You Don’t Get My Obedience

By Max Mundan

 

You’ve got it now-
-the title, the office, the power-
-your filthy, greedy, tiny hands
in our pockets, in our coffers,
on our pussies, on the button.
You’re on the top of the world
and have the means today
to satisfy every sad, perverse desire
but you don’t get my obedience.

You’ve got it all-
-the reins, the whip, the chains-
-your greasy, pudgy fingers
holding both the carrot
and the stick—your foot,
stepping down upon our necks.
You can silence the press
and make us all criminals
for demanding the country we love
but you don’t get my obedience.

I will dog you and expose you
as the charlatan you are,
I will scream, I will blaspheme you.
I will take your silly name in vain.
I will block your path
and call your bluff
and correct your spelling
when you tweet out
that you hate me-
-that you hate us-
-that you hate
everything we stand for.

Me, and millions like me,
will pour into the streets-
-to demand democracy-
-demand accountability-
-to demand decency-
even though we realize
that you have no idea
what these words mean.

You’ve got them all-
-your toadies, your scumbags, your villains-
-your ass-licking sycophants
and your blood-sucking leeches,
ready and willing
to tear to the ground
all the good that we’ve built.
You can have this momentary victory
but you don’t get my obedience.

 


Max Mundan is a freelance writer and a poet. He is the author of four published poetry collections, including Junkies Die Alone (Thought Catalog Books, 2014) and Five Words That Can Cripple a Man (Underground Voices, 2016). Max’s work has been featured in the Los Angeles Times, Dressing Room Poetry, Eunoia Review, Wilderness House Literary Journal, Type House Magazine, Avalon Literary Review Review, Los Angeles Review of Los Angeles, and Agave among others. He can be found resisting fascism at maxmundan.net and @maxmundan on Twitter.

Photo by Paul Sableman via a Creative Commons license.

June Cleaver Roasts a Fucking Turkey

By Sarah Ito

 

Thanksgiving day dawns chilly and bright
With a touch of sparkly frost
Spiking the pumpkin,
On Turkey Day
In Amerika
Or Murica
Or the Estados Unidos,
Depending upon where
You crossed the border
And how.

Football game’s today.
The Big Game
After that epic meal
Of donated Tom Turkey, canned cranberries,
Aunt Ginny’s perpetual string-bean casserole…
And maybe some eggnog from the food pantry
Down at the Salvation Army
If, by chance, an expired case or two was donated
By Mr. and Mrs. Patel, who own the corner convenience store.

The family’s all here, almost…
Wally had a dirty urine; couldn’t get a pass from rehab.
Yusef, he’s driving for Uber all day…
And Manuel’s bussing tables at the club.
But Keisha’s on her way, with five of her kids,
And two sweet potato pies, made from scratch,
And sweetened condensed milk.
Her man, the Beaver, might drop by later…
But maybe not.
You never know, with that sketchy Beaver.

June retrieves a lacy tablecloth from the cupboard,
An heirloom handed down from her mother’s side
Of the famalama.
It graces the wobbly dinette table,
Making it look like Thanksgiving
In the Cleaver’s doublewide.
June fiddles with her necklace of plastic pearls, hoping
That her anxiety meds
Will kick in.
Elevating the unbearable
To the normal.
Then she remembers
There was no Xanax to take this morning, bottle’s empty.
Prescription benefit cancelled
Like her charge card down
At the IGA.
June reaches for a can of Old Milwaukee instead, a tall one, and pops the ring,
Drizzling frosty suds down the peter-pan collar
Of her freshly pressed shirtwaist.

Life’s not so bad, she thinks.
Cable didn’t get cut off yet, we can still catch the Big Game…
Aunt Ginny appears, wearing her festive apron
Adorned with dancing Pilgrim hats and laughing turkeys.
How are you holding up, June, she asks.
It’s strange, first Thanksgiving without Ward here to carve the turkey.
Aunt Ginny doesn’t really care that much…
She smells the hops and barley of June’s
Tall cold one, and an old familiar longing
Stirs within,
Like the clink clink clink of a shaken jigger
Full of orange juice and poison.

June downs another slug of suds.
She wants to scream, she wants to cry.
She wants to crawl back into bed,
Warm and alone.
But she can’t.
A rusty Toyota has squealed to a halt
Leaving an inky contrail of motor oil,
A salutation leaked in Valvoline
Across the driveway.

Keisha’s here! June announces, her enthusiasm stale
Like the tray of Parker House rolls
Sitting on the counter
Awaiting a reheating in the microwave.
Aunt Ginny lights up as a bevy of grandchildren burst through the door…
Catherine, Mary, Brad, and the twins, Tyrese and Tyrone.
Welcome, Keisha, June says, Welcome, Children.

Happy Thanksgiving, Gramma June.
Happy Thanksgiving, Auntie Ginny!
The children call out as one unit,
Excited and hungry.
We watched the parade on TV, they chatter.
We saw Big Bird and the Black Panther!
We saw the cops taze a drunk guy in a Santa suit!

Well, that’s nice. children, June says, dabbing her eyes
With a tea towel.
Blotched mascara
Ringing the bags beneath her eyes
Like the masque of some insane raccoon.

What’s wrong, Gramma June, the children ask…
Nothing, children, it’s just the onions, June lies.
There are no onions in the Cleaver doublewide.
There was no money left over in the budget for a sack of Vidalias.
The tears are on the house.
Come, let’s eat, and we’ll have some of your mother’s sweet potato pie and watch the Big Game.
Aunt Ginny offers up grace, thanking her Higher Power
For ten years sober…
For the meal they are about to enjoy, and the blessings
Of family, and the roof over their heads
On this cold November day.
June says a few words in remembrance of Ward,
Whose heart gave out while waiting in line
At the DMV.
A consequence of outstanding parking tickets
And a municipal office lacking
An AED.
Keisha curses out the absent Beaver,
And the fathers of all her children
And all men, everywhere.

The children dig in
Their hunger godless and prayerless
As turkey and fixings appear on the dinette
And the chatter rises to the level
Of a junior high school cafeteria
High on soda pop.
June says Keisha, Guess who bought the old house! You’ll never guess.
June knows who bought the old house. Aunt Ginny informed her weeks ago.
The Montoyas. The Montoyas bought it.
Keisha spoons more stuffing onto her plate.
They’re the family that owns the taco truck.
“Tacos Without Borders” they call it.
I know, says June, They park it over by the Social Services office. I’ve had their fish tacos.

Aunt Ginny puts up two paper plates for the cousins,
Manuel and Yusef,
To enjoy much later, when their workday of serving
Others
Finally ends
And they return home to their own slice of turkey
And Stovetop stuffing
Microwaved to perfection.
The Big Game is on now, and
The children gather ‘round the television
As the players drop to one knee
While Lady Gaga renders the National Anthem to the roar of the crowd.
Aunt Ginny takes exception.
It’s so disrespectful, she opines, Our veterans deserve better.
June polishes off her cold one. Our anthem deserves better than Gaga, she thinks.
Aloud, she says, Better think about the twins. What if they were on the receiving end of, well,
you know…

That’s right, Keisha says, a smudge of marshmallowy sweet potatoes lingering
At the corners of her lips. We got to think about the twins
The Big Game kicks off. Wish Lumpy and Eddie were here with us today, June thinks.
I hope they’re enjoying their honeymoon in Belize.
Where exactly is Belize, anyway?
Is that where those caravan people come from?
Do they have turkey dinner in Belize?

 June joins the others on the sofa, the entire family butt cheek to butt cheek in front of the big television.
The flickering light from the screen warms the gloom
June says to everyone and no one, Ward served in the Army so the twins can be safe. So we all can be safe and say and do what we want. We should be grateful for that.
And grateful that we have one another.

We are grateful, say Keisha and Aunt Ginny.
Can we have more sweet potato pie? ask Tyrese and Tyrone.
Let’s watch a movie later, say Catherine, Mary and Brad. It’s a Wonderful Life! That one! 

June fiddles with her pearls again.
The string snaps. Plastic beads rain down everywhere and bounce on the bare floor.
The family laughs.
Maybe Santa will bring you new pearls for Christmas, says Tyrese.
June smiles.
Maybe.
June would settle for a new prescription plan,
Or the cash to pay her lot rent
With a little left over
For a case of Old Milwaukee.
But pearls would be nice,
Too…

Thanksgiving day ends chilly and dark
With a touch of sparkling frost
Spiking the pumpkin,
On Turkey Day
In Amerika
or Murica
Or the Estados Unidos,
Depending upon where
You crossed the border
And how.

 


Sarah Ito is a published novelist, essayist, poet and sometimes actor, and an Army veteran.

EDITOR’S NOTE: Sarah Ito is one of the actors in the wonderful video on our homepage, “Eating Twinkies with God.” Enjoy watching it.

 

A Walk in the Sun

By Milton P. Ehrlich

Shooting at each other—
more exciting than sex.
Blood tastes better
than vintage wine.

One of our ladies-man guys
howls in pain trying to piss.
Sergeant bellows: Ain’t you
ever had the clap before?

If I was not ordered
to carry the BAR—slung
over my weary shoulder
with a torn rotator cuff,

I might have enjoyed
the camaraderie
of a walk in the sun—until
an ambush tourniquets my breath.

A burst of my machine gun
hops them up and down
with still-open eyes and red-hot toes.
Their legs scatter high in the air
like the high kick-ready Rockettes.

We are all outsiders
who used to be human.
The quicksand of hate
sucks the love out of us,

and the elixir of violence
promises a rush until we see
what we have wasted.

We step into silence.

 


Milton P. Ehrlich, Ph.D., is an 87-year-old psychologist. He is also a Korean War veteran who has published many poems in periodicals such as the Wisconsin Review, Descant, Toronto Quarterly Review, London Grip, Vox Poetica, Taj Mahal Review, Red Wheelbarrow, Christian Science Monitor, Huffington Post, and the New York Times.

Photo by Holly Mindrup on Unsplash.

After

By Calida Osti

 

You can’t cover it in snow. It will seep through and turn into muddy slush and
slide into your neighbors’
third story windows
right past the new
drapes they ordered from amazon.com.

You can’t redecorate it or rename it and think that will work new
names are old names.

It isn’t new.
It can’t be washed
away and drained
in a claw-
footed tub even if you dose the tub in kerosene after.

It isn’t okay
to watch and say nothing as long as you are not
the one
slurring  touching  burning.

It isn’t ignorance. You can’t get rid of
it by reading any books          they say
maybe Harry Potter, but what if
the reader burns the book after?

It isn’t heritage. You can’t
shoot it through the back of a black boy and then pick it up and wave it around. Should it be
burned                                                                                       after?

 


Calida Osti is currently enrolled in Lindenwood University’s creative writing M.F.A. program.  She lives in West Lafayette, IN, with her fiancée, Kaylah. You can check her out on Instagram or Twitter at @rawr_lida or by visiting www.calidaosti.com.

Photo credit: Jc Olivera via a Creative Commons license.

Mr. Trump’s Sunday Morning Service

By Judith Skillman

 

Water-worn image of an eye
etched and lined, the tilted earth
no longer holds its metal.

*

Water worms the soil until
a hollow man comes to rule—
a toad gurgling ribbit ribbit.

*

Power over versus personal power
duel it out à la 21st
siècle psycho babble.

*

To whomever enforced laws,
the falling into and down,
implore: Is this my swan song?

*

St. Francis of Assisi drowns.
Pockets full of skunk, possum.
Belly up lies the large coon.

*

Catholic helpmates come to look
for one singing candled hymns—
find litany: foam, stone, fur.

*

In his bed the king began
to be poor and sick, Monsieur Macron.
The toad lips lies, the eye sees.

 


Judith Skillman’s recent books are Premise of Light, Tebot Bach; and Came Home to Winter, Deerbrook Editions. She is the recipient of grants from Artist Trust and from the Academy of American Poets. Her work has appeared in Shenandoah, Poetry, Cimarron Review, The Southern Review, and other journals. Visit www.judithskillman.com.

Photo by Matthew T Rader on Unsplash.

What Crosses

By Jane Rosenberg LaForge

Teeth and rosaries:
the hard business of taking
a census, in this case
one of erasure, pound
for pound of marrow
and pith, the appropriation
of bone for bracelets,
tree bark for embracing
new belief systems.
Everything funneled into
flat equations, which should
come out even, if
the arithmetic is properly
executed. If not, we’ll just
have extra, and affect some

disappearances, Gaps
in history, with regularity
that goes into record-keeping
overseas, the circumstances
always desperate, now
with the watermarks and seals.
Wax is such weak material,
corruptible as religion.
Unlike the bottom facts
memorized or pinned
on the inside of jackets,
who was made criminal
by which accident, who
could not be ground down
into a spice or artifact,
or mortared into an atmosphere
of sacrifice and myths
hollowed out or smoothed
over as if a faux decoration
in a kitchen: where
the stories begin,
if migration ever ends.

 


Jane Rosenberg LaForge is the granddaughter of what are now called “illegal immigrants” who came to the US from the Ukraine and Rumania, via Canada. Her poem “Thoughts and Prayers” appeared on Writers Resist on February 22, 2018. She is also a novelist and memoirist. More information, visit jane-rosenberg-laforge.com.

Photo by Malcolm Lightbody on Unsplash.

Two Poems by Jeremy Nathan Marks

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Interiors

Everybody is into interiors in the time
of that commander-in-chief who shall not be named

I am into carcasses
though not the kind you eat
unless you are starving and hopefully
not even then

Tell me how you feel
and I will consult my price index
slide rule and the latest RAICES report

A pinch of snuff is what I need
take off the dust of a plain where all his trophies
lie

That is
before we give them
Anglo-Saxon names
hashtags
and Twitter handles.

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Cotton Mather exchange

When the Red wall came
down in eighty-nine
pairs of blue jeans belting
delta blues toasted
the Ramones in chablis
glasses made of napalm
while storming Charlie’s
checkpoints
street poets busted
for drugs yelled from their
cells that a man named
Mumia was serving thought
crime status four thousand miles
west
of the Stasi
as German Army Jackets
sold surplus in outer
ring suburbs whose towns
of Leipzig and Berlin
twice underwent a name change
becoming southern English banks in
praise of the Cotton Mather exchange.

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Jeremy Nathan Marks is an American living in London, Canada (no, Trump did not cause this as I already was here). He is a 2017 Pushcart nominee in poetry and recent work appears/is appearing in Chiron Review, NRM Magazine, Poets Reading The News, Cajun Mutt Press, Mojave River, Rat’s Ass, New Reader Magazine, The Blue Hour, The Blue Nib, The Wire’s Dream, Landlocked Lyres, The Wild Word, Credo Espoir, Unlikely Stories, Landlocked Lyres, OTV Magazine, Alien Pub, Bravearts, Runcible Spoon, and Poetry Pacific. Jeremy writes regular political/historical essays for The Black Lion magazine. His short story, “Detroit 2099,” will be published in The Nature of Cities Anthology in 2019. Jeremy’s educational/Socratic teaching website can be found here.

Image credit: Witches presenting wax dolls to the devil, featured in The History of Witches and Wizards (1720), Wellcome Library, courtesy of The Public Domain Review.

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what i imagine

By Kate McLaughlin

 

were it that easy, that words alone could save us.
sometimes i let myself imagine
grammatical rebels and daily syllables
of resistance with bold punctuated uprisings.

if words alone could save us,
i’d write all night. in my grammar book,
recruitment would be what hanging prepositions exist for.
hangin’ at all the cool spots, they’d get millennials
to sign up and join in.

dangling surreptitiously, irrefutable proof of
political corruption would be regularly gathered.
obtained by those sneaky participles, of course.

words of compassion and scientifically based research
would always talk louder than money—literally.

‘and justice for all,’ along with other empty phrases,
would be sent to a dictionary boot camp to ensure
they attain their true meaning.

females written in the passive voice would be archaic
grammar. the rule would be women directing action verbs,
issuing commands and making countless interjections.

i’d write similes that could fly like superman and they’d
reunite migrant families, break up nazi rallies and stop
speeding bullets.

and i’d create metaphors that could morph into their conjured
images, like, stories are a respite, words are an oasis,
providing a vacation to the over-pronounced, weary activists
and a livable picture of the world as it could be.

this is what i imagine,
during my nights of hyphenated sleep,
if words alone could save us,
if similes could fly like superman.

 


Kate McLaughlin lives and works in Portland, Maine, with her rescue dog Greta. She keeps her elected representatives on speed dial and is known to attend political rallies. She is fond of dogs, books, gardening and the occasional vodka martini. She is not fond of winter or Senator Susan Collins.

Photo by Ihor Malytskyi on Unsplash.

The man who killed me got out of prison this week

By Marissa Glover

I do not dream of winning
the Heisman Trophy, of going pro
after a standout junior year,
of one day being inducted
in the NFL Hall of Fame.

I do not dream of breaking records
or wearing rings or signing contracts
with Nike and Gatorade. I do not
dream of retiring to the ESPN booth
to offer commentary on Monday nights.

I do not dream of Hail Mary catches
of beating defenders, of dancing in the end
zone after a touchdown. I do not dream
of kneeling for the anthem or standing
for the flag or protesting the police.

I do not dream of justice—there is no justice
to be had. There is only earth and sky
and moms who raise their grandsons
and moms who die from four bullets
to the belly.

I do not dream of who my son will be
when he grows up, where he will go
to college, if he will play the game
his father loved. I do not dream.

 


Marissa Glover teaches and writes in the United States, where she spends most of her time sweating. Currently the Co-Editor for Orange Blossom Review and the Poetry Editor at Barren Press, Marissa was recently nominated for a Pushcart Prize by The Lascaux Review for her poem “Some Things Are Decided Before You Are Born.” Her poetry has also appeared in Stoneboat Literary JournalAfter the PauseGyroscope ReviewWar, Literature & the Arts, and New Verse News, among others. You can follow Marissa on Twitter @_MarissaGlover_.

Photo by eberhard grossgasteiger on Unsplash.

The Way You Talk About Love: A Found Poem Like What Is Discovered at Autopsy After a Massive Coronary Thrombosis

by stephanie roberts

            for Shay Stewart Bouley

 

At 1:51PM, on 02 July 2017, @blackgirlinmain said, To all the white
folks who are waking up, stop blocking and ignoring your racist peeps.
Talk to them, work with them. That’s your work.

The first comment was from self described Owner/Attorney, “Learning to
do right; seek justice. Defend the oppressed. Take up the cause of the
fatherless; plead the case of the widow. Isaiah 1:17.” Artesia, New
Mexico [population 72.25% white, 1.44% African American*]

That’s not my work, Owner/Attorney/Bible Quoter said, Nope, Thats
not my work any more than it’s your. They won’t listen & I’m not wasting my
breath on them.

Once termed, hang out to dry, when such quaint actions were more
common, now we say thrown under the bus, a strengthened idiom, with
its visual of mangled body inevitable result of washing one’s hands of
one’s responsibility. Pontius Pilate gleams evergreen.

What I’ll never understand about the way white people talk about love is
how it hurts so to hear it and what little energy it has to hold me free.
Love and hate are first cousins, not opposites, and thus shouldn’t marry.
White love bounces as de facto beach ball of indifference. Who doesn’t
enjoy beach ball? The Black and Latinx shuttled from school to prison
wish they could, while good people see having conversation over this
pipeline of tears as, wasting my breath.

At night, I pray love and hate hold hands and strangle indifference in his
bed. Bury the body in the graveyard of Bible Quotations. I am singing,
into a starry abyss, hoping hate outfits love with ice axe, ushering her
toward courage-free suburban ice castles, where love wreaks justice.

 

*Wikipedia


stephanie roberts is a 2018 Pushcart Prize nominee and a Silver Needle Press Poem of the Week Contest winner. Her work is featured or forthcoming in numerous periodicals and anthologies, including, Verse Daily, Atlanta Review, The Stockholm Review of Literature, L’Éphémère Review, and Crannóg Magazine. She was born in Central America, grew up in Brooklyn, NY, and is a longtime inhabitant of Québec, Canada. Follow her on the following: twitter: @ringtales, instagram: @ringtales, and soundcloud.

If you imagine less, less will be what you undoubtedly deserve. – Debbie Millman

Photo by Ricardo Gomez Angel on Unsplash.

 

Lazarus Force

By Jemshed Khan

 

That day over lunch, I was going to write about the Yemenites starving while the Saudis build five new palaces on the Red Sea. A poem might make a difference. But the sun was shining, 75 degrees in October, and the outdoor pool is heated, so I went for a swim instead. As I swam  laps, I felt joy and splash with each stroke: thankful for clients traveling to see me in their combustion driven vehicles and for cheap fuel that leverages each shiny day. For three laps I considered the convenience of gasoline and writerly leisure. Okay, yes, a Lockheed Martin missile incinerated another Yemeni school bus, but how could a lunchtime poem make amends for fifty dead school children or eight million starving?

Poetry of angel wings and metrical feet,
I thought you were the steed of change,
that with the right words
we would skywrite the nation’s conscience.
Now I see my words never had Lazarus force
and we are no match to the God of gasoline.

The cardiologist said my heart stopped. The apartment manager says I was pulled blue from the pool: resuscitated with CPR and defibrillator paddles across the chest. I survived the ambulance ride, heart stents, ICU, rehab. Today I put my head back in the game. Read an anthology of resistance poetry. Each work smoldered on the page until my chest burst into flame. I rose from the bed, grabbed my pen, began to write again.

 


Jemshed Khan has published about 30 poems in such magazines as Rigorous, NanoText, Unlikely Stories, and I-70Review, and he is working towards a book-length collection.

Photo by Matthew Henry on Unsplash.

Birds of America

By Ellen Stone

 

Deep in the bright red
country of the sun,
the birds of America
raucous, wild, immigrant
gather, having flocked in bands
surged over borders as snow melts.
By July, they rise early to the party
in full bloom – voices piercing
our cottony night dreams –
having taken temporary residence
in tiny wooden boxes, old barns
or the cool, damp woods – for now –
for this uncertain summer
where they can dip & soar & glide
like the purest bit of floating fluff
off the cottonwood down by the river
or the drooping milkweed in the garden.

How odd, really, that we welcome them
with open arms – so unabashedly, like tourists
in our own hometown, peering through binoculars.
Build them sturdy homes, feed them
tasty morsels through all seasons, celebrate
their foreign dress, strange plumage. Mating
habits so unlike our own. Lament a young one
fallen from the nest. We are such humanitarians
to birds. It’s sad they cannot talk to us, thank us
for our gracious hospitality. Here, in America,
all traveling birds are welcome – the more
garish, bright & tropical, the better.

 


Ellen Stone teaches at Community High School in Ann Arbor, Michigan. Her poems have appeared recently in Passages North, The Collagist, The Citron Review, The Museum of Americana, and Fifth Wednesday. She is the author of The Solid Living World (Michigan Writers’ Cooperative Press, 2013). Ellen’s poetry has been nominated twice for a Pushcart prize and Best of the Net.

Photo by José Ignacio García Zajaczkowski on Unsplash.

The Wall

By Tim Philippart

 

what worries me is not

a great one in China.

a razed wall in Berlin,

one for holy wailing or,

the proposed between Mexico and the US but,

the barrier that dams the flow of

empathy, compassion and kindness

between you and me.

 


Tim Philippart: For three years, I have been writing pieces that are kind of frothy. I like to write about love and often end with a bit of humor. In these recent days, I think too much about a guy who said, “I will hire all the right people.” I then wonder why he ends up with hair like he has.

Photo by Masaaki Komori on Unsplash.

Getting Through

By Harry Youtt

 

Life goes on. Skies turn darker gray,
Lightning has been striking the trees awhile.
We expected the storm, but this hasn’t eased the burden.
Already thunder booms around us,

as we sit down, crouched again together
to another meal, thankful for the way
the fire in the grate keeps us warm enough
through the worst of the storm, and our minds away

from those places outside and down the road,
places we can’t do a thing about right now,
but maybe tomorrow. Definitely tomorrow!
We gaze into each other’s eyes

and understand we’ve been
thinking similar thoughts
as we try not to worry the thunder louder,
or fester the danger of avalanche.

Right now, the mountain is far enough away.
The curtains are drawn to lessen the lightning’s flash.
And we’re well-aware the landslide won’t hesitate
on our account or listen for our advice.

Tomorrow we’ll go outside to what will be new sunlight.
We’ll begin sweeping debris. Then we’ll go over
to check on how the mountain fared in the storm.
We’ll figure out what to do to make things right again.

 


Harry Youtt is a long-time creative writing instructor in the UCLA Extension Writers’ Program, where he teaches classes and workshops in memoir writing, narrative nonfiction, fiction, and occasionally, poetry. He has authored numerous poetry collections, including, most recently, Saint Finbarr Visits the Pacific, as well as Getting Through, Outbound for Elsewhere, and Elderverses. All of them are available via Amazon.com. The sentiment behind the title of his collection: Getting Through refers directly to our current ongoing predicament. He assembled the poems there as his effort to assist us to shelter in place and gather back collective wits for the conflicts that are to come. Harry coordinated the Los Angeles Poets Against the War event back in 2003, which, to him, seems like more than a hundred years ago.

Photo by Bethany Laird on Unsplash.

Why Poets Aren’t on TV

By Tori Cárdenas

 

Poets aren’t on TV because they cry when they are asked about their feelings.
Poets are messy.

Poets will tell it like it is. They will tweeze out the words you meant from an argument
& divinate the heart of you by casting your dry fingerbones.

Poets are easily distracted. They will not settle for limited omniscience
and will write a poem from the bottom of the ocean or a planet orbiting a distant star.

Poets are old deep wells with trolls still living in them.
Poets refuse to read from the teleprompter.

Poets will only read aloud with the dangling vocal chimes of generations before them,
the infected & murdered; the drugged, the persuaded, and the robbed.

Poets rewrite erased words.
Poets only own black clothing, and so are hard to fit into certain studio sets.

Poets will not sit through hair & makeup.
Poets are oblivious to commercial breaks. Their ribcages pulse with broken rhythms.

Poets are lie detectors. They unstarch anchors’ shirts with sex & politics & blood.
There is no script for poetry. Poets are still trying to translate it into the vernacular.

Poets aren’t on TV because they are hard roles to cast; they are mirrors.
Who would want to watch a blank screen?

 


Tori Cárdenas is a Tainx/Latinx poet from Northern New Mexico. She is currently working on her Masters of Fine Arts in Poetry at the University of New Mexico. Follow her on Twitter at @monsoonpoet and on Instagram at @toritillas, and visit her website.

Photo credit: Tina Rataj-Berard on Unsplash.

Judging Silence

By Sheila Ewers

 

Of course he covered her mouth.
Denying her voice,
he could write the story.

We girls learn early
that what remains unspoken
Remains Unreal.
How else could we survive?

And when she swallowed her scream
(as we all do)
it took the words with it
lodging them
into the very parts he
stuffed himself into.

They may have stayed there forever too

Had the scent of his smug victory
not wafted from every screen.

Had his name not been hissed into
her face every day

while he groped his
way under
Lady Justice’s skirt.

The stench
of him growing so ripe
in the spotlight of his glory
that finally
she had to vomit the truth back
to the world

and wait for dozens more of them
to press hands over
her mouth
and hand him
a gavel to cudgel
her sisters.

 

 


Sheila Ewers is the owner of two yoga studios, a teacher, and a writer living in Johns Creek, Georgia. Before opening the studios, she taught college writing and literature for years. She is intrigued by the intersection of yoga, literature, philosophy, and social responsibility and finds her voice growing louder as a result of the current political climate. Her hope is that in finally speaking her own rage and truth, other women will find their voices as well.

Photo credit: Vero Photoart on Unsplash.

PTSD Pantoum

By Jean Waggoner

 

Me and Apple were out on patrol….
Each story begins with a line like this,
the travesty of its grammar a buddy thing
for the philosopher-boy turned to grunt.

Each story begins with a line like this,
a breath-stopping return to war
for the philosopher-boy turned to grunt,
blank-out humping huge loads, splattered in guts.

A breath-stopping return to war,
newest research blames prior trauma;
blank-out humping huge loads, splattered in guts
(What a nice cost-savings for Veterans Affairs).

Our newest research blames prior trauma;
he saw a brakeman uncle’s three-day death;
(What a nice cost-savings for Veterans Affairs!)
a man’s train-severed leg and wailing from pain.

He saw a brakeman uncle’s three-day death,
not the buddy blown up in WW II:
a man’s pain-severed leg and wailing in pain,
or maimed Civil War vets in Depression soup lines.

Not the buddy blown up in WW II,
not the leap to the trench from your rest:
or maimed Civil War vets in Depression soup lines:
blame it on the screaming child at night.

Not the leap to the trench from your rest,
of your father’s or brothers’ war, or yours;
blame it on the screaming child at night.
Those without prior trauma don’t get PTSD.

Of your father’s or brothers’ war, or yours,
Afghanistan vets trump them all.
Those without prior trauma don’t get PTSD;
(Ah, so many recruits homeland-brutalized.)

Afghanistan vets trump them all.
Maybe our movies can shoulder some blame;
(Ah, so many recruits homeland-brutalized.)
Before “shell shock” and PTSD, the cowards were shot!

Maybe our movies can shoulder some blame
for extreme violence or magical thinking.
Before “shell shock” and PTSD, the cowards were shot!
Me and Apple were out on patrol….

 


Jean Waggoner has sporadically published poems, stories, articles and fine arts reviews and she co-authored The Freeway Flier and the Life of the Mind, a book about the Adjunct Faculty experience. “PTSD Pantoum” references a controversial 2007 Institute of Medicine and National Research Council PTSD analysis discussed in Sebastian Junger’s “The Bonds of Battle” in Vanity Fair, 2016. Jean has retired, no longer leads an Inlandia Institute creative writing workshop, and will soon update her website.

Photo credit: Elijah O’Donnell on Unsplash.

In the Time of Avian Politics

By Josh Nicolaisen

 

Attempting to influence opinions
and implement policies
through terse tweets,
it’s clear he sees
himself as the
great golden eagle of
social media,
and America.
Sure, bald would be
more appropriate and
more patriotic,
but don’t we know
appropriateness is
apart
from his concerns
and that the
narcissist would never
ignore gold, nor
allow himself to
be paired with a word
like bald
with such negative,
albeit alternative,
connotations?

Plus, we all already
saw how the
white-headed raptor
reacted to him
prior to his
inauguration.

After just a few months
of following his feeds
we’re sure he’s a predator
but no raptor at all.
Lacking the right skills,
he’s surrounded himself
with generals, and though
he wishes he were a hawk,
he’s more like a preposterously
self-indulged peacock
presumptuously poised
to strut its stuff for an
ever-attentive audience.
An immature and
inexperienced rooster
who can’t secure his flock-
staffers starting to run
from our cock-of-the-walk,
his racist agenda,
and his hate-filled talk.

A raven screaming
and squawking
with no end in sight,
set only on its own story;
adding shrill to silence
for its own sorry plight.

A vulture vociferously
pushing violence
and vending cheap hats,
while working to keep us
fighting each other and
scrounging for scraps.

No, he’s no eagle,
and no robin, wren,
or sparrow with some
sweet songs to sing.
We should now see he’s
a sort of scarlet ibis
or rotting albatross
hung round the neck of the nation,
a disgusting and daily reminder
of what we’ve done
and how far we still
have yet to come.

 

 


Josh Nicolaisen has taught English in both public and private schools for more than ten years. He spends summers as a caretaker on Squam Lake’s historic Chocorua (Church) Island and lives in New Hampshire with his wife, Sara, and their daughters, Grace and Azalea.  Josh has poems in Underground Writers Associations’ anthology The Poets of New England: Volume 1 and Indolent Books’ online project What Rough Beast.

Photo credit: Book Man Film via a Creative Commons license.

House of Worth

by dl mattila 

 

High-pitched brow, purse-proud

veneers: Harry Winston links,

filigreed graffiti, pelts,

cashmeres — your armature, your

lah-di-dahs, your house of worth.

 


dl mattila is a linguist and poet residing in the Greater Washington DC Metropolitan Area.

Welcome Ying Wu, poetry editor

Ying WuWe are delighted to introduce our new editor, Ying Wu, who is joining editor Laura Orem in the Writers Resist world of poetry.

Ying Wu is a poet and cognitive scientist, and host of the Gelato Poetry reading series in San Diego (meetup.com/BrokenAnchorPoetry). She is also a proud member of the editorial team of Kids! San Diego Poetry Annual. More examples of her work can be found online at Poetry and Art at the San Diego Art Institute (poetryandartsd.com), in the Serving House Journal (servinghousejournal.com), and in Writers Resist, as well as in the material world at the San Diego Airport and in print journals, such as the Clackamas Literary Review. Ying currently studies insight and problem solving (insight.ucsd.edu) at UC San Diego and lives with her husband and daughter on a sailboat in the San Diego Bay.

Please join us in welcoming Ying Wu and celebrating her poem— 

We

breathe the air

name stars

snap photographs

count minutes, kilometers
degrees, Ohms, inches
Herz, decibels, terrabytes
millivolts, microns, pounds

notice
when
the clouds
are turning pink

or thick
and smooth
like blankets

or high
and thin
in rippled wisps

believe
in heaven

speak in
metaphor

speak in
grammar

talk about
infinity

stretch our
hands wide.