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Submission Guidelines: Send 1-3 unpublished poems in the body of an email (NO ATTACHMENTS) to nvneditor[at]gmail.com. No simultaneous submissions. Use "Verse News Submission" as the subject line. Send a brief bio. No payment. Authors retain all rights after 1st-time appearance here. Scroll down the right sidebar for the fine print.

Saturday, February 28, 2026

MOURNING PILLOW

by Matthew Ellis
 
 


Woke early // couldn’t sleep
Lie there awhile // felt rested
so rose // as bombs fell
to strikes // war on Iran
again // They promised
what he wanted // He lied
Regional hegemony // & Israeli
ascension // Palestinian genocide
& in Sudan too // disregard for life
continues // as Cuba falls
Imperialism thrives // we all suffer


Matthew Ellis (he/him) is a queer poet living in Columbus, Ohio. His first collection Little Heresies is due out in September 2026 from Wayfarer Books. With a background in chemistry, he spends his time teaching yoga and following creative pursuits in music and writing. To keep up with his work, you can follow him on Instagram (@matthewellismusic3) or visit his website (www.MatthewEllisContemplation.com).

STATE OF THE EPSTEIN CLASS’S UNION

by Raymond Nat Turner



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

by Penelope Moffet
 
 

 

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.



Vinay Krishnan is a writer and community organizer. His poetry has appeared in Cordite Poetry Review, his fiction has appeared in Barren Magazine, and his non-fiction has appeared in SLAM Magazine.

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 wintersand 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.

Wednesday, February 25, 2026

LEGACY LEANS IN

by Ronna Magy
 


Touring towns along the Danube, my rough Jewish boots trample cobblestone streets. Inset in sidewalks, brass stumble stones naming townsfolk murdered during World War II. Along the waters, a somber synagogue carved with perished names, marked and unmarked moss-covered graves.


At Austria’s Mauthausen concentration camp skeletal yellow-starred Jews, pink-triangled gays, Spaniards, Poles, and Russians worked until dead. Non-Aryans stacked like canned fish in barracks at winter degrees. Prisoners chiseled granite, lugged 100 lb. rocks up steep stairs. Stumblers on the “Stairs of Death,” “Parachute jumpers” flung to their deaths. Inside brick buildings, gas lines rusted concrete. Weak prisoners marched in for hot showers. Chemical death.


The camp, above town, disguised behind forested hills. Our guide reveals a letter from a neighboring farmer’s wife who objected to watching prisoners shot, then thrown off cliffs. She made this request: Could the atrocities be staged elsewhere so she wouldn’t have to see.


What happens to democracy when hatred and evil link arms? It’s not news to us what’s happening in the US.   Adelanto   Atlanta   Aurora   Bismark   Battle Creek   Brooklyn    Casper    Calexico    Chicago    Des Moines    Detroit    El Paso   Honolulu   Houston   Leavenworth   Lewisburg   Miami   New Orleans   Newark   Philadelphia  Tacoma  Youngstown. Caged migrants: 70,000  already detained.


Luis Gustavo Nunez Caceres   Luis Beltran Yanez-Cruz   Victor Manuel Diaz   Heber Sanchaz Domínguez.  All dead. An unmarked black SUV just screeched by tinted windows rolled down. Masked men shouldering guns.



Ronna Magy’s recent writings appear in SWWIM Every Day, Cholla Needles, Made From Midnight, Rise Up Review, Women in a Golden State, The Los Angeles PressPersimmon Tree, Writers Resist, and Sinister Wisdom. An alumna of the Napa Valley Writers Conference, Ronna’s curated readings of seasoned queer women poets for the Outwrite and Circa Queer Histories Festivals. She’s a retired ESL instructor and textbook author. 

Tuesday, February 24, 2026

ALL IN THE FAMILY

by Alan Walowitz




Maybe you wake up cranky again, 

and the sun’s unwelcome as ever

through the broken slat in the blinds.

You holler across the hall, 

You’ve got to make something of your life.

Then, he hardly stirs when you go to shake him, 

but he tells you of his plan to kill you.

There’s no use talking it out.

No coming to some understanding.

He means it this time 

 

Sometimes, I get crazy thoughts myself—

I’m too old for this. 

What’s left of my youth

has leached out slow like air from a tire. 

How murder is where we come from, 

Cain and Abel, the Flood, and then the Golden Calf—

which was only a sign of our shared impatience.   

 

So, you take him to some tangled place

and it all unwinds like a movie,

part of you watching, and part of you 

present in a way you’ve never been.

Maybe you’re hoping some voice intervenes.

You’d gladly call it God, if the script requires, 

though you’re probably considering the headlines, 

the generations to come who might never understand. 

Or, perhaps, there is no voice. 

and it's just you, come to your senses. 

 

No matter. Chances are he’ll only remember 

a trip to the country, just a kid and his dad.

A nice enough day, the story might go, 

except for maybe this cheap device

that never would solve anything: 

the bleat of another innocent animal,  

caught in the brambles, ready or not,

to take our place.



Alan Walowitz is a Contributing Editor atVerse-Virtual, an Online Community Journal of Poetry.  His chapbook Exactly Like Love  comes from Osedax Press.   The Story of the Milkman and Other Poems  is available from Truth Serum Press.  From Arroyo Seco Press,  In the Muddle of the Night, written with poet Betsy Mars.  The chapbook The Poems of the Air is from Red Wolf Editions and is free for downloading. 

Monday, February 23, 2026

FRENCH MEAT PIE

by Michelle Valois
 
 


French meat pie is a greasy wonder of pork, beef, and onion, filling a pie crust that is flaky and buttery. Some parts of French Canada add potatoes, some breadcrumbs. Either way, the additions were intended to stretch the meat, which you had to do if you were poor. My family used breadcrumbs.
 
My Mai Mai taught my mother and she taught me. These days, though, with one of my children vegan, I make a meatless meat pie, using mushrooms and lentils as a substitute for the meat. My relatives and other purists are appalled, but it’s actually not bad.

This vegan daughter of mine is also queer, and all three of my children are Jewish, as is my partner. I just found out that if you can prove that a grandparent was born in Canada you can apply for Canadian citizenship. If what is happening in Minnesota becomes the norm, we may just have to return to the motherland of meat pies, maple syrup, and ice hockey. I hope they won’t mind how I have tinkered with one of their national dishes in the three generations that my family has thrived in this so-called land of the free, but it appears that it is no longer free, which it never really was for people of color; now, though, it’s only free if you are white and MAGA.

My grandparents left their farms in Canada for a better life in the factories of New England. They could never have dreamed that their granddaughter would become a college professor, marry a woman, and be able to afford all the pork and beef she wants (but chooses mushrooms and lentils), the American dream come true.

My father fought fascists in Germany. He could never have dreamed that his children and grandchildren would have to fight them here on American soil, the American dream turned nightmare.

Meatless meat pie? You can make anything, really, without meat, but you can’t make a life without freedom.


Michelle Valois' work has appeared in The Massachusetts Review, The Florida Review, TriQuarterly, Pank, Brevity, and others. A chapbook My Found Vocabulary was published in 2017 (Aldrich). She lives in Massachusetts and teach at a community college.