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Today's News . . . Today's Poem
The New Verse News
presents politically progressive poetry on current events and topical issues.
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Tuesday, March 03, 2026
FATAL DISTRACTION
COLONEL AMERICA CALLING
lining her nest with down.
She cooed sweetly
but her new chick
said ‘coo-ark’
mimicking her,
then ‘quark,
then ’yawp’
as it grew
stronger,
she saw
her cuckooed dove
hatchling
was a mocking bird,
calling
in New-Speak
straining
to be understood,
straining
for more space,
more gas,
more gold,
more
like
a colonising colonel
balanced precariously
puffing out his dovey chest,
as his eagle’s eye
preys south
then north,
the Middle
East
then West.
If we don’t clip his wings
where will he go next?
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| AI-generated graphic by Nightcafé for The New Verse News |
Monday, March 02, 2026
ART
Yesterday, high fog, a marine layer, so gray even the air itself
casts a pallor. This morning, though the sun shines, the weather report
forecasts snow flurries. Before sunrise I watched a video made by dancers
in front of what was once The Kennedy Center for the Performing Arts,
dancers dressed in maroon, the color of blood after it has met air.
The choreography starts with an unassuming woman in a knit cap,
jacket, old jeans like I might have worn when dropping my kid off
at school when I thought I’d just hurry home for a second cup of coffee.
She stands as some of the dancers surround her, make the shape
of a SUV while two other dancers as masked gunman approach,
and without guns shoot her chest and head until she falls
limp against the bodies that could never protect her.
The dancers dissolve and they're dancers again, surround
a thin tall, bearded man, slight bulge in his waistband. (Is it a gun?)
Pandemonium, confusion, paper and people swirling.
He helps someone falling after being pretend beaten
for which he is also pretend beaten, then shot multiple times
his body pummeled and shuddering as bullets hit
until finally, he lies still as dancers transform into angels
dancing with a couple of souls, these new-made spirits standing
hand-in-hand to look at the Washington Monument,
their reflection in the vast pond
in front of them present
for even God to see.
Sunday, March 01, 2026
THIS IS A TEST. THIS IS A TEST.
PEACE IS WAR
Saturday, February 28, 2026
IN THE MARKET
Here we are again,
an unseasonably warm day at the end of February
and San Francisco’s Alemany Farmer’s Market
bursts with early blueberries and babies,
the first pink tulips and yellow ranunculus.
A three-year-old in ruffles, her white dress tied
with a sash, smiles as she pushes her brother
in his stroller, her mama close by in case of trouble.
I imagine markets in Iran, babies and strollers,
mamas in hijabs buying dates and radishes.
Little girls playing with their brothers.
I imagine bombs and blood.
These babies.
This market.
Here we are again.
A poetry reader for The MacGuffin, Angie Minkin stands on her head for inspiration. Her poems are widely published and she is honored to be named the 2025 Passager Poet. Her chapbook, Balm for the Living, was published in 2023. She is a co-author of Season Lightly with Salt.
EXTREME WEATHER REPORTS FOR THE 21ST CENTURY
—Erik Assadourian and Esther Phillips, on Medium
Hurricane Exxon—from Maine down to Mass.—
appears, as we feared, to be hitting the gas.
Macroburst Google is knocking down birches
and churches as rescues lag far behind searches.
Bomb-cyclone Bezos refuses to stop
until it has flattened each mom and each pop.
Superstorm Congress? Crews strive to repair
the damage it’s done with its surging hot air.
And everywhere, Trumpulus clouds keep on raining
fresh plagues on the heads of whoever’s remaining.
MOURNING PILLOW
STATE OF THE EPSTEIN CLASS’S UNION
by Raymond Nat Turner
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| Cartoon by Nick Anderson |
Disabling flying fingers of 14 fact-checkers; blowing out 30
bullshit detectors. One hour and 41 minutes of Tourettes with-
out regrets. Specious Olympics of Lying—stuck the landing—
flooding the zone with dreck.
Elephant excrement flooded Fox-boxes of viewers and listeners laid
back on La-Z-Boys, red cap electrodes attached to shaved heads, their
Tariff Sheriff telling them, “We’re the hottest country in the world!”
The roaring economy is roaring like never before. Golden Age of America.
Their Tariff Sheriff told them we the greatest. Biggest. Best-est. Most-est
in history. Told them the price of eggs in Erehwon, along with butter, fruit
and rents are way, way down. And gas is less than two dollars a gallon at
Shangri-La stations. And 401Ks are way, way, way up for lil folks of Oz.
His wild-eyed Cruel Reich Cult members wore holes in trousers and skirts
springing up like jack-in-the-boxes applauding long and loud and often.
Some fractured greasy thumbs and bloody hands clapping so hard, for so
long, over and over again.
Like rabid, frothing-mouthed lynch mob, they cheered Big Beautiful Bank Job
and dastardly deeds of DOGE: Department of Grifter Enrichment. Sidelining
survivors and protecting Epstein Class pedophiles flying Lolita Express 39,000 feet
above borders and accountability they orgiastically chanted, “U-S-A, U-S-A, U-S-A!”
And their Tariff Sheriff told them he’s ended 8 wars, including the Mexican War;
War with Spain; French and Indian War; War Of 1812. Told them he rebuilt and
rebranded the Wehrmacht “Peace through strength.” And doing it is costing a trillion
dollars—along with blitzkrieg-warp speed redaction of our rights and freedoms…
Raymond Nat Turner is a NYC poet; Black Agenda Report's Poet-in-Residence; and founder/co-leader of the jazz-poetry ensemble UpSurge!NYC.
Friday, February 27, 2026
I refused to watch the State of the Union,
unwilling to give two hours of my life
to so much bloviation and lies. Usually
I think it’s wise to know my enemy but
I know this one too well. Instead
I called a friend, spent half an hour
catching up and laughing, then read and
watched an hour of Seaside Hotel,
Season Six, 1938, Danish refuge with
its mix of guests and servants,
persistence of decorum and dignity
as, still out of focus, fascism draws near.
Penelope Moffet is a poet and nonfiction writer based in Los Angeles. She is the author of the chapbooks Cauldron of Hisses (Arroyo Seco Press, 2022), It Isn’t That They Mean to Kill You (Arroyo Seco Press, 2018) and Keeping Still (Dorland Mountain Arts, 1995). Her poems appear in many journals, including Calyx, Eclectica, ONE ART and Vox Populi. A full-length collection of her poetry will be published by Sheila-Na-Gig Editions this Fall.
ALL MY AUNTIES WERE THIRD WORLD WOMEN
by Vinay Krishnan
when you fly international, one of the TSA’s
prohibited travel items is solidarity for the world’s
oppressed. don’t put solidarity in your luggage. you
can’t leave with that. you definitely can’t come home with
that. at customs, we need an itemized list of any
new truths you have in your bags that we’ve been
hiding from you here in America. empty your
pockets and prove to me you’re not carrying a
trinket that connects you to another man’s struggle.
take off your shoes and socks and place your
brown feet on this white floor as a reminder. a
reminder that every border crossing is a strip
search and a cudgel, distilling you into something
that fits more easily into an overhead compartment
or a cage or a grave.
but today I had to laugh at that. because all my
aunties were third world women. and now we're
running it back, old and new blessings. all my
aunties were third world women. all my aunties
were third world women.
Thursday, February 26, 2026
WE CROSSED
by Zebo Zukhriddinova
AI-generated graphic by NightCafé for The New Verse News. |
I want to speak loud enough for the child who
packed a suitcase bigger than their arms,
for the teenager who learned the word visa before
they learned how to drive,
for the mother who ironed hope into a shirt at 3 a.m. before a flight that smelled like goodbye.
I want to speak the way drums speak in a stadium,
the way a voice echoes under bright lights like it refuses to disappear,
the way someone stands at a microphone and
says:
we are still here.
We did not leave because we hated home.
We left because we loved it too much
to watch it close its doors on our future.
We left because dreams were heavier than fear,
because opportunity whispered louder than
comfort,
because sometimes survival is not dramatic—
it is paperwork, it is embassy lines, it is a number blinking above a counter
where someone decides if your life may continue.
We learned how to pronounce ourselves again.
We learned that “Where are you from?” can be
curiosity
or it can be a cage.
We learned to laugh at jokes about our accents
while secretly holding our language like a fragile heirloom
we refuse to drop.
They say immigrant like it is a shadow.
Like it is something that sneaks.
Like it is something that takes.
But we are not shadows—
we are sunrise workers, late-night students,
we are the hands that build and the minds that
innovate,
we are the children who translate bills at the
kitchen table
while finishing homework about a history that forgot to mention us.
We crossed oceans, yes—
but mostly we crossed versions of ourselves.
We crossed from who we were told to be
into who we dared to imagine.
And if you ask what we carried,
it was not just luggage.
We carried recipes memorized by heart.
We carried songs our grandmothers hummed
while sweeping.
We carried photographs folded at the corners
from being opened too often in dorm rooms
where homesickness sounds like silence.
We carried love.
Love stronger than border walls.
Love louder than speeches soaked in fear.
Love stubborn enough to bloom in foreign winters and call it spring.
Because hate is loud—
it chants, it points, it builds fences out of words —
but love is louder in the long run.
Love studies for exams in a second language.
Love sends money back home.
Love stands in graduation gowns and whispers,
“We made it.”
To the ones who left young—
who traded playgrounds for airports,
who learned currency exchange before algebra,
who grew up between time zones—
this is for you.
You are not “temporary.”
You are not “other.”
You are not a debate.
You are the proof
that hope can pack a suitcase
and still make room for courage.
And one day, when they ask what immigration
looks like,
tell them it looks like a child refusing to shrink their dream
to fit inside a border.
Tell them it looks like love
walking through customs
with nothing to declare
except a future.
Zebo Zukhriddinova is an international student currently studying in the United Kingdom.





