Microfiction

If you can tell a story in a minute you can write it down on a single page. I know this from my auditioning stage actor days.

Learning monologues cut to a performance length of one minute I had to have a beginning, a middle, and an end—with stakes and beat shifts packed in, along with a full range of emotions.

Crafting a single paragraph of microfiction is like that: writing an unforgettable experience or a scene that stands on its own.

So if you think one page isn’t enough, I reckon you haven’t yet written a drabble.

A drabble is a work of microfiction with a strict length of exactly 100 words.

For me, it’s the challenge.

Why limit my word count to such an insignificant number?

Writing this type of microfiction trains me to tell a tale in a confined structure where every sentence carries weight.

In this tiny space I can sketch a character, hint at a plot twist, or evoke a vivid moment.

If you’ve ever doubted that one page can hold a full story, microfiction proves otherwise. It teaches you to make every word matter.

Sometimes the smallest stories leave the biggest impressions.

The first successful jump off the top of the Eiffel Tower (1911)

Below is a drabble I wrote, inspired by a poster on my wall — itself inspired by the plunge of a Parisian parachutist that the artist witnessed in real time.

Richard La Rosa — 12/6/2025

Marc Chagall, Paris through the Window (1913)

Escape Hatch by Richard La Rosa

The room is cluttered with hundreds of canvases but I head straight for a picture hanging over a bricked-up window.

It’s a portrait of Paris through the lens of Orphic cubism, painted with oils mixed for Monsieur Chagall by my Hungarian great-grandmother, a gypsy whose crushed pigments are infused with the means of traveling to imaginary realms.

I swapped it with a flawless forgery and it’s my escape from an early demise.

The slightest touch, paint dissolves…

And I step into the canvas through a window of imagery, entering an alternate reality a century past onto cobblestones slick with rain.

Long Live Lenny’s Nosh Bar

I landed in Eugene in the summer of 1972, when I was eight years old.

That year, I went to my first Renaissance Faire and saw the Grateful Dead perform on the same meadow that would eventually become the Oregon Country Fair grounds. I don’t remember much about the set list, but I recall the energy and running around shirtless, weaving my way through the crowd.

After that, I passed through town periodically with my dad and his girlfriend, staying in various communal houses and crash pads for days or weeks at a time before hitting the road again in our old bread truck. We were nomadic hippies. Eugene was just another stop.

It didn’t feel like home yet, but it reminded me of Berkeley, where I used to live.

Back then, Eggsnatchur Natural Foods was tucked inside the old Craftsman house at 675 E. 13th Avenue, next to Koobdooga Bookstore—“a good book” spelled backwards. The two buildings sat at either side of a funky little campus village: studio apartments, small businesses, and repurposed houses arranged around a central courtyard, like an accidental commune.

From 1972 to ’74, Greg Weed Comics ran out of the back of Koobdooga like a speakeasy for superhero nerds, until Darrell Grimes bought him out and added his own massive collection. I didn’t know Darrell yet, but when I returned two years later, his shop was the event horizon that pulled me back there.

When I finally settled in Eugene in the summer of ’76, the Eggsnatchur was gone, and Honey’s Café had taken its place. Just two weeks before I got back, Darrell had moved into one of the courtyard cottages and officially rebranded his shop as The Fantasy Shop. I spent countless hours there, cross-legged on the hardwood floor between the shelves, devouring issues of Spider-Man and The Fantastic Four. By 1977, I was living with my mom and sister. By ’78, Honey’s had closed, and Poppi’s Greek Taverna became the final restaurant to occupy the old house.

2.

In the fall of 1979, Lenny Nathan opened the Nosh Bar in the cottage next to The Fantasy Shop. I recognized Lenny from the Saturday Market, where he sold cheesecake and coffee with his two daughters. He looked like a rabbi in a straw boater and he sounded just like Burgess Meredith as the Penguin on the Batman television series from the sixties.

Lenny was also quite the raconteur—which, honestly, made him my kind of guy.

At the Nosh Bar, Len served matzoh ball soup, meatball sandwiches, and giant four-egg omelets well into the wee hours. There was a jukebox, a pinball machine, and some very interesting Eugene characters.

For me, it was a kind of bohemian Shangri-La.

Over the years, the courtyard became a favorite after-school hangout spot. I came to know some of the people who worked there—such as Madjym, Hershel, Jillian, Molly, Melody, and Lenny’s daughters, Katy and Annette. My friend Dawn, and a fellow thespian named Aaron, both from high school, worked there for a time. And of course, Uncle Ray drifted through with his shopping cart full of bottles and cans, often scoring chicken and hot chocolate from Poppi at the back door of the Taverna—as long as he wasn’t too drunk or ornery.

Even after Darrell moved The Fantasy Shop out of the courtyard and into the Smith Family Bookstore building I kept coming back.

By the early ’80s, I was living a few blocks away and working across the street at Prince Pückler’s, the best ice cream shop in town. Lenny’s had become my regular late night joint. It was where I lingered, heard all kinds of new music in the jukebox, and where I learned to be a better writer.

That whole 600 block of East 13th between Patterson and Hilyard wasn’t just two lifeless parking structures like it is today. It was a living, breathing ecosystem of oddballs and outcasts, artists and seekers; a village unto itself.

And that’s where I found my tribe.

Richard La Rosa (12-5-2025)

Astronomers have found a tiny Moon circling Uranus, and it’s adorable

Moth—named for William Shakespeare’s mischievous dream-sprite—is the smallest moon ever caught lurking around Uranus. It circles the ice giant every 9.6 hours, moving so stealthily through the dark that only a telescope a million miles away, positioned by a stroke of astronomical good fortune, could spot it. A world this small shouldn’t exist anymore. By all rights, it should have been ground into glittering dust ages ago by the brutal tides and gravitational crosswinds of Uranus’s crowded inner realm.

But Moth remains.

It survives.

It slips through the rings like a rumor whispered between evanescent celestial beings.

And the discovery shakes more than poetic nerves. If Moth is out there, then so are others—micro-moons, shards and strays and half-formed worlds hiding in the Uranian gloom. Its orbit hints at a delicate gravitational choreography that defies the old models. Some astronomers say these tiny bodies corral ring material; others swear they’re the shattered bones of ancient collisions, ghost fragments still circling the ice giant in mute procession.

Whatever the truth, Moth reminds us that we’re still amateurs in our own cosmic neighborhood. Forty years after Voyager 2 breezed past Uranus, a moon only six miles wide sat in the dark, unseen and unbothered—waiting for a new century, sharper eyes, and a little bit of luck to finally bring it into the light.

Richard La Rosa ~ 12 / 3 / 2025

———

The moon described above is real. It was discovered on February 2, 2025, when the James Webb Space Telescope turned its Near-Infrared Camera (NIRCam) toward Uranus and its rings and caught a faint point of light hiding in the glare. The object—currently designated S/2025 U1—is only about 6 miles (10 km) across, making it the smallest Uranian moon detected to date. It moves in the planet’s equatorial plane, orbiting roughly 35,000 miles (56,330 km) from Uranus’s center, tucked neatly between the known moons Ophelia and Bianca.

Because S/2025 U1 lacks an official name, I’ve taken the liberty of calling it Moth, for a science fiction story I’m writing. The choice is not arbitrary.

Shakespeare’s Moth, pronounced “mote” in Elizabethan English, is one of Titania’s tiny fairy attendants in A Midsummer Night’s Dream: small enough to overlook and quick enough to dart between worlds. Given that Uranus’s moons have been named after Shakespearean characters for more than two centuries, choosing Moth feels less like invention and more like uncovering a name that was waiting patiently for someone to notice it.

And really—there is no better name for the faintest moon ever found in the Uranian system than one that, when pronounced, literally means “a speck.”

From Berkeley to Boot Camp

I’m in Eugene for a week after leaving my job at a Telegraph Avenue shop called the Yarmo Zone, wedged between Blondie’s Pizza and Sather Gate World Travel.

The Zone is a quirky Berkeley shop facing Caffé Mediterraneum that sells Betty Boop paraphernalia, pin-back buttons, silk skinny ties, and a medley of mod-to-punk ephemera.

It’s an offshoot of Eva Yarmo’s boho clothing boutique across the Avenue, the one she opened in the mid-sixties when Telegraph was still a runway for miniskirts and the first wave of countercultural fashion.

Eva Yarmo (left) with her crew at Yarmo.

Everyone has an opinion about my plan to join the Air Force. My friends and family are shocked and appalled that I would enlist, but the logic of my decision makes sense to me. Lenny bluntly tells me I’m “just not the type for wearing the uniform,” and I get the heart-to-heart from Joyce’s husband, Lee, a Vietnam vet. We meet at the nosh bar and he’s painfully earnest as he tries to convince me that the military isn’t the place for an idealistic kid raised in the counterculture.

I lay it all out for Lee and tell him I want to learn the Russian language. I’ve been following the cultural shift in the Soviet Union, and I believe that with the rise of computers and the impossibility of controlling the flow of information, Russia can’t stay sealed off forever.

I insist that attending the Defense Language Institute is my ticket to becoming a diplomat someday. I’m sure the United Nations would more readily accept someone with military experience over a college drop-out, so enlisting seems the most direct path.

It’s chapter two of the Reagan-Bush era, and Ronnie Raygun is still calling Russia the evil empire. This sort of bullshit propaganda has got to change. And I want to be an integral part of that shift—to be on the front lines of making things better between our countries.

What I’m not telling everyone is that I’ve already enlisted, and I’ll be at boot camp next week.

Discharged

I’m at Lenny’s Nosh Bar on a late-summer afternoon and the University of Oregon campus hasn’t fully repopulated yet so the joint seems like a half-abandoned outpost.

I’m digging into a giant hot meatball sandwich with a Löwenbräu chaser and marinating in the same low-grade shame that’s been dogging me from San Antonio to San Francisco and all the way back to Eugene.

My triumphant return after being discharged from the Air Force did not come with the ticker-tape parade I was promised. Seems there’s no civic prize for an idealistic adult child of flower children who infiltrates a system in hopes of changing it.

Only an hour ago I was downtown, getting off a Greyhound and daydreaming of a hot shower to wash away the stench of cigarette smoke, cheap booze, and that undefinable aroma unique to cross-country buses.

Walking to the nosh bar, stripped down to my military issue pants and a tie-dyed tank top and a duffle bag on my shoulder, I probably looked like some weird hippie-Rambo-hybrid come home from the war.

I knock back the last swallow of beer, lean into the duffel bag wedged beside me, and close my eyes. A twelve-bar blues line spools from the jukebox. It’s Green Onions by Booker T. & the MGs, with its Hammond B3 organ pulsing in sync with my heartbeat.

A hometown welcome if there ever was one.

The bell over the door rings. I glance up. There’s Lenny Nathan, strolling into the Nosh Bar like he owns the place. He spots me, arches an eyebrow, and heads straight for the tap. A moment later he sets a fresh pint in front of me, unasked, which is quite unusual.

Then, with that magician-casual flair he perfected over decades, he pulls a joint from the pocket of his apron and drops it beside the glass.

“I told ya so,” Lenny says.

But there’s humor and understanding in his eyes.

I grin back just as Ella Fitzgerald starts singing Too Young for the Blues.

Richard La Rosa ~ 8/24/1985