by Barbara Brooks

The green tint on the hills slowly grows darker.
Columbine blooms in the back yard.
The last call of winter’s white throated sparrow
leaves only the locals at the bird feeders.
 
Asters put forth their leaves with the promise
of blooms in the Fall. Blond daffodils rock
in the spring breeze. The smell of grass
after its first cutting. Waking up to the chatter
of wrens.
 
Mornings enter the screened window.
Dog lazes in the Spring sunlight.
Weekend coffee on the deck hearing only birds.

* * *

BARBARA BROOKS is a retired physical therapist and author of 3 chapbooks, The Catbird Sang, A Shell to Return to the Sea, Watercolors.  She is a member of PoetFools writing group. She lives in Hillsborough, NC with her dog.

by Andrea Tillmanns

After the rain, the air tastes like summer, blowing in through the open window and enveloping you in night. The quiet grunting of hedgehogs in the garden, above which bats flit silently through the dark. A single blackbird sings timid notes from the fir tree before settling down to sleep.

These quiet moments write notes inside you, which you may transfer to sheet music and later to strings, and even later release to other people who listen to you in small groups and perhaps remember: the taste of the air after the rain and the summer night that envelops them.

* * *

ANDREA TILLMANNS lives in Germany and works full-time as a university lecturer. She has been writing poetry, short stories and novels in various genres for many years. More information can be found on her website www.andreatillmanns.de.

by Leonard St-Aubin

Beloved of the sky,
said Emily Carr,
these tall pines against blue sky
​—that will never be timber--
trunks slender, twisted 
where they bent to find the sun
through the shade of hardwood trees,
and dropped low branches
'til only their tops,
feathery, exposed, catch light.
Now, like northern palms,
they rise up above
the bare winter canopy,
only they are green,
illuminated 
by afternoon sun,
each cluster of fine needles 
a starburst, lit or backlit,
vibrates, imperceptibly
a hymn to the sky.

* * *

LEONARD ST-AUBIN divides his time between Ottawa and a summer home in PEI. His poems have been published in RED: The Island Story Book (November 2025), in Bywords.ca and in the Pownal Street Press collection FIONA.

by John Grey

As I nod off,
a white egret
occupies the edge of my eye— 
no sound, 
only the peace
of being stone-like
in the shade,
a body open to breeze,
but forgotten by daylight.
 
The bird moves
surreptitiously--
a flash of wing,
a flick of beak,
that tuning fork
for the hidden pulse
of fish and frog.
 
I’m busy with memory
so I miss the kill,
the sudden lunge,
the silver writhing
swallowed whole.
 
The egret pauses
for a moment to digest
then resumes its ritual
of stillness and motion.
 
What’s instinct for a bird
is my way of thinking.

* * *

JOHN GREY is an Australian poet, US resident, recently published in Shift, River And South and Flights. Latest books, Bittersweet, Subject Matters, and Between Two Fires are available through Amazon. Work upcoming in Rush, White Wall Review and Trampoline.

by Israel Allen

Wind whistles Scottish hymns,
air forced through small gaps,
fragments of autumn
littering Carolina.
 
Trees scratch a serenade,
friction-shaped notes,
bark on bark, bending
branches too bare to rustle.
 
Leaves brave blacktop,
crackling like a gray choir,
odes of October
breaking in their throats.
 
My stride falls in rhythm,
sole-stepping the tune.
Arrogant, I imagine
the song is for me.

* * *

ISRAEL ALLEN writes and teaches fiction and drama. His work includes the plays Ask Me Anything and The Emerald Heist and the novels Ian Baker’s .45 and Bibles and Ball Bats (writing as Chris Allen).

by Sara Etgen-Baker

* * *

​SARA ETGEN-BAKER has written a collection of memoir vignettes and narrative essays (Shoebox Stories), collection of poems (Kaleidoscopic Verses), and a novel (Secrets at Dillehay Crossing).  Her work has been published in numerous anthologies and magazines including Guideposts and Chicken Soup for the Soul. 

by Anne Howkins

Sea and sky are indecipherable—at night there’s a moonlit line that might be the horizon. Sometimes the flood laps at the weather girl’s bedroom window, seductively shush-shushing that it means no harm. Sometimes it growls the anguish of the drowned.

Without power or paper, the weather girl records her observations in knots. She’s ransacked the house, harvesting anything that can be unravelled, combed, spun, twisted, until every surface is strewn with something like rope, and the wardrobes and cupboards gape empty.

She’s woven and knotted pressure, windspeed and rainfall into whirligig clusters. Her fingers weep blood as the malevolent sky mocks her furious recording. On days when the heavens are silver, not cast iron, when the winds are gentle, yet deviously warm, she allows the ropes to divide. She threads them with rings, necklaces, beads and buttons, treasured memories marking love she hopes isn’t lost. When the barometer falls, again, again, and the house begins moaning, she plaits the strands back together, securing everything precious. She weaves her own undoing into the tapestries, until her limbs feel empty, ready to hold something again, hold her husband again.

At night she wraps herself in her knotted yarns, caressing, letting her fingers explore the chasms she’s seen, she’s created. Sometimes she burrows her nails deep, finds the day her husband left. When her fingers stroke the remnants of love, her heart untethers, her lungs loosen and she weeps, letting the rhythm of the endlessly cruel rain rattling the roof rock her back and forth.

She leaves on a night when the moonlit line is more than a dream. She spools ropes into a sail, launches herself towards the east, hoping her forecast is accurate and the grasping hands of the drowned keep to themselves.

Hoping there is something dry out there.

* * *

Anne loves the challenge of telling stories in very few words. Her stories have appeared in print and online at WestWord, Flash 500, Reflex Fiction, Flash Fiction Magazine, National Flash Fiction Day, Lunate, Strands International and Bath Flash Fiction.

by Marcelo Medone

Flavius hurried towards the two-masted vessel that had just docked.
His friend Titus came down the ramp and they embraced.
“How was the trip? Did you have good weather?” asked Flavius.
“Better than here, for sure,” answered Titus, observing the leaden sky.
That night, burning ashes rained down on Pompeii.

* * *

MARCELO MEDONE (Buenos Aires, Argentina) is a Pushcart Prize and Best Small Fictions nominee fiction writer, poet, essayist and screenwriter. He received numerous awards and was published in more than 50 countries, including Canada. He currently lives in Montevideo, Uruguay.

by Michael Brockley

I ramble the noonday route through my neighborhood wearing new Keen hiking boots. When the small dogs on Berkeley bound across their lawn to greet me, I boast about their territorial imperative. The pleasures harmonized by their pacing the fence beside my joy. Along Lanewood, I inhale the fragrance from a pie someone is baking. Perhaps cherry crumb, a confection deliciously sweet and sour. When my left shoelace works loose, I tighten both shoes on a bench by the free library box. It is the day the last pear petals fall, the time before serviceberries ripen from pink to plum.

* * *

MICHAEL BROCKLEY is a retired school psychologist who lives in Muncie, Indiana. His poems have appeared in The Prose Poem, Last Stanza Poetry Journal, and Gyroscope Review. Poems are forthcoming in Stormwash: Environmental Poems, Volume II and 912 Review. 

by Ed Ahern

Years ago, hunting deer in a forest, I stumbled onto an abandoned farmstead. There were no traces of roads or pathways into the site, no wood or glass or iron. Just the stone cairn of a chimney, and tumbled rock fences, strewn by trees. Connecticut is stoney soil, the clearing and stacking would have been the labor of years.

A chill, soft rain was falling, birds and animals were silent and still. The smell was of sodden leaves and the mold of rotted trees. As I moved cemetery-slowly through the grounds, I wanted to put a name to the ruined labor—the someone or other house, the something or other farm. But there were only age scattered rocks.

And there, where I thought a sitting room might have been, was a neatly stacked cairn, three feet high, that weathering could not have accomplished. A body perhaps, or a keepsake interred at the home it belonged to.

I propped my rifle against a sapling and lifted off the cap stone, intending to burrow down to discovery. And hesitated. And put it back. Undisturbed. What I imagined was more than I could discover, more than I could unearth.
​
I moved on, the farmstead undisturbed and unrecorded. And have long since forgotten its location.

* * *

ED AHERN resumed writing after forty odd years in foreign intelligence and international sales. He’s had about 500 stories and poems published so far, and ten books. Ed works the other side of writing at Bewildering Stories where he manages a posse of seven review editors, and as lead editor at Scribes Micro.

by Daniel Rogers

autumn wind
the busker's guitar
out of tune


sunset
the fruit bowl
full of oranges

​
starry night
flicking through
an old diary
​
* * *

Born and raised in Lancashire, England, Daniel moved to Poland in 2015, where he now teaches English as a foreign language. When not divulging the finer points of English grammar, he likes to write.

by Chip Houser

We are the occupants of the village you created, the village you abandoned. We are here because of you, but we are not yours. We are not your property or your prisoners, your mistakes or your consequences, your problems or your solutions. We are all of these things, and not. We are here because of you, but we are not here for you.

We are the street cobbles, heel-polished and moss-ringed. We are the cats, languid wanderers, sprawling on sun-warmed stoops. We are the dry leaves skipping along empty streets.

We are the rocks cleared from surrounding fields, set into walls. We are the mice, eyes shining in the damp shadow of a broken terracotta pot. We are the grapevines climbing the tower, roots grasping plaster.

We are the brick archways, mortar receding like gums from the pocked teeth of our inverted smiles. We are the lizards, darting out of sight. We are the lichen blooming across clay roof tiles.

We are the empty windows, the sagging doors, the crumbling defensive walls. We are the wild boar, foraging for pomegranate and fig in overgrown gardens. We are the pines, stretching for more light.
​
We are not your village, we are ourselves, and we are all each other. We are the village now, together, and we have grown beyond your reach.

* * *

CHIP HOUSER's short fiction has appeared in Pulp Literature, Bourbon Penn, Every Day Fiction, and elsewhere. Red Bird Chapbooks published a collection of his very short fiction in 2023 called “Dark Morsels.” 

by Philippa Ramsden

As autumn settles, 
poppies continue to appear 
and bloom, albeit 
under a veil of raindrops.

* * *

Following a career in international development, PHILIPPA RAMSDEN returned to Scotland somewhat adrift and has now settled in East Lothian. Her writing draws from life and work in Nepal, Mongolia, India, Sri Lanka, Myanmar and Rwanda and her Scottish surroundings.

by Linda M. Crate

let me change like autumn,
transform into my prettiest colors;
let everything dead fade
away into the sky;
bathe me in a golden sunset
that could heal every
broken thing in my soul. 

* * *

LINDA M. CRATE (she/her) is a Pennsylvanian writer whose works you can find at her social media links: 
Facebook
Instagram
Twitter

by Lynn White

​Just a raindrop
falling,
falling into wetness.
A silvery teardrop
which splatters
then disappears
into wetness,
to become invisible
as if by magic.

​* * *

LYNN WHITE lives in north Wales. Her work is influenced by issues of social justice and events, places and people she has known or imagined. She is especially interested in exploring the boundaries of dream, fantasy and reality. Visit Lynn's Facebook Poetry Page here.