Yard Sale

The barrio adjacent to the state’s only Catholic university held Grandma’s ChaCha yellow house became a hub for elaborate yard sales. With the sun shining year-round, children would take barefoot to the rows of front yards down the block. The parents wrangled their kids to visit our yard sale in hopes of finding a new sweater for the coming school year or a pair of smudged Converse knock-offs.

I was too little to be of any real help to my mom, grandma, and Aunt Sugar who meticulously planned every aspect of each yard sale. “The cord needs to wrap around the tree tighter to hang the clothes.” “Put the toys in this box.” “Stack the books over on this table.”

While they set everything up, the radio blasted KOOL 60s Oldies. I loved to twirl under the shirts hanging from the clothesline and pretend that my dad’s old button-up was my dance partner. My cousin interrupted my fantasy and squirted me with a super soaker. We chased each other in between Spanish-speaking customers. I could hear Aunt Sugar and my mom yelling at us to stop. We didn’t stop. We ran carefree, not understanding that one day this memory would cause a longing to be that barrio child again.

 

Sarah Chavera Edwards is a Mexican American writer based in Phoenix. She is both a professional freelance writer and creative writer. Her work has appeared in The Dewdrop, The Nasiona, The Roadrunner Review, and Terse Journal. Her creative nonfiction piece, “Mujeres Divinas/Divine Women,” was the winner of the 2021 Nonfiction Prize through The Roadrunner Review. The piece was then published in an anthology about life and death in 2023. Her subject matter deals with Latino issues, mental illness, and memoir.

 

Sarah Chavera Edwards

Everywhere All the Time (with a Line from Ashley Capps)

I hear a shotgun crack and find mother

at the woodpile—she’s shot another rat snake.

“But,” I say, “they keep the rabbit population down?”

“I like rabbits,” is her reply. “But your garden,” I say.

“Nothing anyone can do about that,” she sighs.

 

Here, it’s rabbits everywhere, all the time.

It’s like my brain conducts this leporine improvisation

of a to-and-fro mind, of a heart running for cover,

of jumpy, interrogative eyes.

 

When I mow the fields they watch me, race by my side.

When I search the night for satellites standing mother’s

living garden, there’s always one or two bunnies there,

piebald hearts beneath a half-stoned moon, stunned.

 

Rabbits manage nests from their own hair mixed with

scratched out soil. There’s one by the split elm, another

in the clover beneath a pram carrying eight kinds of mint.

 

Mom finds a new nest beneath the Muhly grass’s

pink pencil-troll head. We count nine newborn rabbits

pulsing as one like the heart Kate and I watched together

on a sonogram screen in a small, dim basement room.

 

I walk away and stand between two sunflowers tall as me.

I’ve caught them at the end of their conversation. One

sunflower says, “I am greater than or equal to the lack

and luck is weather that permits my red begonias.”

 

I count seven sunflowers, heads perfect size to be arranged

in a vase for an anniversary, but I let their necks hang free,

bent down toward one another, yellow, green, and brown.

 

Eric Roy is the author of All Small Planes (Lily Poetry Review Press 2021), which received the Pushcart Prize and Best Small Fictions nominations for its hybrid writing. His recent work can be found or is forthcoming at Bennington Review, Fence, Iowa Review, Ploughshares, Salamander, Third Coast, and elsewhere.

 

Eric Roy

Featured Author, Mark Crimmins

WORKEROLICK

There’s a run on peaches. Soon the shelves in Produce are empty. I go down to the basement to get more. When I step out of the lift into the warehouse, I see my boss.

Disco Dez.

There he is in his bellbottoms, bouncing what looks like a tennis ball on the ground. Except it doesn’t bounce as high as it should. Then I see him put the ball in a tray of peaches. He takes another peach from the tray and tries to bounce it off the concrete back into his hand.

I ask him what he’s doing.

“Wot does it look like ahm doin? Grab some a these peaches and chuck em at the floor,” he says. “If they’re bruised or damaged, we can send em back to the supplier.” He hurls one to the ground. Picks it up. Smashes it down again. Inspects it. Puts it back in the tray. “Damaged goods,” he says, lighting a smoke. He takes out a third peach and dashes it against the concrete. “Come on,” he says. “Grab a few and bash em like this. Otherwise, we’ll ave to take em upstairs and fart around arranging em on the shelves.”

I tell him it’s no problem to take them up to Produce.

He’s back at me right quick.

“Oh, fuck off! Ah can’t be bothered doin that! Ahm knackered! Ah were at Pips Disco last night. Met a real scorcher. Took er ome too. At it all night, we was! Ah dunna feel like faffin around merchandising fruit. Ah just wanna stay down ere wiv me cigs.”

He replaces the third damaged peach and mashes a fourth against the tray’s wooden edge with his right hand while he puffs on his smoke with his left.

“There we go! Bita variety—This one got damaged in transit!” He takes a fifth and hurls it to the floor. “Bruising’s the best, though.”

I just stand there and watch him.

He looks at me.

“Wotz fuckin wrong wiv thee? Bruise some a these bloody peaches, lod! Come on, mon! Is somet up wiv yer earz? Ooze the fuckin boss around ere?”

I tell him I won’t do it.

He takes a deep drag on his smoke and looks at me incredulously.

“Did ah bloody ear you right? Yer not telling me yerd rather shove the fuckin trays onto a dolly, lug em up the soddin lift, and stick em on the bleeding shelves!? Wotz yer fuckin probo?”

I tell him I won’t damage the peaches.

“Right then!” he says.

He grabs a tray of undamaged peaches with both hands and tosses it at me. I catch it and turn towards the lift.

He shouts after me as I walk off.

“Yer ken wotz wrong wiv thee? Know wot yer fuckin probo iz? Yer a fuckin workerolick, mate! Addicted to bloody work—that’s wot you are! Not me!”

He jabs a thumb into his chest.

“Ahv got a bituva fuckin life to live!”

 

Mark Crimmins grew up in Manchester, England, dropping out of high school to work in the textile industry. He emigrated to the United States as a skilled labourer in 1978. In the States and Canada, he received a literature education, with a BA in 1985, an MA in 1993, and a PhD from the University of Toronto in 1999, specializing in Contemporary American Fiction. His stories have been published in Chicago Quarterly Review, Apalachee Review, Columbia Journal, Tampa Review, Fiction Southeast, Confrontation, Permafrost, Atticus Review, Kyoto Journal, Queen’s Quarterly, and Flash Frontier. One of his flash fictions was nominated for a Pushcart Fiction Prize by Kansas magazine Inscape.

 

Mark Crimmins

Roger Camp

Allium, Hydra, Greece

Roger Camp is the author of three photography books, including the award-winning Butterflies in Flight, Thames & Hudson, 2002 and Heat, Charta, Milano, 2008. His work has appeared in numerous journals, including The New England Review, Witness, and the New York Quarterly. His documentary photography has been awarded Europe’s prestigious Leica Medal of Excellence. Represented by the Robin Rice Gallery, NYC, more of his work may be seen on Luminous-Lint.com.

Stephen Curtis Wilson

Another Political Season

 

Wilson was a medical-surgical, and generalist photographer, writer, and communication specialist in the health care and library science fields for 36 years – cut steel in a foundry and drove a truck for a time. He is a graduate of the University of Illinois, a juried Illinois Artisan for Photography, and a member of the Peoria Art Guild. He photographs the artful nature of the rural communities and urban neighborhoods of central Illinois. stephencurtiswilson.com

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