HAMILTON, SHMAMILTON

by Kenneth J. Purscell

We could argue all day long

On where the Founders stood 

Regarding things like Christ and church

And Triune personhood.

And some who do so feel compelled

To stand and testify,

To preach and rescue souls because

They fear the End is nigh.

But when "producing" Broadway shows,

Believers must get real.

You'd think a church should not forget

The Law: "THOU SHALT NOT STEAL!"

Kenneth J. Purscell is a retired retail cashier, adjunct professor, and pastor. He has been published sporadically, but has made submission more of a habit. He lives with his wife Koni in the south suburbs of Chicago. And he apologizes to Lin-Manuel, who probably could have done this better.

WHEEL OF FORTUNE

 by Mary K O’Melveny

“Vaccine Wheel of Fortune” by JMbucholtz at Deviant Art.

               In the Circle of Life

                    It's the wheel of fortune

                    It's the leap of faith

                    It's the band of hope

                    Till we find our place…

—“The Circle of Life” (Lyrics by Tim Rice)

No one wants to be the last woman down before the cure.

So everyone is staring at computer screens, leaning into

laptops, cradling cell phones. Legions of faithful vaccine

seekers are as determined as El Camino de Santiago pilgrims.

Or would-be buyers of Hamilton tickets back when Broadway

was still open.  There are waiting lists, rumors, promises.

Appointments made, then cancelled. Lines form, disband.

Recorded messages say don’t call us, we’ll call you.

 

Everyone is at risk. But not enough to be advanced to more

fortunate categories. We reside in data bases far and wide.

We’ve filled out forms as if they were lottery tickets, sent

every scrap of personal data to would-be hackers around

the globe, called doctors we’ve not seen in years, even searched

for fake college IDs that might jump us to new age brackets.

Some neighbors raced to appointments in neighborhoods they

had never seen, forgetting who the odds had already disfavored.

 

As usual, the privileged see serendipity. Everyone else

knows how often the game is rigged. Kismet is a figment.

The carnival barker is gone but his fabrications linger

like smoke from a cheap cigar. Even as chilled vials traverse

the highways like pilgrim caravans, new viral strains mutate,

shapeshift. Before all our waiting arms are raised, half a million

will likely die. So we click and call and cry for our chance

at good fortune. Once again, Lady Luck smiles, then disappoints.

Mary K O'Melveny is a recently retired labor rights attorney who lives in Washington DC and Woodstock NY.  Her work has appeared in various print and on-line journals. Her first poetry chapbook A Woman of a Certain Age is available from Finishing Line Press. Mary’s poetry collection Merging Star Hypotheses was published by Finishing Line Press in January, 2020.

2020-2029: FOR MY STUDENTS WHO WILL GRADUATE THIS YEAR

by John Hodgen

 

Consider the twenties, not Gatsby, not  

       Daisy, not that Roaring, and not  

just that double deadbolt year  

        just past like a Times 

Square mask. I’m meaning 

     all ten, that bright decade  

you were hoping for after college  

     like a swath unwinding, like red brocade,  

like ten Handmaid’s Tales crossing 

     Lafayette Square against the light,  

holding their bonnets, laughing 

     their asses off, like bridesmaids nearly  

collapsing, all of them needing  

     a bathroom, bad, before joining  

the Women’s March. You can do anything, 

     your parents said, or was it your  

sloppy, drunken aunt, waving 

     her Tanq and tonic like a scimitar  

at Thanksgiving or your hot cousin’s wedding, 

     nearly falling out of her dress  

like Delacroix’s Liberty Leading 

     the People.  And since it all goes so  

fast, that dreading, 

     that mindsuck, that hellscape  

doomscrolling, 

     you only get one shot, one Hamilton,  

maybe two, considering, 

    and then you’re gone, tik tok, (think  

Lorde, think Lizzo.) You listening? 

     And since it’s also abundantly clear  

there’s no gaming  

     the future for us (think Zuckerberg,  

think Bezos), I’m thinking 

     there’s only the present then, the art  

of self-promoting, posting 

     the mini-marvel movies we make for  

ourselves, starring us, of course,  

     like flashing dwarves, elves, like little  

DiCaprios, each a wee King 

     of the World coolly leaning over last  

year’s cruise ship railing.  

     We’re our own Captain Americas,  

Wonder Womans now, hawkeyed, land- 

     locked, running for our lives, down  

to our last Mohican, imploring, exhorting 

     our loves: I will find you. You must stay  

alive. So we stay living then 

     every blursday with this singular  

difference from anyone living  

     for the last hundred years. We’re  

zombies for life. We’re increasing  

     our brand, and no one can tell us  

a goddamned thing. 

John Hodgen, Writer-in-Residence at Assumption University, won the AWP Prize for Grace (University of Pittsburgh Press). His new book is The Lord of Everywhere (Lynx House/University of Washington Press).

THE ROOM WHERE IT HAPPENS

by T R Poulson

I wish all emergencies could take place like this:

a theater in the city, stage guns made of rubber

and metal to withstand so many drops and hits

in rehearsals, forgotten lines and flubbers.

The line: I am not throwing away my shot,

as the killer creeps in—Lord show me how

to say no to this—that flutter, why not

here among the songs? The heartbeat now

slows, the patron falls, as Aaron Burr’s pistol

pops. Dying is easy, young man, living

is harder. It plays out as in a crystal

ball. Gun! No prayers, thoughts, forgiving

this time. If only hearts could always feast

on rhymes, as the attack of living lurks, looms,

the gunman a mere actor, a ghost deceased

long ago. I want to be in the room 

where it happens, where everything is just

musical, where lights give me an eyeful,

where words spoken, though fiction, I trust,

and paper walls surround non-shooting rifles.

T R Poulson lives in San Carlos, California.  Her work has appeared previously in TheNewVerse.News, as well as in Rattle’s Poets Respond, Verdad, J Journal, and others.  She enjoys basketball, windsurfing, and going to plays, including a recent performance of Hamilton in San Francisco, which took place the day before the performance in which there was a false shooter alarm.

HAMILTON STILL SOLD OUT ON THE GREAT WHITE WAY

by Albert Haley

"History is happening in Manhattan: Hamilton has set a record for the most money ever made in a single week by a Broadway show."—The New York Times, November 28, 2016. 

That autumn a silver-haired man came
to see what was so highly rated.
The dancing, rapping, the black and brown
bodies bodiced and laced to build
a country from the pink soles up.

It wasn’t the livestock show
at the Indiana State Fair
or Peyton winning Super Bowl XLI
for the Colts stolen from Baltimore.

It wasn’t the cars going around
and around the Brickyard, spewing
fumes on Memorial Day.

It wasn’t even poor James Dean lying
beneath a marble slab in Fairmount
in the shadow of his uncle’s pig farm.

And it sure wasn’t talk radio,
Sunday pass the collection plate
church, or after home-school
milk and cookies. Not a goddamn
Oreo in sight.

Of course, the silver-haired man
knew this, only wanted credit
for trying to love the Founding Fathers
before being Secret Serviced out.
Dust rising, dust settling.

What did they think would happen?
It’s theatre. The show goes on.

The hills still alive with the sound
of that new music, the bold story
that must be sung.

A time-told tale that unleashes
rhyming tongues, night
after night, with men and women
who dance joyfully, freely on the graves
of any who might wish to enslave.

Albert Haley is a past winner of the Rattle Poetry Prize. His poems have appeared in the Texas Review, Poems & Plays, and other journals. He lives in Abilene, Texas, which is as odd of a place as it sounds.

TO EAT AND LEAVE THE NIGHT AN EMPTY PLATE

by Alejandro Escudé

A Donald Trump mural painted by street artist Hanksy on Orchard St. between Canal and Division Sts. on the Lower East Side. —NY Daily News Photo by SHAWN INGLIMA

In the blonde hair-skunk, in the barbershop of the mind
where the scissors raise hairs and pat them down
to demand what one wants not needs, the patience of a lion,
ingenuity of a roach, America with a Trump at its head,
the roach motel of the world, on his knees, a nice picture…
what he said to the young woman on t.v.,
a working class woman, it’s a nice picture, you
on your knees. Walled off in the mind, the soul
a mountain range of rage and nowhere to go but
to the streets where a young man bears the likeness
of North America on his bloodied face.
Do we recall the ISIS terrorist in his jeep
happy to drag five corpses? Five corpses
hanging from the moon, five corpses loaded like bullets
into the chamber of a gun, you fire-walker, you brandist,
you woman-basher, you human torture chamber,
you radioactive toad, you lacquered manipulator,
you burnt toast anachronism, you oversexed missile,
you Roman fop, you Towers burning, one man leaps
from a window of the World Trade, martyr man,
L-man, J-woman, moon feces in the shape of Trump,
in the shape of Mar-a-Lago, in the shape of Chris Christie,
piles in the cemetery where Lorca’s body lies forever
falling, never forgetting the artists’ Golgotha
in the rainstorm of human history where Trump’s foot soldiers
come to take Federico away at dawn as the rooster crows
as the apostle drowns his only son as George Washington
steps on the muddy bank as Hamilton takes aim at Burr
as Burr is borne again as the harrowing present grows wings
as the Star-Spangled Banner itself sings as the baseball field
turns to boner flowers or red licorice for wealthy trophy wives
as the hives of the rich enlarge as the states pronounce
themselves more significant than the next. Who comes
in the name of business rats? Who’s driven in Picasso
limousines? Who comes in chariots of designer
water bottles? Who comes in light-clouds Wall Street?
Who comes wagging an Arizona finger? Who comes
riding a marble horse? To eat and leave the night
an empty plate for children to weep, for the landlord
to tie our wrists down in the apex of our city streets
where the thief is arrested, shouting in stressed vowels,
as the helicopter shakes our house out of its safe slumber
and into another broken eight years of politicos and bankers,
eight years of sourceless regrets, eight years of teachers
blamed like communists, eight years of flogging
middlemen, eight years of clown-hog campaigns,
eight years of pornographic magazine covers, eight years
of cigars and neon caviar, eight years of swimming in pools
full of sheep semen. We, it began, we, it finishes, we.


Alejandro Escudé published his first full-length collection of poems, My Earthbound Eye, in September 2013. He holds a master’s degree in creative writing from UC Davis and teaches high school English. Originally from Argentina, Alejandro lives in Los Angeles with his wife and two children.