HEMORRHAGE BOP

by Cindy Veach

I watch three old white men on the news talking

about abortion how it’s no big deal for a woman

to get a bus ticket and travel to another state.

It’s trending on X, these old men in their suits and ties

with their limp cocks tucked away under the table

their small hands gesturing or resting on the table.

 

I’m hemorrhaging rage, thick red as postpartum blood.

 

And now Arizona has upheld a draconian Civil War-era

abortion law proving that the past does come back

to haunt. I almost bled out after my daughter’s birth.

I’ve never written about this. It took a helicopter

and two D&C’s to save me. A hundred years ago

I would have died of childbirth. I marched for the right

to choose in my 20’s only to lose it in my 60’s

 

I’m hemorrhaging rage, thick red as postpartum blood.

 

In the middle of yesterday the moon eclipsed the sun.

People were brought to tears as they watched

in their special protective glasses. People on both sides

of the aisle equally moved by the night of day.

The darkness I speak of is different. It digests everything

good and fattens the libidos of men.

 

I’m hemorrhaging rage, thick red as postpartum blood.

Cindy Veach is the author of Her Kind (CavanKerry Press) a 2022 Eric Hoffer Montaigne Medal finalist and Gloved Against Blood (CavanKerry Press) a finalist for the Paterson Poetry Prize and a Massachusetts Center for the Book ‘Must Read,’ and the chapbook, Innocents (Nixes Mate). Her poems have appeared in the Academy of American Poets Poem-a-Day Series, AGNI, Michigan Quarterly Review, Chicago Review, Poet Lore, Salamander, and elsewhere. A recipient of the Philip Booth Poetry Prize and Samuel Allen Washington Prize, she is poetry co-editor of MER.

MARCH 27, 2023

by Alice Campbell Romano

Bronxville.

The rain is scant at this very moment, 

sky almost blue, but it comes and goes

in pelting drops. Here, just now, balls bounce 

against air: red, yellow, green, until I see

they decorate a transparent, plastic umbrella,

a dome of delight where safe from random drops

a child dances down the sidewalk. A skinny stick 

of a kid, maybe nine, in a long, silly raincoat 

mom must have insisted upon. But who cares.

School’s out now, the umbrella is fun and

soon I’ll be home to snacks and hugs. Oh,

such strong hugs.

Nashville.

One image stays. A face behind a school bus window.

A child, a little girl, the caption says. Yes, that’s right,

but when I first see the picture, she has no age. Her lips 

are bent, stretched open so wide side-to-side they eat 

into her cheeks. Her chin is a crinkled dimple squashed 

against the glass, her frown pulls a hard vee down 

between her eyes to her hot red nose. Her hand presses 

the glass, pushes away what she left outside. I don’t 

hear her scream. Of course not, I’m looking at a picture

taken from outside the bus. The child is frozen behind 

the window glass in the red heat of wordless pain. She 

may scream, may break down and cry, but not yet. 

The photographer—what astonishing luck—releases

this moment of unbearable distortion—her little face, 

the rest of her life. And now I notice, stenciled above 

the bus window, a descriptor—Emergency Exit. There 

are no emergency exits. Voice the scream for her. Take 

to the streets. Make it so children dance as they go home.

Editor's note: The photograph described in the second section of this poem accompanies Marsha Owens' March 27 prose poem in The New Verse News.

Alice Campbell Romano lived a dozen years in Italy where she adapted Italian movie scripts into English, married a dashing Italian movie-maker, made children, and moved with the family to the U.S., where they built, she wrote, and the children grew. Her poems have appeared in—among other venues—Prometheus Dreaming, Persimmon Tree, Pink Panther Magazine, Orchards Poetry, New Croton Review; Beyond Words, Writing in a Woman's Voice, Quartet Journal, Instant Noodles Devil's Press, Moon Shadow Sanctuary Press. In January, she was awarded HONORABLE MENTION in The Comstock Review's 2022 Chapbook contest, "...not an award that we give every year, but an honor set aside for a few manuscripts." Alice swooned. 

THE GOOD SAMARITAN

by Mike Mesterton-Gibbons

An athlete, who cleared hurdles with great ease,

Got ready for the most important race

Of his career by streaming melodies

On board a bus to take him to the place

Decided on. But he relaxed too good!

Soon he was miles from where he should alight

And, if he took official guidance, would

Miss any chance of setting matters right.

And then a Good Samaritan appeared,

Re-routing him and stepping in to pay ...

In life, for certain hurdles to be cleared,

The stranger's kindness proves the only way,

As this man, with Olympic gold to own,

Now tells. He did not win his gold alone!

Mike Mesterton-Gibbons is a Professor Emeritus at Florida State University. His acrostic sonnets have appeared in Autumn Sky Poetry Daily, Better Than Starbucks, the Creativity Webzine, Current Conservation, the Daily Mail, the Ekphrastic Review, Grand Little Things, Light, Lighten Up Online, The New Verse News, Oddball Magazine, Rat’s Ass Review, the Satirist, the Washington Post and WestWard Quarterly.

LAST BUS

by Margery Ross





I catch the last bus
out of downtown DC on April 4, 1968.
Fires loom and looters
have a field day at
D. J. Kaufman’s across
Pennsylvania Avenue from the DOJ
where I monitor urban riots
for the Attorney General. Now
it’s me in the midst of the melee
headed toward Georgetown
hoping to get home.

Fifty-two years, history repeats,
it’s one step forward, five back.
Police still kill with impunity,
cities burn, no end to toxic words
from a reality TV celeb—
good trouble trashed as anarchy.
When reading Ta-Nehisi Coates
five years ago I protested
exaggeration. No more.
Between the World and Me—
That last bus is leaving.


Margery Ross is an artist, poet and avid book listener trying to survive in Washington, D.C.

THE JUNE 22nd BUS TO YUMA

by G. Louis Heath

It’s very hot this June 22nd in Yuma. The a/c is
not enough. The sizzling heat stifles my breath
as I dare outside in bathing suit, to spritz my
succulents. My cactus in bloom suffers, too. I
move it into shadow, spritz it. It is a hard, hard
day on the desert when ribs of a barrel cactus
sag in distress.

A tour bus arrived from Vermont today to this
part of the national map that’s been recording
the highest temperatures in the nation. Weather
voyeurs! High temp tourists! Sheer ennui has driven
them out of a clime fit for habitation to these unending
vistas of panting lizards and rugged rock formations.
In their blazing, loud Bermuda shorts and blazing, loud
shirts and blouses, bulging like watermelons, these
invaders photograph the liquid digits aglow on the
sign atop the S and L downtown: 114 degrees! Agape!

For this they took a bus tour? What does this say about
the human condition? Could these same tourists visit
a mass grave of massacred campesinos, a record kill
in Nicaragua or Guatemala, or the killing fields of Cambodia,
with the same gee-whiz detachment? Our common history
says it’s possible. Photograph the sign. Photograph the bones.
Post the images on Facebook. All pixel offerings are savory in
the eyes of the God Facebook.

G. Louis Heath, Ph.D., Berkeley, 1969, is Emeritus Professor, Ashford University. Clinton, Iowa. He enjoys reading his poems at open mics. He often hikes along the Mississippi River, stopping to work on a poem he pulls from his back pocket, weather permitting. His books include Mutiny Does Not Happen Lightly, Long Dark River Casino and Vandals In The Bomb Factory. His most recent poems have been published in Poppy Road Review, Writing Raw, Inkstain Press, Dead Snakes, Verse-Virtual, Silver Birch Press, Poems & Poetry, and Squawkback.