn’t my worst nightmare

she doesn’t mind the cameras in fact she leans into character for the pictures looming over the children with an angry look they scream she laughs my face paint smears i record the moment so she can listen to it on repeat like an antidote to the wednesday poison press play her laugh her laugh her laugh we go on like this for an hour walking the street slowly stopping every few steps to admire a costume take another picture place a piece of candy into a chubby palm eventually i hear her breathing begin to rasp when i look at her she nods so we make our way back to the car i say ma i hope you had a good time she says yes oh yes the proof is in her white makeup cracked at the edges from her smile windswept wig grey dress trailing behind us i feel like a little girl with a bag full of candy when i tell her i’m glad we came she squeezes my hand says my daughter isn’t it wonderful to only pretend to be dead?  

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Bonus audio of Camila reading from her essay…

about the author:
A woman with curly black hair wearing a soft blue sweater, smiling at the camera against a textured white background.

Camila Cal Mello is a Uruguayan, first-generation, emerging creative nonfiction writer, and poet. She earned her MFA from the University of Central Florida, where she received a Provost Fellowship in nonfiction. She is currently a PhD student in English, Creative Writing Concentration at the University of Mississippi where she teaches literature on campus and in the Prison-to-College Pipeline program. Her work has been published in Under the Sun, The Acentos Review, and others. Find her on social media @camivcal.

Categories
flash creative nonfiction

the doctor says i must milk her body by Camila Cal Mello

the doctor says i must milk her body | Camila Cal Mello

she is not a cow i say to the doctor and he shakes his head at me yes indeed she is a cow i turn to look at her i can see how every one of her bones is shivering inside the hospital bed her lower left breast bandage crinkling a long drainage tube dangling i expect her to say of course i am not a cow but her mind is somewhere far away locked in cancer’s lobby waiting to see whether life or death will call her name i turn back to the doctor say she may have changed a lot during surgery lost a tumor lost lymph nodes still she is not a cow he says look at her i turn again suddenly the room smells like manure my feet shuffle over hay i hear a low bellowing coming from her mouth she has a snout four furry legs black hair spread into spots a hospital tag on the tip of her ear i whisper oh god she is a cow and the doctor says she has to be now let’s get her home

the cow is uncomfortable in the car the seats are not made for recovering animals so i drive with one hand reaching toward the back every now and then the cow brushes up against it when we arrive home i coax the cow out of the car she wants to limp down the driveway into the house on her own because even sick she is stubborn i follow closely beside her holding the bottom bulb of the drainage tube like a leash all the way to the bedroom where the cow sighs curls into cotton bedding falls asleep relieved she can finally be healthy again even if only within her dreams  

in the meantime i worry i do not know how to care for a sick cow i am just a seventeen year old girl though i have learned how this kind of illness does not discriminate i must be a rancher now must help the cow survive i fall to my knees in the backyard where she cannot see how i break i beg the nature of things to let her live i dig my hands into the earth pluck the greenest blades of grass to wiggle in front of her mouth when she wakes in the next five to eight minutes alive inside the pain of it all 

the bedroom door creaks open her eyes are tired slits she laps water from a bucket i filled and i run my palm along her cattle coat then i remember what the doctor said the importance of keeping the drainage tube clear flowing to prevent infection but already her tube has a thick blood clot blocking the healing i tell the cow i need to take care of her leash in hand we hobble together to the bathroom in my head i repeat the doctor says i must milk her body though no one ever told me this would happen

i tell the cow i will be gentle so gentle in the vanity mirror i watch myself duck toward her udders to find the place where the cow stops where the tube begins i thought it would look more secure the truth is that there is just a hole in the cow plastic hanging from it i squeeze the tube between my pointer fingers and thumbs try to milk the clot down down down wonder how hard i would have to pull to yank it all out the tube the clots the liquid the sickness it is my job to get it all out the cow is counting on me only me everything shakes my hands are a blur and i coo to stop her trembling because i cannot tell where her body ends where mine begins so much smell of manure makes me dizzy i am seeing black spots hearing whining still trembling all coming from my own body not hers the tube tumbles from my hands i faint sideways into the bathtub like a cow tipping when she least expects it

i regain consciousness she is looking back at me wide eyed confused the tube swinging from the side of tender human breast i say you are not a cow she says no i say you have cancer she says yes i say it once more to really make sure you are not a cow she says no no i am your mother. 

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

Bonus audio of Camila reading from her essay…

about the author:

Camila Cal Mello is a Uruguayan, first-generation, emerging creative nonfiction writer, and poet. She earned her MFA from the University of Central Florida, where she received a Provost Fellowship in nonfiction. She is currently a PhD student in English, Creative Writing Concentration at the University of Mississippi where she teaches literature on campus and in the Prison-to-College Pipeline program. Her work has been published in Under the Sun, The Acentos Review, and others. Find her on social media @camivcal.

Categories
flash creative nonfiction

The Leftovers by Michelle La Vone

The Leftovers | Michelle La Vone

Oma holds the pesto jar up to the light. I tell her not to worry about scraping, but still she wields a long-necked spoon. “Opa hasn’t been eating enough,” she declares. Clink clink clink. “Half the time his lunch is still sitting there when I visit, and he wants me to eat it,”—clink clink clink—“and I say no, I didn’t come all this way to eat up your food!” Splat! onto the chicken bake.

I squint at the cryptic oven symbols, slide the dish in, and set the table. One plate, two plates. Butter dish, bread basket. Napkins scissored in half. I think about when I was here last: platters of jams and cheeses, pastel forks in fruit. Opa to my left, slow-chewing the soft yolk of a sawed-off egg, trying to teach me a valuable life lesson: slowly, child. You have time. 

Today, the table feels smaller. To my left, a home phone, a stack of papers. After the oven beeps, Oma sits across from me, chewing on chicken and childhood stories of the 1940s: running to bomb shelters on the walk to school, losing playthings but trading grenade splinters like playing cards. Sleeping under blanketed roofs of fireproof sand. Slurping Grützwurst and Sauerkraut soup given by a kind Soviet soldier. Other Soviets banging on the bunker door. As I smear another slice of bread with butter, she recites wartime national anthems and nursery rhymes. 

Eine alte Frau kocht Rüben,
Eine alte Frau kocht Speck…

…Und du bist weg!

She giggles, clears her throat, pulls white asparagus strings from her dentures. I scrape my plate as she swallows two gulps of water and commends the pesto for helping the chicken slide down. “Take more!” she tells me, then places both hands on her belly and declares, “I can’t eat as much these days. You know, I’ve lost a lot of weight from all the chaos with Opa.”

I nod. Oma’s cheeks are sunken, her creases more pronounced. She follows me into the kitchen, pokes the still-steaming asparagus stalks, and slips four into a bag for Opa. Limp-bodied, they fold into a heap. “Like worms!” Oma laughs, then tucks them away next to a tub of linseed oil and quark— her sworn superfood. Just like Opa’s honey, mom’s fish oil. 

At the hospice that afternoon, Opa offers me firm jello, peeled apples. A chocolate bunny wrapped in foil. “I still have a yogurt to gift someone,” Opa waves the container, his voice frail. 

“I’m still full from lunch,” Oma defends herself. “You should save it for later, in case you get hungry.”

“I have everything I want here. I just have to say, bring me this and that, and they do.”

“Well then, it’s good you’re not at home!” 

In their laughter, I picture them in their apartment together: Oma in an apron, always. Opa in slacks and a belt, slicing fresh-baked Brötchen. Poppy seeds flying. I picture myself with them, sliding my plate over to Opa, my eyes too big for my stomach. I imagine the clink clink of the mini marmalade spoon, the eventual pat of Opa’s hands on his stomach. The sigh of a satiated man. 

Bedside now, I notice how Opa’s white sheets swallow him whole, how his contours are jagged cliffs, not the slopes he used to ski. I am aware his body is preparing its feast for flies, just like Mom’s, when two men in black business suits carried her deadweight into the summer night. I am aware that it will always be too soon.

“Anything you want, just ask,” Opa looks over at me and smiles when I tell him I’m getting ready to leave. I squeeze his liver-spotted hand, assure him I have everything I need. I thank him for his decades of gifts: money for college, houses, cars. Then he motions to the tray beside him. “Take something with you—everything needs to be eaten,” he raises an eyebrow. I shake my head no, but no one, nothing listens.  The doctors tried to scrape it all out, they promised us, but the cancer marches on.

***

Less than two years later, my sister and I knock on Oma’s door. When she opens, she is all eyes, a skeleton hunched in sagging skin and distended stomach. We walk her back to the bed, where she slips out and onto the rug. Her bones are heavy; I need my sister to help heave. What is wrong with me? She asks. We tell her that half-cookies don’t count as meals. We tell her that, just like Opa and Mom, her body is losing the war. 

After she dies, we pour paper clips out of the pesto jar, collate hospice bills and bank statements. We toss out smalec, salmon creme, slimy turnips. We throw away canned liver, jarred capers, bottled linseed oil. We shred signatures, account numbers. We pack up four cubic meters of marble table, porcelain dishware, and family heirlooms that we slow-ship by sea. We leave behind the rest of the household, poorly stacked pots and half-used honey. We whisper through time and space and to unmarked graves that we rescued what we could, but please understand–sometimes, the leftovers go to waste.

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.
about the author:
A smiling woman with shoulder-length hair wearing a floral dress, standing outdoors with a blue structure and greenery in the background.

Michelle La Vone is a Nashville native currently living in the Pacific Northwest. She loves salsa and bachata dancing, snacking on summits, and designing whimsical animal stickers. Her work has appeared in In Short: A Journal of Flash Nonfiction and Five Minute Lit, where she placed as a finalist in the Fall 2024 Flirt contest. She can be found at: 
michellelavone.substack.com.

Categories
flash creative nonfiction

I Conjure My Great-Grandmother In a Dream; She Gives Me a Lesson on Revision by Alayna Powell

I Conjure My Great-Grandmother In a Dream; She Gives Me a Lesson on Revision | Alayna Powell

In this version, I get my period for the first time, black and puddled between my legs. She  appears in the bathroom. I am just twelve years old, so young I still yearn for womanhood. Is this  a dream or a memory? I ask her, unsure. I am suddenly unsure of everything. She giggles and  holds out her hands, palms cupped, as if she’s prepared to release a secret.  

In this version, I braid her hair every morning. I count each strand. Time passes quickly in this  version. One day, after many days, we wake to find her hair is no longer hair, but thin strips of  silver, razor sharp. I reach to braid it and my hands bleed. I reach to braid it and my hands bleed.  I reach to braid it and my hands bleed.  

In this version, she keeps sinking deeper into the pull-out couch. My sister and I run circles  around the living room, around the wood stove, the TV so loud we have to scream, so we  scream. It’s a game like duck-duck goose, but all we have are chickens. Each time we make a lap  Granny gets sucked deeper. We can’t actually tell if she’s sinking or shrinking. The TV is on a  loop: Rachel Ray, Joel Osteen, The Weather Man. We all want to be the loudest, so we scream.  Rachel Ray, Joel Osteen, The Weather Man. By the time we catch the chickens, all that’s left of  Granny is her hair, two silver braids stuffed between the cushions. We scream. Rachel Ray, Joel  Osteen, The Weather Man. Feathers dance around us.  

In this version, she never died. She can’t. She’s sick of it. She squats on the front porch, knees  raised to her chest, pale nail polish flicking perpetually just over her toenails. You try livin’ uh-hundred and twenty-seven years, she says, all spit, no teeth. She wants to look good in her  casket. Her laugh comes tired and thick.  

In this version, she is twenty-five with no kids and no plans for them. She watches me cut my  hair in my bathroom. Her face changes shapes but, ultimately, it is still her face. I’ve seen so  many versions, I just know. While I cut, I tell her about birth control and abortions like she’s  never heard of them and she tells me I still have a lot to learn. I ask her to hold the mirror while I  cut the hairs at the nape of my neck. She asks to hold the scissors.  

In the dream version, it seemed her hands grew larger around whatever she was holding. In the memory version, I sunk into the toilet, choked by my own blood. In both versions, a frog was  hidden in the cup of her hands.  

In this version, her throat is filled with several hundred balls of cotton. She won’t let me take the  polish off, or even touch her toes (she’s ticklish). She spends hours on her back, open-mouthed,  while I pick lint and tartar from her teeth.  

In this version, she’s a young mother of ten, then eight, then seven.  

In this version, she’s a young mother of seven, and her husband just died, and she’s losing the  farm and the house too. It’s a nightmare. In this version, I spend hours organizing a GoFundMe  campaign. We receive so many thoughts and prayers. We spend all of it, recklessly, on self-care  treatments. I pray for her first pedicure, where they scrape layers of grief and polish from each  nail. 

In this version, she is only eleven. She hasn’t yet met the man who will become her husband,  who is already a father to his first son. We don’t know about him yet, or about any sons. We are just girls. We haven’t begun to contemplate what that might mean. When we bleed, we press our tongue to it. Add warmth to the wound and wait for it to end.  

In this version, we are in my last childhood bedroom, where I stopped being a child and became  something else. In this version, I don’t know all the things that have happened to me. I am in  high school, holding secrets with a loose fist. In the real version, I come out to my mother here,  and despite my way with words, it sounds like a confession. In this version, which is not the real  version, it is my great-grandmother who sits on my bed. I open my mouth. A soft white foam  billows out.  

In the extended version, she responds, everyone thinks about kissing girls sometimes, no need to  make a big deal of it but as soon as the words leave her lips it is only foam, yellow and sticky.  

In this version, everything’s backwards. I am the mother on the bed and she is the daughter and  she is my great grandmother when the foam begins to rise we are expecting it. Something like relief settles around the room. We’ve been here before. When I fold my hands around hers, yes,  it looks like prayer. But in this version we don’t bow our heads. In this version, we don’t even  blink.  

In both versions, the bathroom fills with frogs in seconds. They skip the tadpole stage, appearing  fully formed and fertile. See how quickly? she says. See how quickly a frog will leap from the cup  of your hands? 

In a much later version, we go on double dates. We fall in love over and over, sometimes several  times in one night. It is a love that has nothing to do with bodies.  

In this version, she hasn’t been born yet. It’s a dark night, but the moon is full-bellied, yellow.  The woman walks slowly, steps light as leaves underfoot. She is waiting. She smells pine. In  this version, there are no mothers. In this version, there never will be. 

An illustration of a honeybee painted in warm orange and yellow tones against a black circular background.

A snippet of this essay, read by the author:

Alayna’s essay was selected as the 2025 Honeybee Flash Creative Nonfiction Prize winner by Kristine Langley Mahler. Kristine had this to say about the work…

“In “I Conjure My Great-Grandmother In a Dream; She Gives Me a Lesson on Revision,” the author’s speculative encounters with their great-grandmother move through versions of possible histories to assemble connections. Blending memory, speculation, and the potent truth that only arrives in dreams, this flash CNF brilliantly acknowledges the nuance of trying to tell another’s story while knowing we will always get it wrong. Hair is braided and cut, life is truncated and extended, love leaps across generations like a frog. A gorgeous reconstruction of what might, has, and can be.”” 

about the author:
A person with curly hair dyed red at the tips, smiling while seated in a car. They are wearing a black top with a floral design and have a nose piercing and large earrings.

Alayna Powell (she/they) is a biracial Black writer with roots along the Southern East Coast and Pittsburgh, Pennsylvania. She is a fourth-year MFA student at the University of Alabama, where she’s also pursuing a certificate in Archival Studies. In 2025, she served as the Poetry Editor for Black Warrior Reviewhttps://alaynapowell.wordpress.com/

Categories
flash creative nonfiction

I like when my ass hangs out of my shorts by Rose Marie Torres

I like when my ass hangs out of my shorts | Rose Marie Torres

I’ve been approached by three different men at the library in the last month. 

The first time, I was trying to find a free table near an outlet. He followed close behind me for a while, swerving in and around too many bookshelves for it to be a coincidence. He tired—after I’d circled the building multiple times and climbed two separate flights of stairs—and let me be.

The second time was after I found said table. I’d put my headphones on to watch a documentary on how the brain shapes our reality and we shouldn’t trust what we see. The man tapped my shoulder, and I reactively pointed at my earbuds, signaling I was busy. He bumbled his way through some line before realizing I wasn’t into it. He muttered some obscenity and walked away.

The third time I was reading Salman Rushie’s latest novel, Victory City. I had just reached the part where Pampa Kampana is forcefully blinded by a hot iron rod after being sexually assaulted when I saw him walking my way. I thought he was approaching because he could see there were tears in my eyes. Maybe to offer a tissue. 

You shouldnt sit like that, he said.

I
m sorry? I replied.

You. Shouldn
t sit. Like that, pointing underneath my legs that were perched atop another chair.

(For context, I was wearing a dress. I don’t think you need context.)

If you want to sit like that, you should really cover yourself. 

Then he turned and walked behind the front desk, going into a room just out of view. He worked there, I realized.

Thanks, I mumbled, because what else was I supposed to say?

It’s not even a big one—my ass. I’ve always thought it more like two squishy plums than a single ripe peach. Sure, my hips make up for that, wide like my mother’s and her mother’s and our Mexican mothers. 

But it’s not a dump truck if you get the picture. Maybe an SUV with a solid amount of trunk space.

My thighs, I will admit, are larger than most. They dimple when I sit on the floor and create holes in my jeans from where they rub. 

I can’t imagine wanting to hide them. 

When my brother and I go home, it’s an unspoken tradition that we visit our local Taqueria for dinner on Friday night with our parents. We drink margaritas, make rancheros, and take multiple rounds of shots. Except for my mom. We’ve decided that Betty shouldn’t do shots. She gets loud, and then my stepdad Hector has to take her to bed. 

Hector doesn’t like when I wear short shorts. I think he thinks he’s being protective. 

My brother wears short shorts too, white ones that are tight around his thighs and make his dick bulge, but only I am told something.

Hey! Wheres the other half of those shorts, missy? 

Up this fat ass, I say, biting into my beef fajita taco. 

My best friend, Mirely, and I aren’t into the same kinds of clothes. We’ll shop together and watch the other one try on outfits, but we never share clothes. She’s much smaller anyway, so I don’t think anything of hers would fit me comfortably. 

I visited her a couple weeks ago, and when she opened the door, we were wearing the same black athletic shorts from Target. 

She laughed. 

Dont you just love them? I want every color. I just hate that I have to keep pulling them down all day. My ass hangs out so bad.

I say, And?

Listen as Rose Marie Torres reads her essay…

about the author:

When I hear “the good life,” I think about a world where people have the ability to be and express themselves. I imagine a society that provides basic rights and basic human needs. I see a time where people are not persecuted for traversing land their ancestors sowed. And I hold hope.

A native of South Texas, Rose Marie Torres is an MFA candidate at LSU with a focus on screenwriting and creative nonfiction. Since 2023, Rose has been the Creative Writing Program Assistant for the LSU English Department. She has been supported by the 2025 Tin House Winter Workshop and can be found in Latinitas Magazine, Hothouse, and more.

Categories
flash creative nonfiction

I Am a Body Lying in the Grass by Allison Hughes

I Am a Body Lying in the Grass | Allison Hughes

On my walk to work in Jamaica Plain, I think of something I want to tell you. Something I see or feel or remember, typically, as I pass the first pond on my route, the one with a walking path that was fenced off for months due to renovations. Today, the fence is gone and the pond is a swamp, more brown than green, like the time you visited me in November. I told you we weren’t stopping here to eat our takeout Thai food because the water was kind of icky—lots of geese traffic. I don’t know when the renovations to the path occurred, if ever, but I want to tell you that they did. 

On my way to work a couple of weeks ago, as I walked by that first pond, I saw a woman sitting in the grass on the opposite side of the road. She held her cell phone up to her ear with one hand, and with the other she held onto a dog who lay limp on its side. I paused, waiting, hoping to see the rise and collapse of its chest. Its pale yellow fur, uninhabited by wounds, blended with the dry, spring grass. A heart issue? I wondered. I kept walking. I did not want to know the outcome. I did not want to know I saw a dead dog. 

Do you remember? In November, we walked to the second pond on my route to work, Jamaica Pond, to eat our takeout Thai food. This walking path was free from construction, only obstructed by runners, strollers, and couples carrying cups of coffee, all lapping each other around the pond. I ate chicken pad thai and you ate basil fried rice. We sat on rocks cushioned by fallen leaves and watched a dog chase a tennis ball through the water. 

The sun dipped, the color of burnt butter setting in your eyes. I asked to take your photo on my disposable camera. My pointer finger hovered over the shutter button, anticipating a pause in your monologue about posing. I complied and took the picture while you were mid-sentence, and then another while you laughed.

You returned the favor. I sat with my arms around my knees. You strived for the perfect angles and direction and lighting but returned to your original position. That was the third time I felt a strong urge to kiss you but didn’t. 

On my way to work a week later, I walked by that first pond, and a bicyclist almost hit me. Am I invisible here? Am I a walking ghost? 

At least run over my pinky toe. Rip off the nail and give it room to grow. Leave me evidence of my near-death experience. I’ve been hit by a car before, was left with no mark, not even a bruise on my elbow. I told you this on our way to my apartment, right before you sprinted across the road to avoid an accelerating car. I watched your backpack, heavy with a handful of books, thud against your shoulders with every stride. 

I waited for the walk sign and then we skipped on the sidewalk. The irony of almost being hit by the kind of car you once owned, you joked, once we were reunited on the same side of the street. A Toyota Corolla. 

During our last morning together in your bed, I asked if you ever had braces. We were naked and I wanted to touch your teeth. You didn’t have braces, but I did. In middle school. Braces, glasses. acne. 

You dweeb. I would’ve pushed you into the lockers, you told me. 

And sometimes there are things I don’t want to tell you like I never would’ve interpreted that as flirting and you are beginning to leave a bruise. 

During our first morning together, in your bedroom that I flew across the country to see, you asked to kiss me. Yes please, I said. We dressed and undressed and dressed again. You called your mom back during our walk to drink tea and told her your plans for the rest of the year. I pointed to the mountains that enclosed the city, our surroundings shrinking with every step. You planned to move and move and move every few months. You looked to the mountains and back to me. The cafe was packed and the plastic chairs outside hadn’t been shielded from the snowstorm that fell the night before. We barely spoke and I chose the wrong tea. 

I like you but I don’t want to be with you, you said, navigating our way through a construction zone to get to the liquor store. We live so far apart and I don’t know if we’ll ever see each other again. 

We took the tram back to your house to drink cocktails with the apple syrup you made and the bourbon we bought. We undressed and dressed and undressed again. I finished and did not tell you. I took a deep breath, your cheek on my bare chest. Rise and collapse. I traced the jagged lifelines on your palm, rubbing two marks that hadn’t yet scarred. Burns? Bites? I wondered. But you had tripped and caught yourself on sharp rocks. There is so much of your life I’ll miss, I thought. 

When I walk by that first body of water, I feel nauseous from missing you. I want to tell you that I saw a dog lying peacefully in the grass, and not that it was dead.

Listen as Allison reads from her essay…

About the author:

When I hear “the good life” I think of Maine. I think of my first cup of coffee of the day, reading on the beach, winter walks, falling asleep to the sound of waves crashing on shore. I think of falling in love and healing from heartbreak.


Allison Hughes is a queer writer from Maine. She holds a BFA in Creative Writing from Emerson College, and her work has been featured in Wack Mag. She lives with her partner and their dog, French Toast, on North Haven Island.

Categories
flash creative nonfiction short creative nonfiction

The Crush of Dusk by Michaela Evanow

The Crush of Dusk |  Michaela Evanow

It’s nearly dinnertime. The dusk begins its quiet descent. I’m not ready for my crying household so I walk further into the seaside graveyard, hoping to spot the new nests of buttery daffodils, hoping to sit with you. 

We both emerged from the orb of pregnancy; you, sucking earth for the first time; me, undone. Two and a half months of unhampered pleasure. Then, the crude arrival of pain. Your fat newborn legs paused their kicks. I drew my pinkie nail across your soles, hoping for the reflex, the spring upward. Your body stilled, dangled, drooped. The ripple effect of time and disease progression even took your cries. It took too much energy to cry. Just small mewls that my husband and I recorded on our phones while we squeezed each other’s thighs, hands, wrists. Whatever was within reach. What a good girl. She’s so well behaved, the grocery store clerks would say. Then, even the cat cries left, until it was just frothy bubbles at the corners of your lips and those strawberry splotches appearing on your damp body. Then, the rumble of a machine sucking you back to life. 

I picture your soft, scared face as I look down at my ungloved hands mottled with white and purple from the cold. They worked so hard to save you, again and again. I wanted you to age. I wanted the patina of five years, twelve years, thirty-three years. 

But you’ll always be her mother, they say. 

I don’t want to be that kind of mother, I reply. 

I’m startled back by the crunching of leaves. The deer notice me noticing them. Their rumps twitch as I walk toward them. They are banal in these parts, swallowing every tender bloom except the daffodils scattered generously through the graveyard. 

Stop being so alive in this dead place, I want to yell. My lips purse with the words. Stop eating all the flowers, stop breeding so carelessly. They spread to the edges, ravishing seedlings and lopping heads off memorial carnations until all that’s left are the faded, nylon flowers in gaudy carnival pinks and greens, until all that’s left is ugliness. They watch me, ears fluttering. I am the threat, and though I want to be gentle with all living things, I pick up a stick as they resume eating. They are not afraid. I’m enraged at their invasiveness. Their wet noses tilt back to the earth. I throw it, just to see them scatter. 

Stop being here, I whisper angrily. It’s quiet again and I hear the whooshing of blood in my ears, a constant companion since I birthed my last baby. Past threats that have not yet been quelled linger in the canals of my body. This pulsing never leaves; a diagnosable, benign reminder of my aliveness and alertness.  

Nature has yet again unearthed the roots of me. She is keen to repot. I find a damp, green bench and sit heavily on a piece of cardboard someone left behind. It’s never about the deer. I cannot control their razing. My shoulders drop into the sweet pit of grief. I came here to cry, after all. 

It is good that you are here. You are allowed to be alive in this dead place. I tap on my chest bones, slowly and steadily, until I’m able to walk again. 

An arc of purple dusk thickens above the house. A window is cracked open, and the house reveals what’s inside: the cries and laughter of small children, the hoots of my husband as he chases them. I hang up my coat in the mudroom, leave the memory of you curled in the pocket. I ease my stiff hands under hot water, warming to the noise in the house. My smallest daughter comes to me crying. I cup her cheeks with blanched hands, press my lips to taste the miraculous brine. She slips between the gap of my knees as I salt and boil water. I have three small mouths to feed, after all. 

More about the author:

Michaela Evanow lives, writes, and gardens by the sea in British Columbia with her husband and three small kids. Life makes sense in the garden, so on a spacious day, her fingers are covered in dirt, and she’s collecting things to dry and hang in a dark corner. Her work has appeared in Hippocampus Magazine, Five Minutes, and elsewhere. You can find her on Instagram at: @michaela.evanow and on her Substack, Tender Realm