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Tuesday, April 28, 2026

DREDGING

by Barry Foy

in the manner of Noël Coward, with tinkling piano





Like a blowtorch to asbestos,

The Almighty’s keen to test us

In a way that nearly always entertains.

With a knowing smile He chastens, He

Takes aim at our complacency

To guarantee we won’t turn soft, or vain.

 

It’s as if, at His own pleasure,

He employed a cosmic dredger,

That was poised at any time to scrape and plow,

Just in case we thought we’d bottomed out,

Had reached bedrock without a doubt,

And were sure it couldn’t get much worse than now.

 

But there always is tomorrow,

And we’ve found out, to our sorrow,

That the worst can worsen worser than expected.

Take our current situation—it defies amelioration,

Till it seems like God Himself could not correct it. 

 

Oh, we oughtn’t to be scandalized

To find the White House vandalized

By rogues and chancers, plutocrats, and cons,

But this latest iteration boasts a record concentration 

Of the sort of scum that floats atop a pond.

 

With the drone of putrid tweetings

And the endless unhinged bleatings,

It is all enough to render one quite solemn.

It would seem—of course, one never knows—

That to try to keep us on our toes

God’s dredged us up a soul-destroying golem.

 

He has lies for each occasion

And a list of depredations

That his lackeys all are willing to abet,

And he says he’ll make this country great,

But indicators indicate

That’s not about to happen—(ahem) not quite yet.

 

As he mocks, maligns, and threatens,

He inspires ranks of cretins

To intimidate their neighbors brown and black.

With their slogans and their marches,

And their swastikas and torches,

They survey what isn’t theirs—and want it back.             

 

They’ve decided that the man next door

And total strangers at the store

And worshippers in temples are their foes,

And that out of all the sundry types

The right to claim the Stars and Stripes

Is theirs alone. How could they? Heaven knows!

 

In the days of brutes long fallen

Such as Mao Zedong or Stalin,

They at least could cite doctrinal points of view.

They’d explain away atrocity

With political philosophy,

And only do what dogma bade them do

(Or so they claimed).

 

But compare this clown shambolical,

In his helmet formed of follicles,

Who measures out his neckties by the yard.

He’s possessed of a psychology

So riddled with pathology

That he’s nasty just to make his penis hard. 

 

I don’t hesitate to shame him,

But in truth I do not blame him,

After all, it’s just the way that he was fashioned.

In the manner I was raised, at least,

They said if you can’t praise, at least

Accord that sort your pity and compassion.

 

He can’t help it if he’s not too bright

And doesn’t read and barely writes

Or hasn’t much to live for but his wealth,

Or that, eyeing his reflection,

It bypasses his detection

That there’s pocket lint where others have a self.

 

But no similar forbearance

Can we grant to his adherents,

Who’ve forsaken everything they learned from Mother,

And allied themselves with rot and sleaze,

Made governance a foul disease, 

And behaved as turncoats even to each other.

 

Let them proffer no excuses for the insults and abuses

They as cynical enablers heaped upon us,

For the way they cruelly cursed us all

By daring to immerse us all

In something that’s so toxic and dishonest. 

 

They’ve disgraced themselves and me and you,

Their chain-migrated forebears too,

And descendants through the next five generations,

Yet pouring poison down our well

Has not, as far as I can tell,

Inspired in them the least self-condemnation.

 

So, once God has had His little joke,

What say we take these dreadful folk

And board them on a fleet of little boats,

Where, as they drift for mile on mile,

Without an outlet for their bile, 

Eventually they’ll cut each other’s throats?

                                              

Let’s carve their names in tuna,

Fly the pieces to Bermuda,

And then stand upon a pier and chuck them in,

Where at depths of many fathoms

We will let the sharks have at them

In the hope we’ll never see those names again.

 

We, the upstarts who protest today,

Were none of us born yesterday,

And we know, with hist’ry’s lessons well in mind,

That it’s not a liberal fantasy

That crimes against humanity

Quite often sprout from seeds of just this kind.

 

Be it we who made this thing occur

Or God (or Zeus, if you prefer),

Empow’ring all these wolves in sheeps’ apparel,

There can be no further dredging

Of the sort that I’m alleging,

’Cause we’ve truly reached the bottom of the barrel.

 

If you lie with dogs, you wake with fleas,

If you lie with germs, you get disease,

If you lie with poison, you’ll pick up the toxin.

It’s a fine, imperfect nation

But it cries for fumigation—

It’s our henhouse, and we’ve gone and let the fox in.



Barry Foy is a musician, song lyricist, and the author of Field Guide to the Irish Music Session and The Devil’s Food Dictionary: A Pioneering Culinary Reference Work Consisting Entirely of Lies. His “Rabbit Story” was selected for Paul Auster’s anthology I Thought My Father Was God, and Mr. Auster read it on NPR. Recent/current/upcoming venues for Foy’s poetry and prose include The OffingDefenestrationTough Poets Review, and Syncopation Literary Journal.

Monday, April 27, 2026

PLEA TO A VISITING MONARCH

by Philip Kitcher




Dear Charles,
                        I beg you to invite
the chief source of our global plague
to visit Buck House one more time.

Then set the trap, and extradite
him to stand trial at The Hague
to close his long career of crime.

Recall the Cambridge past we share—
Fulfill a fellow student's prayer!


Like King Charles III, Philip Kitcher attended Cambridge University from 1966 to 1969.

CORRESPONDENTS’ DINNER VILLANELLE

by Erin Murphy


Our first thought: the shots were staged,
erasing the day’s news and memes.
Flip the script, turn the page.
 
Distract from wars, inflation, climate change,
grift, dementia, les dossiers d’Epstein.
Our first thought: the shots were staged.
 
Keep the masses entertained.
Let them eat vape and binge TV.
Flip the script, turn the page.
 
In late-stage cannibalism, feed rage
into the insatiable bigotry machine.
Our first thought: the shots were staged.
 
What matters not is how it plays
in real life but on the screen.
Flip the script, turn the page.
 
Humans caged, history razed.
All the world’s a crime scene.
Our first thought: the shots were staged.
Flip off the script, burn the page.


Erin Murphy's most recent books are Human Resources, Mother as Conjunction: Lyric Essays, and Fluent in Blue, winner of the 2025 American Book Fest Best Book Award in Poetry. Swoon: New and Selected Poems is forthcoming in June.

Sunday, April 26, 2026

A CHILD CANNOT BE A NEOLIBERAL FASCIST

by Deborah Marcus

 

 

 

 

Australian Indigenous Poet and Storyteller Jazz Money has had their children’s book Bila: A River Cycle pulled by University of Queensland Press due to its illustrator Matt Chun’s previously-published essay refusing to mourn the Jewish casualties—which included ten-year-old Matilda—at the Bondi beach shooting in Sydney last December. See reports from the BBC and The Guardian.

 


A bird cannot be a stone.

Our heart cannot be bone.

Our heart must not 

be bone.

 

A damp towel against my head 

in the morning while I drape my body

forwards from the toilet

shakes me back into the dream:

 

I am on rocks. I need to get home.

There are three ships, progressively smaller,

like a babushka series. I need all of them.

I drag the smaller one from the waters first.

The second one follows, large enough to withstand

calm waters and one person only.

 

I lay the ships on the deck. I am now on the third

ship which is the one I wanted the most. 

I didn’t see how I caught it, or how it appeared.

All I know is I have what I need now.

Yet I do not feel settled, and I scour to collect

All the tiny remnants on the ground. 

There are metal clasps and tiny fishhooks.

I put them all in a small bowl. 

They seem mysterious, worthless and precious.

 

The ship is attached to a stream of algae and muck

and my perspective zooms out so I am able to hold

it underwater, and carefully with some nail scissors

I cut the debris that cascades like aquatic hair

filled with small creatures and fish, that are large

enough to be food or help, but may be rotten.

 

I see that the shape corresponds with Sarah Schwartz’

foggy, algae-outlined eyebrow. I trim her eyebrow too.

 

In the morning, I trim my own eyebrows with the

backwards-glint of dream remembrance in the mirror.

 

I spend the day accumulating poetic courage

eating Agedashi tofu, glimpsing at the red 

leaves and lamenting distances

 

how five thousand copies of a child’s book

has been printed and promptly pulped

because the illustrator refused to mourn

a Jewish child shot within a sea of Zionists.

 

Chun states his words were carefully curated 

with the help of anti-Zionist Jewish comrades

but not once in his article outlining the reasons

the antisemitic massacre of Jewish people 

at Bondi beach, was not in fact, antisemitic,

did he mention Matilda. 

 

At this point, there are no sides left for me 

to reside on. 

 

We are in the same river together, you see

You and I

We poison the soil together in our silencing

 

Our hearts breaking in multiple directions

by the dialectical paradoxes lodged within colonialism

and so they become numb

and so they became numb

 

I refuse to become numb

I refuse this

I refuse

 

the same way I refuse the destruction of literature

the same way I refuse the censorship of Indigenous storytellers

writing heartfelt literature for children about the links

between resistance and Country.

 

I refuse to witness this silencing of another

Aboriginal voice.

 

At the heart

of all comrades

should ALWAYS be children.

 

Why else are we fighting?

To be on the right side of history?

For freedom?

For justice?

 

How can we claim to be fighting for any of this

if we can find a way to make the murder of any child

less

to make it a subsumable statistic 

a side comment

within a broader fight

and not the focal point of our writing 

our essays

our books

our complaints

our hearts

our resistance?

 

I condemn Chun’s erasure of Matilda’s humble roots

the same way I condemn the erasure of Palestinian roots

by Chabad and Zionist establishments.


I refuse Chun’s refusal to mourn a ten year old Jewish girl

his refusal to even mention her name 

amidst his hypocritical academic silencing of her death

amidst a sea of fishhook reason

 

I refuse Chun’s silencing 

because Matilda was not a neoliberal fascist oppressor.

 

Matilda was not a white Zionist Jewish-supremacist.

She was a child.

 

Just like each and every Palestinian, Lebanese and Iranian

child is a child


and not an antisemitic Islamic-state terrorist. 


The ability and willingness to minimise the murder of

a single child

in the name of the creation, protection 

or destruction of a nation

is where the seed of evil is planted.

 

The destruction of five thousand children’s books

painted by the painstaking hand of a dedicated artist

and narrated by an Aboriginal storyteller

a powerful yellamundie

is also where the seed of evil

is sown.

 

What will we do amidst 

the fruit of this orchard

we have planted

screaming

in silence

together? 
 
 
Note “It is entirely consistent, and deeply humane, to stand with Jewish people killed and terrorised by racist violence and to have stood, and continue to stand, with Palestinians killed by racist violence. Our grief does not shrink when it is shared and our safety does not grow when it is built on someone else’s disposability,” said Sarah Schwartz at the interfaith and intercommunity vigil of The Jewish Council, an organization that supports Palestinian freedom and justice and opposes antisemitism and racism, to mourn the victims of the Bondi massacre. 


Deborah Marcus is a poet, multidisciplinary artist and educator from unceded Darramuragal land in Australia. She is obsessed with truth and trees, potentially synonymously. Her Honours thesis exploring the relationship between fractal geometry and poetic language won UNSW’s first University Medal for Creative Writing in 2022. In 2023, she published her debut collection of poetry titled An Organ of Chaos. 

Saturday, April 25, 2026

MASS SHOOTING #11


21740 W McNichols, Detroit, MI, April 19, 2026
 
 
"Suspect arrested after allegedly shooting 3 people at Detroit gas station. —MSN 
 
 
by Ron Riekki
 
 
 
 
 “beside some Shreveport-like expanse.
 But now you see it,”
—Bill Berkson
from “The Obvious Tradition”
 
“Haunted by ‘Dark Thoughts,’
Louisiana Father Kills 8 Children”


Literally this happens: I’m driving to a mass shooting
and on the way to the mass shooting I drive by
another mass shooting, recognizing the area, and,
 
at the same time, on the radio comes the news of
another mass shooting.  Welcome to America.
I think of the Childish Gambino video “This is
 
America,” the hyperviolence that’s so normative.
I think of the name Childish Gambino, Gambino
meaning ‘little gambler,’ like a child gambler,
 
a childish child gambler, and we’re in gang
territory, but all of Detroit is gang map on
the gang maps I’ve seen online, if those are
 
accurate.  And I think of the words ‘drive by’
at the start of this poem, the dual meaning,
and I’m exhausted, driving, and I’m tired
 
of these mass shootings, but I’m realizing
America is number one in mass shootings,
that America has perfected mass shootings,
 
that America equals mass shootings, that
other countries laugh at us for our mass
shootings, how we do nothing.  Jesus Christ,
 
I’m sick of it.  I’ve been going to every single
mass shooting in Michigan for the last ten
months and no changes are made.  None.
 
Nothing.  At the site of the mass shooting,
I talk with Pretty Eyes.  She wants to be
called Pretty Eyes.  Her name is accurate.
 
She tells me, “It’s something we got used to.”
She’s used to the shootings.  “You can’t
change people,” she says.  She adds that
 
“there’s no hope.”  I look around, this feel
of homelessness and hopelessness, this feel
of hole.  This massive feel that this isn’t
 
home.  I’m born and raised in Michigan.
Trash is speckled everywhere, the way
I’ve seen cooks on Top Chef sprinkle
 
salt so generously: white grocery bags,
paper cups, tissues, what looks like piled-
up abandoned old slabs of concrete curbs.
 
This is gang territory and, to be honest,
I feel perfectly safe.  This is a feeling
that’s grown, where I realize a sort of
 
ridiculousness that black men are some-
how inherently dangerous.  If anything,
they’re inherently courteous.  Rushed,
 
Bill tells me that he doesn’t have
time to talk, but says I won’t like his
answer to what needs to be done to
 
curb mass shootings.  “It’s strictly
God,” he says, “God and prayer.”
I like that it’s strictly God, reading
 
into how he’s worded it.  A woman
named T tells me, “It’s been like that
since I been here.”  She says, “You
 
get used to it,” echoing Pretty Eyes.
Nearby, the auto repair sign has
the word SHOCKS in caps and
 
that’s what this is, shock like lack
of blood flow to the tissues, shock
like feeling distress, shock like violent
 
collision, and, yes, that’s what led to
the mass shooting.  Bill tells me it was
“just road rage.”  Just road rage?  Says
 
it like it’s not a shock that road rage
would lead into a mass shooting.
Three killed.  Where we stand.
 
He has to go.  Pretty Eyes has to
get going.  T needs to run.  I stand
there at another gas station where
 
another mass shooting has happened.
I have no idea why, but constantly
these mass shootings are at gas
 
stations.  I think of the Strait of
Hormuz, the Exxon Valdez, Deep-
water Horizon, oil wars, petro-
 
aggression, petrostates, petrocracy,
a sort of arson of the world, and
a sort of prison of the world; we’re
 
at a Sunoco, listed online as an
“American vehicle gasoline master
limited partnership company”
 
started in 1886.  Master?  Why that
word?  Because it’s dead-on.
I talk with Bam.  He eats potato
 
chips, says the answer is “gun laws.”
He says, “mental issues cause
violence.”  He says, “You should
 
carry.”  He says he doesn’t have
a gun on him, but has one at home,
for protection.  He tells me about
 
his collapsed lung.  I asked if he
was shot.  “No.”  “Never.”  But
“I know a lot of people who’ve
 
been shot, by accident, or gang-
banging.”  He’s never been in
a gang, says people join gangs
 
because “they feel they got some-
body who loves them.”  Love.
I didn’t expect that word.  Love.
 
. . .
. . .
. . .
 
I drive away, heading home,
alone, passing a massive sign
above: $499 HEADSTONES.