This town has a rusted roof gas station,
a store shelf where you would find
charm and shame sitting side-by-side,
as inseparable as lovebugs,
buy-one-get-one for the last 50 years.
You can still buy a scratcher ticket – or twelve,
and sit, welcomed, on the sidewalk
with your dreams of a less-debted life,
or watch as barefoot beauties walk west to work,
carrying babies bulging with
Dollar General budget-nutrition.
Don’t forget your manners if you’re just visitin’,
one proper and polite nod to say,
“just like my daddy did,”
to all those with their collars blue
just like the sky-paint on the gulf.
“Poor, rural, and southern”,
is meant by most
to sound scary and scabbed
just like the shallow intimidation
of pitbull pups scratching and slobbering
against their chain-link boundary lines.
But to me it sure looks a lot like
lovin’ and learnin’ that the things
worth having take the most time,
saturating slowly like sun tea
brewin’ in the porch-pitcher.
I spent a decade patting makeup
onto the warm red tones of my neck
to conceal a crime of culture,
instead of questioning
why moving up
had to mean moving away.
These memories had a lesson for me,
like a neighbor pulling my ear
back to my mother for new wisdom,
chastising me for talking to strangers,
forgetting my manners,
and not listening to my father.
These memories are like mangrove mud,
hugging my ankles until I am stalled,
anchoring me to mindfulness of a moment
tinged with something sour,
like that sulfuric smell across the marshes,
that is hard to romanticize – yet still cues a smile,
when its rotten earthiness tells me that I am home.
It is only in this pause,
the stillness before a shifting tide,
when I can clearly recall and recite
the scripture –
the allegory of me,
and where it was written.
It was composed here;
In the nimble thank you wave,
at a neighbor kind or neglectful enough
to turn an eye as I swiped citrus slices
from yard overhangs,
to rub into my vulgar mouth,
with dirty hands.
On the sweet-wind steeped from
magnolia blooms and orange blossoms,
the perfect perfume to compliment
a blushing heat-sick face.
It was spoken over the rumble of thunder,
during the can’t-miss primetime storm watch,
hurricane season 2004,
sung with the intoxicating breaths
of the gulf stream,
scented with pheromonic petrichor.
They say that one man’s white trash
is another’s treasured upbringing,
and through the catharsis of return,
a lowbrow renaissance,
I know both to be true.
My only infallible faith is in the
beauty visible from the gutter,
and I will celebrate each day
in the midst of a perennial
impoverished holiday,
like the Christmas lights draped
on fences, roofs, and trailer tops,
hanging on with staple-gun hugs,
all year ‘round.
Elizabeth Curley lives a dual life as both a poet and a social work researcher. Elizabeth received a Silver Medal from the Scholastic Art and Writing Awards in 2012 and is still writing a decade later. Elizabeth’s time is spent consuming, collecting, carrying, crafting, and quantifying the human experience.
Larena Nellies-Ortiz is a photographer and arts educator who lives in Los Angeles, California where she loves to color, texture, and shadow hunt in the early morning hours. Her photos are featured or forthcoming in Barren Magazine, Burningword Literary Journal, Local Wolves Magazine, Stonecoast Review, 3Elements Review, and Sun Magazine.
Jim Ross jumped into creative pursuits in 2015 after a rewarding career in public health research. With graduate degree from Howard University, in seven years he’s published nonfiction, fiction, poetry, photography, hybrid, and plays in over 175 journals and anthologies on five continents. Photo publications include Bombay Gin, Burningword, Camas, Columbia Journal, Feral, Stoneboat, and Stonecoast. Photo essays include Barren, Kestrel, Ilanot Review, New World Writing, Sweet, and Typehouse. Jim and his wife—parents of two hard-working nurses and grandparents of five little ones—split their time between city and mountains.
Cathy Hollister is an older writer whose poetry often explores the treasures embedded in age, isolation, and continual readjustments. When not writing you might find her on the dance floor enjoying the company of friends or deep in the woods basking in the peace of solitude. Her work has been in Silent Spark Press, Humans of the World Blog, Open Door Magazine, Beyond Words Magazine, The Ekphrastic Review, Smoky Blue Literary and Arts Magazine, Poet’s Choiceanthologies, and others. She lives in middle Tennessee.
MD Bier is a binge reader and you’ll always find a book with her. Her writing reflects her passion for social change and social issues. Being part of the Project Write Now Community is where she writes and studies poetry. She has been published in the Write Launch, Humans of the World, New Brunswick Poetry Anthology, and the New Brunswick Windows on the World. MD Bier lives in NJ with her family and dog.
Kevin’s father stares out the window at the clouds rolling in instead of the photo album Kevin brings today, cracking it open next to his bed, thinking it would help. Plastic pages unstick from each other as he turns the frozen moments, but no one is watching. The nurse says tomorrow might be better, that he’s not having a good day. Yesterday was worse. Day-to-day is hard to predict at this point. Strangely, month-to-month is easier. The coming years, if he gets them, all but certain.
Not that any day now is anywhere near good. The forgetting is getting worse. Good days, Kevin knows, are just quieter, pass faster. Bad days feel endless, are full of outbursts and fits—tantrums from a grown man stuck in a present he no longer feels welcome in. It’s not his fault. Kevin knows this. It’s not anyone’s fault. Kevin thinks to himself It is what it is and hates it less than when others say it, though he can’t recall if anyone has said it about his father. It’s after visiting hours now, and he needs to come back another time. He isn’t sure what the hours are, when he can, or if he wants to just yet.
A mist begins to fall as he walks to the car. He stops, remembers the forgotten album on the check-in desk left on his way out, looks back and sighs—the nurse already holding it up, blurred through the wet window next to the revolving door. She’s waving. If time froze, it would look like saying hello or goodbye, though it’s really neither—the same with these visits.
Back home across the couch, bathed in the TV’s bright-then-dim splashes he isn’t watching, Kevin calls his dog’s name. The dog lifts her head in the dull glow, meets his eyes, waits to see what happens next. But Kevin has nothing more to say, is tired, is out of words and ideas. He can’t remember when she last went out and it worries him. He can’t remember how many things he’s forgotten recently. It’s a cold and steady rain outside anyway, and he doesn’t know if he wants to walk her just yet. He hopes it’ll blow over or clear up soon.
In the silence that lingers, the dog lays her head back down between her paws, lets out a sigh. For now, something left in Kevin’s life remembers its own name. On the TV, the weather forecast drones. It predicts the rain will freeze to ice overnight and into the morning. A green, blue, and purple shape slides over the state line getting closer as it grows across the screen—a widening bruise blotting out what’s waiting below. It is, he knows, what it is.
Kevin sighs too and tries, for a moment, to forget what tonight or what tomorrow—or what any future—might bring.
Aaron Sandberg will remember memento mori later. He’s appeared or is forthcoming in Asimov’s, No Contact, I-70 Review, Alien Magazine, The Shore, Plainsongs, West Trade Review, The Offing, Sporklet, Right Hand Pointing, Halfway Down the Stairs, and elsewhere. A Pushcart and Best of the Net nominee, you can see him—and his writing posts—on Instagram @aarondsandberg
Featuring:
Issue 119, published October 2026, features works of poetry, flash fiction, short nonfiction, and visual art by Linda K Allison, Gilbert Arzola, Sarah Barbo, Roger Camp, Barbara Daniels, Natalia Danjon, Virginia Doré, Chris Dungey, FruitAndNut, Tom Gdisis, Cleo Griffith, Lesley Hart Gunn, Mark Hendrickson, Zebulon Huset, Romana Iorga, Ryo Kajitani, Carella Keil, Merie Kirby, Grace Lynn, Daniel Moon, Sylvie Oleta, Josh Price, Stacy Rollins, Elizabeth Rosen, David J. Schast, Judith Shapiro, VA Smith, Stefan Sofiski, Lisa Christina St John, Valy Steverlynck, Kathryn Temple, John Walser, Megan Wildhood, Stephen Curtis Wilson, S.E. Wilson, Roberta Winters, Jean Wolff, Jason Youngclaus, Matt Zambito, and Esther Zhang.
64 Pages, 6 x 9 in / 152 x 229 mm, Premium Color, 80# White — Coated, Perfect Bound, Glossy Cover
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