Incoming

Photo Prompt © Rochelle Wisoff-Fields

 

He wondered if the trains will still run after it happens.

If the luggage, piled in little mountains of possessions, will wait patiently for familiar fingers that won’t come, or will surrender, indifferent, to any rummaging hand.

If there’d be any.

When its all said and done.

He felt the urge to check his watch but curbed it. The digits never changed sufficiently when you were waiting.

Instead, he let his eyes glide over the other passengers, then up the columns where the dual landing strips awaited the incoming spaceships, already brightly lit.

Had to mean it was almost time.

 

 

For Rochelle’s Friday Fictioneers

 

Endless Harmony

a solitary figure on a beach against a wide ocean.

Photo: Sue Vincent

 

She’d never have believed the vastness had she not been there to see it.

In person.

On the edge of endlessness.

The breath of eons crashing at her feet.

The spray of ancient rhythms that had been there

All along.

Through war and storm and hope and flood and cold and warm and days like this when no one but herself was there to witness it.

She’d never have believed the power that it held, contained within each curl of wave, in every roll of whitecap licking sand.

It filled her.

With awe and ache and gnawing yearning to something that went beyond her words and into thoughts unformed, or perhaps ones made of memories in utero: the hiss, the beat, the drums of hearts.

And this.

Another memory

To merge into

In endless harmony.

 

 

 

For Sue Vincent’s WritePhoto (2nd week)

 

Left Behind

 

They walked around, eyes wide, not touching anything.

“It’s like a museum,” Lilly breathed.

“Only with ghosts,” Samantha shuddered.

Lilly shot her a warning glance and slid her eyes toward Mikey. As it was the boy woke up screaming every night.

This was the first intact house they’d seen. Well, almost intact. It had a roof, walls, and shutters that had protected some of the windows. It even had a wood-burning stove. They needed the shelter more than any ghost might, and Mikey didn’t need additional terrors.

She forced a smile. “Let’s find some water and make tea, shall we?”

 

 

For Rochelle’s Friday Fictioneers

 

What If?

Photo prompt © Ceayr

 

“Are you sure this is the house?”

“It says 345.”

“What if it’s the wrong number?”

“It’s not.” She unfurled a sweaty fist to show him the piece of paper and its slightly smudged pen marks. “It says right here.”

“What if you wrote it down wrong?” His eyes met hers, mirroring her apprehension and amplifying the seeds of doubt that tightened shoots of worry in her stomach.

She shook her head, courage evaporated.

It was one thing to flee their miserable surroundings. Another entirely to knock on the door of the father who’d rejected them even before they were born.

 

 

 

For Rochelle’s Friday Fictioneers

 

 

Ancient Crush

Yam lower stone for crushing olives AmitaiAsif

Photo: Amitai Asif

 

You’ve seen nations

Rise

And fall,

Felt oil

Extracted

From trees’ toil.

You’ve seen

The farmers

Tend the soil,

Bread dipped

To nourish

Heart and soul,

As children laughed

And played

And lived

And died

Through centuries of

War and spoil,

While you remained

Above the boil,

Till peace returns

For olives’ roil.

 

 

Note: The photo is of an ancient base stone (called “Yam” in Hebrew) of the grinding stones that are used for the first step of extracting oil from olives. A current-day olive grove can be seen in the background to the left. Olives were first domesticated about 6,000 years ago, likely in the Mediterranean basin. Documented history of deliberate oil pressing can be found as early as 4,500 years ago (around 2,500BCE).

To this day, making olive oil involves several stages of crushing and rinsing to extract the oil. In many places, olives are still harvested by hand or by beating the fruit off of the trees. The olives are then washed, and crushed by milling stones (traditionally between a bottom stone like the one in the photo and one or two mill stone that stand perpendicular to it and roll around the base stone). The millstone/s were historically moved by use of man-power or animal power, and in some places still are. The pulp is placed in woven bags or baskets, then the baskets themselves are pressed. The liquid from the press bags gets drawn into a reservoir where oil is left to settle and separate. Oil is then skimmed off and allowed to settle again, sometimes repeatedly, to remove impurities.

 

 

For the Tuesday Photo Challenge: Ancient

 

 

Perpetuity

a channel of water flowing out to sea, with the sun reflecting on the water.

Photo: Sue Vincent

 

“You know,” she said, “this will be home.”

I looked around. Marsh and bog and semi-dry patches that high tide or rain were sure to turn completely water logged. It looked a misery.

“It will, too,” she added, even though I hadn’t said a word. She always knew to read my body’s thoughts, even when I voiced no words and moved not a muscle.

Some days it made me hate her. For my utter lack of privacy.

Other days I felt indebted beyond measure for not having to find ways to explain when words had never been accessible enough to match my thoughts with meaning. And for being seen by her when no one else seemed able to or cared to try.

“Wanna know how?” Fiona pushed a heavy lock of hair off of her eye and I knew then that she already had a plan, and that the plan was sounder than the muddy ground we stood on. I knew that gesture, that flowing move of clear-eyed determination that carried with it more than just a touch of crazy. For neither one of us was sane, but Fiona was nuts enough to get us out of scrapes I did not see a way out of. Somehow my sister, younger by three minutes and wiser by ten decades, thought ahead in moves others did not appear capable of anticipating. It had saved us, more than once, of certain death.

She was about to do so now.

“How?” I asked, though I knew she didn’t need me to.

“Stilts.”

She yanked a twig out of the soggy ground and scratched a diagram into the patch of godforsaken earth in the end of nowhere anybody, that an hour earlier I did not know existed, let alone that it belonged to us by ancestry through crumbling deeds that no one since an ancient relative had made use or taken any heed of.

“They thought the place too wet,” my sister noted as the outline of an elevated house rose like a phoenix from the lines she etched into the dirt. “But not Friar Felix. He saw the same potential that I see. The fish and clams and seaweed. The crabs. The cattails by the spring that makes the stream that gurgles out to the sea. A place to be.”

She glanced up at me and the hazel in her eyes reflected the sun’s rays along with something far older. Like a memory not of hers that nonetheless also held on to our own desperate need for belonging.

“I don’t know if he knew, Finley, but Friar Felix had bequeathed the deed to this land to his sister’s children, and to their children’s children in perpetuity.”

My sister turned her gaze onto the water and her voice dropped to a whisper in the wind.

“We are those children’s children’s children, Finley. This is our home. It will be home. You’ll see.”

 

 

 

For Sue Vincent’s WritePhoto Challenge