Fifteen minutes of hope. That was all it took to drive me into standing in line for a week, winding step by step through the bottom of a valley alongside hundreds of other travelers from the world over, all sharing that same hope with me. No one maintained the line, yet in it we stood, hemmed in by long-standing tradition set down by years of previous hopefuls. Old stalls set up along the line sold food and supplies at intervals. I told tales of my wanderings to those around me and heard more in turn. Line mates became friends became family, until they reached the end of the line and departed, never to return.
For the destination of this line was a single sandglass set upon a stone pedestal, containing fifteen minutes’ worth of black sand within. From where I stood, I could see it at last, glinting in the setting sunlight. A woman took her place on a worn stump set before the pedestal, hands clenched as she stared into the upper glass bulb. Then she smiled, laughing as her eyes filled with tears, spirited away to the past. From here, only the mirage of images danced inside the glass, disclosing none of her secrets to onlookers. Fifteen minutes of perfect, detailed memory. But only once, never again.
Variations of the same repeated with the next several in line. When I reached the sandglass myself, night had fallen and tiny stars winked overhead. Anything, I thought as I took my seat. I hoped for any of my memories from before I began to wander. Anything at all.
But when I flipped the sandglass and stared into the orb, precious sand running to the bottom, no images materialized. Nothing, not a single recollection, up until the last grain fell through.

Summer’s Latest
Beneath the Bluebonnets: Tales of Terror by Texas Women
Read my eco-horror short “Well Being” in this fabulous new anthology, in which a mother follows strange impulses from tainted water to find her daughter.
From Mary Shelley to Tananarive Due and Mariana Enríquez, women have long shaped horror—often without equal recognition. Living closest to the genre’s edge, women know these fears firsthand: lost autonomy, violence, childbirth, survival.
Set in Texas, a land of haunted histories and increasingly restrictive laws, Beneath the Bluebonnets emerges from the raw intersection of terror and endurance. Written by twelve Texas women writers: R. J. Joseph, Lauren Oertel, L.H. Phillips, Kathleen Kent, Madison Estes, Jess Hagemann, Emma E. Murray, Jae Mazer, Iphigenia Strangeworth, Jacklyn Baker, S.G. Baker and edited by Carmen Gray, this collection is urgent, unflinching, and deeply haunting—stories that refuse to look away.

Writing the Mother Road: Texas High Plains Writers Celebrates Route 66
Route 66 isn’t just a highway—it’s a legend.
In Writing the Mother Road, the Texas High Plains Writers invite you to travel America’s most iconic stretch of pavement through a rich collection of short works inspired by the sights, stories, and spirit of Route 66. Inside these pages, you’ll find essays, memoirs, historical reflections, whimsical adventures, and imaginative tales ranging from science fiction to fantasy—all tied together by the culture and charm of the Mother Road.
For generations, Route 66 has fueled livelihoods, sparked creativity, and shaped the towns and travelers who crossed its path. Now, as the road approaches its centennial, this anthology celebrates the enduring heartbeat of the Texas Panhandle and the unforgettable road that helped define it.


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