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short creative nonfiction

Space / Time by Siobhan Ring

Space / Time | Siobhan Ring

In the heat of the first pandemic summer, I set off alone on an ill-advised, improvised, road trip toward my mother.

More than a year before COVID plowed into our collective lives, my brother and I had moved her from her home of 35 years to memory care. On moving day, she walked out of her house with her head up, although she had only reluctantly conceded to this plan. “I can adapt to anything.” she had told me, years earlier, as she resisted any serious discussion of this eventuality.  She proved herself correct.

Every few months I flew 2,841 miles from Seattle to upstate New York for a long weekend visit.  Although I told her I was coming, my arrival was always a delightful surprise. When I was there I felt loved and mothered, even as I zipped up her coat and reminded her who I was. 

In the selfies I captured on my phone from my visit in late January 2020, our heads tilt toward one another, we are smiling, and my arms are wrapped around her shoulders. She is bundled in the ankle-length puffy blue coat I bought her to guard against the cold winters. On the day I flew back to Seattle from that trip, the first person in the United States was diagnosed with Coronavirus. Soon the promise of safety we had bargained for her freedom evaporated into the contagion-filled air. 

As the COVID-19 lockdown stretched on, the staff at the memory care began orchestrating video calls. One day, in a sweet moment on FaceTime my mother smiled at my image on the tablet and said, “It’s so good to be together.”

And then her face clouded. “Is that what we are?” she asked.

“Yes,” I tried to assure her, “we are together.” 

“But how is that?” She asked, looking up from the screen and scanning the room she was actually sitting in with a skeptical face. “I don’t think it’s like that.”

She had a point. It really wasn’t. Even her muddled mind could see something was amiss in the space between us.

In July 2020, with cases dipping, New York State lifted some of the visitor restrictions on congregate care facilities. I ruminated obsessively on the question of how to get to my mother. It was the bewildering pre-vaccine days of the pandemic. Waves of illness overwhelmed hospitals and ravaged assisted living facilities like a capricious deity. I did not want to be the vector that killed my mother. Flying was too risky. A friend had a camper van she would lend me immediately, available for just enough days to drive from Seattle to NY, spend five days there, and drive back. I would travel in my own sanitized spaceship and arrive untainted.

My mother was, as a rule, up for adventure, but even she would have questioned the wisdom of this proposal. Then again, she might have done it in my situation, if she could have grasped my situation. 

I’d driven six hours eastward over the Cascade Mountains, across the Columbia River, past acres of potato fields, and was just hitting the Washington/Idaho border when New York State’s Governor announced that Washington State had just been added to a travel advisory. Residents from WA entering NY would now have to quarantine for 14 days. I got a text notification that my campground reservations at NYS Parks had been canceled based on my home address and a voice mail from the director at my mom’s facility. I pulled over and texted a friend who worked in the WA Governor’s office. “We’re trying to get off the list,” she texted back. I kept driving. 

Somewhere in Montana, my second-rate cell phone service got spotty and the GPS gave out. Never one with a good grasp of geography, and having left without a map, I texted my wife from a truck stop “What are these mountains called and when do they end?” She was not amused. 

I bought a paper map at a truck stop, asked the man at the counter where I was, and texted my wife again. I asked her to look up the meaning of the dashboard indicator light that had just turned red. This is the sort of problem my anxious mother would have envisioned. She always told me to leave time for an emergency on my way to the airport, which I never, ever, do. 

The hours delay for impromptu camper maintenance derailed my hastily planned itinerary. As darkness fell that night, I pulled off at the first highway sign tent symbol. I slept parked in a campground that was just a wide field somewhere in Montana. A ridiculous grouse waddled past my window in the morning. I got up and drove East.

As I crossed into South Dakota, I got another message from the friend in the Governor’s office. “It doesn’t look like we are getting off the list,” she said. “I’m sorry.”

 That night I stayed in a vast campground in Hermosa, SD, on the outskirts of Rapid City, surrounded by RVs festooned with Trump for America flags. Alone in my queerness in the van, I briefly considered trying to cover up the gay bumper stickers. Instead I called the memory care and asked to speak to my mom. I told her a funny story about my son that I had told her before and read her a poem she always asked to hear twice. I hung up, closed the curtains on the van, lay down and marveled at the absurdity of both my effort and its failure.

I was working as a consultant at the time of this endeavor. I kept most of my work meetings on Zoom, pulling off the highway to find a place my hotspot would connect. I met with a client to discuss political coalition dynamics in the parking lot of a gold mine in Idaho, surrounded by real-life oversized Tonka trucks. I interviewed graphic designers for a policy report while parked on the edge of a state highway near the Badlands, a ragged, bewildering landscape. It was 101 degrees and I couldn’t figure out how to run the air conditioning in the camper without draining the battery. I smoothed my unwashed hair into a ponytail and tried to project some not-very-credible professionalism as sweat drained down my chest in rivulets and pooled in the waistband of my sweatpants. 

I didn’t turn around in South Dakota. Having driven 1,140 miles, I decided to go another 617 in the direction that wasn’t home or my mother. A dear friend in southern Minnesota was living with cancer. She’d been living with it for decades, with a quiet sense of refusal. When I pulled into her driveway, she came out and gathered me in a hug. I tried not to let my face show my shock at how worn and delicate her body looked. We had a glorious visit. She died seven months later.

The visit with my friend, my fiercely alive friend, wasn’t about death at all. But, then again, it wasn’t not about death. Would I have continued on if she weren’t sick? Maybe not. The whole venture was provoked by my ardent hope to outpace death’s path to my mother.  On my return trip a woman at an RV park in Wyoming asked where I was headed. “Home,” I said. “I was trying to go see my mother.” I told her of my thwarted effort. “I’d be afraid to do that long trip all alone,” she mused. I was more afraid not to.  

I returned home eight days after I left, to exactly where I’d begun.

Two months after my failed voyage to see her, my mother was hospitalized with a non-COVID infection. Desperate and scared, I flew East wearing two masks in a nearly empty plane.

My mother recovered. I spent a day with her at the hospital, gallivanting alongside her through a generally pleasant delusion. She seemed to be sending me off to college, with great excitement for me about what was to come. A sweet fantasy, since when I actually left for college at 17 we couldn’t afford a second plane ticket, so I traveled alone. When a gaggle of medical students passed by the door to her room in a walking lecture she asked “Shouldn’t you join them?” But I said I’d catch up later. The social worker arrived and announced she would be discharged. But memory care wouldn’t take her back. She had to move to the nursing home next door. 

The pandemic rules required that anyone discharged from a hospital to a nursing home had to be isolated for two weeks. My mother had no way to understand the foundations of this policy; not contagion or a calendar. The first option was to stay in one’s own room, a little gate across the door, like one used to deter toddlers. This attempt at containment made her wary and suspicious, and then afraid, angry, and unruly. She walked through the gate and out of her room and raised her voice. The head nurse made a determined face and announced the second option; she’d have to stay in the empty COVID isolation ward.

We wheeled her there across the open grounds. Fall leaves crunched under the chair wheels and she smiled as a cool breeze brushed her face. In the isolation room, a jumble of tables and chairs were shoved to the side to make space for a semicircle of hospital beds. A giant TV loomed on the wall. Piles of dusty puzzles and games spilled out of a corner, detritus of the pre-pandemic times when this space was a day center for people living with dementia. A sole staff member sat in a chair at the edge of the circle of beds. It was not the place I wanted to leave my mother. I hugged her. She hugged me back with strong arms and held my face in her hands. I left her there and flew home to my wife and child. 

Just eight weeks later, I was ringing a doorbell and shivering in the winter darkness at the back entrance of the nursing home. My mother had had a stroke. The head nurse called and told my brother that she was dying. Not today, but soon. We were allowed to come see her, one at a time, although the doors were locked, and no visitors were allowed. There were exceptions for death.

Entering the nursing home every day was traveling through a portal, outside to inside. Through the back door, I entered a narrow hallway.  A pile of plastic wrapped gowns, face shields, and masks cascaded across a gray table that also held a blue binder and a thermometer.  I logged my name, the time, and my temperature in the binder. I took a gown from the pile and put a plastic face shield over my N95 mask. Gowned up, I was allowed to walk across the common space, a big open kitchen with empty tables and a living room with empty couches, into her room. I could stay as long as I wanted, but I could not leave her room until I was leaving the building.

Alone with my mother in her room, my body pulsed with problem-solving adrenaline with no outlet, and ached with anticipated loss. I gently brushed her hair back from her forehead. She couldn’t speak. She couldn’t move most of her body. To transfer her from bed to wheelchair involved two caregivers and a mechanical lift. She was reportedly dying, but she didn’t seem to be. She seemed more suspended in some unknown realm, floating, just like she was when the sling gently lifted her from bed to chair. 

I was asked to keep my PPE from day to day, to save resources. I learned that, even if it was 12 degrees Fahrenheit outside, I should wear a tank top under my clothes and strip down before putting on the gown. The paper-plastic material didn’t breathe and sweat immediately soured whatever clothes I wore underneath. The nurses and nursing assistants were all wearing tank tops under their gowns too. They worked 12 hour, 16 hour shifts. The whole team was trying to avoid hiring agency staff, who work across multiple facilities, and could introduce COVID. I bought them cans of lattes when I made my curbside pickup order from Target. I ordered bottles of wine from the liquor store next door to Target and opened them alone in my hotel room.

When I arrived at the nursing home, they had successfully kept COVID out for the first nine months of the pandemic. But soon the first case settled into a resident’s lungs. Day by day the number grew. The staff wouldn’t talk about it; when I asked questions, they just shook their heads. But it showed on their strained faces, in the whispers between them, and in the flashing red lights that shimmered on the frosted window of my mother’s room as ambulances came and went. It was, we know now, looking backward through time, the first deadly winter surge. 

My mother’s mind was a veil. I played music and didn’t know if it was annoying or pleasant. I talked. She squeezed my hand. She held my gaze. She communicated with her eyes, but the meaning was open to interpretation. In the background there was an endless, mechanical sighing and clicking of the inflating and deflating mattress, specially designed to prevent bedsores on the papery skin of the old when they are bed bound. I took an audio recording, because it was the soundtrack of the last days of my mother’s life next to me.

Before we moved my mom out of her home, we attempted to sort through the accumulations of 35 years. In the crammed drawers of an old wooden desk, I found the yellowed, typewritten pages of a small memoir my grandmother wrote. I sat down amid the piles and read it through, absorbed in a sudden intimacy across generations. She was a good storyteller, the language vibrant with scenes from her life as the youngest of 13 Irish kids in a small town in Connecticut. 

And then another pandemic appeared in the pages–the Spanish Flu. She wrote of an older brother sick in bed. Every day the priest came and prayed. The doctor came and whispered. After the doctor left,  her mother would cry. Her oldest brothers were sent home from military training to sit at his bedside and hold their mother’s hand. My grandmother’s brother, fevered and suffering, called out for his mother, although she was right there beside him. 

After her brother died, as my grandmother told it, her mother gathered her remaining children around her and promised they would never take another family photo, because their family was irrevocably changed. Nothing was the same. Nothing would ever be the same. 

In the midst of my own pandemic, listening to the click and sigh of the mechanical bed holding my mother, I could see, in my mind’s eye, my grandmother a hundred years ago, her little child self, watching, waiting, quietly keeping a record. I sat next to her, with my mother, in that strange room, the thin December light filtering through the window. Watching. Waiting.

I can’t remember the name of the nurse who, on my mother’s last night, came to check on us every hour, squidging little vials of morphine into my mother’s open mouth until the rigid clenching of her hands and shoulders eased and she breathed more quietly, without the ragged edge of pain. She was balancing her care for my mother with the rise of the deadly outbreak around us, but I felt nothing but her gentle focus. 

In the early morning hours of our night vigil my brother and I broke the rules. I crept to the back door and let him in. We stood together, holding hands over my mother, as her breath slowed, telling her how much we loved her, how grateful we were for her.  The night nurse saw that we were both there and said nothing. 

My mother died and we buried her on a cold day. A small portion of the people who loved her scattered six feet apart as light snow fell in impossible beauty over the rolling hills of the cemetery.

A death of COVID and a death during COVID are not the same thing. But neither is the same as a death without COVID. 

My home in Seattle was across the street from a big hospital. I could look out my living room window and see people huddled, families gathered around cars parked on the street or in the parking lot. They lingered there, outside. One day, a man got down on his knees on the sidewalk, face turned upward toward the brick building.

For the first two years after my mom died, I only allowed myself to feel grateful. Grateful I had been able to touch her, talk to her, hold her hand, wait for her last breath. I was grateful. I am grateful. Because I was with her, and because in those strange and frightening months in the first year of the pandemic so many people had to say goodbye on a screen, through a window, or not at all. 

Late at night in the months after she died, I replayed the hours alone in the room with her, trying to remember what I’d said or not said, done or not done, worrying myself into a terror that I’d failed at something essential in those stretching, awkward, lonely days. Then I’d shudder and shake my head, reminding myself I was lucky not to have been on my knees on the concrete. My grief stunted and clenched in my chest.

On the second anniversary of her death, I took myself to the wild, empty Washington coast in winter. I plunged myself into the frigid ocean. I spoke to my mother, sitting on the damp dunes in the cold gray mist. I apologized for all that I couldn’t explain, that I couldn’t fix, that I couldn’t resolve for her or for me. For the way my mind wandered when I sat alone in that room for hours, and how I played solitaire on my phone sometimes. For the way I never was sure what to say and worried about it instead of just lying down next to her, afraid of bruising or bumping her frail body, invading what remained of her personal space. I remembered the way she, in her advancing years, grew into a stunning clarity of knowing what mattered and what didn’t, and that she laughed often and freely. I remembered the way she loved me, the cool smoothness of her hand as she brushed my hair back from my face, how she would leave the room shaking her head slightly, lovingly, when I said or did something she couldn’t make sense of, or disapproved of. 

The clotted river of grief under my rib cage softened and broke open. 

My great-grandmother speaks across 100 years from one pandemic to another. Nothing is the same. Nothing will ever be the same.

Listen as Siobhan reads from her essay…

about the author:

The good life is freedom, safety, love, and community. All of us deserve it, and not enough of us have it. 

Siobhan Ring is a writer, organizer, and progressive movement-builder in the Pacific NW. She writes about parenting, caregiving, health, illness, and survival in a world that seems bound on destruction but overflows with beauty anyway. Her work has been previously published in The Write Launch, Lunch Ticket, and The Forge: Journal of Organizing Strategy and Practice. She lives with her sweet queer family in Seattle.

Categories
micro monday micro nonfiction short creative nonfiction

Inland Ocean by Heidi Bell

Inland Ocean | Heidi Bell

Our parents park the ancient pop-up camper in the sandy driveway. We kids and our friends sleep out here in the summer sometimes, at the bottom of what used to be an inland ocean. We fall asleep to the suck and billow of the heavy canvas sides, as though we’re on a sailing ship or inside the body of the breathing night, the belly of the whale.

I wake to my father’s shadowed face, his incandescent eyes. He and my mother are shaking us all awake. His hands gather me up. “It’s going to rain. Let’s go in.”

Instead, he holds me in his arms in the yard under the boiling purple sky as wind turns the oak leaves inside-out and bends the young poplars almost to the ground.

Nights when my father doesn’t come home, I imagine his permanent disappearance—car-crashed, drowned. He makes promises he doesn’t keep. He makes our mother cry.

“Look,” he says now.

A slender starfish stretches its legs across the sky, and its voice is everywhere, thunder woven through the air. It reaches across the humped backs of the bluffs, and an electric charge rises up from the ground to meet it, up through my father’s body and through mine, and we laugh with delight.

There will be years of strife between us before I accept what he is—elemental, a creature of instinct and chaos—before I understand how I am like him. How none of us asked for this. We all just ended up here somehow, together. Unjustified.

About the Author:

Heidi Bell’s fiction collection Signs of the Imminent Apocalypse and Other Stories was released by Cornerstone Press in October 2024. She works as a writer and editor of books and educational products. 

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micro monday micro nonfiction short creative nonfiction

Boyfriend Jeans by Heidi Bell

Boyfriend Jeans | Heidi Bell

Rose Marie’s younger son chauffeurs her to the cookout; she is too weak now to drive. She comes across the yard, her sagging cheeks bright with blusher, drooping lips painted pink. She is wearing faded straight-legged jeans and a shirt unbuttoned at the bottom and tied up under her bust, revealing several inches of midriff scarred from surgery. She sits down across from me at the peeling picnic table, and, behind her, the sun comes—a girl stepping down the sky—to dip her toes in the shimmering river that flows by at the edge of the lush midsummer yard. Rose’s auburn wig begins to glow.

Rose and I have forged a connection through the years over various mental health crises and then female cancers—like a Ping-Pong game. But we won’t see each other again. What is there to say? I win.

The grilled meat like river sand, ashes in my mouth.

Later, my sister, Rose’s daughter-in-law, says in a bewildered voice, “I don’t know why she was wearing that outfit.”

There are clothes that live at the margin of my closet—sleeveless blouses and miniskirts and fitted T-shirts and turtlenecks that I long, against all reason, to wear again someday. The flowered fabric and cashmere seemed to have slipped through my fingers before I had a chance to appreciate how they felt against my skin, how it felt to be who I was then.

Maybe Rose, ravaged by uterine cancer, has finally reached her target weight. Which of us women past a certain age wouldn’t be tempted to accept that mean little gift—the sharp edges of hip bones, the shadows between the ribs.

About the Author:

Heidi Bell’s short story collection Signs of the Imminent Apocalypse (Cornerstone Press, 2024) was named a 2025 Book of the Year by the Chicago Writers Association. She is at work on a novel and a collection of micro memoirs.

Categories
micro monday micro nonfiction short creative nonfiction

Detroit Salt by Linda Drach

Detroit Salt | Linda Drach

When my father says, Dress warm. No tube tops or flip flops, I’m flummoxed. He’s one of the good ones – he mows the lawn and pays for my flute lessons and comes home from work at 4:15 every day – but in our world, the care of daughters is the province of mothers. Even a ride-along to K-mart or Jiffy Lube would be surprising. Could he be taking me ice skating? It’s summer, but the Zambonis run all night, keeping indoor rinks pristine for men’s hockey leagues. 

He doesn’t say a word as we drive past the giant Uniroyal Tire and miles of manufacturing plants wrapped in concertina wire, but we’re listening to WJZZ, and when Artie Shaw comes on, he turns it up and drums the wheel with his fingers. His good mood continues as we join a group of middle-aged men – all of us outfitted in hard hats with headlamps – in a cramped elevator that will take us to our final destination 1,000 feet below the city. On the long descent, our guide explains that the salt mine will be closing permanently, and we are among the lucky few who get to see it. Now, I understand why I am here. My father, proud American son of immigrant parents, will never call me a pet name or ask me what I’m reading, but he’ll help me walk into worlds that are bigger than his, even if he’s not sure what they will look like. 

When we reach the bottom, I think about my mother, vacuuming or flipping through a Better Homes and Gardens, unaware of the vast cavern beneath her feet. The mine is cold and clean, and the salt is older than the dinosaurs, formed when fish were just beginning to grow legs. It’s as if I’ve been invited to tour my father’s inner world. The men ask our guide questions about production quotas and drill rig maintenance, the height of the tunnels and the length of the roads snaking into oblivion. My question is different: how dark does it get? The men agree to show me. 

On the count of three, we snap off our lamps, and for a moment, I’m part of a shared emptiness. I grab my father’s arm, and when the light returns, I keep holding on, and he lets me. Together, we watch conveyer belts carry the ancient ocean to the surface, where it will be crushed and sorted and screened and bagged, and some of it will make its way to our garage next winter, where my father – alone, in the frigid pre-dawn – will toss it on our icy driveway and sidewalks to clear a path for us. To keep us from falling.

About the Author:

Linda Drach is a writer, public health policy manager, and creative writing teacher at The Writers Studio. Her poetry and prose have been published in Bellingham ReviewCALYXCrab Creek ReviewLunch Ticket, Okay Donkey, and elsewhere. Her poetry chapbook, Pop-Up Shrines, was published by Finishing Line Press in 2025. Find her online at lindadrach.com and on Instagram: @inky_lyrics.

Categories
micro monday micro nonfiction short creative nonfiction

i use google more than i care to admit by Jessica Hudson

i use google more than i care to admit | Jessica Hudson

as bluelight stereo / pixelated dictionary / define coruscate / as tree of knowledge / branches laden with every contortion of fruit / i am so curious / unlike my youngest brother / who never read himself into more than basketball &  finances / we don’t talk often / my favorite movies are the ones with women in the title / films split into chapters / i feel the equivalent of marking the fifth box across & yelling bingo / when i can recall the name of that one actor in that one movie / without begging the internet to sherlock it out for me / feels like memory more & more these day is an unlearned skill / yet we pity the elderly for losing theirs / perhaps lost isn’t the right word if what is lost / amazing grace lyrics / can be found by listening to a song / i tell my mother not to call herself old / languid lazy retired yes / word for beauty that doesn’t sound pretty / but not old please not yet / the phrase there’s a spirit in man comes to mind suddenly / some apostle’s quote the teen elders read to me / the last time i walked too slowly past the latter-day saints church / i wonder what words those boys google / how to keep a wife / their faces smooth & soft / not yet whispered or wrinkled or wiry / they look like my brother did in high school / wrists pale, chests narrow  / scriptured breaths hardly filling their pressed shirts / Book of Mormon the musical / two thousand year old words impressed in the same place behind their foreheads that lights up in mine when I recall a poem I memorized in grade school / map of every residence within walking distance / they pressed those words on me when i paused / hesitation mistaken for agreement / the mulberry tree outside our kitchen already in sight / berries dotting the ground like pixels squashed blue / my mother once sang me songs of love & sheep / for now i’ll let that be my definition of heaven / something to look forward to when i can’t / thank google / remember anyone’s name

About the Author:

Jessica Hudson (she/her) received her MFA in Creative Writing from Northern Michigan University. Her work has been published in DIAGRAM, New Delta Review, Quarterly West, and elsewhere. She lives in Albuquerque.

Categories
micro monday micro nonfiction short creative nonfiction

On Writing an Obituary While Listening to My Christian Sister and My Jewish Husband Argue about the Speed at Which My Dead Mother Is Being Laid to Rest by Shannon Frost Greenstein

On Writing an Obituary While Listening to My Christian Sister and My Jewish Husband Argue about the Speed at Which My Dead Mother Is Being Laid to Rest  |  Shannon Frost Greenstein

They coded my mother for fifteen minutes while her three children debated the definition of “no extraordinary measures.”

Later that night, I fed her geriatric cat in the bowels of her empty condo and felt the blunt blade of grief take up permanent residence behind my xiphoid process.

Then there were meetings and phone calls and a staggering selection of urns, estate lawyers and death certificates and trips to the airport, a convening of my family tree in my hometown of old, a pilgrimage to the past with no hope of reaching Mecca, because Mecca is just another way to say “mother” and my mother is dead. 

Two days later, my apartment is stuffed to bursting with flowers and nephews and the growing pile of laundry with which I cannot bring myself to grapple; and we are checking action items off a list, like a morbid scavenger hunt to erase a human life one credit card statement at a time.

I am the writer. I am elected to pen the obituary. I am daunted by this existential responsibility.

I try to capture in words the woman who bore me, the woman who both fucked me up and loved me at the very same time; backspacing, cutting and pasting, deleting clauses, typing the same sentence over and over again.

This is all just happening disrespectfully fast, opines my sister, a byproduct of the same Lutheran upbringing that has led me to an atheistic Humanism. Why can’t we take any time to breathe? 

It’s been 48 hours, responds my husband, the former Mrs. Greenstein’s good Jewish boy, sorting through my dead mother’s effects. Why isn’t she buried? Why aren’t we eating yet? 

This is all because of end-of-life expenses, I remind my sister; that’s what you get for marrying a shicksa, I inform my soulmate. 

And as I blunder through a description of my mom’s naval service, her gift for nursing that was really more like a calling, I manage to smile through the tears already soaking my cheeks at the juxtaposition of Judeo and Christian, and the quirky customs we’ve somehow all embraced regarding the best ways to honor our dead.  

But I also really just want my mom back.

About the Author:

Shannon Frost Greenstein (She/They) is the author of “The Wendigo of Wall Street,” a novella forthcoming with Emerge Literary Journal. A former Ph.D. candidate in Continental Philosophy, her work has appeared in McSweeney’s Internet Tendency, Pithead Chapel, Bending Genres, and elsewhere. Follow her at shannonfrostgreenstein.com or on Twitter at @ShannonFrostGre. Insta: @zarathustra_speaks

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micro monday micro nonfiction short creative nonfiction

Healing Tobacco by Amanda Callais

Healing Tobacco  |  Amanda Callais

The swing set shines in the South Louisiana sun. Silver. Blue. Mine. It beckons me out of the air-conditioned house into the backyard’s sticky heat. Hand over small hand, I grip the ladder’s warm rails. Not too loose. Not too tight. Just right. I am almost at the top when I feel the sting.  

Pain sears through my hand. Burning. Throbbing. Swelling. My shrill 5-year-old scream pierces the silent summer day, sending Papaw and Mom running. 

The sweet smell of tobacco that is Papaw fills my nostrils as he lifts me screaming from the ladder, setting me down on the bottom of the slide. He kneels beside me.  Eye-level, he lifts my swelling pink hand in his dark calloused one. 

“Wasps,” he mutters. 

I shrink.

“Tobacco,” he tells Mom. 

Reaching into the front pocket of his blue work shirt, he pulls out a clump of loose leaves usually reserved for his pipe. Hand tucked into my lap, I wail louder, gulping hot air. If it bothers him, he doesn’t let on. He just puts the tobacco in his mouth, wetting it with his spit until the leaves transform into a thick paste he spreads over the sting. Tobacco. Spit. Spread. Repeat, until my hand is a brown lump of spit-soaked tobacco. 

My sobs slow as numbness sets in. Clear-eyed, I stare into his work-hardened face. Small beads of sweat dot his olive brow. A large drop slides down his temple. Thinning black and gray hair curls in front, a perfect Q right at the center. His eyes light up his dark skin. 

I breathe in. 

Though he lives next door, I have known him only from afar. Tall. Strong. Stern. Today, I see him for the first time. Up close. I am no longer scared. I am in awe.

About the Author:

Amanda Callais is a writer and attorney. When not working, she lives and writes between worlds, navigating a transatlantic relationship with her Spanish partner while writing about it, her Louisiana roots, purple Jeep, and everything in between. Her work has been published in The Sun Magazine, HerStry, and Five Minutes.

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micro monday micro nonfiction short creative nonfiction

Murmuration by Lisa Cooper Ellison

Murmuration | Lisa Cooper Ellison

The starlings explode from a nearby tree then dance overhead in a synchronized tangle of chatter and wings. Later that day, I tell my mentor and share a new word: murmuration. It’s his second week of chemo treatment for a second cancer. He’s paying attention to nature and its signs, which makes me pay attention too. We find hope in snapped twigs, grazing deer, and a sunrise refracting off a crystal vase. Past losses have taught us that life is like those birds pirouetting across the sky—art in motion that flies off too soon. 

About the Author:

Lisa Cooper Ellison is an author, speaker, and trauma-informed writing coach, as well as the host of the Writing Your Resilience podcast. She works and writes at the intersection of storytelling and healing. Her essays and stories have appeared on Risk! and in The New York Times, HuffPost, and Kenyon Review Online, among others. Lisa recently finished her memoir, Please Stage Dive Carefully, How I Survived My Brother’s Suicide and Forgave Myself.

Categories
short creative nonfiction

A List of Missoula Area Grocery Stores to Cry In, Ranked by Daniela Garvue

A List of Missoula Area Grocery Stores to Cry In, Ranked | Daniela Garvue

  1. Yoke’s Fresh Market. It’s familiar, yet anonymous. The lighting suggests you may be in any town, any decade. You may call your mother, who is too busy to talk, and when you hang up, you may hear the voice of your ex-boyfriend behind you, who asks why you are crying. Why do you think? you say. But he is already blurring into the eggs and the lactose-free milk, which you have started drinking because of him. Even now with your freedom to buy regular milk, you pay extra for the ultra-processed lactose-free cartons you’re used to. There are people you know here. Your ex says hello to a shelf stocker. Your neighbor is gesturing wildly at the pharmacist. You turn the corner to cry in the frozen foods aisle, and your ex drops to his knees between the ice cream and the premade pies. An old man squeezes around you to reach for the sorbet, says nothing as though he’s used to public displays of woe. Your ex is getting softer around the edges, fragmenting into refrigerated light. He is diminishing into a tiny, sorrowful star. Thank goodness. You don’t have to face the clerk because there are four self-check-out aisles, but you do anyway, because she is familiar, anonymous, and because she will give you the code to the bathroom. 4.5/5 tears. 
  1. The Good Food Store. How can you possibly cry among such healthful and nutritious bulk grains? Yet here you are again. The tubs behind you are full of honey, with honeycomb floating ghostlike, barely visible through the opaque plastic. If you want, you could swab your finger around the rim for a treat, but it’s crusty, and anyway a young woman with a green apron and earrings made from the shell of an invasive beetle is tipping a gallon of safflower oil into a nearby tub. All you want is sunflower oil and ibuprofen. None of this is right. Nothing has been right since you were twenty-six. You stumble to the home goods section, where tasteful cedar knife blocks look like you might always wake up to starched sheets and clean sunlight. Like your windowsill gathers no dust and your father is still alive. If you lose yourself here, you might end up among arnica salves and activated charcoal toothpaste tabs. You cannot find ibuprofen anywhere. But if you turn past the knife blocks, you will find self-serve soups by the pound. There are many container options available, but you cannot weigh them until you check out. How are you supposed to know how much a pound of soup feels like? You can’t afford a pound of soup, so you aim for a half-pound. Only at the register, the clerk weighs the soup and tells you it’s a pound and a half. 3/5 tears. 
  1. Walmart. This is a safe place for crying. You are not the only one. When you were a child, you pressed your forehead to the lobster tank and cried to watch them crawl over each other, their claws bound in blue rubber bands. But Walmart no longer keeps lobsters – no one ever remembered to clean their tanks, so the lobsters grew white and fuzzy with mold even before they were boiled alive. Now you can cry in the inhumanly wide chip aisle, or behind the teen girls accessories display, or in a changing room. But there is always a risk of hearing the sobs of another woman in the room next door. And if you stay too long in the teen girls accessories display, you might remember a set of earrings you bought your ex-boyfriend’s child, who might have been your step-daughter. And why, when her older sister told a group of boys at the mall that you were their mom (to stop them from teasing her), did you say, No I’m not? Why didn’t you just play along? This question will follow you down the chip aisle and into the rows of beer and past the cleaning supplies and through the self-check-out line. They don’t even have real clerks here. They expect you to bag your own groceries while you are wondering what to say when she texts you. What do you tell a thirteen-year-old girl about love and its pitfalls? What do you tell her about anything? The best you can do is cry into the coin vortex, where, if you’re lucky, you will spin faster and faster until at last you are allowed to fall into the one private place in the whole store, and rest there among the pennies and dropped suckers and, near the bottom, a child’s tooth. 2/5 tears. 
  1. Costco. You haven’t cried in Costco for a long time, but when you do, you open like cystic acne finally brought to the surface. Here all along were the signs of your decline: the too-sweet granola bars, the rattling windshield wipers, the thirty-pound bags of dog food. Why are you here? How did they even let you in? You don’t have a card anymore, not that you ever did. So much of what you had was dependent on others. And surely the oldest dog is getting low on his bag, and who will remember to sing him a little song in the morning as they scoop out a cupful for his breakfast? Who will pour water into his bowl to soften the pellets? There are women in hairnets serving the worst potato salad you’ve ever tasted, but you are too polite to say so, and you tuck a tub of the premade mix under your arm and make your way to the front. You cannot help but measure your finger size at the affordable wedding ring stand. A man asks if he can help you. There is nowhere to hide in Costco. Even in the darkest corner, among the car floor mats and the fifty-pack of ballpoint pens, you will run into a couple pushing the biggest cart you’ve ever seen, and they are frantic. They are not interested in going quietly by because they need an appliance that is on sale right behind you, and you can’t even tell what it is. It doesn’t seem to clean, cook, or refrigerate. Its interface glows with an ominous blue light, which signals its Bluetooth capability. The couple is so intent on this strange machine that if you are not careful you will be scooped up into their enormous cart and taken to their home, only for them to realize you are cracked beyond repair. You army crawl under the cart, abandoning the potato salad, and slip out the front, but the checkers who count your merchandise see you and know you don’t belong. They call for you, but you’re already running out the door, passing the row of sickly trees out front, which are bound and gagged among the river stone like twinks in a sex dungeon. 1/5 tears. 
  2. Orange Street Food Farm. This is the worst grocery store for crying. The aisles are narrow and all your friends shop here. A woman who used to be your neighbor talks about her dead dog. The deli boy (a full-grown man) flirts with you. You can’t even cry in the bread aisle, usually the calmest shore of every grocery archipelago, because here it is sandwiched between the preening eye of the deli boy and the discount beer vortex, where people circle round and around, disappointed. All they have are strawberry radlers. Once, years ago, you and a group of friends bought a pack of ninety-nine Pabst Blue Ribbon beers here. It was rumored that inside the extra-long box of white and blue cans was a single cherry red bonus can, rounding it up to an even hundred. After that, all of your friends started moving away, and at goodbye party after goodbye party, the extra long box grew emptier and emptier until you had opened the ninety-ninth beer without even realizing it. There was no red bonus can. There were only ninety-nine blue cans. This bothered you more than you can explain, and it still does. Now all your friends are gone, and you don’t even know what happened to the box. 0/5 tears.

More about the author:

Daniela Garvue hails from central Nebraska but now lives in Missoula, Montana, where she received her MFA in creative writing, and works as a gardener and receptionist. Last year, her band The Pettifoggers released their first album, Small Claims, available everywhere. She’s been published in several magazines including The Bellevue Literary Review and the Tahoma Literary Review, and has a forthcoming story in The Sewanee Review. This year she finished her novel at her desk job, which unfortunately means she has to start paying attention to her work.

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