Welcome to Writers Resist the Fall 2024 Issue

The collage by Kristin Fouquet is an apt introduction to this issue, launched in the final throes of the chaotic, often hateful presidential campaigning. How wonderful it would be if the joyful prospect of electing the first woman president of the United States could be just that.

Perhaps we can make it so by encouraging all our sisters and other beloveds to use our hard-won right to vote. As Kristin’s artwork warns us, “Suffrage or Suffer.”

But first, a very fond farewell to one of our founding editors, Sara Marchant, who has a few words to share:

In the last days of the late 1900s, I woke up underneath a beanbag chair on the bamboo floor of a thrashed house not my own, missing a shoe, cake-frosting in my hair, and with full awareness that hijinks had ensued. My first thought was: That was an excellent party.

Today, while reading this issue of Writers Resist, please picture me in my pajamas, bedhead resplendent, toasting you, dear readers, contributors and editors, with my second cup of coffee.

Writers Resist was born from worried dread about our future and righteous anger over our present reality, and there is still much work to be done, but I know I leave her in capable hands . . . and it has been an excellent party.

Now, this issue has a notable dose of dystopias, but—or because of that—you should find some kindred souls in the works of our contributing writers and artists—and if you’d like to join them for our virtual Writers Resist Reads, on Saturday 16 November at 5:00 p.m. PACIFIC, please request the Zoom link via WritersResist@gmail.com.

D. Arifah, “Watching Over the Horizon

Linda Bamber, “Endless War

Robyn Bashaw, “Beware the Homo Sapiens

Cheryl Caesar, “Grass

Chiara Di Lello, “Abecedarian for Billionaires

Matthew Donovan, “I Believe Her

Kristin Fouquet, “Suffrage or Suffer

Ellen Girardeau Kempler, “Poem in Response to Mass Shooting Number 130 in the United States 2023

Michael Henson, “The Dream Children of Addison Mitchell McConnell III

Jacqueline Jules, “How I Feel About the 2024 Election

Craig Kirchner, “The Coming

Christian Hanz Lozada, “When I hear ‘migration,’ I think of ships

Rasmenia Massoud, “Who We Are, More or Less

Ryan Owen, “Breathe

Kate Rogers, “Sisters

Elizabeth Shack, “tree : forest :: ad : internet

Angela Townsend, “French Kissed

Rachel Turney, “Respect

Diane Vogel Ferri, “Election Day

How I Feel About the 2024 Election

By Jacqueline Jules

Woke this morning
with self-immolation on my mind,
not planning it, just incredulous
that anyone setting themselves on fire
would expect others to pay attention
in this world of “alternative facts”
where the size of an inauguration
can be disputed by the White House
along with whether or not men
scaling the walls of Congress
can be considered an insurrection.

It feels like everyone is burning
a flag these days, metaphorically
at least. If you’re wondering,
it’s not a constitutional crime,
and displaying the stars and stripes
on your underwear is okay, too.
Just check Amazon.

What will convince the voters
in Iowa that wildfires in California
threaten their climate, too,
before the smoke rises so high
it chokes us all?


Jacqueline Jules is the author of Manna in the Morning (Kelsay Books, 2021), Itzhak Perlman’s Broken String, winner of the 2016 Helen Kay Chapbook Prize from Evening Street Press, and Smoke at the Pentagon: Poems to Remember (Bushel & Peck, 2023). Her poetry has appeared in more than 100 publications. Visit her website at www.jacquelinejules.com.

Photo by Malachi Brooks on Unsplash.


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Abecedarian for Billionaires

By Chiara Di Lello

Amazing year for rich people says the headline announcing
billionaires like the latest bumper
crop. Congratulations to the proud capital
daddies drooling over their offspring, as liable to
eat their own in next year’s acquisitions as to
feed their cornflower blue-collared shaven throats.
Go on, clap for them while we dance like bears for
healthcare and an hourly fifteen.
I’m sure TSwift needs it more, and trickle down is
just a matter of time. If only we
knew how to trade stocks
like U.S. senators, beating the
market at every turn, a Congress of
net worths five times the median
of us average Joes
poor saps.
Question: Was it also a good year for
RSV? Pinkeye?
Strep? Malaria? Aren’t they also
tumors on society?
Unlikely. As we know,
viruses only breed themselves, til every other organism is
wiped out of their niche. How many of us will they
X out, come next year? Who knows. Maybe
zillions.


Chiara Di Lello is a writer and educator who loves coffee, art, and bees, and unequivocally supports the movement for Palestinian liberation. Her poems have appeared in Ninth Letter, Okay Donkey, Stanchion Zine, and more. Her works have been nominated for the Pushcart Prize and Best of the Net. Visit her website at necessarymess.wordpress.com and follow her on social media: X @thetinydynamo, IG @whereskiwi, and Bluesky @chiaradilello.bsky.social.

Photo credit: Richie Diesterheft via a Creative Commons license.


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Grass

By Cheryl Caesar

“I don’t know—I don’t care. Somehow you will fail
Something will defeat you. Life will defeat you.’’
– Winston Smith, 1984

“I am the grass.
Let me work.”
– Carl Sandburg

And there he sits,
or tilts like an officious grasshopper
over the wooden podium.

Face sprayed orange to fake the sun.
Hair shellacked to cheat the wind.

Railing against Marxists and the Green New Deal.
And all the while his mutinous lungs,
refusing to hoard their molecular billions,

are taking in oxygen according to their needs,
and returning carbon dioxide to the best
of their ability, to every blade of grass:
golf course and garbage heap, indifferently.


Cheryl Caesar is a writer, teacher of writing, and a visual artist living in Lansing. She is an associate professor at Michigan State University, and does research and advocacy for culturally-responsive pedagogy. Her chapbook of protest poetry Flatman (Thurston Howl Publications) is available from Amazon. Her collage memoir Snakes and Stones is nearing completion and is looking for a publisher. Cheryl serves as president of the Michigan College English Association and secretary of the Lansing Poetry Club.

Photo by Bradley Feller on Unsplash.


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Who We Are, More or Less

By Rasmenia Massoud

There’s no telling how long his 15 minutes are gonna last.

His raincloud-gray eyes stare out from thumbnails and video clips in news feeds. They’re surrounded by white impact font, memeified versions of him coming in from the left and the right. There he is. The conservative news hero du jour. The vigilante. The patriot. The murderer. Eddie.

Fucking Eddie. His back ramrod straight, his nods stiff and rigid as though that shiny blue necktie is the only thing keeping his bald head attached to his thick neck. The chyron at the bottom of the screen below his grin says he’s Edward now. All grown up. All business. All American flag pin stabbed into his lapel.

Anyone who knows how to look can see the skinny kid with a mullet and weak attempt at a moustache cowering beneath the surface. Anyone who grew up in our little Idaho town that no one else ever heard of. Anyone who was drinking Mickey’s Big Mouth around a bonfire at the reservoir when our soundtrack flipped from Mötley Crüe to Alice in Chains.

Another moment that didn’t seem relevant until it was gone.

The news personality leans in to show sympathy for Edward’s harrowing ordeal. Not a hair out of place in her crispy platinum mane. The defender of his neighborhood, Edward talks about his pride in the Minneapolis suburb where he grew up. Except he didn’t. Well, Eddie didn’t anyway. There are brief flashes where he seems like a different person, but as I lean on the table to close the distance between my eyes and laptop screen, I see that there’s just more of him now. The added flesh around the neck and eyes, the meaty arms and torso. Life and time have added layers, pushing that kid I once knew farther down.

I rub the thick scar tissue on my chest, a habit I developed after the double mastectomy. A transparent reflection of my face is a ghost hovering over Edward’s on the laptop screen. My hair is cropped short, the warm blonde morphed to shimmering strands of silver. Edward’s been piling on protective layers, becoming more visible. Stacking them up until he fills a TV screen. Me, I’m shedding them, cutting things away, fading to colorless invisibility. Distilling down to the essence of a person.

The blonde woman behind the desk blinks her heavily painted eyes. False lashes fluttering and pencilled brows furrowing to show the audience how serious, how life-and-death Edward’s experience was. Edward recounts the series of events. He talks about his neighborhood, his family, his unwavering belief that America is still the best country in the world, despite how bad things have gotten.

What he doesn’t say is the name Marcelo Chavez. Neither Edward nor the sculpted on-air personality mention that Marcelo was only 15 years old. It never comes up, how the kid was walking home from a babysitting gig when he dropped his phone on the sidewalk, at the foot of a driveway. Edward’s driveway, where he parked his precious SUV. What Edward tells the woman, and the rest of the viewing audience, is that the boy appeared to be messing around with his vehicle. Maybe vandalizing, slashing tires, siphoning gas, or worse. Who can tell these days? When Edward stepped out of his house, aiming toward the trespasser, Marcelo made the mistake of raising his hands while holding his phone and having skin a shade too dark for that particular corner of the city.

Edward at fifteen had been as awkward and gangly as Marcelo Chavez. At sixteen and seventeen, he started to grow into himself, taller and thicker, a brush of brown-blond hair beginning to appear above his upper lip. No matter how deep I plunge into the murky depths of my memory, I can’t recall when he’d begun sticking to the edges of our friend group. He was a few years younger than me, not someone I paid much attention to. But Eddie made his presence known. Younger and goofy, sure, but he had more confidence than he’d had a right to.

The skunky smell of weed mingled with the pine smoke. A crackling bonfire, popping wood, whooping, and chattering from all the shaggy-haired kids clad in denim and threadbare band shirts. Strawberry blonde down to my waist, c-cups beneath my Guns n’ Roses Use Your Illusion t-shirt, dancing and singing along with Tesla about signs, signs, everywhere the signs with my bottle of Mickey’s when that kid hovering in my periphery was right in front of me. Right in my face.

“Dude. No. I have a boyfriend,” I said. My boyfriend, what’s his name, who was old enough to drive and buy beer. Also, old enough to hang out at strip bars while I drank cheap malt liquor with the rest of my underage friends at the reservoir.

Eddie stepped closer until we were nose to nose, smirking. “Yeah?” He looked around. “Where is he?”

That confidence was five sizes too big for Eddie, but he wore it like a second skin and that was enough. That’s all it took. A few days later, we’re rolling around naked and sweaty in a bedroom that belonged to neither one of us. That’s when his protective armor left him, when I saw beneath and looked into the eyes of an insecure young man who desperately did not want to be seen.

“Were you a virgin?”

He glared at me. “Of course not. Why? Was it not okay?”

“It was fine.”

“No really. If it wasn’t okay, tell me. I can take it.”

I knew better. He couldn’t take it.

“It was fine. Really,” I said.

“Just fine?”

Now, on my laptop screen, that insecure kid is in there somewhere. Like a matryoshka doll, the years of doubt, decisions and bad habits all wrapped around and around until Eddie is concealed forever.

Somewhere behind me, Lupita tells our son to brush his teeth before bed. I inhale the smell of dish soap and eucalyptus as she sits at the table next to me, leans in and turns my face to hers. She kisses the tip of my nose. Her big dark eyes glistening like they always do, hair tucked up in her silk scarf so that I can see her entire face. The dimple on her left cheek, and the freckles dotting her nose. Somehow, she glows brighter more and more with every passing year.

Then my wife closes the laptop.

“You need to stop watching this.”

“I know. But I’m stuck on the fact that we came from the same time. The same place.”

“He’s not the person you used to know. You’re not the person he knew. People change. It happens to all of us. That time and place is gone.”

I want to tell her people don’t change. They evolve and erode. They become more or less of who they are. I don’t say any of this. Instead, I push my chair away from the table and take her hand. “C’mon,” I say. “Let’s go tuck him in.”

A daily, mundane thing, the bedtime ritual of telling our son goodnight. A tiny thing that might not seem relevant until it’s gone.


Rasmenia Massoud is the author of three short story collections and several stories published in places like The Sunlight Press, XRAY Lit, and Reflex Press. Her work has been nominated for The Best of the Net, and her novella Circuits End, published by Running Wild Press, was nominated for a Pushcart Prize in 2019. A second novella, Tied Within, was published by One More Hour Publishing in 2020. You can visit her at www.rasmenia.com.

Photo credit: Joe Wolf via a Creative Commons license.


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Watching Over the Horizon

By D. Arifah

D. Arifah is an aspiring photographer who is fascinated by the silent stories the world tells. Through her photography, she seeks to preserve these delicate narratives and share with others the depth of human experience and the quiet power of our interrelation with our environments. Much of her work is an invitation to pause, listen, and see the world around us a little more closely.


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tree : forest :: ad : internet

By Elizabeth Shack

This tiny house boasts sustainability:
energy-efficient electric appliances,
shaded southern windows for leafy sun,
a wood stove for cozy northern nights.

This tiny house is a Facebook ad,
a leaf in an AI-generated photo forest
where an algorithm squirrels seeds of my attention.

I’ve spent more time looking
for DIY backyard forests, urban orchards,
and how to help wild woods migrate north.
This tiny house algorithm ignores my searches.

Its data center used to be a forest.
The algorithm can only compute
trees as objects to build with or to burn.


Elizabeth Shack lives in Central Illinois with her spouse, cat, and an expanding collection of art supplies and gardening tools. Her poetry and fiction have appeared in Writers Resist, Daily Science Fiction, The MacGuffin, Drifting Sands, cattails, and other venues. She attended the Kenyon Review Writers Workshop in 2022 and 2023.

Image is from AI Image Generator under “Fair Use” for commentary.


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Election Day

By Diane Vogel Ferri

Election day is a carnival ride of hope
and despair, each taking their fluctuating
turns. In the back yard, birds and squirrels
continue coexisting, while we, the supposedly
more evolved, battle through every November
and false ad. The downy woodpecker hammers
away at the side of the house and I don’t care
because she’s committed to her life, she saves some
insects for others and thanks me with her beauty.
I cannot betray the consciousness I’ve worked so hard
for, so election day terror is like waking up in the dark
as a child and calling for help but making no sound.
All I have now is the sound of a pen making a circle
of black ink on a piece of paper and these words.


Diane Vogel Ferri’s full-length poetry book is Everything is Rising. Her latest novel is No Life But This: A Novel of Emily Warren Roebling. Her essays have been published in The Cleveland Plain Dealer, Scene Magazine, and Braided Way Journal among others. Her poems can be found in numerous journals. Her previous publications are Liquid Rubies (poetry), The Volume of Our Incongruity (poetry), and The Desire Path (novel). Diane’s forthcoming poetry book, The Slow Journey to Totality will be published in 2024. Her poem, For You, was nominated for a Pushcart Prize and a Best of the Net prize.

Photo credit: Ryan via a Creative Commons license.


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I Believe Her

By Matthew Donovan

I believe her because
her story gains her nothing.
Some of those she tells
say she’s seeking attention. 
They say she’s ruining
his reputation. 

I believe her because
it happens each day.
And because it’s in me 
to do what she says 
was done.

I believe her because she,
not I—lived it. Those that
cling to power deny it, or
say it’s forgivable
boys’ behavior.

I believe her because
we have it easy—crossing
alleyways and parking
garages; traveling alone
to the restroom. We cover
one another’s lies, even
as doing so ruins lives. 

I believe her because
the wolves inside me
are only sleeping. 


Matthew Donovan (he/him) is a retired, professional firefighter currently working for a local government. He was born and raised in the Bronx, and now lives in Connecticut with his wife Stephanie and their daughters. His poetry has been published in Permafrost, BarBar, Southern Quill, The Seraphic Review, and others.

Photo by Lucy Maude Ellis via a Creative Commons license.


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Beware the Homo Sapiens

By Robyn Bashaw

“Don’t!” Eeip closes his mitt over Swee’s, stopping her from placing the bone into the waiting psittaciforme’s beak. Eeip pulls the bone from Swee’s grasp, tossing it in the Trash Trench where it lands between a rusty fork with its one twisted tine veering right and a single brass earring with its post back missing.

There had also been a Trash Trench at the archaeology dig where Swee had interned, growing steadily taller, but it was better in the trenches than the oceans, decomposing slowly, as it was wont to do, with occasional help from the curious nibble of a fish or the tear of a passing crocodile leg.

Beyond the bone, Swee can make out colored rectangular cases holding deadened black screens, wires crisscrossing over black boxes of varying sizes, deformed plastics of every color, brown and green glass bottles perfectly preserved in black bags. The plastic reminds her of the wide-eyed skull of a sciuridae, whose skeleton she’d uncovered in her second week on her internship, throttled by a plastic ring that finally fell loose as she brushed aside the dirt by its neck.

“Never the homo sapiens,” Eeip scolds, and Swee nods her head, glistening silver under the sun. It had been a mistake, but Eeip wouldn’t believe that. Swee knew the homo sapiens were the ones responsible for the Trash Trenches, for the plastic-choked deaths they found below ground, for the entrapment of fantastical creatures. They hadn’t known what to call them when they first uncovered them, entrapped in wired boxes, giftwrapped for their convenience: a huge creature with two long teeth poking out from its head, an animal with sharp teeth bigger than a shark’s protruding from its lips, a short-armed creature leaning back on a long line of delicate bones making up its tail, a tail-less animal with a curved spine and long nails clinging tight to an echo of a tree.

When the linguists had cracked one of the written human codes, they had learned some of the names along with the homo sapiens’: Elephas maximus, Panthera leo, Macropus rufus, Phascolarctos cinereus. It was archaeology that told the tale of their final extinction where the homo sapiens held them captive: Trees were pushed and tossed about past the brick walls and glass windows that were tortured by the wind. Tiny flowers cowered in fear, trying to hide their bright little heads before they were snapped right off. Rain poured out over the Earth, sweeping coffins over cliffs to be splattered against the rocks below. When the storm finished stirring graveyards, churches, homes, and schools together to be poured out fresh across the globe, all traces of homo sapiens’ time upon the world were washed away, buried beneath the new rising ocean.

Millions of years later, the water receded once more, cooling back into mountains of ice that revealed beaches for the cephalopods to waddle upon.

The psittaciforme plants its all-knowing black pupil on Swee, highlighted by the amber iris, as he accepts the bone of a tiktaalik from Eeip. The psittaciforme takes to the sky, its red wings flashing between the blue and yellow of his brethren, each carrying a bone in its talons to the river’s edge where the scientists would sort them and harness any DNA still inside. The tiktaalik have strong fins like the cetaceans to support their body weight out of water, scales like a fish, head like a crocodile, and tail as powerful as the cetaceans. Swee knew it was the kindred features that had made the tiktaalik a prime choice to resurrect from extinction.

Eeip snapped his jaw at Swee. “I thought you were trained! Do you know the damage you could have caused, passing on a homo sapiens’ bone?”

“I am trained!” Swee held her ground. She could have told Eeip about the extinctions the cetaceans had mapped backwards: the storm and subsequent flood that had wiped out the two-legged homo sapiens, the homo sapiens’ entrapment of the multitude of four-legged life, the four-legged life’s emerging from the tsunamis and fires rippling after the asteroid, the giant four-legged dinosaurs tramping across Pangea after the red lava of volcanoes coated the large, lumbering lizards whose steak knife teeth and sail atop their backs kept rivals at bay. It was back another layer of lava that they had discovered the tiktaalik before facing fathoms of ice. Swee stares at the ground under her fins; this was not her mistake. Homo sapiens were more than five extinctions apart from the tiktaalik. Their bones should not have been here at all. Swee lifts her eyes. “Maybe it fell from the Trash Trench?”

Eeip let his eyes scan over the Trash Trench, its logged edges monitored by the loyal canis lupus familiaris, and Swee felt her stomach landlock. Of course, the canis would never permit any piece of trash, much less a homo sapiens bone, to slip past their guard.

“Sorry,” Swee sings sweetly, and Eeip allows her to move on with a final warning to not let the mistake happen again.

•  •  •

Swee does her best to work diligently, but, when the day is done, she finds herself wandering past the cetacean and tiktaalik races with their long-standing battle of wisdom versus brute force, to slip into the river herself. Kicking her strong flippers at the end of her legs, she follows the current to the ocean where her fins shiver to brush alongside a shark and her heart pumps in relish of her flying leaps across the surface. A cackling laugh erupts from her when she spots a seal, but, when it dives deep off a shelf, she lets it pull ahead, content in the chase alone. She swims back through the teeming life of the ocean, untroubled by the schools of fish that dart away from her passage.

She pulls herself up on the river’s bank, pleased to see the brachiosaurus stretching its neck out to pluck a branch free beneath the setting sun. The land had been too bare when the cetaceans had first emerged from the ocean, so the brachiosaurs, the triceratops, and the stegosaurs had been welcome additions to help manage the plants aboveground. The same pity that had sparked Swee to pass her sciuridae’s skull along to the scientists at her internship had led to the resurrection of some of the encaged mammals.

Elephas maximus had been the most pleasant surprise. Not only did they help dig out and build the bases for the Trash Trenches, but they quickly learned to bubble the waters alongside the cephalopods to gather fish from the river to distribute to feed the pod. Swee lifts a fin now to wave at the elephas called Hoount, who swings her trunk to toss a fish Swee’s way. Swee catches it in her flipper, closing her fin over the damp scales. When she slips into her mud bed, Swee bites into the cool flesh. She tears off a small chunk of scale, offering it to her hallucigenia, which grasps the offering in three of its spindly arms, bringing it to its first mouth to suck inside its tiny body. Its two beady, black eyes watch Swee to see if more is incoming, but she does not want to overfeed her pet.

Smaller than the bottle caps littering the first layer of soil, the hallucigenia curves its hair-like neck to the ocean floor while it processes its dinner. Balanced upon its seven legs, its antennae feel ahead as it returns to Swee, who runs her fin over the spikes across its back. The tiny prickles make her laugh, and the hallucigenia nuzzles close until Swee relents and tears loose another scale chunk, reasoning to herself that one more bite wouldn’t hurt it.

Her hallucigenia is a reminder of why she chose to go into archaeology. Many would have been satisfied to stop once they reached the fathoms of ice, but Ipip was a curious cephalopod and he continued to dig. Fathoms down, the sea levels dropped as they did today and whole new creatures, including the hallucigenia, were unearthed. The gecko-sized twenty-eight-legged centipede creeping its way to nibble on microbes at low tide was perfect to keep the ecosystem balanced, but, like the hallucigenia, the wiwaxia was resurrected for its beauty. Outside many mud beds, a wiwaxia sits with its eight rows of armored plates, shimmering like a bird’s feathers with flashes of blue, green, and yellow.

Swee’s fin rests on her hallucigenia’s spikes, and she stares down into its dark black eyes as it lifts one of its legs and places it on Swee’s smooth leg. Of course. Her hallucigenia only knows her as the bringer of food. Even if Eeip hadn’t stopped her today and the homo sapiens had been resurrected, her hallucigenia would be crawling on her, seeking out more treats and rubs.

•  •  •

Swee arrives at the dig site early the next day, bypassing the layers etched into the ground to walk straight to the Trash Trench. The canis lap the trench, but there is one brown canis in front who paces by where the trash is thrown. Swee stops before the brown canis. Knowing they can understand more than they can say, she takes a deep breath.

“Were you once a pet?”

The brown canis, naturally, does not answer, but he does whine.

Swee reaches out her fin, forcing herself to not pull away as she runs it over the canis’s scratchy fur. She had practiced her speech last night. “I bet your homo sapiens took good care of you—fed you, petted you—but all of them weren’t that way. We can’t risk bringing any back.”

The brown canis hangs its head and whimpers, so Swee strokes him again. She had gone over it every way, but she wasn’t sure how to make a canis understand the difference between how something cared for its pet and how it cared for the world at large. Pets have such a narrow focus of the world.

“You can’t slip any more bones in,” she speaks firmly, eyeing the canis so he will know she’s serious. “Understood?”

The canis whines once more, but he drops his body forward in an accepting bow. So, Swee pats him on the side and takes her leave. At the dig, Eeip is waiting. He lifts his fin in welcome, and Swee returns the gesture, assuring as she flops down with him that there will be no more mistakes today.

Note: The title is based on John Whitfeld’s Lost animals: Extinct, endangered, and rediscovered species. Welbeck publishing group limited, 2020.


Though Robyn Bashaw has graduated with a BFA in Creative Writing and published a piddling of stories, her greatest accomplishment to date is training her ball python to distinguish the fast taps of playtime and the slow taps of foodtime. Communication, however possible, is vital. Check out her work at: https://robynbashaw.wordpress.com/.

Photo credit: Debbie Hall, poet, photographer and Writers Resist poetry editor.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Sisters

By Kate Rogers

            – After Marta Ziemelis                                                                    

My friend, in Canada 12 years,
a citizen now, fled Iran
to let her shining dark curls, fragrant
with coconut oil, flow free
of the restraining cowl
imposed by men unwilling
to incarcerate their own desire.
Her locks tumbling loose
over her shoulders, she chose exile,
yearning to love whomever she wants.

Mahsa Amini, red-lipped,
only a few strands straying
from under her hijab,
skull fractured like an eggshell
by the morality police, blood seeping
from her ears, those velvet doves—
will never be older than 22.

Armita Geravand, her tresses flying
streamers in the subway wind,
a train, Martyr’s Square Metro station, Tehran,
was shoved to the floor out of range
of the security camera. At age 16—
too beautiful and confident to be allowed
to escape beating. A brain-dead coma.

At a poetry reading, my friend introduces
her sister here on a Visitor’s Visa. For now.
She huddles into a heavy winter coat, her uncovered
hair lush as the plumage of the Hoopoe, that bird-guide
from Attar’s poem* who showed the way
to all the avian pilgrims, eager to meet God,
wings unclipped.

* “The Conference of the Birds”


Kate Rogers’ latest poetry collection is The Meaning of Leaving. She won first place in the subTerrain magazine 2023 Lush Triumphant Contest for her suite of poems, “My Mother’s House.” Kate’s poetry also recently appeared in Where Else? An International Hong Kong Poetry Anthology. She has been published in such notable journals as World Literature Today; Cha: An Asian Literary Journal and The Windsor Review. She is a co-director of Art Bar, Toronto’s oldest poetry reading series.

Image credit: Sandra Strait via a Creative Commons license.


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Respect

By Rachel Turney

Artist’s Statement
I am an educator who works in two roles. I coach and supervise new teachers and teach immigrants and refugees. Education as a general theme influences my work. I write a lot about my childhood, which I call suburban dramatic. It is a rose: alluring, sweet, but thorned. Growing up in the Midwest, and now living in the beauty of Colorado, shapes my view and interactions with society. I have also lived, worked, and traveled abroad a fair amount over the last twenty-five years. This influence is particularly clear in my visual pieces. Passionate love for my spouse is a new theme of much of my work. That goes along with sexual freedom and pride in body image, which are important causes to me. The most crucial and prevailing lens and reach of my work is based on my identity as a woman and urgent protectorship of other women globally.  I took this photograph in the Khan Market in Delhi in 2019. I captured this sign because I found the representation of women striving to gain respect relatable, a global struggle. My understanding of why the Venus symbol is inverted may be two fold. First, it may represent the lack of balance between the masculine and feminine. The second is that the inversion may be a signal to include other marginalized communities. Please feel free to reach out to me if you have more knowledge of this particular symbol’s use within India. These are my conjectures after some research, but have not been sufficiently verified nor validated—@turneytalks on Instagram.


Rachel Turney is an educator in Colorado. Her poems and prose are published in The Font Journal, Red Rose Thorns, Ranger, Through Lines, Blink Ink, Bare Back, The Hooghly Review, and Teach Write Journal. Her photography appears in San Antonio Review, Umbrella Factory Magazine, Prosetrics, Vagabond City, Dipity, and Ink in Thirds Magazine. Her artwork appears in Cosmic Daffodil. Blog: turneytalks.wordpress.com. Instagram: @turneytalks


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Endless War

By Linda Bamber

Cassandra swore there was no Gulf of Tonkin
but of course
no one believed her.
She knew the Trojan Horse was loaded with death
and that there were no WMD’s in Iraq

and if Paris, her brother, stole Helen
Troy would fall
and all its people be enslaved.
Then the Pentagon Papers came out.
Didn’t I . . . ? said Cassandra when people were shocked.

Now infanticide
hostage-taking
retaliation beyond imagination.
Genocide. Starvation. 

Cassandra tears her hair.
Since Balfour’s birth
(frantic, disbelieved)

she’s tried to tell us this
is what would be
from the river to the sea.


Poet’s Note
In classical texts, Cassandra was admired by the god Apollo, who gave her the gift of prophecy. In a different mood, he added the curse that no one would believe her.
The Balfour Declaration of 1917 is generally referenced as the moment when Britain decided it would suit its geo-political interests to establish a Jewish Protectorate in the Middle East.


Linda Bamber is a poet and a Professor of English at Tufts University. Both her poetry collection, Metropolitan Tang, and her fiction collection, Taking What I Like, were published by David R. Godine, Publisher. Widely excerpted and anthologized, her critical book on Shakespeare, Comic Women, Tragic Men: Gender and Genre in Shakespeare, was published by Stanford University Press. Bamber has published in periodicals such as The Harvard Review, The Nation, Ploughshares, The New York Times Book Review, The Kenyon Review, The Florida Review, and The Missouri Review. She is currently writing a novella based on the cross-country expedition of Lewis and Clark. 

Photo credit: “Trojan Horse” by Terra Incognita! via a Creative Commons license.


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The Coming

By Craig Kirchner

His wife rushed in looking like she couldn’t breathe.
They’re coming, the man at the gate told me.
They call ahead so he is not an issue. We have an hour.

He printed out all the poems and put them in a box,
buried them in the woods behind the condo,
gave his wife the key and a scribbled map.

When they come, they’ll take the laptop,
so I deleted and scrubbed the best I could.
Don’t lock the door, they’ll just beat it down.

Tell the grandchildren I was just trying to be me.
It wasn’t meant to be disrespectful or unpatriotic,
and that I love them.

If I return and things ever get back to normal,
we’ll dig them up and be careful who we share them with.
I’ll burn the ones about the camps and the purge.

If I don’t come back, and no one has yet,
you know I have loved you, as much as it is possible to love,
and never meant to ruin your life with my words.


Craig loves storytelling and the aesthetics of the paper and pen. He has had two poems nominated for the Pushcart Prize, and has a published book of poetry, Roomful of Navels. After a hiatus, he was recently published in Decadent Review, Yellow Mama, Chiron Review, The Main Street Rag, and several dozen other journals.

Photo credit: Ralf Steinberger via a Creative Commons license.


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French Kissed

By Angela Townsend

I went back to Frenchtown, but Frenchtown could not come back to me.

Frenchtown is the daintiest of the “river towns,” a flower crown ringing the Delaware. They hold hands across two states. They hold out bread for every stranger. Nothing snide can survive this soil. New Hope remembers its own name whether you are tourist or mayor. Lambertville will sling its arm across your shoulders. Stockton has never met an outsider. Frenchtown is counting the days until you come back.

Quakertown was landlocked, but it was mine. It was a freckle on the county seat, a guaranteed source of squished eyebrows. “Quakertown, Pennsylvania?” “No, Quakertown, New Jersey.” “There is a Quakertown in New Jersey?” “Yes. We can walk there from here.”

As long as we had a post office, we had Quakertown. We did not have much else. My apartment was attached to that post office, in an aging storybook house covered with murals and mistakes. Narrow stairs led to a spackled wall, and an oak trapdoor opened to the sump pump in my kitchen. My landlord, a meek behemoth whose head lifted the ceiling tiles, promised we would be safe. He forgot to pay the heating bill twice a winter, but “if civilization ever goes kablooey, we can hide under the door in the floor.”

I was happy and confused most of the time. I had come to Hunterdon County to practice my preposterous new degree, a Master of Divinity. But the Presbyterians itched with pox when I “talked about the love of God too often” with their youth group. I was likened to both Jezebel and the Sugar Plum Fairy. I was a twenty-five-year-old virgin who thought my job was to make everyone feel incandescent and safe. I took a job writing PR for a cat sanctuary.

I took myself to Frenchtown on Sundays, singing hymns from my childhood and yowling with Bruce Springsteen about God and sex and getting the hell out of New Jersey. I wondered if I might be a Quaker or an anarchist. I promised my mother I would text her when I got home, as she could not unclasp the fear of my death from her wrist.

Frenchtown was ten minutes away, and it took me in. Glamorous, haggard women yarn-bombed the trees all winter, leaving limbs sweatered in magenta. Life-size porcelain horses appeared and vanished in front of the bank and the river, painted with gnomes or narwhals. The man at the book shop hid used arrivals for me, Bonhoeffer and Hauerwas. “You like your God fellas with lots of syllables.” When I stayed late, lights stringed the river like pearls so I could find my way home.

I did not mind being seen in Frenchtown. I wore gingham dresses and Eliza Doolittle hats. A Nikon jangled light around my neck, and I turned myself into a tendril to catch the light on the water and the foreheads. Strangers let me photograph their dachshunds and their plein air in progress. The woman at the Magick Shop called me a “precious little thing” in a way that made me feel larger. I wished her eight more lives. I took generic pictures of the river. I followed an exasperated stray all the way to a widower asleep on a bench. I did not doubt that I was a seer.

On July 14th, Frenchtown set fire to every contract with “cool.” Bastille Day was a chance to be as corny as a child. The town erupted in unauthorized innocence from the river to the lumberyard. Eiffel Towers were $3. Mimes on stilts blew bubbles. I saw a German shepherd dressed as a baguette. I saw God laughing so hard, God cried.

I etched Bastille Day on my calendar, setting annual reminders for the holy day of obligation. I acquired Eiffel Towers in colors not seen since Eden. I blew kisses at children on shoulders and men my grandfather’s age. They were singing hymns in French outside the Methodist Church. “We have been practicing for weeks,” a woman in a name tag whispered when I bought a lemonade. “La Grande Bertha” was wearing a beret so inflated, it resembled the Jiffy Pop popcorn foil. “I’m sure we pronounced everything wrong.”

“I pronounce you the jewel of Bastille Day,” I responded, and blew her a kiss. She kissed me on both cheeks, and we laughed until we nearly fell down.

I wrote a blog post for the cat sanctuary called “Find Your France.” I dressed the cats in stripes to make the point that “Paris” is anywhere you feel safe. I named our next impound “Jean Valjean.” I hid an orange Eiffel Tower in my boss’s lunch box. I was happy and confused.

A man from Philadelphia gave me a box of certainty. We married in two months.

The midpoint between his factory and my cat sanctuary dropped us in Bucks County, too far ashore to touch even New Hope with my fingertips. We found a second-floor condo. I wrote a story to supplement the lack of pictures.

He convinced me I had an excess of Eiffel Towers. If I wore bright garments, everyone would think I wanted them to look at me. I had to be careful with flowery language. He asked when I was going to discontinue my monthly donations to the manatee rescue and the radio station. I had to consider that God did not get involved with cats or weather. I had to stop talking to my mother so much if I wanted to finally grow up. I brought everything pink to work.

I turned forty and greeted him at the door wearing a rose fascinator. He asked if I was finally going to drink some wine. It was getting ridiculous to have never drunk alcohol at this age. I made it five more years.

Bucks County wasn’t Quakertown, but my landlord had died, and my long-haired cats loved the light on the second story. I would stay in Langhorne and send the man on a raft with just enough forgiveness to make it across. My mother arrived with such urgency that syntax collapsed. Her trunk was filled with calico pillows and a rose window sized for Notre Dame. My mother turned Langhorne pink.

I lived happy and confused among the cats in the clean condo. I wrote essays and courted rejection letters. I wore a blinding orange parka with a collar that looked like Elmo’s pelt. My Nikon hibernated as I turned to narrative. My language found homes in journals with names like Mollusk Family and Electric String Cheese. I exposed the image of God in people who send $10 checks to cat sanctuaries. I leaked secrets. A man across the Atlantic published my uncareful praise and asked me to come read aloud.

I told him I wished I could. He told me to picture the Seine giggling with “our community,” sharing “most excellent food and companionship.” I told him I wished I could. He said, “It is a shame, for your presence would illuminate the proceedings.”

I told my mother I was going to get that sentence tattooed on my ankle. She was still recovering from my tattoo of the cats, etched by a man named Big Mike in New Hope. I drove to Frenchtown instead.

I went back to Frenchtown. The teenager in the crystal shop asked if I’d seen the new amethysts. The boy surrounded by Frisbees saw my confusion and soothed, “You’re not crazy. This used to be Ooh La La.”

“What happened to Ooh La La?”

He wasn’t sure. His baseball cap was backwards. “But everyone still asks. It’s been five years.”

I bought a root beer and thanked him. The bookshop was closed, but proud to be “Under New Management!” There was no yarn in the trees. I took a picture of an Australian shepherd with my phone, but he turned his head. The pedestrian lane of the bridge was closed for maintenance.

The Methodist Church marquee said COLLECTING MEN UNDERPANTS FOR HOMELESS THRU 2/15. GOD IS GOOD ALL THE TIME. I drove home and wrote about it. Frenchtown could not come back to me, but we were both safe. I dreamed of lights on rivers and woke laughing aloud.


Angela Townsend (she/her) is the development director at a cat sanctuary. She graduated from Princeton Seminary and Vassar College. Her work appears or is forthcoming in Arts & Letters, Chautauqua, Paris Lit Up, Pleiades, and Terrain, among others. Angie has lived with Type 1 diabetes for 34 years, laughs with her poet mother every morning, and loves life affectionately.

Photo credit: Regan Vercruysse via a Creative Commons license.


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Poem in Response to Mass Shooting Number 130 in the United States of America 2023

By Ellen Girardeau Kempler

This poem is a scaffolding
built of assault weapons
& high-capacity magazines
for recurring questions I have,
a terrible structure for hanging
reloadable horrors in bright daylight.

What questions?
you might ask. I’m dumbfounded.
I can’t even

answer, can only instruct you
to remain perfectly quiet & listen—
maybe hide behind/under a desk,
evaluate your escape routes,
hug your friends, text your family,
dial 911, take out your ear buds,
stop talking, notice the sound
of your heart throbbing in time
with the blood still mercifully
coursing through your body.

My questions arise again & again
in sudden gasps, forever-startled
intakes of breath, metallic taste of
bile in my mouth, unanswerable,
mute.


Ellen Girardeau Kempler’s poems have appeared in the DewdropWild Roof JournalTiny Seed Literary JournalNarrative Northeast and many other small presses and anthologies. In 2016, she won Ireland’s Blackwater International Poetry Prize and honorable mention in Winning Writers’ Tom Howard/Margaret Reid Poetry Contest. Called “a timely and powerful selection of climate poetics,” her chapbook, Thirty Views of a Changing World: Haiku + Photos, was published in December 2017 by Finishing Line Press. Her next chapbook,  Fire in my Head, Flame in My Heart: Poems of the Pyrocene, is forthcoming from Kelsay Books in 2025.

Photo credit: Stephen Melkisethian via a Creative Commons license.


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When I hear ‘migration,’ I think of ships

By Christian Hanz Lozada

chopping through tides and promise.
My coworker says, “I mean, I’m white, 
so, implicit bias much? We have no story,” 
referring to her kid’s project asking
about how the family’s migration
was affected by World War 2 and the Cold War.

She says, “I understand I can’t say anything,
but we’ve been American since the 18th century,
so there’s been no migration.”
In my head I have solutions: Has your family moved
from state to state, like the Japanese Americans pulled
from their homes or the African Americans moving

to fill a Japanese American-sized void to work factories
and shipyards? Has your family migrated from economy
to economy, like the migration from planting and picking
to packing and making? Has your family never had to run,
never had that nothing-holding-us-here, never had that

nothing-to-stake-a-future-on, always the absence
of the absence? Maybe write about your migration,
after the ship, when you carried the sword and the gun,
the whip and the blankets. Maybe write about the bow-wave
your presence creates, even when the ship doesn’t move.
Maybe write about the unintended migrations that happen
as your presence displaces everything around it.


Christian Hanz Lozada aspires to be like a cat, a creature that doesn’t care about the subtleties of others and who will, given time and circumstance, eat their owner. He authored the poetry collection He’s a Color, Until He’s Not and co-authored Leave with More Than You Came With. His Pushcart Prize nominated poetry has appeared in journals from California to Australia with stops in Hawaii, Korea, and the United Kingdom. Christian has featured at the Autry Museum and Beyond Baroque. He lives in San Pedro, CA and uses his MFA to teach his neighbors and their kids at Los Angeles Harbor College.

Photo credit: Dennis Jarvis via a Creative Commons license.


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Breathe

By Ryan Owen

When her husband lowers the newspaper and stops hiding his cancer, Stacy learns that their voting rights have eroded as quickly as his health.  

The front fold rests on his lap. “How?” she asks.

“With new laws.” He taps the headline with an ink-stained fingertip.

From the kitchen countertop, a screen’s colorless aura startles awake, its glow spilling onto the tan tiles of the floor.

“Let me explain voting rights to you,” a robotic voice replies from the countertop.

Their eyes go wide.

“They can hear us now.” Arthur mouths the words. A hoarse whisper.

A powdery crescent scars the wall where Stacy pitches the device. Black plastic thorns litter the tiles. She steps around them as she picks her way to the bathroom.

She stares at its dead screen as she closes the door. Arthur yells that it can’t hear their words anymore, communicate them to false protectors, misguided champions. Nevertheless, she’s cautious to act, resist . . . persist.

She can’t let them win, or they will silence her words and know her thoughts. Steal her voice. For a forever that feels like death.

She has already locked her smartphone into its metal box in the attic. When she exits the bathroom, she descends the cellar stairway to cut the power to the house.

“Flip the main breaker,” Arthur shouts his deathbed advice. 

He’ll be dead by the election. They both know this. Neither says it aloud.  

She comes up the stairs, following the smooth grain of the wood handrail. She sits at Arthur’s desk, harvesting the loose threads in her thoughts. An early-morning rain soaks the sounds drifting through the window.

Her fingers rest on the cool glass keys of the typewriter. Their smooth steel rings brush her fingertips.

She is safe here. No one sees her words, reads her thoughts, as she launches them at the page.  

Her inspiration comes alive.

She presses the keys. Like soldiers, the hammers rise, striking the paper, creating the letters, forming the message.  

Will it work? She steels herself against self-doubt.

Her finger slips. The word ‘vote’ has two o’s.

She sighs.

Arthur was a gardener once, and she finds a thick thorn like a dinosaur claw, in the desk drawer. She scratches away the ink of the extra letter. She finishes the word, vote, the t grainy on the rough parchment.

Her fingers shake.

The years have swelled her knuckles, her fingers unbendable rods, rigid stems.  

Her gray hair sways in the reflections of each of the forty-nine glass panes forming the keys.

Vote. Or you never vote again, she types. She breathes.

Arthur breathes beside her. He watches. It’s all he can handle.  

She adds the period. They exhale.

Arthur hands her a new sheet of paper. An eyelet on her sleeve catches on the carriage return lever. 

She inhales.

She begins the next letter.


Ryan Owen is a writer living among the glacial erratics and waist-high stone walls of central New England. Ryan resurrects antique typewriters and writes all first drafts from their glass-and-chrome keys. Ryan’s fiction has been recognized with an honorable mention in the Writers of the Future contest and has been published in Idle Ink, Litbreak Magazine, and Penumbric Speculative Fiction Mag, and is forthcoming in Literally Stories and Writers Resist. Find Ryan on Twitter/X, @4gttnNewEngland or on Bluesky, @iviesofinkribbons.

Photo credit: Ben Rogers via a Creative Commons license.


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The Dream Children of Addison Mitchell McConnell III

By Michael Henson

What are the dreams
That await the sleep of Mitch McConnell?
Do children enter with their hungers?
Do they sit at the side of the road of dream
with their empty bowls
and their wide curious eyes?
I believe they wait each day in their hidden places
along the congressional corridors,
hidden in the pedestals of the heroic torsos
or in the pages of the latest allocation.
They listen closely
as he takes counsel
with donors, with lobbyists,
and with the men who line their pockets
with congressional silver.
And when at last he reaches the end of his workday,
and his heels click along the marble floors,
the dream children follow him home
to the commodious house where he takes his rest.
They watch and they wait until,
after all the calls to more donors, more lobbyists,
he lays his wearied head, at last,
onto his expensive pillow.
There, they gather each night.
I fear they might stumble
into his commodious jowls
and be smothered under his multiple chins.
But they are adept.
They enter, like miners,
through the drift mouth of his ears
or down the haunted portals of his nostrils.
And there they begin to explore.
Their tiny encandled skulls
flicker in the catacombic corridors
and all along the calcified neurons of his cerebellum.
They tiptoe carefully to avoid
the pockets of methane and legislative obstruction
as they explore each lobe, from stem to cerebellum:
Frontal, temporal, parietal, and occipital,
through the fraught closets of the hypothalamus,
careful not to stumble
into the stagnant, trauma-riddled pools of his amygdala,
wherein lie the fraught tangles of its medial, basolateral
and fearfully anterior subnuclei
and into the committee rooms of the medulla oblongata.
There they observe the nodes of prevarication and avarice,
the glands of duplicity, the ganglia of manipulation
and those synapses
in which are sparked the neural signals
for insult and vituperation.
They continue in their nightlong forensic investigations,
to search, hopelessly,
amid the odor of carbide and conspiracy,
for any hint,
any flickering shard
of the dismal wreckage of a soul.


Michael Henson is author of six books of fiction and four collections of poetry. His most recent is the satirical novella, The Triumphal Descent of Donald J. Trump into Hell by Donald J. Trump as recounted to The Archangel Gabriel, from a Manuscript Discovered, Edited, and Translated from the Original Aramaic into Modern English by Michael Henson. He is a member of the Southern Appalachian Writers Cooperative and sings lead for the Carter Bridge, a Cincinnati-based bluegrass band.

Photo credit: Douglas Graham via the U.S. Library of Congress


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Suffrage or Suffer

By Kristin Fouquet

Artist’s Statement
In a world seduced by artificial intelligence, I assemble my collages more traditionally. I use my original printed photographs on archival paper with pigment ink, cut them, glue them on foam board, and embellish them with gold paint.


Kristin Fouquet is a photographer, collage maker, and writer in lovely New Orleans. Her photography appears in online journals and magazines, on chapbook and book covers, on album artwork, and in galleries. When not behind the camera, Kristin writes literary fiction. She is the author of seven books. One of her collages was included in a recent New Orleans Photo Alliance Gallery exhibit. Visit Le Salon.


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