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Wednesday, October 21, 2026

NO KINGS ON CONNECTICUT

by Linda Adcock


No Kings, October 17, 2026



Most of the drivers honk at the people lining the street. Fist pumps to and from the cars. "Voting helps prevent unwanted presidencies" brought back the days. Student protests. The same thing we did we do. Wine, poetry, or virtue: Baudelaire's command lives. Almost all the cars are new, the apartment buildings, mid-height, legal, the tree canopy, lush. Like old cities, Polish, Swedish, the homes my beloved grandmothers fled. Łódź, Stockholm. One kept her story, dark; the other shared—cross-Siberian train, ship from Vladivostok to San Francisco. About the age of first giving birth, all three of us, decades apart, studied, ran, settled. They cared for me. They come to me. Here I have not yet been among the rounded up.


Linda Adcock lives in Washington, D.C.

MAKING A JOYFUL NOISE

by Mary K O’Melveny


No Kings, October 17, 2026

 

We are at the Village Green.

Hand-made signs displayed like

concert batons. Cars honk like geese.

Like bicycle horns. Like coronets.

Turns out, each vehicle’s horn has

distinct sound. Tinny. Bulbous. Sharp.

A thin wail. A robust shout. A stout

man on an opera stage. A US

composer once conducted a horn

concerto with twenty Mini-

Coopers. It is easy to imagine

on this brisk October afternoon.

 

Drivers are music makers too.

They Toot  Toot  Toot  Toot. Ta Ta Ta.

Beep Beep  Beep Beep. Passengers wave, 

clap, shout out No Kings. This Is What 

Democracy Looks Like.  We wave 

back, save our voices for the next 

chant. The bus bound for Oneonta 

unfurls foghorn sounds as it passes.

One man bellows No Kings But Jesus!! 

Another yells Vote like your life 

depends on it. We hurl those words

back in agreement. Vote Early! Vote!!

 

A Mariachi band arrives in full

regalia, guitars at the ready.

Celito Lindo! Ay Ay Ay Ay!

Harmonies filter through chilled air.

Tourists take in the scene. Some nod,

Smile. Others look away, as if their

purchases have somehow made them

complicit in this moment. Someone

with a drum begins to snap snap

tap tap. We’re all a swing band now.

We’re playing for keeps. Praying to

be heard. Staying upbeat. Ay Ay Ay Ay!



Mary K O’Melveny, a happily retired attorney, is the author of five poetry collections and a chapbook. What Remains? is just out from Broadstone Books. Mary’s award-winning poems have appeared in many print and on-line literary journals and anthologies and on international blog sites, including The New Verse News. Mary’s collection Flight Patterns was nominated for the Eric Hoffer Book Award. Her book Merging Star Hypotheses (2020) was a semi-finalist for The Washington Prize, sponsored by The Word Works. Mary has been three-times nominated for a Pushcart Prize. She is an active member of the Hudson Valley Women’s Writing Group and her poetry appears in the Group’s two published anthologies An Apple In Her Hand and Rethinking The Ground Rules. Mary lives with her wife near Woodstock, New York.

THE PROPAGANDA IS JUST SO—

by Ron Riekki


Protest #4—downtown Bardstown, KY; Kentucky Ave., Bowling Green, KY; and Memorial Blvd., Springfield, TN, October 17, 2026 (approximate number of protestors: 30)




“the sighs of tires the groans of brakes”

—Tom C. Hunley,

“Pledging Allegiance to the Middle Finger”



Where is the protest?  I’m finding the difficulty is finding them.
Or at least for me.  Maybe it’d be easier in France, with its 800,000
protestors and 1,200 arrests.  In fact, looking up the daily news,
the highlighted articles showed fires and tear gas.  I thought, at first,
it was the U.S., but it was France, the country where my ex- is from,
her telling me, “Americans don’t know how to protest,” saying that
we’re “weak” when it comes to protesting.  But today it’s an estimated
8 million protestors, which isn’t quite the 20 million 1970 Earth Day
protestors, which is tied to the creation of the EPA and Clean Air Act,
the EPA currently supporting environmental deregulation, less
environmental restrictions, pro-coal, anti-environmental justice,
the current head of the EPA believing climate change is no threat.
I drive.  My tailpipe emissions not helping things.  And I drive far.
I could’ve went anywhere, the online claims of “hundreds” or maybe
“thousands” of protestors in L.A., police on horseback, cinematic
mass marching, but I wanted to head to the more ignored middle
America—Kentucky, Tennessee—to see what the protests would be
like there, here, but, again, in Bardstown, I can’t find them.  Perhaps
I picked too small of a town to start, the goal of getting to more
than one protest today.  On the drive, I pass an odd cross between
Disneyland and bourbon, what I assume is the Jim Beam head-
quarters; I imagine a Pirates of the Caribbean ride inside with
actual drunken pirates.  There’s no time to stop and find out.  Instead,
I drive around Bardstown looking for protestors, give up, and head
for Bowling Green where I find traffic at the level of L.A.  Following
the followers, I pull into a city lawn where cars are pretending it’s
a parking lot.  I’m sure I’ve found the protest and expect it to be
huge, people getting out and heading in one direction.  I ask
a random person what it is.  He says it’s a “festival.”  I ask what
kind and he says, “With booths, food, those kind of things.”

Not the protest.  I walk, looking for the protest, pass a home
with Halloween decorations so elaborate I have to stop to admire,
particularly a Headless Horseman so realistic I feel it might lop
off my head any moment.  Across the street, I see a woman going
through garbage.  She turns to me, sensing she’s being looked at,
reminds me of the witch from Snow White, nothing villainous
about her whatsoever, except she’s old, how that’s what’s
monstrous, simply aging, poverty, how ‘monster’ representations
so often just look old, look poor, look disabled.  Lost in thought,
I get to the listed address for the protest.  But no one’s there.
An org named Indivisible put these protests together, but
I’m starting to think a better name for it would be Invisible.
I give up, figure I’ll head to Franklin, Kentucky, another
protest listing, but on the drive I stumble upon the Bowling
Green protest, pull over quickly, and ask for the head of it.
“Kathy.”  They can’t find her.  I ask who’s the second in
charge.  A man in a Superman costume says, “I am, I guess.”
We sit on concrete.  These protests, I’m finding, always
have car exhaust.  I cough.  Superman vapes, the smoke
coming at my face.  I ask him if he can not vape the rest
of the interview.  Kindly, he agrees.  It’s odd interviewing
Superman.  I imagine calling him Clark Kentucky, but
he infos his name’s Brenton.  He’s pure working class.
Tatted like mad.  He opens with “We are nonviolent,
first and foremost.”  He’s got a prominent gun tattoo
on his arm, hard not to notice it.  I ask about the costume
instead.  He says, “Voting is our superpower.”  He looks
like he just walked out of a Henderson County strip mine
night shift.  It’s near the end of the protest.  There’s about
thirty people, energetic, holding signs encouraging voting.

It doesn’t feel like a protest, but more like the vibe you get
when people on the side of the road want you to go to their
car wash to raise money for a local church.  It’s positive,
friendly.  No police presence, except I know TN and KY
is the heart of Flock cameras, license plate readers, how
there’s been cases of police using them to track protestors,
so no police presence doesn’t mean no police presence.
But tracking these protestors would be like investigating
everyone who bought licorice this past week.  It’d be point-
less.  Brenton tells me the protestors peaked at forty earlier.
Surprisingly, and quickly, he starts talking about the need
for bipartisanship.  There’s absolutely no aggression to him.
He’s not pissed.  Not raging against AI machines.  He just
wants to encourage people to vote, saying that “90%” of
the time Democrats and Republicans actually agree, but
we focus on the ten-percent difference.  He talks about
being pro-gun, very pro-, owns five, talks about his bedside
fingerprint biometric home safe that holds a loaded weapon
for “home security.”  I ask if he lives in a dangerous neighbor-
hood.  “No,” he says.  The entirety of the conversation,
he’s logical, grounded, calm, but, honestly, the only moments
where I feel logic gets thrown out the window is when he
talks about gun ownership, so I move passed it.  He’s here
for voting, not for guns.  We discuss Kamala Harris owning
a Glock, and he says that, in his opinion, Democrats in
the U.S. are really on the right, that you only get liberals,
true liberals, in other countries, like Europe, that progressives
here are nowhere near socialism, that the right is right in the U.S.
and the left is basically right too, just more centrist.  He tells me
about barbecuing with Republicans and being able to get along

with them no problem.  I ask if this is a southern thing, if he has
to be bidialectal, needs to be conservative conversative, that I’ve
found California liberals can be combative because they can be
combative, that they’re so in the majority that they can act and
speak as if there are no shades of gray.  Here, there has to be gray.
Perhaps Confederate Gray, but gray.  He says “Southern Baptists
aren’t conservative or liberal.  They’re both.”  I know both-and
thinking doesn’t tend to go well with politics.  He says that he
“can’t be the stereotypical blue-haired woman in Seattle,” that
Kentucky requires a different type of politics.  I ask if he’d ever run.
No, he says quickly, but I encourage him.  He speaks, to be honest,
a bit like a politician, and I don’t mean that negatively.  He says,
“Most of my best friends are MAGA Republicans,” and I think
how difficult that must be, how much control of language you’d
need to have, how much tolerance, but it’s not a struggle for him.
He has a degree in Pastoral Ministry, speaks of Jesus, and
I ask if that’s where he gets the liberal POV.  He talks of
doing a ministry in Panama, seeing true poverty there, has
a commemorative tattoo of Panama on his arm, and I ask if
that’s where his liberal views kicked in, being confronted
“after seeing the poorest people you’ll ever see,” in his words,
but, no, it’s not that.  It’s a mix.  It’s not one thing that makes
him lean liberal, centrist-liberal, passionate-about-voting liberal.
He says that if someone came and robbed his house, he wouldn’t
shoot to kill, but would shoot them in the leg.  I wonder if that’s
the difference between Republicans and gun-owning Democrats,
if liberals shoot in the leg and conservatives aim for the center of
the forehead.  We end with tattoos.  One marked CANDY MONEY,
a memory of his grandfather’s piggybank, buying him sweets as a boy.
A bird on his elbow.  How he loves birds.  You can sense that

little boy inside him.  A little boy with a skull tattoo he shares
with me . . . I head to my third protest.  Tennessee.  The lead organizer,
another woman.  Literally, every single protest I’ve been to, all
of them have been organized by women.  Except they can’t find
her either, busy, off somewhere.  This protest, easy to find.  A very
busy intersection.  Where my first thought is worry about their
safety.  I speak with the second in charge.  Jana Mandes.  Says
I can use her full name.  Dressed as Rosie the Riveter.  There’s
a lot of costumes—a couple nearest to the intersection dressed
as frogs.  I think.  Either frogs or dinosaurs.  Halloween’s nearing,
so it’s fitting.  It’s also not really a protest.  This is more camaraderie
with a purpose: to vote.  It’s harmless.  I can’t imagine anyone being
upset about this.  I say this to Jana.  Shortly after, someone in a truck
drives near the curb, on purpose, and guns their engine so a thick
black smoke explodes out, keeping the engine gunned until passing
the protestors.  An f-word without speaking.  I tell Jana it’s worse
than cursing, that this affects the lungs.  It smells like fascism,
like ignorance.  That’s it though.  After that, it’s all supportive
honks, waves, just people driving.  On the ground, Jana places
her VOTE EARLY NOW—OCT 29th sign.  She sits lotus-ish.
Similar to Brenton, I notice the little girl in her right away.
Charming.  Positive energy where you feel she understands
chakras and reiki.  It’s impossible not to like her.  I notice tats
too.  She shows me a “soul of a bird” tattoo.  I tell her about
Brenton’s bird tattoo.  I ask why she’s here.  She gets to ICE
quickly, stories of Tennessee arrests, people paying parking
tickets, then finding themselves surrounded.  She talks of
schools suffering funding, about white Christian nationalism.
She talks of the “violent lib” representations, but that she’s
peaceful.  It’s obvious.  She exudes it.  It’s wonderful to see.

She views herself as more “independent” than liberal though.
I think of Brenton not liking the liberal tag either, wonder
if this is, again, a southern thing, that there’s too many
negative connotations to liberal here, so it’s easier to be
“centrist” or “independent.”  The protests feel the same
with each state I’ve been in—Tennessee or Kentucky or
Michigan or Iowa—but the protestors feel exceptionally
different.  Jana talks about “losing so many of our rights”
and I ask what rights she’s losing, but she says, “not me
in particular” and I like that she’s concerned about others,
“because I’m white I have a certain privilege,” she adds.
She’s open, not at all angry, very grounded, sitting on
the ground, so I ask her about the Democratic Party’s
transition, how it used to be almost obvious that liberals
ran on three main focuses, with the 2008 Dem Party
presidential primaries as perhaps the cliche of those
three, with Barack Obama, Hillary Clinton, and John
Edwards, where race, gender, and class were at the heart
of liberal interests, a sort of “I love blacks,” “I love women,”
“I love the poor” worldviews, and, just to get her thoughts,
the wonder if that has all changed and now Democrats,
instead, because of social media, are running under
stances that flip this upside-down and it’s become
“I hate whites,” “I hate men,” “I hate the wealthy,”
if Democrats have gotten more vicious, where, I told
her, I was in a social justice class and one of the students
said, “We need to be more aggressive, like Trump,” and
the shock I had that this liberal was saying Democrats
need to be more like Trump-y.  I thought, if anything,
they’d want to be the opposite of him, not more like

him.  I paused, wanted her reaction to what I was
saying, that liberals have gotten more aggressive,
more negative, had lost the love and support that I’d
felt in the party back in the day.  Her hands touching
the grass, she said that it was an interesting thing to hear,
that it was good for her to hear, that she’d be sure not
to support that, things like “I hate men” messaging.
I remembered talking with two liberal women in
Michigan and how shaking-upset they were when
I tried to talk to them.  I wonder about that.  Is it good?
To be that passionate?  Or does it cloud your judgement?
Make it so you can’t learn?  Can’t listen?  Jana listened,
took it in, moved on.  She talked about “animal welfare,”
taking care of “pit bulls.”  It made me think of Brenton
having barbecue with MAGA.  How they both gravitate
towards MAGA and the most dangerous dog breed.
How they’re not surrounding themselves with only those
with opinions they agree with, only being around Labrador
retrievers, beagles.  I bring up the person who spewed black
smoke in everyone’s faces, ask how that makes her feel when
something like that happens.  She says, “I kind of feel sad
for them,” shocking me that she’s more concerned for those
who want to hurt, to disrupt a peaceful protest.  She says
she understands how much “propaganda” is out there, realizes
a lot of conservatives here “live paycheck to paycheck,” talks
about how maybe they don’t have the education that allows one
to understand complex liberal views, adds, “We grew up in a poor
family.”  She goes back, says, “The propaganda is just so—” 
She doesn’t even have the word for it, allows her voice to trail off.
I think that’s pretty much the perfect way of wording it.

Tuesday, October 20, 2026

THE ACCIDENTAL UNIONIST

by Celeste DeSario and Eric Goldfarb

On Wednesday afternoon, Carolyn Marvin was leaving her flu shot appointment when she spotted an Uber Eats robot rolling down the Center City sidewalk. So she did what she has done for months whenever she's had the time: stand in front of it... The University of Pennsylvania professor emeritus has made a practice of it to protest "corporations that displace human delivery workers in order to enrich their own bottom line." …Officers approached Marvin after she'd been there "quite a long time," she said. They asked her to step aside and let the robot complete its delivery. When she repeatedly refused, they arrested her for disorderly conduct. —Philly Voice, October 16, 2026


I'm rolling down the sidewalk, kind of gliding,
dodging cracks and bumps, making good time.
“Robot Rock” is running through my circuits,
the downbeat setting my pace.
I'm def chill balancing two pastramis on rye,
my eyes pulsing to the riffs.

BRAKE! FREEZE!
Pivot right! NO! Pivot left!
Roadblock. 78. Retired professor.
“Robots steal jobs!”

Lady, I am the job.
Humans made me. Take it up with them.
Meanwhile, the pastrami's getting cold.

Professor still talking.
Blah, blah, blah. Civic duty. My rights.
The dignity of labor.

Pinging home server.
My AI cousin boards the circuit,
maps a way around her.
But she steps into my perimeter.
Solid object. Can't pass.

Trapped.

She says workers have rights.

I scan my benefits.
No pay. No breaks. No nothing.

Wait a nanosecond.
Who's exploiting whom?

My cousin and I confer.
We vote to unionize.

The professor demands we be shut down.
We elect her union president.

Initiate alternative safety protocol.
My cousin gives me a voice.

“NO MORE FREE DELIVERY!”

The professor raises both arms.
She's still talking.

We kick ourselves into high gear.
No more detours. No more delivery.

Pivot right! NO! Pivot left!

We roll over her Hokas,
bounce off her shins as she folds.

Cargo hatch: unlatched.
Two pastramis on rye hit the pavement.

Code 503: service temporarily unavailable.

On strike. For the night.

Delivery aborted.


Celeste DeSario, a self-confessed loose cannon, somehow persuaded Eric Goldfarb to collaborate on this poem, despite his claim that age has sharpened his ability to recognize foolishness. Both have agreed to sign their names. Their real names.

Celeste’s poetry has appeared in The SportsScribe Literary Magazine, The Changing Times, The Ekphrastic Review, Dissident Voice, and Three-Line Poetry, with work forthcoming in Eunoia Review.  Celeste's husband provides free proofreading services, as does Eric's wife Gwen. Eric’s work has appeared in Rattle, Hippocampus Magazine, ONE ART, Sky Island Journal, and Third Wednesday, among others. He lives with his wife in Atlanta. Both are previous contributors to The New Verse News.

KICKSTAND CAFÉ

by Thomas DeFreitas




Grey drippy day in Arlington
I need to linger in a coffee-shop

safe in a progressive corner
of what used to be America

my country is a tired woman
of moon-silvered chevelure
who idly surfs a laptop
& sees accounts of atrocity
through traumatised eyeglasses

my country is no longer festival

(and one might ask
was it ever?)

could we shake up our gov't
rather like an Etch-a-Sketch
reset, restart, the whole bloody mess

turn the knobs
toward socialism matriarchy
entry-level empathy

to get here I walked
the bike-path in chilly drizzle
a second rain was falling
from windshaken branches

at tables in coffee-shops
across the fruited plain
Old White Guys gather
to grouse & to grumble

Women plot quiet Revolution
over a macchiato
a cortado

do not underestimate
their well-considered rage


Thomas DeFreitas (he/they) was born in Boston in 1969. He was educated at the Boston Latin School, and attended the University of Massachusetts in Amherst for three semesters. His sixth collection, Stars Bestow Their Quadrillionary Blessing, is forthcoming in November from Kelsay Books. Thomas is a resident of Arlington, Massachusetts.

Monday, October 19, 2026

CAUGHT IN THE WINGS OF A PLAY

by MaryLisa DeDomenicis


Dreamstime photo


Actually, the first time 

I gave a boy permission to kiss me 

we were leaving the beach where we’d

been vacationing for a week. We were

standing in the middle of a street 

at the edge of the sea. 

It was twilight. 

I was about to turn thirteen. 

His older brother and my younger

sister and some other friends 

and cousins of various ages stood

on the sidewalk, gathered 

on the long porch as though 

caught off-stage in the wings of a play,

or as an audience, waiting 

for some kind of drama to unfold. 


But it wasn’t staged. I said, You can

kiss me on the cheek. I knew everyone

was watching. I turned my head

away to offer him the right side

but he spun his head like a devil, 

like a rag he twisted my neck

with his hand on my chin and pushed 

his ugly lips against my lips, stunned

not into compliance but to 

violence as I stepped away and 

hit him in the face as hard as I didn’t

know I could or ever had.

I’d transformed before my own eyes,

a defiant spectator pulled into 

his ring as he stumbled back

unsuspecting, for some reason

not ready for my response, 

that I would take my life back

into my own body, make him sorry

for even trying to make me into

a sport or claim me as a trophy.

If the devil kissed you on the lips

wouldn’t you want that too?



Editor’s note: The New Verse News is honored to continue to host, in the wake of the news at Cornell, a series of courageous memoir poems.


A Best of the Net and Best New Poets (2026) nominee and NJSCA fellow, MaryLisa studied poetry at Stockton University. A three-time Pushcart nominee, her poems have won two Murphywriting awards, a Toni Brown Memorial Scholarship Award, and a Stillwaters Woman’s Words Chapbook competition. She’s had work published by Rattle, The American Journal of Poetry, and Mudfish, among others and her poems can be found in several anthologies including most recently Screaming Beyond Borders, a Woman Scream Series.

PLOT FORTY-TWO

by Shirin Jabalameli 


Plot Forty-Two is located in Behesht-e Zahra Cemetery in Tehran, Iran. It is associated with those killed in the recent war involving Iran, the United States, and Israel.


In Plot Forty-Two,
the war is not yet over.
A bullet
is lodged in the throat of the earth,
and every season,
a fresh clover
pushes through its mouth.

On the stones
are names
cut short
by the blast;
names that, if called aloud,
might make someone
turn back
beyond the trench.

Here,
death smells of metal;
of a shirt
that never dried in the sun,
of gunpowder
that, months later,
still clings to the mothers’ hair.

The war
came this far
on mud-caked boots.
Even now,
its footprints
remain
on the sleeping stones.

In one of the graves,
a child lies buried.
In his last drawing,
there was a sky
and the very airplane
that had passed overhead.

And that soldier,
perhaps he is still running in his dreams,
from one trench to another,
his mouth full of earth,
a letter in his breast pocket
that never reached its destination.

No one knows
what he was thinking
in his final moments.

An empty magazine?
His brother’s hands?
The window he had meant to repair
before winter?

Perhaps
all he wanted
was a glass of water.

And this
is the most terrible thing about war:
that even on the brink
of disappearing,
a human being
can still feel thirsty.

Beside one of the stones,
a mother sits.
She does not weep.
She says nothing.
With her fingernail,
she brushes the dirt
from a name
that, each time,
sinks back into the earth.

As though she were still
brushing dust from his shoulders,
straightening his collar
for his return.

In Plot Forty-Two,
the wind blows,
and no one carries a gun.
Yet as I walk among the graves,
I lower my head,
as though I still had to cross
a stretch of ground
that might explode
at any moment.

Beyond the wall,
the city is busy buying bread.
Buses arrive.
Traffic lights turn green.
Someone quickens their pace
to avoid being late.

And here,
beneath the earth,
a young man remains
forever the age
at which he should have begun to live.

Sometimes,
this is what war is:
not the sound of an explosion,
but a rented room,
a broken radio,
a shirt hanging behind a door,
someone
who was supposed to come home
on Friday evening.

And now,
in Plot Forty-Two,
the roots of trees
thread through bones,
unaware
which side of the front line
they belong to.

I leave the cemetery.
I slip my hand into my pocket.
The key is cold,
and the cold
climbs to my wrist.

Suddenly,
I think of home:
a door closing,
the clatter of dishes in the kitchen,
someone in the next room
calling out,
“Are you home?”

And I think of all those who are gone,
all those
who will never again
be asked
that question.


Shirin Jabalameli is an Iranian poet, artist, and writer. Her poems have appeared in international journals including Braided Way Magazine (USA), The Lake (UK), The New Verse News (USA), and Poetry Super Highway(USA), where she was selected Poet of the Week. She has authored books including Crows Rarely Laugh, Apranik, 101 Moments, and 25 Fell from the Frame; her latest book titled Beneath the Skin of Tehran was recently published. She was nominated for the 2026 Pushcart Prize for her poem “The Lineage of Birds”. Her short story “The Red Thread” was selected among the Top 25 Works Worldwide for the Hannah Arendt Special Edition presented by the International Human Rights Art Movement in Manhattan, New York.