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Showing posts with label seashell. Show all posts
Showing posts with label seashell. Show all posts

Monday, May 25, 2026

PLACING SEASHELLS ON GRAVES, BY PHOTOS

by Joan Leotta
 
 
The poet by the beach at Les Braves Monument, Saint-Laurent-sur-Mer


Living far now, from where
the veterans among my
beloved dead are interred,
I will place by my
father’s photo
a seashell, one that is also
a veteran of sorts, a shell
from Omaha Beach, Normandy.
 
Walking with our guide
where our soldiers landed,
my fingers, on that cool
May morning plucked,
two slim jack-knife clam shells, 
from the wet sands before the
tide could steal them back.
 
That same guide had recounted how
scientists found that
even after seventy years
sand of this place
still carried traces
of the landing party’s blood.
 
That same day, we were given roses
to lay on graves in the American cemetery.
I also laid down one of these shells,
with a few grains of sand still
clinging to its curves like
hands clasping a lifeboat
thinking that perhaps
the grains carried
DNA from a comrade of the
unknown man I visited.
 
The other of this precious pair
found its way home with me.
I did not wash it or place it in a
generic box: “Shell, France.”
Instead, I kept it aside, wrapped.
Each Memorial Day, I carefully place
that small remaining
Omaha Beach shell
with its few grains of sand
by my father’s picture.
Although he was on
Pacific Coast sands beating
back assaults from a different
Axis Power foe, he and the
Omaha Beach men
were also comrades.
I imagine the soul or souls
on the sand in my shell
communicating with my father,
trading tales of their fight for justice.
 
On Memorial Day, especially,
I think of them and
all who sacrificed their
lives for our country as does
everyone who loves
and remembers those soldiers,
everyone who loves freedom.


Joan Leotta plays with words on page and stage. She’s been published as essayist, poet, short story writer, novelist, and a two-time nominee for Pushcart and Best of the Net. Her poetry and stories have appeared in Spillwords,  One Art, The Ekphrastic Review, The Lake, and many others. She performs folktale programs most often highlighting  food, family, and strong women; she performs a one-woman show, “Meet Louisa May Alcott, Nurse and a Force in Healing America post Civil War.” Contact joanleotta[at]gmail[dot]com for her Main Street Rag poetry chapbook Feathers on Stone.

Sunday, July 06, 2025

TWELVE DAYS

by Shirrin Jabalameli




There was no sound.

But the walls struggled to breathe,

and flecks of plaster rained down like strands of an old woman’s hair who could no longer sleep.

 

The woman came up from the basement.

Not out of fear,

but to see a sky that could no longer be seen.

 

She was a painter.

There was no paint.

No coffee left.

A voice in her head whispered: Paint. Even with ash.

 

The calendar flipped forward,

like an endless explosion bursting through seconds.

And the clock froze 

at 3:20 AM.

 

Day One

 

A dragon leapt out of a painting.

A dome cracked open.

Silently.

With a tremor only she felt.

Something broke beneath her feet,

and she polished the shoes she hadn’t worn.

 

Day Two

 

A message arrived.

The number wasn't saved.

It read: “Are you alive?”

She didn’t reply.

She just sat there, stared at the cracked photo frame, and said:

“How did you know I should be dead?”

The city emptied.

 

Day Three

 

No smell of bread.

No scent of blood either.

Only the thud of words pounding the walls.

The tiles recorded the blast.

She wrote: “We are still words.”

Then she drew the letter “N” backwards,

added two diacritics beneath the “K.”

A man saw it,

and ran.

 

Day Four

 

A child found a seashell on the ground.

He asked his mother: “Is this the sea?”

She said nothing.

The woman picked up the shell and answered:

“No. It’s the last remnant of listening.”

An old man’s cane began to calligraph across the stones.

 

Day Five

 

The mirror cracked.

But its reflection didn’t cry.

The woman inside the mirror was no longer her.

One of them was asleep.

The other,

awake and fighting.

And in that same dawn,

a verse trembled.

 

Day Six

 

The phone rang.

No name saved.

A voice said: “Remember that mountain you climbed as a kid?”

She laughed: “You saw me?”

The voice replied: “Still stubborn. Still painting.”

 

Chopin’s notes tangled with the roar of an explosion.

 

Day Seven

 

The alleyways had fallen asleep.

In their dreams,

they swallowed the lead.

A crow asked: “Why are you still awake?”

Sejjil interpreted the dream.

  

Day Eight

 

Someone on the other side of the wall was talking to himself.

Half of his words were Persian.

The other half—screams.

She didn’t hear it through the window.

She heard it through the wall’s skin

in the precise place where sound no longer existed.

But her skin did.

 

Day Nine

 

A man shouted: “Enough!”

His voice echoed back into him.

The painter woman said:

“No. We’re not there yet. You must go all the way.”

 

Day Ten

 

Rain didn’t fall,

but the ground was wet.

The air had wept.

Someone wrote:

“You’re alive. Do it.”

 

Day Eleven

 

She painted a piece that smelled of burned coffee.

The one-legged goat said:

“I’m not the way back?”

 

She replied:

“You’re the reason I stayed, though you may never understand.”

 

Day Twelve

 

Everything was just as it had always been.

But nothing was in its place.

She looked at the word she had written on the wall.

It hadn't been erased.

Just slightly more ... upside-down.

 

The End?

No.

These were just twelve chapters

of a book not written in blood,

but in the color of resistance, 

resistance that could still be seen,

even through smoke.


Shirrin Jabalameli is an Iranian writer, painter, photographer, and storyteller. She is currently working on a poetry-photo hybrid collection reflecting on memory and witness.There was no sound.