by Nick Allison
To my right,
Longs Peak rises jagged through pine.
To my left,
a wide meadow scattered with boulders—
bones from the old world.
Below, a stream elegies the slope,
snowmelt running fast over stone
worn smooth by thaw and thunder.
This morning, an elk herd passed through—
massive, deliberate,
moving with the grace of dancers,
as if gravity had chosen to spare them.
Not silence,
but the absence of familiar noise.
No voices. No engines.
No signal or screen.
Just the wind-clipped scratch of pen on paper,
and a stillness with weight—
the kind that settles like mist on skin,
that hushes thought.
In the fragile solitude of mountains,
one can almost forget how the edges burn.
Tomorrow I’ll hike back down, return—
to towers, to headlines,
to see what’s become of things—
to see if the center held,
or if, while the elk were moving,
the scaffolding finally collapsed.
He deployed Marines to American streets—
maybe that was the tilt.
Maybe not.
Days fold behind each other
like stage sets in the dark.
Blanket pardons.
Raids without warrants.
Agents at schools,
asking children for names.
Reporters cuffed.
A free press recast as enemy of the people.
The Justice Department, a private shield.
Federal hands bending toward one voice—
like sunflowers to heat.
He speaks of a third term
the way we speak of death:
a joke, until it isn’t.
Warnings come,
dressed in neutral tones:
constitutional crisis,
erosion of norms,
precedent dissolved.
But warnings read like museum plaques
once fire has claimed the foundation.
At some point, it stops being if—
and the only question left
is whether we’re still watching,
or simply learning to live inside the collapse.
Longs Peak rises jagged through pine.
To my left,
a wide meadow scattered with boulders—
bones from the old world.
Below, a stream elegies the slope,
snowmelt running fast over stone
worn smooth by thaw and thunder.
This morning, an elk herd passed through—
massive, deliberate,
moving with the grace of dancers,
as if gravity had chosen to spare them.
Not silence,
but the absence of familiar noise.
No voices. No engines.
No signal or screen.
Just the wind-clipped scratch of pen on paper,
and a stillness with weight—
the kind that settles like mist on skin,
that hushes thought.
In the fragile solitude of mountains,
one can almost forget how the edges burn.
Tomorrow I’ll hike back down, return—
to towers, to headlines,
to see what’s become of things—
to see if the center held,
or if, while the elk were moving,
the scaffolding finally collapsed.
He deployed Marines to American streets—
maybe that was the tilt.
Maybe not.
Days fold behind each other
like stage sets in the dark.
Blanket pardons.
Raids without warrants.
Agents at schools,
asking children for names.
Reporters cuffed.
A free press recast as enemy of the people.
The Justice Department, a private shield.
Federal hands bending toward one voice—
like sunflowers to heat.
He speaks of a third term
the way we speak of death:
a joke, until it isn’t.
Warnings come,
dressed in neutral tones:
constitutional crisis,
erosion of norms,
precedent dissolved.
But warnings read like museum plaques
once fire has claimed the foundation.
At some point, it stops being if—
and the only question left
is whether we’re still watching,
or simply learning to live inside the collapse.
Nick Allison is a former Army infantryman, college dropout, and writer based in Austin, Texas. His poems and essays have appeared in The Shore, Eunoia Review, HuffPost, The Chaos Section, CounterPunch, and elsewhere. He recently curated and edited the free-to-read poetry anthology Record of Dissent: Poems of Protest in an Authoritarian Age. “While the Elk Were Moving” is adapted from the introduction to that collection. More of his work can be found at TheTruthAboutTigers.com and @nickallison80.bsky.social.
