Cleaning out her grandmother’s home
she found only one mirror.
Hidden in the back of a drawer
buried under delicate handkerchiefs.
Some with embroidered flowers,
others with faded tatted edging.
It had multiple cracks
but the maple handle’s patina
still glowed.

The bouquet began drooping days ago.
Calla lily bodies downed,
long stems succumbed to gravity.
Sunflower heads
ruffled edges turning brown,
faces no longer meet the eye.
Nearby, on oak sidebar,
shriveled pink-veined orchid petals
ready to fall.

Retreated to their tents
they sleep encased in sleeping bags.
Bought on sale,
blue cloth on the outside.
Inside, cowboys ride horses,
stand with guns holstered by cacti.
Childlike Western print
on bright yellow flannel.
Embers pale in campfire ash.

Gathered for their fiftieth
they take the tour,
campus now lush with trees.
Three-story new student center
sports three dining options,
baristas in the Coffee Corner.
Library tables barren, minus green
Readers’ Guides to Periodical Literature.
Fossils still displayed in the Geology Museum.

Scientist by training, environmentalist by trade,
he took over cooking after retirement.
Meticulous shopping lists.
Weekly menu spreadsheets.
One recipe covers two nights.
Red aproned
in black and white tiled galley kitchen.
Meal cooked, served, eaten.
Leftovers stored for another day.

Written for dVerse, the virtual pub for poets around the globe. Today Bjorn asks us to write a Cadralor. This is a relatively new poetry form. It is comprised of five unrelated, highly-visual stanzas. Each stanza must stand alone as a poem. Stanzas should be fewer than ten lines and usually each stanza has the same number of lines. Imagery is crucial – each stanza should be like a scene or a photograph. The fifth stanza is the crucible and should answer the question “For what do you yearn?” In the case of Remainders, I’m emphasizing that the leftovers, in each of the stanzas, has or has had value. In the last stanza, leftovers is taken literally.