Wednesday, October 14, 2026

Avery Gregurich, Regarding The Grocery Lists Of Others | L*STS

     


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Regarding The Grocery Lists Of Others

Avery Gregurich

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L*STS: an Essay Daily Happening | About & Contents

 Lists | Lasts | Losts | Lusts | Lests | Other

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“We enter such
brilliance as we entered
the world, without
shopping list, perfectly.”

Denis Johnson, “The Supermarkets of Los Angeles”


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No it is not joy and it is not pride and is not relief that I am feeling now as I sit cross-legged on the carpet in the attic and leaf through a reusable shopping bag full of other people’s grocery lists. 

I am here sorting the lists by size and paper type, color, legibility, and lastly, by their contents. There's  about twelve and half years of found or stolen scraps and little notes and photographs and other written ephemera collected during my shifts at the grocery store. I've moved this bag several times across Iowa without a proper design for why.  I take them out once or twice a year, each time turning them over in my hands, sorting them, thinking of doing something with them, giving up and eventually putting them back down into the bag and returning it to hang from a hook in the attic. I am careful with the lists. Some are written in pencil and I try not to smudge the graphite with my thumbs. 

Ridiculous, this life and all the possible others.

I arrange them on the scanner and compare the various effects of their layouts, deciding how to best display them. I am trying to make images capable of sparking some explanation suitable to both of us as to why I’ve collected and kept them and continued on thinking about them over the years. 

Do you also recognize in the lists your own repetitions and patterns? What you eat and how you write. What your life and diet look like. In language. Part of why I keep them is because I am soothed by them. Or at least by this act of collecting them. Cataloging them. Preserving them. For who? You?

What is the grocery list if not a kind of half-assed hex spooled out against the tide, a brazen plea for manifestation? By limiting the absolute possibility that the modern grocery store allows, the list creates a uniform reality, bridging the present with the only future still worth planning a meal for: the immediate one. I imagine that the grocery list is about the only time most people still write by hand with only themselves as intended audience. 

I am most drawn to the lists because of these deep intimacies, preserving how we each talk to ourselves in these individual languages. How this might look to a stranger. The way we write so that we will remember exactly what we believed we needed when we set it down in ink and shoved off again into the lancing void. 

The list represents a specific time before, spent somewhere else, and after asking others or most often simply by ourselves to actually think about what it is that we absolutely need, it is the things here on these lists. Things wanted, specifically, and this is important, what it was they wanted from me.

It shouldn’t surprise, how similar all the lists are. Despite all our desperations, we should find any comfort we can in knowing that when each of us is hungry and asked to imagine time in the short term, we all believe that we will need milk, eggs, and pasta. Mostly. Sometimes ice cream. Often booze. Some are even written on sheet music or notepads with butterflies. 

The lists catalog, often in boring or incomprehensible ways, the literal fuel of our lives. By its nature the grocery list implies life itself, or a desire to continue living on, into the impending void.  Each list represents starting points of reality, points of convergence and departure towards eventual meals and work lunches and holidays.  (The lists all take on a frenzied tone in the holiday season.  Uppercase letters. Things underlined. URGENCY.) 

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Remember: what’s gathered here in this reusable shopping bag are only the things that made it all the way through the shift, found themselves tucked into a pocket and driven back home and taken inside, all the way up the stairs and stashed here, inside this bag in the attic. I shudder to think of the lists lost along the way.

The bag was the first thing that they handed me when I “set sail” with the company. At orientation, I was shown where they kept the splinter kits, supplied five company t-shirts, a boxcutter, two nametags, and a handbook that’s still in here, along with every pen I’ve ever taken, about seventy-five black Sharpies, a pin button that says, “WHAT IN THE HELL IS A LYNCHBURG LEMONADE?” and some citrus cough drops turned chalky sweet with age and attic heat. I started putting the lists in immediately after I started there. I carried the bag into every shift for several years. Sometimes coworkers would find lists or more strange things and hand them over to me, surely embarrassed on my behalf.

I started work there the same day as a guy who claimed to be Hemingway's grandson. It was among the first things he ever told me. Somebody we worked with dug around later and told me that his story checked out, but I remained suspicious from that first day when I pulled into the parking lot we shared with a Red Robin and a Skechers and found him laying flat on his back asleep on the roof of his car.

People used to go every month to his apartment and watch wrestling pay-per-views. So many went that it affected the schedule. I have never read any of his writing, but I remember seeing several pictures of him in his apartment bathroom, posed naked in a bathtub full of blood. Had to be Hemingway's grandson.

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Some lists include daily/weekly  itineraries, which is a dangerous tactical decision, life-wise. If the list is lost, of course then so is the day’s schedule of events which for the type of people still writing out grocery lists by hand can be a terrible burden. 

Here's one of my favorites, a small piece of yellow legal pad, horribly wrinkled with the desired items printed out softly in black ink. It says this person needed to buy “slice cheese”, container chicken feed, and some kind of fruit. (See, it just says “Fruit.”) Beneath that, a plan of attack for the day ahead in America, sometime between 2014 and now.

After an hour spent each at Walmart and Petco, and a haircut at 12:30, this person had penciled themselves in some time for MERCY. 

A few missing lists, either real or imagined deep enough as to be made real: 

● Some pantry staples written out over the results of an STD test, (positive: chlamydia)

● Every religious pamphlet or business card or political screed I’ve ever been handed myself or else intentionally left behind for me to deal with. I remember one of them still used Michael Jackson’s death as a call for spiritual repentance a decade on.

This little Bible filled with verses of “COMFORT, ASSURANCE, SALVATION” showed up yesterday. It made it home in my pocket and that’s as far as it went. Scared I would lose it to the washing machine like so many others, I texted Sara quick from inside the produce cooler: 

“There is a tiny Bible in the pocket of my pants on the kitchen chair. Can you save it for me?”

● A fake $50 bill. Once I found one of the customer bathrooms covered in fake $50 bills. They were tucked beneath the toilet seat, behind the mirror, sticking out the top of the baby changing station. The whole thing reeked of absurd libertarian zealotry, and sure enough, the messages on the bills traced back to an anti-government/abortion group head-quartered in one of the Dakotas. I remember taking one home. It has not survived.   

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The grocery list traces back to an ancient form, the contents of which have been increasingly converted down to smaller and smaller quantities until it has reached its current scale: the items needed to sustain everyone’s individual homes. How many documents still exist like this? 

I’ve trained hundreds of people to run a register by now. I always tell them that the list is a natural way to start a conversation with the customer. I tell them this because somebody told me that my first few times behind the line. Repetition begets more of itself. I am relieved everyday that most of what I say at work have never been my words at all.

“Are you all through with your list?” I ask after I find one buried at the bottom of a basket. How to name this small shame that I see, watching their faces change when I mention it, perhaps knowing I’ve seen something already not meant for me? Their handwriting or how they write to themselves or worse yet, how someone else writes to them. That I’ve seen what they wanted when they came in here and what they are leaving with now and that I hold judgement for the difference between the two. 

“Hey, this is a judgement free zone,” I say to them, gesturing with my hands, indicating the space around my body.

I've noticed that even if the lists have served their function, (or they have been given up on,) and balled up and forgotten in there, still most people elect to take it with them when I ask, usually offering some “I better double check it” line or something similar. 

Even in its absence, the proverbial list comes up as a form of conversational currency. A bit of language we can share. “I only had two things on my list” or, the inverse, “I forgot my list at home.”

“Looks like you went rogue.” I say to both and am met with appropriately measured laughter and an awkward silence I usually don’t care enough to puncture until it’s receipt time.

*

I’m troubled by the photographs that I have collected and kept. Scanning them, sharing them here feels particularly invasive. To my eye, none of the same people are in any of the pictures, yet the effort remains coordinated. I found them all within a four month stretch. My greatest sin remains my ability to conflate anything, even the appearance of an avocado.

Anyway, the photos are here and if you find yourself in any of them, know that all were found tucked behind chocolate bars on racks close to the cash registers or tossed into a trash can at either one of  two grocery stores in Iowa. You yourself or someone else deemed these photographs of you not worth keeping, or perhaps, not worth keeping better track of. Please know that I am sorry for all of this. 

*

I’m here to report from the front lines that the grocery list is fading, that the last few years have been particularly brutal to the creation of paper grocery lists, hand-written and held and referenced throughout the shopping trip. During the pandemic, most of the lists switched over to the phone and the habit has stayed. It is rarer and rarer when and if I find them these days.

The week I start writing this essay, lists start showing up again. 

At the register. Left in carts. Cast aside out in the parking lot.

Last week I was collecting carts in the rain without a hi-viz vest, (career suicide, a real cardinal sin out in the retail wars,) and I found a sogging stapled stack of hospital discharge papers laying in the cart corral.

Of course I pocket them, take them around the back of the store behind a rattling cart of empty glass bottles that I'm to feed into the dumpster, and there, in the space between the trash bins where the last people still smoking cigarettes gather, I open up her medical records. 

Ashley's.

How hungry we are for other people’s secrets! Shameless, this curiosity. The crooked shape of its teeth. A convenient excuse for my poorer behaviors.

Everything that you really want is in there. Under a section titled “Your Latest Vitals,” the parts of Ashley that could be measured and explained are listed and paired with a small illustration: her blood pressure, paired with a tiny heart holding a pressure gauge in its middle: 97/81; her temperature sat next to a tube thermometer and four floating lines: 98.4 °; her respiration as demonstrated by the top half of a torso and lungs, exhaling air, curling back on itself :18. 

A measure of health, I think, standing there between two trash bins in the place we all call Cancer Corner. I flip the page. It takes four more turns to gather and display the entirety of her current medication regiment. I flip back to find a date of birth and notice that she is young, just turned 40 last November. Younger than my Sara. 

Today’s visit is in advance of an “invasive ductal carcinoma of breast” to be done on August 7.  

Breast cancer. 

Her post operation care instructions round out the records. Important dates are highlighted in yellow, presumably right there in the exam room. Won’t you go there with me? Ashley is sitting there on the butcher paper, and Dr.___ is talking to her and holding a tired yellow highlighter. Dr.___ is telling Ashley how to care for herself, for her new body once parts of her current body have been removed. Two Jackson Pratt drains will remain in place, to be emptied daily and recharged as instructed. A list of symptoms are listed as being reason enough to immediately seek out the emergency room.  

I am thinking now about Ashley and whether she was supposed to keep these papers safe for three weeks before her surgery. What it must be like to be already informed of future care for a procedure that hasn’t happened yet. How it will go for me some day.

Ashley _____: 7/23/2026 

I’ve got no proof of this one save for this story. “Excuse me” a man in his seventies says. He’s tracked me down in front of the dairy box, straightening yogurts.

He held up his phone to me, started scrolling through many messages from his girlfriend. He was careful to say it: girl-friend. He wanted me to understand the severity of the situation. I’m sure if you asked him the last time he’d had a girlfriend, he would say that she’d become his wife.  He had his phone set to 1,000 pt. font and he moved through the messages with large sweeping finger strokes, down towards his chest to move backwards in time, then back up away again to bring it all closer again. To double check. For a freckle of a moment each swipe his finger would wind up in a crooked point straight ahead or down into the ground. 

His girlfriend had sent him photos and exact product names, some with the SKU numbers typed out. I could see that he was in a genuine fear of failing her, so I knew this was a second act of some kind, maybe one of the last men who never learned to grocery shop by himself, and now, widowed or divorced here in the late innings, he was trying to . This one would require my best effort.

He started pointing at pictures and off through the store we went in search of ground turkey, peanut butter, the works, and at the end, probably ten minutes spent together, we stopped at the end of the cereal aisle and counted and checked everything over again and it all looked exactly right. He even shook my hand and thanked me in earnest, and you can trust me because I am nothing if not in the business of “thank yous,” of vapid pleasantries, of saying and receiving those meaningless words so often that I have become arrogant in believing that I know when someone actually means it.  

I headed back over to the dairy box, pulling gallons forward. I made it to the little cartons of goat milk, and I heard it again: “Excuse me.” 

I turn to face the man. We're back here almost exactly where we started out from. He has the phone up again and l smile and give him a little wave because we have made it so far already together and I’m actually rooting for the guy now because he’s really trying to get everything right, again making me believe it’s in deference to a new love, and he looks me in the eye and asks me brutally, with full eye contact and without mercy: “Do you work here?”

My mother told me recently that when I was small and still sat up in the kid’s seat of the shopping cart, I would reach out towards the cash register and say “Bits.” 

“Bits, Bits. Bits.” 

She said I only ever said that word around cash registers and a little plastic Fisher Price typewriter. That should explain something about all of this, but I cannot say for certain what. I still have it here, that toy typewriter. 

For my mother: Now, when kids stay in the seat and ride behind the register, those who go through my line when it is still early, before it is busy and I still possess most of my faculties, I will point at the register and say “See the bits!” and I let them hit a few buttons before sending them on back around to their parents.

On and on it goes. Another paper bag to fill. Truck to unload. List to keep.

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The Last Grocery List I Ever Keep

has lard written on it/uses a 

looping cursive/ comes on 

the back of an envelope that 

the power bill arrived in/

contains my mother's 

capital G/smells of pocket coin 

and striped peppermints /gets tucked 

and forgotten in the glovebox 

a winter long/ shows up on

a sunday morning wearing

scars, doodles of an absent mind/

hell I wouldn’t mind a 

coffee stain, a bible verse, 

any other kind of

 forgiveness


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This essay/list climbed out of a shopping bag full of other people’s grocery lists. I've collected them for years during my shifts. Spent the better part of August writing it. Throughout I tried to make sense of them, of collecting the lists and keeping them close. What I think they mean. It winds up with a poem about the last grocery list I'll ever keep. I pray I never find it. 

Avery Gregurich lives and writes in eastern Iowa, and organizes The Out Of Towners Reading Series.


Monday, October 12, 2026

Svitlana Libet, Repurposed Arsenal | L*STS

   


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Repurposed Arsenal

Svitlana Libet

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L*STS: an Essay Daily Happening | About & Contents

 Lists | Lasts | Losts | Lusts | Lests | Other

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I am writing this on Saturday, August 29th, 2026. School has already started in the US, but not in Ukraine. Many children will experience lessons stopped at half-sentence, with teachers leading their students to shelters, while explosions following the air raid alarms take over the classrooms.

There have been over sixty air raid alerts in Kyiv alone over these past six days. Rescuers are trying to get people out of the rubble, stuck under the walls of their own houses, and the death toll is still rising. Every day, the city is covered in opaque grey smoke that leaves a mark on every surface, ground, and lung. My family tells me they wake up suffocating, tired of nights in shelters, rushing for the news. If you weren’t killed today, you might be in forthcoming attacks.

These lines are especially hard to write sitting in a warm, perhaps even too warm, classroom in Flagstaff, Arizona, while my friends and family are facing death every day. Last year, I was there with them, waking up from explosions and making jokes in the morning that we would die another day. After years of war, I have learned that Russians do indeed strike twice or three, four, ten times in the same place—where civilians live.

The Russian army would “double tap” a strike site: hit a building or facility right after the initial one, that way eliminating the ongoing rescue missions and killing or wounding rescuers. Today, it is common among civilians, me included, to distinguish the type of missiles Russia is using against Ukraine, even just by their sound.

After twelve years of war, which began with the annexation of Crimea in 2014, I am well aware of the types of ammunition the Russian forces use to attack civilian areas and how many of them are forbidden by International Humanitarian Law and the Geneva Conventions: toxic gases, phosphorus, cluster munitions, and various ballistic missiles that don’t have precise targeting.

During its invasion of Ukraine, the Russian military has fired at least six different types of cluster munitions. These include rockets fired from the Uragan, Smerch, and Tornado-S multiple launch rocket systems, payload deliveries from Tochka and Iskander-M missile systems, and RBC-500 cluster bombs equipped with PTAB-1M submunitions. One of the biggest attacks on civilian infrastructure using cluster munitions happened at the railway station in Kramatorsk on April 8, 2022. That day, 63 civilians, including children, were killed and 121 to 150 people were wounded while waiting for a train.

That attack on a railway station in the middle of the day came as a shock. Kramatorsk was a city close to the frontline but still far away from it back then. Today, Kramatorsk looks like Mariupol during its occupation in 2022, a friend from the Armed Forces of Ukraine told me recently. Back then, watching the news from Mariupol, talking to friends and family there, brought up a shadowing feeling of “how could this be happening?” followed by a definite crush of any kind of optimistic outlook on the current situation. Now, the war doesn’t surprise me.

Russia is continuing to commit atrocities. The ballistic missiles that the Russian Army uses against civilians were never manufactured with that aim back in the 1960s. For example, Ukrainian civilian cities are being attacked with anti-ship missiles X-22—one of the most destructive, heavy, and deadly explosives in their non-nuclear arsenal. That type of missile was designed to strike giant, stadium-sized aircraft carriers at sea, where precise targeting doesn’t really matter—not like in a highly populated civilian area. Same thing with S-300 and S-400 missiles fired at cities. These are air defence missiles packed with small shrapnel elements designed to shoot down aircraft in the sky. They are meant to explode near the target, filling the surrounding space with a cloud of fragments.

I am 31 years old, born in Kyiv, lived for ten years in Lviv as a child, one summer in Odesa, and more than anywhere else, for now —in Kyiv. I have been to the east, south, west, and central Ukraine. I feel at home anywhere in the country. I’m watching my home lose one limb at a time through the news and photos from my friends and family. Places that used to fill my body with joy are now blown to pieces, resting deep in the soil and the Black Sea. 

The Russians have polluted the environment not only with their weapons but with their propaganda, too. One of the ideas, simply, is that war is a glorious and rightful venture. Through war, justice will be brought into the world, and everyone who doesn’t agree deserves to be killed. There is only room for one meaningful culture, they say, and that one is not Ukrainian. Over the last half of August 2026, attacks have been happening every day all over Ukraine. People have been killed and injured, civilian buildings have been hit, and storage facilities have been destroyed. According to the Ministry of Culture, one-third of newly printed Ukrainian books have been burned.

I didn’t understand it then, but my high school Ukrainian literature teacher Vira Yakivna, one of the only teachers who spoke Ukrainian in a school and city dominated by the Russian language, had tried to warn and prepare us for the war. She understood, as it had done during the previous 300 years, that the empire would continue to diminish Ukrainian culture, heritage, and people. And with every strike on a school, university, or book storage with a heavy anti-ship missile, the Russian Army proves once again that their righteous fight is a fight against another nation, for their land and resources, and not for the good of the world.



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While writing this piece, school had already begun in Ukraine—September 1st. The attack continues, with every day becoming darker than the last. There was no celebration for the beginning of the school year. Russian Geran drones, taken from the infamous Iranian Shahed-136 drones, are flying over Kyiv day and night. On September 2-3 in the middle of the day, newly deployed Russian Geran-5—jet-powered cruise missile drones—struck residential areas. One hit a 9-storey building, the other flew into traffic on the Southern Bridge. 

Svitlana Libet is a journalist and writer from Kyiv, Ukraine. Her creative work mainly includes interviews, art critiques, and essays, widely published in various Ukrainian cultural magazines. She was a producer at BBC News, covering the ongoing Russian-Ukrainian war. Currently, Svitlana is an MFA candidate at Northern Arizona University, where she is working on her debut novel. She is also the Nonfiction Editor of Thin Air Magazine and an assistant fiction editor at DIAGRAM.

Friday, October 9, 2026

Sean Lovelace, Several Items I Noticed Left Behind on Seats or Floor of the Ball State University Campus Shuttle During a Brief Period in 2011 When I Rode the Shuttle due to Having my Driving Privileges Revoked by the State of Indiana | L*STS

    


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Several Items I Noticed Left Behind on Seats or Floor of the Ball State University Campus Shuttle During a Brief Period in 2011 When I Rode the Shuttle due to Having my Driving Privileges Revoked by the State of Indiana

Sean Lovelace

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L*STS: an Essay Daily Happening | About & Contents

 Lists | Lasts | Losts | Lusts | Other

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  • Motorola cell phone battery 
  • Pink dildo
  • Black umbrella with carved wooden handle
  • Scion car key with red Ball State University lanyard
  • Neurocore dietary supplement
  • CDs: Janet Jackson, Isley Brothers, Michael Brecker, Pet Shop Boys, Tenth Avenue North, The Ensemble of Christ the Savior and Mother Earth
  • Pink reusable water bottle with ribbons 
  • Red and black Angry Birds watch
  • One American Eagle shoe with bow
  • Pepper spray keychains (2)
  • Black bow barrette/hair clip
  • Silver ring with pink and clear gems
  • Stainless steel Stanley water bottle with brown "S" on it
  • Black jacket with "Wicked" embroidered
  • Brown bra
  • Black Sonoma jacket, size L
  • White earbuds
  • Garmin car charger cable
  • Small shinpads with blue sock
  • Pontiac car key
  • "Goodwood" drumstick 
  • Orange 16' tape measurer
  • Black tie with clock design 
  • Red, white, and blue snapback hats
  • Miniature plastic nachos
  • Brown gloves 
  • Empty vodka pint 
  • Empty 10-ounce Coke bottle 
  • Unopened vodka pint
  • Ziploc bag of pastel markers 
  • Unopened box Durex condoms 
  • Burgundy glove (right hand) 
  • Gray Columbia glove (left hand) 
  • Blue rope with bronze-colored beads 
  • Q-tip box with earrings in the shape of scimitars inside 
  • Clear/black Muscle Milk container with brown powder inside 
  • Blue Camelback container 
  • Empty Prescription bottles (4)
  • Red Target drinking container 
  • Silver bracelet with hearts 
  • "Ironman" sunglasses 
  • Silver tree charms 
  • Crumpled note reading: YOU KNOW WHO YOU ARE
  • Green thong underwear, stained 
  • Innova “Valkyrie” Frisbee 
  • Tony Hawk videogame cassette 
  • Tan sunglasses 
  • Purple reading glasses 
  • Black Angry Birds eyeglasses case 
  • Sunglasses with white frames and ladybugs atop lenses
  • Blue "Belzer Day Camp" sunglasses 
  • Stopwatch 
  • Wristwatch with broken band 
  • Casio wristwatch 
  • iPhone 4s (12)
  • Vicodin tablet 
  • Nursing Textbook (Brewer) 
  • Black hair extensions (2)
  • “WED IN NEVADA” shot glass 
  • Black/clear BSU Recreation drinking container 
  • Blue water bottles (2) 
  • Purple water bottles (2) 
  • Crumpled motivational poster: “DON’T TRY”
  • Nickel Creek (A Dotted Line) CD 
  • "Class of 2007" keychain (no keys) 
  • Ninja keychain with keys 
  • Keys with Goodwill card 
  • Single key 
  • credit cards (9)
  • Shakespeare fishing reel 
  • Miniature plastic ear of corn
  • Small silver spoon 
  • "Black Diamond Spot" headlamp 
  • Adidas hooded sweatshirt 
  • Cabela's chest waders 
  • Red Adidas shorts 
  • TI-Nspire CX/CX CAS calculator
  • Enormous pink headphones
  • Cell phone charger 
  • Unopened pack of chewing gum 
  • Three-ring binder with orange butterfly design 
  • Single black sock full of quarters
  • Galaxy phones (3)
  • Casio calculator (broken + button)
  • Unopened can of seltzer
  • Unopened bag of “3rd Degree Burn Doritos”
  • Red Adidas backpack 
  • Electronic cigarette cartridges (7)
  • Blue Champion jacket
  • "Charles River" jacket
  • Gray jacket with ROYAL WEDDING in white letters on back
  • Maroon/floral pattern raincoat
  • Kindle Fire in black case
  • Green beanie
  • Black/floral pattern “Era” headband
  • Gold wedding band 
  • Black leather glove
  • Baseball glove
  • Empty bottle Tabasco sauce 
  • Deflated soccer ball 
  • Purple feather strand
  • Revlon “Fetish Red” lipstick
  • Purple "Monster" coffee mug
  • Foldable Buck knife 
  • Wallets (3)
  • Blue coffee mug 
  • Necklace with mushroom pendant 
  • Necklace with goat pendant 
  • Black "Contigo" thermos
  • Purple/blue CamelBak thermos
  • Small floor fan
  • Jean-Patrick Manchette novel, Fatale 
  • Poster about Bangladesh
  • Empty Greeks pizza box 
  • Black belt with rhinestone buckle
  • HP 48G+ graphing calculator
  • SanDisk Sansa MP3 player
  • Plastic handcuffs 
  • yellow “LSU” golf ball 
  • Clif Builders chocolate mint bar
  • Audio CD with "Symphony 3" on it
  • Audio CD - Burlesque soundtrack
  • Audio CD with "Nicole's floor music" on it (scratched/skips)
  • Audio CDs - "Warm in the Winter", "The Lonely Live Too", and "Old School New School"
  • Chevy key with black and green lanyards and swastika
  • Access key with cutter and two customer cards
  • Ford key with house key and Hyundai remote
  • Red candle in shape of cardinal 
  • Enterprise key chain with 2 house keys
  • Eyeglasses with brown plastic frames
  • AT&T empty phone package with Nokia phone
  • Zippo lighter with GOD WAS ILL etched on front
  • Black queen chess piece 
  • White “Third Place” ribbon 
  • Land's End neon animal print rain jacket
  • Travel clothing rod for vehicle backseat
  • Prince tennis racket
  • Black Totes umbrella
  • Black collapsable umbrella
  • Purple umbrella with hook handle
  • Erie Insurance blue and white umbrella
  • Rebecca Black CD 
  • Decapitated Princess Leia action figure
  • Black umbrella 
  • Green umbrella 
  • Purple dildo 
  • A notepad 




*


I tell the writing students at BSU that one of the most powerful aspects of being a writer is the habit of paying attention to the world, as opposed to letting it just slide by in a time-blur. This text is one example. 

Sean Lovelace lives in Indiana, where he chairs the English Department at Ball State University. He wrote Fog Gorgeous Stag (Publishing Genius Press), How Some People Like Their Eggs (Rose Metal Press), and other flash fiction collections. He has won numerous national literary awards, including the Rose Metal Press Short Short Prize and the Crazyhorse Prize for Fiction. He has hip pain. And eats nachos.

Wednesday, October 7, 2026

Michael Martone, Train Names | L*STS

      


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Train Names

Michael Martone

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L*STS: an Essay Daily Happening | About & Contents

 Lists | Lasts | Losts | Lusts | Lests | Other

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Train Names

In the 20th Century, the train named The 20th Century wasn’t the only named train as there were many others which included: The Commodore Vanderbilt, The Empire State Express, The Knickerbocker, The Zephyr, The Ak-Sar-Ben, The Whippoorwill, The Steeler, The Blue Bird, The Blue Comet, The Blue Ridge, The Blue Water, The South Wind, The North Star, The Humming Bird, The Diplomat, The Empire Builder, The Hiawatha, The Hoosier, The Pacemaker, The 400, The East Wind, The Twilight Limited, The Cardinal, The Shooting Star, The Land O’Corn, The Meadowlark, The Night Owl, The Clocker, The Zipper, The Phoebe Snow, The Canon Ball, The Noon Flyer, The Planets, The Southern Crescent, The Peoria Rocket, The Curfew, The Silver Comet, The Silver Meteor, The Silver Star, The Auto Train, The Mercury, The Lark, The Midnight Special, and The Broadway Limited 

 

Advertised Nicknames of Railroads

The Water-Level Route, The Mainline of Mid America, The Nickel Plate Road, The Route of the Rockets, The Broadway, The Way of the Zephyrs


Informal Nicknames of Railroad Reporting Marks

The Cheap and Nothing Wasted, The Backward and Obsolete, The Erie Lackatraffic, The Yellow Dog, The Grand Junk, Nights and Weekends, Take Pity and Walk, The Onion Pacific, The Moron, The Lousy and Nogood, The I Can’t Go, Bashed and Maimed, The Shake, Rattle and Roll

  • 07 160.215 Chicago West Pullman & Southern - Yard
  • 08 160.230 CSX - Road - Former B&O/C&O
  • 10 160.260 CN/EJ&E - Yard
  • 11 160.275 CSX - Ready Track
  • 12 160.290 CSX - Dispatcher-RB (Calumet City)
  • 13 160.305 Terminal Operations
  • 13 160.305 Iowa Interstate - Yard
  • 14 160.320 CSX - Dispatcher (Calumet City)/SA (Monon)
  • 15 160.335 BNSF - Engine House - Cicero
  • 16 160.350 CN - Road - Matteson Subdivision
  • 18 160.380 Belt Railway - West Yard
  • 19 160.395 CSX - Yard - Barr-Westbound
  • 20 160.410 UP - Road - Villa Grove Subdivision
  • 22 160.440 Metra - Road - Southwest Subdistrict
  • 25 160.485 Indiana Harbor Belt - Road - Dispatcher
  • 25 160.485 UP - Road - Milwaukee Subdivision
  • 26 160.500 Belt Railway - Road - Dispatcher-South
  • 28 160.530 CN - Dispatcher - South Bend Subdivision
  • 31 160.575 UP - Yard - Global One/Proviso Tower
  • 31 160.575 Wisconsin & Southern - Road
  • 32 160.590 CN - Road - Subdivision/South Bend
  • 35 160.635 Chicago Rail Link - Yard/Transfer
  • 35 160.635 CSX - Dispatcher-AW (Grand Rapids)
  • 36 160.650 BNSF - Road - Chillicothe Subdivision
  • 39 160.695 Belt Railway - Road - Dispatcher-North
  • 42 160.740 Amtrak - Yard
  • 43 160.755 CN - Road - Freeport Subdivision
  • 44 160.770 CP Rail - Road - C&M/Fox Lake Subdivision
  • 46 160.800 NS - Road - Chicago Line (former Conrail)
  • 49 160.845 CN - Yard - Gateway Intermodal
  • 52 160.890 UP - Road - Geneva Subdivision/Rockwell
  • 54 160.920 CN - Road - Joliet Subdivision
  • 57 160.965 Belt Railway - Hump Yardmaster
  • 58 160.980 Indiana Harbor Belt - Road - Dispatcher
  • 59 160.995 BNSF - Yard - Corwith
  • 60 161.010 NICTD - Road/Mobile
  • 61 161.025 Metra - Road - Electric District
  • 62 161.040 UP - Road - Kenosha/Harvard Subdivision
  • 64 161.070 Norfolk Southern - Yard - Ashland/Colehour
  • 65 161.085 CP Rail - Road - Davenport Subdivision
  • 66 161.100 BNSF - Road - Chicago Subdivision
  • 69 161.145 Union Pacific - Yard - Dolton
  • 70 161.160 BNSF - Yard - Cicero/Road - Aurora
  • 71 161.175 Union Pacific - Yard - Proviso
  • 72 161.190 CN - Road - Chicago Subdivision
  • 77 161.265 Amtrak - Car Department
  • 78 161.280 Union Pacific - Road - Joliet Subdivision
  • 79 161.295 CN - Road - Waukesha Subdivision
  • 80 161.310 CSX - Yard - Barr-Eastbound
  • 82 161.340 Metra - Road - Rock Island District
  • 83 161.355 NICTD - Road/Repeater
  • 84 161.370 CSX - Road - Monon Subdivision
  • 84 161.370 CSX - Yard - 59th St. Intermodal
  • 85 161.385 BNSF - Road - Mendota Subdivision
  • 88 161.430 CP Rail - Yard - Bensenville
  • 89 161.445 Belt Railway - East Yard
  • 91 161.475 CN - Road - Leithton Subdivision
  • 91 161.475 Manufacturers Junction - Yard
  • 92 161.490 Norfolk Southern - Road - Chicago District
  • 93 161.505 Amtrak - Road - Michigan Line
  • 94 161.520 CP Rail - Road - Elgin Subdivision
  • 95 161.535 IHB - Yardmaster-Gibson West End
  • 97 161.565 IHB - Hump Yardmaster-Blue Island

Chicago Area Railroad Radio Frequencies 


Other Names for a Train’s Caboose

  • Cabin
  • cabin car
  • way car
  • brake van
  • van
  • crummy
  • crum box
  • birdcage
  • boneshaker
  • brain box
  • shack
  • shanty
  • parlor
  • hack
  • zoo


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 I still use the mail. Not the email but the USPS, the PO, to send letters and cards to friends and family and representative and presidents. The establishment of the Post office and post roads is in the first article of the Constitution (section 8, clause 7) and one of the jobs of the congress. The PO moves mail in a lot of ways (trucks mainly now, air sometimes) but for a long time the mail moved by rail. There were post offices as part of the train sets of passenger trains that sorted and collected mail from the cities that trains went to and through. That is why still in the big cities the big main post offices (now in ruins) are next to the big main post offices (now in ruins). As rail road passenger trains waned (replaced by car and plane) , it was the mail that greased the rails. Listen to the song City of New Orleans when it sings about the consist of the train—15 cars, 15 restless riders, 3 conductors, 25 sacks of mail. One passenger a car and that mail is/was all first class. What interests me is infrastructure, systems, the way these mechanical analogs worked. And they did work for over a century. So, one of the the greatest named trains, The 20th Century—it started running from New York to Chicage in 1906 ended in 1967—I thought about in the 20th century. It is the train Cary Grant rides with Eva Marie Saint in North by Northwest. The red carpet was invented by the New York Central for its train The 20th Century. A red carpet was rolled out for each departure. I also like ruins and residue. All those buildings! All the stations. The trestle in Tuscaloosa. The Hells Gate in New York. The tunnels. The Horse Shoe curve. Robert Johnson sold his soul to the devil where "The Southern crossed The Yellow Dog."  Trains and time. The first means of transport humans had for going faster than riding a horse in all of human history up until the 19th century. Because trains moved so fast, their story and mine and yours are not only connected to place but time or Time itself (remember Einstein uses the train to help understand Time). Trains were, are time machines. And it was the railroads, not the government that set standard time, slicing the world into zones. Remember that that the New Year's Eve ball drop is the ruin of the way time was once set before standard time. Balls dropping each noon all over the country to set the local clocks. All the ruins and residue leftover, the leavings of the industrial revolution, the mechanical age. I grew up in Fort Wayne, Indiana, a crossroads, a division point for three major mainlines of mainline railroads. Steam locomotives were built there. One of the last living steam locamotive is still housed there, Nickel Plate 765. It was a city of conductors. Hundreds of them at the four stations—I am not even counting the traction interurban depots—all in their conductor kepis checking their watches to Standard Time, named passenger trains arriving and departing on the advertised.

Michael Martone misses the Monon (The Hoosier Line) but he also misses all the "Fallen Flags" of his home town, Fort Wayne, Indiana. The Pennsy (his great grandfather Shaker was a gandydancer), the Wabash and the Nickel Plate which merged into the N&W, the Norfolk Western (even though I thought of it as the Nickel Plate and Wabash until the N&W disappeared as well). And the Big Four. He really misses the Big Four. He lives in Tuscaloosa once served by the Southern (Southern Serves the South) and the GM&O and the L&N.  He has an MA from the Writing Seminars of The Johns Hopkins University in Baltimore. Johns Hopkins was a founder of the first railroad in the nation, the B&O, the Baltimore & Ohio. Now long gone as well.

Monday, October 5, 2026

Julie Marie Wade, Rubik's | L*STS

   


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Rubik's

Julie Marie Wade

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L*STS: an Essay Daily Happening | About & Contents

 Lists | Lasts | Losts | Lusts | Other

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Writing this, I have completed the magic cube that eluded me all my youth.


White

□  I didn’t know I was. On the first form that asked, I wrote “tan or maybe beige” in the blank beside OTHER. I misspelled “beige” as “bayjh.”

□  From “alabaster” to “porcelain” to “peaches and cream complexions,” there was so much to learn about euphemisms in our literature and biases in our world.

□  The first time I read Joan Didion’s famous essay from her famous book, I had no idea the title was a nod to a Beatles album of the same name. I also had no idea who the Beatles were. (Yes, I grew up under a boulder disguised as a brick house.)

□  My parents never owned a Polaroid camera, but I loved when the school librarian took our pictures and wrote something memorable along the spacious border. Tiny occasion poems!

□  “We tell ourselves stories in order to live,” Didion writes, but I’ve always thought it was the other way—that we live in order to tell stories.

□  I used so much Liquid Paper in eleventh grade that my teacher confiscated the bottle. “Have you ever considered just crossing out your mistakes or—radical thought—letting them stand as they are?”  

□  I had not. This was Catholic school, where we were taught to confess our sins to Jesus (sometimes via priest, sometimes on our own) so He could blot them out. Jesus was supernatural Liquid Paper.

□  I love how in Key West the picket fences are often painted rainbow colors now (in response to the rainbow crosswalk bans) or how a smaller picket fence epitomizing Pride will be draped over a section of the main picket fence, which is still painted the traditional color. 

□  As objective correlatives go, pickets are presumed to point toward pleasantness, which is not the same as happiness, or toward conformity, which is not the same as safety. It has taken me years to recognize the difference.


Yellow

□  Pencils in boxes. Pencils in cases. Pencils in a holder (retired coffee mug) on my home desk and arranged in tidy rows inside my school desk. Always a sharpener nearby. A perennial welt on the fourth finger of my right hand from writing too hard and too fast.

□  Over her bed my cousin Blythe had a huge inflatable pencil dangling from two wires. She said we were not allowed to touch it, then jumped up and touched it, then dared me to jump. The moment I did her mother flung open the door, like she could chemically sense disobedience from across the hall. I was promptly declared a “bad influence.” 

□  I come from a land of orchards, the nation’s greatest producer of apples. This is the color no one pictures as the “apple of their eye,” despite its enticing sobriquet—the Golden Delicious. 

□  No buses for my school, not the way I saw in films—those massive Ticonderogas on wheels!—which I always assumed was the point. Pencils point toward classrooms, and buses steer toward schools. The surprise of it, our first field trip, that West Seattle Christian had a bus with its name in bold letters printed on the side, but instead of a pencil, a Bic ballpoint motorized! It was as strange a sight as black snow or a purple pumpkin. How could a school bus be blue?

□  Our pillowcases and our pillows, my father’s ribbed sleeveless undershirts, some of the t-shirt kind, too, and all our sheets, for twin and queen alike. Tinged. Something that happened with age, with sweat, with the transition from first use to second (rags). When I went as a ghost for Halloween, I was haunted by sepia. It should have been the apparition’s name.

□  We were a margarine family, never a butter family, big tubs on the table and sticks in the fridge. From an early age, I learned to favor simulacra over The Real Thing.

□  Tetherball—I was always in contention for queen. Other girls would line up to play me, though battle was a better word. Erica and Angela were also good, also tall. I sensed a correlation. My parents installed a tetherball in the backyard so I could practice, but alone, pummeling the solitary egg yolk on the long string, I found I did not enjoy my competition.

□  Cowardice is coded this way. I don’t know why. Not terror, which is heavy and dark by comparison, and not anxiety, which is skittish and light, what my grandmother called “a case of nerves.” She drank milk to calm hers, and later, jugs of Carlo Rossi wine. Maybe I was never Dorothy after all, with her gingham wonder and sparkling shoes, but the lion who cried whenever he intended to roar.

□  Around the edges of my fingernails during those early teen years I wasn’t eating, when I scraped the contents of plates into the trash or tossed them over the fence. Summer was hardest, bodies on display and barbecues never-ending. This was the era of the French bikini, squeezing lemons onto our bellies to darken them, lemons into our hair to lighten it. Contradictions abound. But even when I painted my nails the Barbiest pink, I still couldn’t conceal their jaundice.


Red

□  I come from a land of orchards, the nation’s greatest producer of apples. This is the color everyone pictures as the “apple of their eye”—iconic, Platonic, and Biblical, of course, but never my favorite fruit.

□  It was an apple that lodged in Gregor Samsa’s back, bright as blood, I imagined, bright as a gash that could not be sutured. I loved this story in high school. I hated this story in high school. I wondered if Gregor’s metamorphosis could be read—one interpretation at least—as a young man coming out to a family that found homosexuality disgusting, the homosexual dirty like vermin. “Whatever you do, don’t write that in your essay exam,” my friend Jasmine warned.   

□  I didn’t write it anywhere, or tell anyone again, even when we studied The Metamorphosis in college. I saved my musing for 30 years, and now I’m writing it here. I think a fair allegory is that Gregor Samsa was queer, and though I may think this because I am queer, we both had reason to fear contempt and even violence in response to who we are.

□  When I am running and the men sitting on benches along the boardwalk can’t resist calling out to me, “Hey, Speedy, hey, Sweetie, what’s your name?” or when—worse—they jump up and run beside me for a few strides, laughing and asking “What’s your hurry, pretty lady?” before they fall behind, I am not seeing it, but I am feeling it, a burn that surges through my chest and my legs, that holds my eyes in place on the road ahead, my elbows pumping such that their points become spears. 

□  Hester Prynne, too. Blamed, branded, the stigma of her sin stitched onto her dress. It didn’t have to be an A, or the A might have stood for other things. In our sex education textbook published by Ave Maria Press, we learned being gay wasn’t a sin but “acting on it” was. What if the “A” stood for acting—on any desire, ever?

□  Pink peppermint discs, the cinnamon kind, just before the dissolution of their swirls.

□  “Blood on the moon,” poetic for “total lunar eclipse,” meaning when the earth passes between the sun and the moon like a child climbing into their parents’ bed, squeezing in between them, changing the tone of the whole night.

□  Taillights. A brake slammed too late, ahead and behind. Sirens flashing in the rearview. My accidental booking at the elder resort—whiplashed in our twenties, laughing because and laughing despite, logs in the fireplace, steps up to the four-poster bed. (We needed them.) Clock radio alarm set to 4 AM by the room’s previous occupant. Icy Hot Smart Relief commercial with the targeted pain spot that glows inside the joint.

□  Velvet Santa suits and my own velvet pant suit—foreshadowing (perhaps) a future lesbian life. Perching for a picture on a crate by the Mall Santa’s feet, the closest proximity I would permit. Even then, I did not want a man, even a jolly old elf, to touch me.


Orange

□  The quintessential tabby called Punkin or Marmalade, with a soft peachy belly and creamsicle stripes. A hand could get lost in all that warm fluff! The cat I visited at the pet store each weekend, asking to hold her, nuzzling her fur, until one day she was no longer there. 

□  Tigger, to whom I have been likened all my life. “Someone get that girl a Pogo stick!” But no, I was part Pogo already, long before “gotta bounce” meant “gotta leave.” I stayed and just kept bouncing in place.

□  Refractory rhyme, meaning in fact unrhymable. Contradictions abound. My favorite of the loner words, a fellow only child. 

□  John McPhee’s classic work of reportage, its title pluralized, widely assigned in graduate school to those aspiring to write nonfiction. I loved how McPhee intended to write a simple article, short and straightforward about the industry associated with the fruit. But he became too tantalized by his discoveries not to share them, and so the article morphed into a long-form essay, which morphed again into a book. I was there with him, savoring my time in the groves he made of his pages—foreshadowing (perhaps) a future Florida life.  

□  If you are born in 1979, the 1970s are with you for a long time. This is the color of that decade and the next: first kitchen linoleum, Tang in plastic refrigerator pitchers, the shag carpet in every playroom I wasn’t invited into, a beanbag chair I cut open to see what secrets it contained, the prettiest bottle of something undrinkable on my parents’ basement bar, and the leaves, both collected from the yard and purchased at the store, that we stuffed inside our annual Horn of Plenty. 

□  Where I lived, they were too pale and pithy to live up to their name, lackluster as juice or snack. My mother refused to slice them into triangles, where you could take a bit and then use the rind to cover up your teeth, flash a toothless smile at a recess nemesis. Of course I wanted to play with my food, just as all the boys did. Instead, half of lunchtime peeling the white strings and then eating them, those endless wan segments, one by one.

□  Macaroni and cheese, made from a box and blinding as a traffic cone. This might have given us pause before eating but inexplicably didn’t. Instead, we added off-brand hot dogs (nothing Nathan about them) cut into pieces and sometimes used heavy cream to thicken the powder that coated the pile of gluey elbows in the pan.

□  Plastic jack-o-lanterns, of course, for collecting candy while trick-or-treating, and fields trips to the pumpkin patch, where everyone tried to seize the largest gourd. I was allergic, but only if I ate it. How I loved carving, the pleasure of pathetic fallacy realized, and the deep intimacy of running my hands along the ribbed walls, of scooping out the seeds. 

□  Reading Walden, I came across a line I have always loved and promptly committed to memory: “I would rather sit on a pumpkin and have it all to myself than be crowded on a velvet cushion.” 

 

Blue

□  The sadness that chisels quietly, each chipped tooth behind a sanguine smile. 

□  Backdrops to yearbook photos and church directory photos, loudly unrolled and wobbly on their unfolded legs—before which those hostage hours with my mother’s hot curlers or her curling iron, the spongy overnight rollers worn with a net, and even sometimes the salon-style hair dryer, set up in the living room to arch over a chair. The beauty she hoped to coax out of me before my pose was struck, then preserved, in front of that simulacrum sky.

□  A shade seen in certain personifications of ice or breath, raindrops in picture books or the Old North Wind blowing. The twi that makes light softer at the far edge of day, after the sun finishes its dramatic performance and the understudy steps on stage to run lines. Also, the color of whispers and empty rooms.

□  “For boys,” supposedly, or at least the color of their receiving blankets, and how I did in fact prefer pink while not believing I should have to. Later, how smug I felt telling my parents that pink was originally for boys, though not for reasons I liked—the stronger, more decisive color—so I left that part out, and my father, who was born during World War II before the gendered color flip was quite complete, refused to believe me. Later, when I told him about the Greek men and their teenage boys, he called for my mother: “Is she too old to have her mouth washed out with soap?”

□  Thinking of the trans flag, which is bordered this way, with pink interior stripes alongside, acknowledging the binary genders, then with the wide swath of white down the middle for undefined genders, the transitioning and intersexed among us. How I only go to my creepy dermatologist (he does not wear gloves) because his radiant receptionist flies this flag over a communal desk of many pronouns.

□  The ink in “erasable pens” (contradictions abound), which I tried only briefly. No more Liquid Paper, but still the impulse to correct, revise, begin again. When erasing with standard fervor, the ink in these pens only faded, so to make it disappear completely, I often tore a hole in the page.

□  Violets are not, despite the most insipid and widespread verse in our language.

□  Once in this moon is when I stepped with a man into Jared’s in pursuit of my engagement ring. I knew already the mistake I had promised to make and would soon be breaking, but the symbolism was too great—we had just seen The Lord of the Rings at the cinema inside the mall! When I tried to write this scene in a poem for class, my teacher eschewed, “Too much! No one will ever believe it.”

□  The 1990 Honda Accord with plush seats and all-time most steerable wheel—oh, the ease of those turns! At every intersection, a volta. The last time I saw my parents, they were still driving that car. We passed under a bridge at the outskirts of my first city, my first life. No, this is not a metaphor. They didn’t know I had a car. My partner and I bought it together, paid too much of course, but it was ours. The new steering wheel was much tighter. I drove right through the light when I saw them, no slowing down, no blinker. I kept driving right toward my sequel.


Green

□  Which is to say callow, which everyone has been, or “wet behind the ears,” which for me meant decades of sloshing. Not so much anymore, though now the bittersweet switch to resisting desiccation. Body, stay lubricated! Mind, stay lubricated! How to advance into dexterity—those fabled 10,000 hours, then more—without wilting from lack of fresh rain. Thankfully, there’s always a poem for that in my Notes app: “Water pours into the basin,/ cold and clear./ Make it new.” Best motto for now.

□  I come from a land of orchards, the nation’s greatest producer of apples. This is the color of my favorite apple, more tart than it is sweet, and the best kind for filling a pie.

□  Per Dickon, beloved Secret Garden boy whom I always believed to be my gay fraternal: “wick,” as in still alive inside, despite the outward appearance of death or decay. Wick, as our hearts were then, in perpetual pend, waiting till we could strike a match and gleam.

□  Of gables and fried tomatoes, of course, but not the eggs or the ham that accompanied them.

□  We were a grass family, not an Astroturf family, nuclear and never blended. (Who could speak of Astroturf without invoking The Bradys?) Sundays with the push mower, later the electric mower. Raking and edging. An elaborate sprinkler system installed underground. After I left, my parents replaced the lawn with turf. Absence has not made their hearts keen. Now “everything is immaculate, not a blade out of place!”—the freedom that comes when nothing grows.

□  Kermit taught us it wasn’t easy bein’ green, but he meant blending in with his surroundings, the way a frog blends in with the leaves. That amphibian life sounded lucky to me, longing for camouflage as a budding sleuth: binoculars, periscope, fingerprint-dusting kit to investigate after the suspects left the scene. All my SpyTech equipment, collected one birthday at a time—and where did I choose to store it? In a neon-bright, glow-in-the-dark duffel bag oozing like ectoplasm from under my bed!

□  The felt on the pool table, how fiercely it reminded us of our own inexperience—taunted really—until we sat on it, stretched out long on it in our skimpiest clothes, and photographed each other in all our clumsy-sexy wannabe glory. When our mothers took the rolls to Bartell Drugs, we swooped in to pay with our meager allowances. “Nothing to see here!” became our motto then. 

□  Opal at church, who tended all the ferns in the sanctuary, preferring to talk to plants over people. I needed something for my school service credit, and fern care didn’t seem too hard. “It’s more than misting and trimming,” she snapped. “You have to listen to them. Who in the world could become this effusive, this resplendent—” stroking their fronds—"without feeling heard?”  Who indeed.

□  Here in South Florida, all the earth-friendly advisors recommend native groundcover like frogfruit and sunshine mimosa. Grass is “water-heavy” and “high-maintenance” by comparison, they are quick to remind. But sometimes still when I close my eyes, I’m standing barefoot on the soft front lawn in Fauntleroy, always thick and somehow always cold, camellia blossoms scattered around, metal wickets, too, all the rainbowed (they didn’t mean Pride there) croquet balls, and a little patch of clover the grown-ups have yet to find. 



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I love "hermit crab" essays, and I've been experimenting with increasingly challenging "shells" over recent years, inspired in large part by the students I teach and the creativity they bring to our lyric essay and hybrid forms classes. Childhood games hold a lot of potential for this kind of writing since their rules are familiar to almost everyone, but there's also a sweet satisfaction that comes from bending those rules toward literary ends. One of my new book projects is tentatively titled Fun and Games, where I hope to probe some serious subjects from within deceptively playful shells. For instance, I've used hopscotch as a way to explore the complexities of our healthcare system and musical chairs to write elegies, with each disappearing chair marking the absence of someone from my life. In 2024, on a visit to Knoxville, Tennessee, I came across the "World's Largest Rubik's Cube," and I haven't been able to get that three-dimensional puzzle out of my mind. What would a hermit crab essay in the form of a Rubik's cube look like? What subject matter would emerge as I wrote into the nine sides of each of those six colors? The only restriction I imposed on myself was that the color in question could not be explicitly named in the section to which it belongs. The order of colors is random—white, yellow, red, orange, blue, green—and I was as surprised as anyone by the memories and associations that bubbled up.

Julie Marie Wade is Professor of English & Creative Writing at Florida International University in Miami. Her newest collections are the memoir Other People’s Mothers (University Press of Florida, 2025) and Quick Change Artist: Poems (Anhinga Press, 2025), selected by Octavio Quintanilla for the 2023 Anhinga Prize in Poetry and winner of the 2026 Silver Medal in Poetry at the Florida Book Awards. A finalist for the National Poetry Series and a winner of the Lambda Literary Award for Lesbian Memoir, Wade makes her home with Angie Griffin and their two cats. 


Friday, October 2, 2026

Julija Ĺ ukys, The Last Botanist: Of Garbage Plants and Archives | L*STS

    


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The Last Botanist: Of Garbage Plants and Archives

Julija Ĺ ukys

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L*STS: an Essay Daily Happening | About & Contents

 Lists | Lasts | Losts | Lusts | Other

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The Place: Heidelberg University Herbarium (Tiffin, Ohio) 

The Date: April 4, 2026

The Subject: Noel Mano, PhD and Duckweed Expert

Over two days in spring 2026, botanist Noel Mano and I explored the files of a neglected, poorly preserved, and incomplete collection of pressed plant specimens collected by students and faculty over decades and housed in an animal lab. Mano is likely the last of his kind at Heidelberg University. When we met, he had just accepted a new position at a different university. Botany, he told me, is no longer fashionable and the school was unlikely to hire someone interested and able to use the crumbling and idiosyncratic collection. As we read and examined specimen after specimen, seeds fell from the files and littered our worktable. I collected them in what Mano and I took to calling my “botanical debris bag.” I still have it on my desk at home. Thus far, I haven’t dared plant its contents.

After Mano’s departure the herbarium will likely either be donated or discarded. The archive contains more than plants; we found 1930s newspapers used for mounting. These featured personal and typewriter ads and newspaper articles about the Watergate scandal. We found many specimens collected by students during 1970s and ’80s field trips to a bog in West Virginia, the home state of a former faculty member, as well as duplicate specimens from Penn State’s herbarium (these are the oldest of the collection). Our favorite file came from a local landfill site, whose garbage plants fascinated us both. 

The Heidelberg Herbarium paints an idiosyncratic portrait of natural history, pedagogical legacy, social ephemera, and the resilience of both plant and human life. Over those days we spent together, Mano and I talked about botanical matter, archives, and the small dramas of academia. Once we’d finished our work, we hopped into Mano’s car and drove out to the Senecal Landfill site together. Although it is fenced off, it no longer takes in waste. On that April day, spring flowers stood in the pouring rain, poised to bloom.

Julija Ĺ ukys: Let’s describe what we have here.

Noel Mano: This is a folder from Seneca Landfill.

JĹ : This is my choice. I wanted to see what the garbage plants looked like. When we saw this file, I said this is kind of your jam because these are resilient and adaptable plants. Plants that can grow literally on a garbage dump.

NM: Yes.

JĹ : Duckweed, you were telling me, can grow in sewage.

NM: It can grow in polluted waters, up to and including sewage and animal manure runoff.

JĹ : And you’ve tested it in what is—what is the, the active ingredient in Roundup?

NM: Glyphosate.

JĹ : Right. Okay, so what else do we have here?

NM: We have Solomon’s seal, which is a showy little flower.

JĹ : It’s a false Solomon’s seal, though, which is interesting.

NM: Oh, yes, I missed that. Yes, thank you. They all look to be collected by the same person on a single day, in May 1993.

JĹ : May 12th, 1993. Obviously, this person went out to the landfill with…I don’t know…a pair of scissors or shears or something and uprooted some stuff. This looks like a trillium. In Ontario, of course, it’s illegal to pull these out of the ground or to even pick them. Growing up, trilliums were sacred flowers that we were not allowed to touch.

NM: But would you enforce that in the garbage dump? 

JĹ : I would have! I was a trillium fascist as a kid. I was very protective of them because we had been told— I don’t know if it’s true—that if you picked a trillium, it wouldn’t bloom again for seven years. Our forest floors were full of white trilliums. This looks like one of the purple ones that grow in the US. I’m surprised to see a trillium. They’re fussy and hard to grow. You can’t just pop a trillium in randomly into whatever ecosystem and expect it to thrive. So, what does this tell you?

NM: This trillium here is growing in or has been collected alongside wild geranium, wild ginger…stuff that we think of as weeds. Now, I wonder if the fact that this is happening in a landfill has to do with the fact that no one is going to landscape a landfill. You dump whatever trash, then put soil on it, and whatever grows, grows.

JĹ : People aren’t trampling it either. Nobody’s going for walks in a landfill.

NM: Exactly. I think that’s why. No one’s managing it; no one’s cultivating it; and it is just allowed to do its own thing. When I was on a job interview, one of my sessions was with a microbiologist and who had this sign on the door. It was a meme with two dogs, two shibas. One’s a sad, crying shiba and the other’s a strong one. The strong one is like, “I will grow anywhere!” But the little crying dog is like the bacteria you want to cultivate but if the pH is off by .0001, then forget it. 

JĹ : That’s the trillium. I have tried to grow these. That’s totally the trillium.

NM: Exactly. 

JĹ : I’ve had two. I think I planted...I don’t know...12? And only two of them survived.

NM: You do all these things, it doesn’t grow. And then… 

JĹ : Then you go to the garbage dump, and there it is. So, it’s a plant that just needs to be left alone by humans.

NM: Exactly.

JĹ : The other thing about the collector who put this together...these are very detailed notes. They’re specific about exactly what these plants are, where they were found. The names are precise. Both the Latin and common names are present. 

I like this file. It’s not just about species and variety. Instead, this is a portrait of one person on one day. It tells a story of resilience. It also tells us something about the collector. I’m not sure what, but it tells us something.

NM: I think someone is very interesting if their idea of how to spend a day in May is at the landfill. Here’s another trillium. And we have Jack-in-the-pulpit over here.

JĹ : I don’t know this one.

NM: This is sometimes considered a weed, and you can see why.

JĹ : No, what do you mean? What should I see when you say that? You mean it doesn’t have attractive leaves?

NM: Right. It’s sort of scrubby.

JĹ : Hard scrabble. Oh, it’s a ranunculus.

NM: Yeah, so it belongs to that buttercup family, and it’s dwarfed by some of its more charismatic members. This is kind of like an oddball collection of just whatever is growing at the landfill on a May day in 1993. 

JĹ : To me, this is a form of portraiture. Of place, of time. Of people. Of human-plant interactivity.

NM: Yeah.

JĹ : Of human shittiness, too. You’re just dumping your garbage…and here are plants!

NM: (laughs) 

JĹ : I was describing this collection to a friend, and I said, “Well, the herbarium itself doesn’t tell a single story. It tells you several different stories.” And one of those stories is local. It’s about Seneca County, Ohio. It’s a story of pedagogy, mentorship, and of a bunch of guys, botanists, who taught at a tiny college and took their students out on amazing excursions to collect plant specimens. 

But you and I keep talking about why one or another specimen is not botanically useful. Some don’t have roots. Others have been cut from a plant of unknown height. Some are mislabeled or undated.

NM: And then, the herbarium shows the tension between doing science and teaching science. Because if you were this very serious scientist, you would tell your students, “All right, we’re going to be really systematic, so all of you go and collect from this place or from this group of plants or this something.” Right? But in the interest of getting students invested in their work, it seems to have been, “well, collect what interests you.” And so, people have collected all sorts of things. It’s not systematic in any way.

JĹ : In fact, this herbarium is mostly a record of professor-student interaction, It’s about mentorship, faculty life, and a lost tradition of botanical pedagogy. I don’t know what scientific value it has, but as an object, this landfill collection tells a story. For me, this is a story of archives and hands-on learning. It’s strangely beautiful in its decaying state.

NM: Unfortunately, I’m leaving this position shortly. And, you know, it’s unlikely that a botanist will be hired in my stead. Back in the day, the argument for keeping the herbarium might have been, “Well, here, a biologist could use that.” But now it is unlikely to be used or even kept after I go. 

Look at all these seeds that have come out of those files… 

JĹ : We could grow all kinds of things.



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Over a weekend in April 2026, a botanist guided essayist Julija Ĺ ukys through his university’s herbarium. It was the last time such a tour would be possible: Noel Mano had accepted a new position and suspected his soon-to-be-former institution would either donate or destroy the collection after his departure. Ĺ ukys recorded their conversations as they worked their way through file after file of pressed and crumbling plant matter. The collection tells the story of community, pedagogy, and discovery: of professors and generations of students, their forays into nature, and the collective years-long project of documenting the flora of the surrounding region. Heidelberg’s herbarium is a poignant if crumbling record not only of plant life but also of a lost tradition of mentorship, pedagogy, and a shared intellectual passion now considered retrograde. 

Julija Ĺ ukys, an associate professor of English at the University of Texas at Austin, is the author of Artifact: Encounters with the Campus Shooting Archives (2025), Siberian Exile: Blood, War, and a Granddaughter’s Reckoning (2017), Epistolophilia: Writing the Life of Ona Ĺ imaitÄ— (2012), and Silence is Death: The Life and Work of Tahar Djaout (2007).

Wednesday, September 30, 2026

Thomas Dai, On Gray Matter | L*STS

   


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On Gray Matter

Thomas Dai

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L*STS: an Essay Daily Happening | About & Contents

 Lists | Lasts | Losts | Lusts | Other

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  1. While driving to work, I listen to a podcast about Pantone’s color of the year, “Cloud Dancer,” which the voices on the radio deride as a “nothing” sort of color, as apparently lifeless as the gray northwestern skies I am currently driving under.

  2. Googling the color later, I see that Cloud Dancer is really just a shade of white—not a bright “optical” white, nor a creamy off-white, but a cool-toned, “natural” white, a few nickels less silver than gray. I like gray. I like it a lot. If I had to begin an essay the way Maggie Nelson begins Bluets, by falling in love, piecemeal and then all at once, with a color, I would have to write about Pantone no. 13-4302: “Skywriting.” This is not an ashy charcoal gray or a shiny fish scale gray or a landlord-approved millennial gray. It is a gray akin to Cloud Dancer, more a tint than a color. Staring at it, one feels a bit bored, like the eye could flow in any direction.  

  3. Writing can be like that, abstract in its pallor. Writing is gray to me, and it also comes from the sky. These gray skies over Pullman, over Chengdu, over Boston and other gray-cast cities I’ve lived in whilst writing.  

  4. I remember the frigid gloam outside our kitchen window in Providence. I remember a time, too, when to be in a gray city was a symptom of having “made it” out of my green and gold Southern childhood, her sunburnt and adobe Southwest. 

  5. What is the origin story to the brain magnet inscribed with the words “gray matter” on my fridge? All I know is my ex bought it for me, because she understood my aesthetic. 

  6. According to recent data-gathering efforts, I own twelve gray sweaters and sweatshirts, three gray blazers, one gray overcoat, and four pairs of gray slacks. The Internet will tell you that gray clothes show sweat stains easily, but I have not been to a gym since 2013. Showing sweat easily is not something I consider when dressing to meet my days. 

  7. These days, I like gray because it makes all the colors around it more vibrant in contrast, or perhaps because I am a city person still playacting at urbanity while residing in a landscape of brown and yellow hills. (I do not believe in the evolutionary gospel of adapting to one’s surroundings.) 

  8. Gray is concrete to me: the softest hard thing I know. The architecture of concrete is known as brutalism. In Brutalism, materials are left unadorned, nothing more or less than what they are. Form without ornament. Design undistracted by color.

  9. My ex and I went to Montreal in 2018. It was time I thought to go and see a pyramid of concrete cubes set down by the frozen St. Lawrence, also known as Moshe Safdie's Habitat 67, an icon of brutalist design. The cubes are not just for show; they’re inhabited, though we wondered how the plumbing worked inside such a jumble of boxes. 

  10. I prefer the less dizzying grays of Tadao Ando, an architect known for his direct and dogmatic approach to construction. A building outside Osaka called The Church of Light is possibly his most famous structure. The last time I was in Japan, I could not visit the Church of Light. Demand had exceeded supply; these grays were reserved for the congregants.  

  11. For Ando, a building is just a container, a threshold we cross and recross until the circulatory system stops, until it all fades to gray. His best designs give a home to that fading. 

  12. I have been accused, mostly by myself, of seeing and writing and thinking and feeling in too many shades of gray. Perhaps the grays of Ando and Safdie call with an alto blandness to people like me who reside in the straits between certainty and doubt, clarity and occlusion. Perhaps these people would do well to decorate with more color. 

  13. The Arctic grayling is a fish. I do not know why I know this. Earl Grey is the tea I drink, named for a British man who helped abolish slavery across her majesty’s empire. 

  14. I’m shocked to hear that my old favorite show, Grey’s Anatomy, is on its twenty-third season. For ten of those seasons, until Sandra Oh’s character left Seattle for even greyer pastures (Zurich), I thought I’d wake up one day a doctor. 

  15. I’m skating around the more personal and piercing grays—grays like my ex’s eyes, which were greenish in the light, but gray before coffee. Gray was the day I walked down to the beachhead and gave it all away. Gray were the birds—petrels, I want to say—that watched as I unraveled what up to that point had been our life. These grays, too, were brutalist. 

  16. Afterwards, there was no question about who would keep the cat. She is gray, and so she is mine. We had named her Ando; we had taught her how to sit; we had adored, for a time, the concrete softness of our life together.

  17. The couches we picked up off the street, the first building we lived in, the car we used to split, the smoke that passed between us for years until it didn’t. All so gray. When my ex decided to spray paint some of our furniture turquoise, I should’ve known it was over.

  18. To capitulate to someone else’s aesthetic is one way to show love. I have to believe there are so many others.  


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This little piece emerged from a prompt I always assign in undergrad nonfiction classes: "pick a color, one with intense personal significance for you, and let it dictate the terms of your essay." I always enjoy this week because the students and I get to nerd out about color theory, synaesthesia, Pantone's silly color codes, and the chromatic spectrum of feeling blue, bleeding red, yearning for green, etc. My students would probably identify gray as a millennial color, and I righteously agree. Recently, I learned that I was born one year after the narrow band of time (1990-1991) in which the greatest number of millennial babies were ushered into the world. Having just missed the boat on being "peak millennial," I like to think my gray-fixation is related to my lifelong (and rather millennial) desire to "get in" with the right crowd, to wear the right clothes, and sing the right political tune. But liking a color in earnest is more personal, an individualist's sport. Gray diverts my mind to so many things, including things (heartbreak, lost love, lost time) that transcend, or cut down to size, issues of taste and aesthetic. Whether the grays I'm elegizing here are "true" colors is debatable, but these grays have suffused me: I can't unsee their paleness or unfeel their chill. This snapshot-style essay is my attestation to that effect. 


Thomas Dai is the author of Take My Name but Say It Slow: Essays, which won the 2026 Lambda Literary Award for best Gay Memoir/Biography. He currently serves as the critic-at-large for The Georgia Review, and his writing has appeared or is forthcoming in The American Scholar, Electric Literature, New England Review, The Yale Review, and elsewhere. He lives in a city named Moscow and teaches creative writing at the University of Idaho.