THEIR OWN SPIRIT

by Jan D. Hodge

T***p, GOP Leaders Take Victory Lap After House Passes ‘Trumpcare’ —NBC News, May 4, 2017

Thus sayeth the Lord God, Woe to the foolish prophetswho follow their own spirit, and have seen nothing.                        ―Ezekiel 13.2

When things get bad in the bog,
toads squat on the shoulders of pygmies.

Jubilant if they can see
clear to the next rotten log,
they trumpet farts of glee.

Two things about toads:
    they celebrate the smallest victories
    and always gloat with so little class.

Jan D. Hodge's poems have appeared in many print and online venues. His Taking Shape (a collection of carmina figurata) and The Bard & Scheherazade Keep Company (tales from Shakespeare and the Arabian Nights recast in double dactyl stanzas) have both been published by Able Muse Press.

HE WON MAJOR SCORN

by Jan D. Hodge

Image source: Chumpmonkey's Electronic Cartoonatorium

There was such acid in his smile
And such hardness in his thought,
It was no wonder what deep chill
His conviction brought.

Never considering that words
Extracted from attitudes adjusted
By stress positions and waterboards
Were not to be trusted,

He spoke with infinite scorn
At those who discredited his view,
Lip curled, sullen and smugly stern,
Unbeautiful, untrue.

Not one to retreat from truculence,
Even a change of heart changed nothing.
We are vexed at such intransigence
And such deep loathing.


Jan D. Hodge has had poems published in Western Wind (5th ed.), Writing Metrical Poetry, and many print and online journals, including North American Review, New Orleans Review, Iambs & Trochees, Defined Providence, IthacaLit, and South Coast Poetry Journal.  His double dactyl renderings of Shakespeare, nursery stories, and tales from the Arabian Nights have appeared in the American Arts Quarterly website, Lavender Review, Off the Coast, Light Quarterly, Kiss and Part, Poetry Revolt, and Umbrella Journal.  The title of this poem anagrams John Crowe Ransom, whose "Bells for John Whiteside's Daughter" obviously served as the model for the poem.