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From: Vol.12 N.01 – The Braided Gift

Slippage

by Leah Browning
The wedding took place 
in a small, un-air-conditioned room
at the back of a church in Wisconsin
almost twenty years ago.

My mother says she remembers nothing
about it except my husband
standing at the back of the chapel
sweating in a suit and tie,
our baby asleep on his shoulder,
saying, “Please, if you can’t untie it,
just cut it off.”

There was also a potluck supper
with a big frosted sheet cake,
but she has forgotten all of it.
On one side of the church gymnasium

were long tables laden with serving dishes
and cloth-covered rounds where my cousins sat
visiting while little kids chased each other
across the polished wooden floor
on the other side of the room,
dipping their plastic wands into bottles
and blowing bubbles.

The flowers had been assembled
back at our hotel in the days before
the ceremony by the bride
and her sisters and mother.

The hotel had a huge indoor pool
with real trees and a waterslide,
and it must have been heavenly
in the winter, but in the heat of summer
the interior was as humid as a greenhouse.
Our side of the hotel got so hot
that the kids couldn’t sleep;

I placed towels over their pillows
and cold washcloths on their foreheads
and necks, but there was no relief.
There was no relief.

My husband finally got up
in the middle of the night
and drove to CVS or Walgreens
and bought a pair of pedestal fans
(recalling another night, another hotel, when he
drove to a drugstore for Tylenol just because
my head hurt so much that I couldn’t sleep).

During the day, the baby and I hung out
on the cool side of the hotel
in my parents’ room. They had driven
all the way up from New Mexico.
Do you remember? I ask now.
Sitting in her room with my cousins,
assembling the flowers.

One of the women said that when he was older,
girls would call my baby a babe.
He was only a few months old at the time
but has somehow turned into a young man.

There’s a jarring sense then,
a disorientation, an awareness
of the slippage:
how quickly it’s all
getting away from me.
When my older son was a baby,
one of my sisters-in-law told me

that he had a sexy, scratchy voice,
a kind of foreshadowing,
and our child that I used to hold
every day of his life

is a grown man now, taller than his father,
living on his own in another country.
Sometimes, when they were little,
I took videos of my boys,
letting the tape run, letting it go
well beyond the moment I had wanted
to capture and hold

like a firefly, something ephemeral,
something that can never truly be
preserved. I wanted to remember
not just the good times, so perfect and fleeting,

but the messiness around them. The baby
would start to cry, and I didn’t roll
the tape back and record over it later
because it seemed important in the future
to remember not just the pleasure, but
the pain of being present. I knew I would want more
than sad nostalgia, so I needed to remember it all,

not simply my baby’s beautiful little face,
staring up at me with such slavish devotion,
mirroring everything he saw
looking back at him.
Published: November 2025
Leah Browning

is the author of Two Good Ears (2021) and Loud Snow (2022), a pair of flash fiction mini-books published by Silent Station Press, and When the Sun Comes Out After Three Days of Rain (2022), a collection of poetry published by Kelsay Books. She is also the author of three short nonfiction books for teens and pre-teens and six chapbooks of poetry and fiction. Browning’s work has appeared in Waxwing, Harpur Palate, Flock, Four Way Review, The Broadkill Review, Necessary Fiction, Belletrist Magazine, Poetry South, The Stillwater Review, Valparaiso Fiction Review, The Threepenny Review, Newfound, Superstition Review, Santa Ana River Review, and other literary journals and anthologies. Her first full-length collection of stories is forthcoming. Facebook, Instagram and X: @leahbrowninglit Bluesky: @leahbrowning.bsky.social leahbrowninglit.com

An Australian and international
journal of ecopoetry and ecopoetics.

Plumwood Mountain Journal is created on the unceded lands of the Gadigal and Wangal people of the Eora Nation. We pay our respects to all Aboriginal and Torres Strait Islander people, and to elders past, present and future. We also acknowledge all traditional custodians of the lands this journal reaches.

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