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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2020

By Zhihua Wang

 

1

It’s October now,
I am still listening to the song
“Beautiful Springtime.”
It seems the spring
of 2020 never came.

2

The moon must love
my daughter’s window
more as it often has songs
flying out of it.

3

I am in love with my bed now.
Every time I lie on my pillow,
wrapped in my comforter,
I think of him.

4

Poems are flowers
I pick on my road.
I pack them well to send out –
when they open them, I hope
the fragrance is still there.

5

I used to believe the majority
of the world thinks the same
as me. Now I know it’s only
half. But I should still cheer
even if the win is by a hair.

 


Zhihua Wang received her MFA in Creative Writing from the University of Central Arkansas and is currently a Ph.D. student in Creative Writing at the University of Rhode Island. Her poems have appeared in Aji, Last Leaves, Across the Margin, Eunoia Review, and elsewhere.

Photo credit: Alessandro Giangiulio via a Creative Commons license.


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.

 

Contingency Plans

By Sara Marchant

 

My husband recently retired. His anxiety had increased over the last four years (whose hasn’t, right?) and a few months ago he was having a bad day at work, when he abruptly stood up, announced, “I retire,” and walked out the door.

It’s been an adjustment.

At first, he didn’t know what to do with his day. As I was unemployed by the pandemic, not even teaching from home, I was available for him to ask for direction or inspiration. I was available all day, every day. He questioned me like a kindergartener on a long road trip; the situation soon was fraught. This changed when I received a phone call from friends down South making contingency plans for the post-election end times. They were worried; they were scared; they didn’t know where to plan on going if they should have to flee. They know my husband has survivalist tendencies.

We live in a southern red zone of the blue state of California, but we own our acreage, have an artesian well and electrified fencing, and are prone to paranoia. We keep our house well provisioned in case of emergency. It’s known that we like to plan ahead. My friends had called to ask our advice.

Now my husband no longer asks me for direction in the morning. Instead, he gets up every day and prepares to take in refugees from red states. I won’t go into too much detail here. We are all safer that way.

My fingers are crossed for a peaceful, smooth, safe transition of power—power once more in sane heads and hands—and my husband claims he wants and prays (he’s the believer in the family) for that too, but just in case. … Then he goes back to fortifying the property. He wants to be a good host, you see.

• • •

When I was a little girl and we’d go to look at open houses for weekend fun, my mother always told us, “Find the hiding space!” She didn’t say this in front of the realtor or the homeowner; she taught us it was a private game. The hiding space would only safe if we were the only one’s who knew it existed. “Every house should have a space to hide when they come for you,” my mother said. When, not if.

Other games we learned were equally different from our friends’ family pastimes. Our mother taught us to seek out all exits when you enter a building, keep your back to the wall when eating in public, always carry something sharp in your pocket and “aim for the cojones.” Other children played lava floor and we did too, but we also played count your steps with your eyes closed, in case we ever had to escape in the dark.

My siblings and I are surprisingly well-adjusted, considering.

• • •

Shortly after November 9, 2016, my mother made me drive her to the post office to renew our passports. My husband refused. He’s Native American. He belongs to the land, he said. He’ll never leave.

“That’s nice, but short-sighted,” Mom told him. “We’re Jews. We’ve been through this shit before. Always have an exit strategy.”

When the pandemic caused all borders to close to United States citizens, my mother wept. She was born in 1940, but in Denver’s Little Italy; my mother is not a Holocaust survivor. However, her parents didn’t believe in censorship, so her siblings took her to the movies and no one thought to cover her five-year-old eyes when the newsreels showed the camps being liberated.

Now, when reading about the camps at our southern border, the concentration camps committing crimes against humanity in our name, my mother doesn’t weep. She’s too angry. It’s gone on too long, been allowed to perpetuate, descended into genocide. Now my mother curses the perpetrators. Each morning as she pricks her finger to check her blood sugar levels, my mother damns every member of this administration, every enabler, every supporter—even those of us standing by watching helplessly in horror. “We’ve damned ourselves,” she tells me.

“We’ve no longer the right to weep tears of anything other than shame.”

• • •

Four years ago, I didn’t believe it could happen—and that’s shame on me. I was a history major; I’m married to a Native. This country was founded on violence, conquest, cultural genocide, germ warfare; we’ve been ripping children from their mother’s arms from the time the first boats arrived—and kept arriving full of stolen men, women and children. Why wouldn’t I believe it could happen again—only this time live-streaming? How dare we become complacent?

None of us knows what will happen the first week of November 2020, but I don’t believe any of us are still complacent—that’s been burned away. This household’s ballots have been mailed and counted, the pantry is stocked, the fence is fortified, space has been made for our friends.

My fingers are crossed, my husband is praying, and my mom is practicing blood curses with her back to the wall. My most fervent desire is that soon we’ll all be dancing in the space we’ve created for ourselves, but if not … I’ve got a plan. I hope you do, too.

 


Sara Marchant received her Masters of Fine Arts from the University of California, Riverside/Palm Desert. She is the author of The Driveway Has Two Sides, published by Fairlight Books. Her memoir, Proof of Loss, was published by Otis Books. She is a founding editor of Writers Resist. Her website is TheSaraMarchant.com.

Photo credit: Mitchell Haindfield via a Creative Commons license.

Sing the Songs of Our Youth

By Kit-Bacon Gressitt

24 October 2020

Uncle Jack died this morning.

The stroke, the collapse, the surprise mass on his brain? Whichever or all, at least he went faster than Aunt Peggy and Mother. Not as fast as Father—the gift of a heart attack. The comparison? I don’t know, perhaps it’s a futile attempt to lend context to Jack’s death, to the loss of the last of his generation on our closest family branch, my siblings and mine, an attempt to accommodate one loss among many. So many, it’s easier to focus on only one, and it is one that changes us.

My cousins now join us in our adult orphanage—a disregarded subset of parentless offspring. We are left to follow six or seven decades of memories down lanes straight and twisty, dead-ended and endless. To quietly mourn and slowly, slowly recover.

In the meantime, “At least it’s not the COVID,” some will say.

This will enrage me, and not only because of the unnecessary article, but because COVID-19 persists and worsens while too many leaders fail us, abandoning us to the ravages of the virus. But I’m prepared, having practiced my rage for so long—on occasion with Uncle Jack—perfecting it with each onslaught of ignorance and hate and … I don’t know, sociopathy?

Before Uncle Jack lost the strength to place his large hands on either side of my head and lift me to wonderfully frightening heights, before he could no longer deliver his trademark jokes with aplomb, before he was unable to name the seated president, we would share disdain for the corruption of our democracy, revile the sinners and their sins. And when my rage was about to consume me, Jack would swoop me out of its reach with one of those jokes or grab a ticklish, tender knee and draw a giggling yelp instead of a bitter profanity.

Sometimes we would even gather up a friend of Jack’s, the wounded survivor of a Baltimore scandal, and calm ourselves on an early Sunday morning, beside a misted pond. As day broke, we’d fish for bluegills, fry the fillets with hushpuppies in a well-seasoned skillet, and tipsily toast the Fall of the U.S. Empire with Bloody Marys.

That was forty years ago. And that toast was a half-assed joke.

Just a few days ago, Jack didn’t know who I was, but he could still shuffle at least a few feet off to Buffalo, strum an occasional ukulele, and sing our family songs, the sometimes bawdy, sometimes silly songs that have bound us, that overcome schisms and sorrows, that entwine distinct generations and personalities and beliefs into a fun and fabulous choir.

Today, though, the loudest voices we hear are discordant.

Today, I’m thankful for the dementia of Uncle Jack’s last years. I’ve said the same of my parents: I’m grateful they didn’t live to see the corruption that now divides us, that drives people to the polls or away from them, that forces us to don masks or deny they are needed, that keeps us from family deathbeds or exposes family to potential death.

Today, Uncle Jack has died, and I wonder what else we might lose. I don’t know, but I think it’s time to sing the songs of our youth—the cheery songs, the ribald songs—and to hope.

Please vote with love, please encourage others to do the same,
K-B

 


Kit-Bacon Gressitt is a founding editor of Writers Resist and the publisher. Her website is KBGressitt.com.

Poster art by Holy Mole UK, available from amplifier.org.

Artist’s statement: “My 2 cents on the US election, and of course an ode to the amazing Robert Indiana, the creator of the iconic LOVE sculpture (a global symbol for hope in 1960s) and Obama’s ‘HOPE’ presidential campaign (2008). [Indiana] once said ‘I’d like to cover the world with hope,’ and, with sculptures popping up all over the world, he did just that.

“Sadly, Indiana died in 2018, but I think if he were here he would have felt his voice was needed more urgently than ever. My design uses ‘VOTE’ this time (as he did himself in 1976) and aims to encourage voting in the upcoming US election. I wanted the message to be vibrant, to sing with colour and positivity for the future. There is still hope, but we need to make very bold decisions regarding the environment. The US needs a leader that is more focused on global issues than their own twitter feed! US friends, if you are reading this please vote, it is so, so important!”

Your vote is your voice. Su voto es su voz.

Be loud—vote!

 

We are often told that our votes don’t matter. But if our votes held no power, no one would try to silence us. That’s why we partnered with artists and MoveOn to create “Your Vote is Power,” an art-centered initiative to inspire young people and people of color to register and vote in November. We want to reclaim our visual landscape with messages of empowerment, with images reminding us that we are stronger when we act together and that our democracy depends on us all taking to the polls this November.

Poster art by Amanda Phingbodhipakkiya.

Please support Amplifier Art.