THE ARCHITECTURE OF DEMOCRACY

by Jim Kelly

To replace a house,
it is ill-advised
to randomly weaken
the foundation.

To tamper with gas lines
while informed only
by ignorance.

To pull wires
without knowing
where they lead
or what they serve.

To rip out windows
and collapse
the hand-designed,
custom wooden frames.

To remove the roof
during rain
before the expensive,
antique floors
are protected.

To pull down walls
without understanding
how weight is distributed—
how each beam,
each brace,
each hidden support
helps hold up
the whole frame
of Democracy.

And some now shout:

“Damn the building codes.”
“Damn the building plans.”

As if survival itself
were an inconvenience.

As if restraint,
inspection,
and measured repair
were enemies
instead of protections.

Forgetting:
a reckless demolition
does not always end
with open sky.

Sometimes
it ends
with collapsed Democracy.

Jim Kelly is a California poet whose work explores democracy, race, and social justice. His poetry has appeared in Litro Magazine, Urban Pen Magazine, and Urban Poems.

WHILE THE ELK WERE MOVING

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.

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.

SINKHOLE

by Rick Mullin

Collapsed abandoned mineshaft caused giant sinkhole shutting down part of I-80 in Morris County NJ —ABC 7 New York, December 28, 2024

Rick Mullin is a painter and poet living in northern New Jersey. His latest books are Huncke, Exot Books, and The Basilisk, Dos Madres Press.

ONE IN FOUR

by Deborah Kennedy

A study in the journal PLOS ONE found that extreme temperatures resulting from climate change could cause one in four steel bridges in the United States to collapse by 2050. By 2040, failures caused by extreme heat could require widespread bridge repairs and closures, the researchers found. Photo: A bridge connecting North Sioux City, S.D., and Sioux City, Iowa, collapsed in June after flooding. Credit: KC McGinnis —The New York Times, September 2, 2024

Squire Whipple's careful pen strokes flickered in the candlelight. A self-taught engineer, he drew his new design, the bowstring truss bridge built of iron, not unreliable wood. From the 1870s to the 1930s, his bridges arched across rural and urban American rivers knitting together a growing nation. 

(Houu-hou-wit. Mourning doves mate for life. All the tiny parts, unseen, unnamed, unloved, holding together whole worlds. Houu-hou-wit.)

Bowstring truss bridges feature sturdy arches and bracing studded with innumerable round-headed rivets set by teams of three men. A good team could set fifteen rivets a minute, all day long. The first man heated each bolt in portable coal forges cranking the fan and setting the bolts in the white-hot coals. When a bolt glowed cherry-red, he tossed it up to the next man who caught it in a tin cup, grabbed it with long-handled tongs, and set it against the milled holes. The last man formed the head with the ringing blows of a ball-peen hammer.

(Kraa-kraa. Ravens remember the faces of their enemies and teach their young. Did the ravens scold the men who brought rank smoke and sharp sounds to quiet rivers? Kraa-kraa.)

For decades, dutiful communities painted these bridges a patient flat grey, fending off creeping rust. Now, these bridges strain under the weight of modern cars and trucks delivering our endless needs and whims. Through the winter the metal freezes, draped in icicles. In our scorching days, triple-digit weather silently heats each rivet and expands each joint and slab. Rivets shear, expansion joints twist, concrete buckles, and bridges collapse.

(Tchew, tchip, tchup. In one day, hummingbirds can eat up to 2,000 small bugs and mosquitos. They are slowly disappearing. All the tiny parts, unseen, unnamed, unloved, once weaving our world together. Tchew, tchip, tchup.)

A writer and artist, Deborah Kennedy’s work has been presented in the United States and Europe. Her recent book Nature Speaks: Art and Poetry for the Earth (White Cloud Press) combines poetry and illustrations to capture the bond between ourselves and the larger natural world. Nature Speaks won several national awards including the 2017 Eric Hoffer Poetry Book Award and Silver Nautilus Poetry Book Award. Her writing has recently appeared in great weather for MEDIA, First Literary Review-East,  and Canary: A Literary Journal of the Environmental Crisis. Kennedy lives in San Jose, California where she teaches college classes and poetry workshops. She presents poetry readings with multimedia slide lectures to poetry, ecology and spiritual groups. Kennedy lives in San José, California, and is a Creative Ambassador for the City of San José working to advance creativity in her community with her innovative Broadside Art and Poetry Project. 

FOOTAGE

by Kai Jensen

The bridge falls so quickly.
The ship seems stationary
like a fat little house
alight behind the dark lattice
tiled with coloured rectangles
or a plump insistent animal
nudging a leg for food.
On air, laconic voices
discuss the situation.
It seems there’s a crew up there.
The pilots wring their hands—
their bad dream’s turned real.
Nothing seems to change
but the bridge falls
all at once, its cobweb drooping
then brushed away.
The men dozing in their cabs
awake to death. A city stalls.

Kai Jensen’s father was born in Baltimore, the site of the recent bridge disaster, while Kai was born in Philadelphia. As a child he emigrated to New Zealand with his family, and is now an Australian. Kai works from home as an editor at Wallaga Lake on the Far South Coast of New South Wales. His poems have appeared in most leading Australasian literary journals and, in the United States, have been published in or accepted by The Inquisitive Eater, Men Matters Online, The NewVerseNews, Rattle and The Fictional Cafe.

THE PROMISE OF NOTRE DAME

by Micheline Ishay

Notre Dame over Paris towered.  
Her spire inspired and empowered,           
Sheltering the beggars across time. 
Shockingly, a fire burned its spine.            
The top fell: crackling, 
Crashing, and blazing…                               
 
Such collapses come always fast,
As other tragedies of recent past.
Plagues, floods, and worsening storms. 
The plundered planet in an altered form.
Choking air, winds swirling,                        
Sweltering, drowning…
 
Wars destroy lives even faster, 
Slaughter peace-loving dancers,
Bury children under rubble,
Entrap peace in an endless tunnel. 
The music was thrilling, 
Then shooting and shrieking…
 
Their screams drowned underground, 
Lost in Pluto’s crowded underworld. 
Vile geniuses dug a cave of hell  
While humanity failed to prevail.                                                   
Wrath unleashed the dogs of war, 
Fangs flashing, growls and gore.                             
 
In the “City of Lost Children,”
Thieves stole youthful dreams
Staving off aging by any means.
Schooling generations for revenge.
In cycles of never-ending violence
Interrupted by dreadful silence.
                                                
They say miracles cannot be ignored.                    
Notre Dame is almost restored; 
Its iconic rooster found under debris,
Remade for a world to be free.
It took less than a day to crumble, 
But years for artisans to reassemble.
 
A step at a time: 
Sweating, Swearing,

Longing, Laughing, laughing… 

Micheline Ishay is Professor of International Studies and Human Rights at the Josef Korbel School of International Studies at the University of Denver. She is Director of the Center for Middle East Studies and was founding Director of the International Human Rights Program. She is the author of half a dozen of books, including Internationalism and Its Betrayal (University of Minnesota Press, 1995), The Nationalism Reader (Humanities Press, 1995; Prometheus, 1999), and The Levant Express: The Arab Uprisings, Human Rights, and the Future of the Middle East (Yale University Press, 2019). Her books, The History of Human Rights: From Ancient Times to the Globalization Era (2004, 2008) and The Human Rights Reader: Major Political Essays, Speeches, and Documents from Ancient Times to the Present (1997, 2008, 2022) have been translated into multiple languages and published in second or third editions. 

BLOOM

by Annie Cowell

Songul Yucesoy's home in Samandag, southern Turkey was destroyed when a 6.4 magnitude earthquake struck a month ago. —BBC, March 6, 2023

She raises soap sudded hands

from the washing bowl,

places them on her hips

and stretches out her aching back.

Behind her the house tilts,

crippled, less solid than its shadow, 

window frames sagging 

between cracks like craters.

On the table, rescued, somehow

unscathed, is a picture.

It is a shell-framed souvenir of life before,

when the table wasn’t orphaned

to the street. 

Now, the fruit bowl she hates

for its dull colours and chipped rim

sits beside the picture, uncomfortable,

with its solitary orange.

A white mould is beginning to blossom

on its skin.

She lifts the dying orange, 

cups it in her hands like a stunned bird

and walks the short distance 

to where her neighbours’ family inhabit

two makeshift tents, cobbled together

near the rubble of their home.

Her daughter’s friend, he of the wild eyes

and cheeky tongue, lowers his head

as she approaches, tamed and silenced

by the shame of survival.

The lump in her throat prevents speech,

so she dusts the orange 

bloom 

with her finger, takes the young boy’s hand

places the orange there. 

Squeezes. 

It’s the least, and the most, she can do.

Author’s note: Some of the events in this poem are imagined, but they were suggested by the facts in the BBC’s March 6 article “Turkey Earthquake: Survivors living in fear on the streets.” The suffering continues, even as the earthquake’s aftermath slips from the headlines.

Annie Cowell lives by the sea in Cyprus with her husband and rescue dogs. She has been published by Popshot Quarterly, Gastropoda Lit, The Milk House, and many others. She is a BOTN nominee. Her debut pamphlet Birth Mote(s) was published by Alien Buddha Press in 2022. Splashing Pink from Hedgehog Press is forthcoming later this year. @AnnieCowell3

CAN YOU TELL ME?

by George Salamon

As a tribute to the first responders, victims and families of those missing in the partial condo collapse, Miami Beach announced Thursday it will replace its originally planned fireworks celebration with a moment for residents to “shine a light in a symbolic gesture of unity,” according to a city press release. ... Miami Beach residents will have the option to mark Independence Day in a way that may feel more reflective of the ongoing tragedy and families’ grief and hope. —Miami Herald, July 2, 2021

Digging into the smoldering

ruins, looking for lost people,

their ashes have drifted into

the crushing water by now,

the rescuers are seeking

shadows, do their souls

enter the spirit of our

language, will we hear

them inside any thought

we utter?

George Salamon survives in St. Louis, MO and contributes to The Asses of Parnassus, Dissident Voice, and The New Verse News.

SURFSIDE

by Alejandro Escudé

It looks like a frozen tsunami of ash.

And there are people in that rubble

Like fish tossed out of an old tank.

Was it made out out stiffened moths?

An engineer says it must’ve been

A column—and I’m thinking some 

Support gave way, as support often

Gives way in this country, allowing

For the sudden pancaking of people.

All oversights are finally political.

Oh crumbling moon! What must it 

Be like for the others who overlook 

The site? Am I next? Aren’t we all

In the process of collapse? Come 

Daylight, they heard the banging. 

No voices, only a nebulous banging 

Amid a jumble of metal and granite.

Alejandro Escudé’s first book of poems, My Earthbound Eye, was published in September 2013 upon winning the 2012 Sacramento Poetry Center Award. He received a master’s degree in creative writing from UC Davis. Alejandro works as an English teacher, having taught at the secondary level for many years. Originally from Argentina, he immigrated to California at an early age. A new collection, The Book of the Unclaimed Dead, published by Main Street Rag Press, is now available on the MSR website. Alejandro lives in Los Angeles with his dog, a feisty terrier named Jake.

ATMOSPHERIC RIVER

by Cathleen Calbert

Source: University of Wisconsin

or narrow corridor 

a filament of concentrated moisture

            (like a fire faerie’s little vag)

 

like Lilith, with so many titles:

tropical connection, tropical plume, moisture plume,

(which I believe was indeed a feminine protection 

            product from the 1970’s),

 

water vapor surge—I can feel that for sure,

cloud band (the most lightweight heavy metal)

            river in the sky and moody to boot apparently.

 

whatever. words are fun

until they’re not anymore

            (insurgents stormed the capitol

            and my heart froze over—how’s that

            for wording).

 

now the country is supposed to forget

what we heard, what we saw. 

we’re onto weather:

 

unusually huge plops of snow 

fall on poor Chicago

while back at home

the Pacific Coast Highway fell

down the mountainside

 

as if the dreams of a little MG,

a bottle of wine, rock and rolling 

through the turns in Big Sur

meant nothing. You should know:

 

when the atmospheric river makes landfall

it releases and transforms

into something we can

touch and call

another name

if we want to.

Cathleen Calbert’s writing has appeared in Ms., The Nation, The New York Times, The Paris Review, Poetry, and elsewhere. She is the author of four books of poems: Lessons in Space, Bad Judgment, Sleeping with a Famous Poet, and The Afflicted Girls. Her awards include the 92ndStreet Y Discovery Poetry Prize, a Pushcart Prize, the Sheila Motton Book Prize, and the Mary Tucker Thorp Professorship at Rhode Island College.

DISPLACEMENT

by Erik Schwab

Graphic source: The Daily Plant.

It’s not that they’re screaming. It isn’t pain exactly,

in the market garden, these kohlrabis and cabbages,

these garlic scapes: it’s that they’re in shock. Harvest

is our word, theirs must be apocalypse. But another

word is anthropomorphize and someone told me

once I shouldn’t do it and I believed them and found

the stump of my root dunked in a washbasin and divested

of holy dirt. Now near the end of time

I wish medications were poems, I wish I were floating

over lakewater, skipping silver marbles instead of

saying the new things I say every reluctant day: I’m

on the mend, thanks, thanks, I’m grateful for the

prayer, for the sea urchin, for the red beetle, for

the cabinet of curiosities you sent and for the gig driver

who lost three family members while my heart was 

locked behind a thick pandemic door.

The right kind of time traveler would go twenty years back

and plant that tree, but we service-patched cyborgs

haul our untested upgrades in one direction only, toward

the gracious refusal, toward the retirement of connections, until

the building falls in the middle of the night, the slumbering tenants

dreaming of skydiving and waking to astonishment.

Erik Schwab lives in Seattle, WA. Last year he started writing poems for the first time since college, with the invaluable help of a weekly workshop at Community Building Art Works.

WATER MUSIC

by Judith Steele

“The Murray-Darling river system managed by NSW [New South Wales, Australia] . . . is ‘an ecosystem in crisis’ which is on a path to collapse and urgent reforms are needed to save it, a review has warned.” —The Guardian, July 23, 2019. Photo: Exposed water height markers on the Darling River reveal the depth of the crisis at Wilcannia. Credit: John Janson-Moore in The Conversation.

In my small flat
I hear daily rhythms
of neighbours’ water
as they hear mine.
Our toilets flush torrents,
our showers are waterfalls.
Washing machines gurgle
while kettles whistle.

Water washes things away
in the morning cleansings.
In swimming pools and seas
gives health and relaxation.

In floods and tsunamis
brings death and desolation.
Luckier countries
send neighbourly help.

But if there is no water?
If you live near a river that’s dried
because someone upstream
has diverted it to profit?
Even in a lucky country, it seems
nothing neighbourly remains
between up and down stream.

All over this nation
the pattern repeated
the up and the down,
their distance increasing.

Where are the neighbours?
What can be done
to wash this away?

Judith Steele lives in South Australia Her poetry or prose has most recently been published in the print journal Gobshite Quarterly (Portland OR); and on the website Nine Muses. 

IN THE JUNGLE, LIANAS COVER WHOLE CITIES

by Devon Balwit




After 1,700 years, two vast Buddhas fell
to dynamite. 856, and Notre-Dame scorches
the Paris skyline, a spark from a restorer’s blowtorch,
or some other carelessness, small
to have such large consequences. Strangers tell
each other stories of the time they marched
up the narrow spiral staircase to perch
in the tower, uplifted by history, and marvel.
The Stoics warn that as long as we place
our highest good outside ourselves, we’re at the mercy
of caprice. Inside is our rose window, our flying
buttress. Inside, the thunderous bell and the space
for God. It’s hard. We trust what we can see.
But each loss invites us to keep trying.


Devon Balwit's most recent collection is titled A Brief Way to Identify a Body (Ursus Americanus Press). Her individual poems can be found here as well as in The Cincinnati Review, Tampa Review, Fifth Wednesday (on-line), Apt, Grist, and Oxidant Engine among others.

EASTER PASSION AS NOTRE-DAME COLLAPSES

by Earl J Wilcox





In my town today, construction workers
digging in red clay clipped cable lines
to thousands of homes causing early
morning mayhem—no computer
access, cable news, email, stock market,
baseball scores, weekly NEW YORKER—
civilization as we know it. They say, I
learned many hours later, the fire began
in the spire while all morning I fumed
and fiddled the hours away by cleaning
listening to old CDs, feeding humming birds,
washed/dried/folded three loads of
laundry, walked for 35 minutes—all
before noon as the Cathedral burned.
Early afternoon, as the fire spread
and panic roared in Paris, I napped,
after eating a spare lunch of boiled
cabbage, lima beans and a small meat
patty, walked again, vacuumed,
angrily and with petty vengeance
sprayed carpet bees buzzing my
pergola, watered an Easter Lily,
began the first of several classic opera
CDs, strolled to the street to fetch junk
mail, texted family and friends,
(none mentioned a great fire!)
as Parisians panicked in peril, prayed
for God’s intervention here in Holy Week.
In my passion, I ignorantly enjoyed our
Magnificent Spring sunshine, took
Images of my majestic azaleas, wondering
how a pilgrim feels spending April in Paris.


Earl J Wilcox is regular contributor to TheNewVerse.News.

AMEN YEMEN

by Charles Frederickson & Saknarin Chinayote

Editor’s note: Key infrastructure in war-torn Yemen, including water supplies, health services and telecommunications, are on the verge of breaking down due to a major fuel shortage, a United Nations humanitarian official has warned. "The services still available in the country in terms of health, water, food are quickly disappearing because fuel is no longer being brought into the country," Johannes van der Klaauw told AFP news agency on Saturday. "Without fuel hospitals can't work, ambulances can't go out. You can't have the water system working because water has to be pumped. The telecommunication network risks shutting down. "If something is not done in the next few days in terms of bringing fuel and food into the country, Yemen is going to come to a complete stand-still," he warned. —AlJazeera, May 2, 2015



No Holds Bard Dr. Charles Frederickson and Mr. Saknarin Chinayote proudly present YouTube mini-movies @ YouTube – CharlesThai1 

UNLOCKING THE LOVE LOCKS

by Tricia Knoll





When is it time to unlock the love locks?

When the love of the gleam of chrome was for glory
rather than health, longevity, strength and beauty?

When wild animals under lock and key
find the sanctuary of space and fresh air?

When the unfair imprisoned reach for the bar
and ask for a hand hold?

When the bridge of love falls under its weight
of promises?

When the artist says I’ll find a way for you to show
the world what you love, how you love, and when,
how to keep love locks from becoming dread locks.


Tricia Knoll's chapbook Urban Wild is now available from Finishing Line Press.

FOR FASHION SAKE: RANA PLAZA REMEMBERED

by Darrell Petska

The bodies of a man and woman as they embrace in their last moments from the collapse of a garment factory in Rana Plaza building.
Photo by Taslima Akhter   |   Savar, Bangladesh   |   April 25, 2013
Image source: Raw Journalism

Rana Plaza a year on: did fast-fashion brands learn any lessons at all? Some 1,133 garment workers died yet profits from cheap clothes have soared.
--The Observer, April 20, 2014

A year after Rana Plaza: What hasn’t changed since the Bangladesh factory collapse.
--The Washington Post, April 18, 2014

If spirits ascending outworn bodies
sing life's value

then what a chorus a thousand raised
though Rana Plaza crumbled
to the indifferent click of dice
and money's soulless shuffle!

One year on, millions of hands
operating millions of sewing machines
in thousands of Rana Plaza lookalikes
make hand-to-rack clothes fast,
cheap, and disposable--apparel
and their makers mere commodities
valued a day then shed
for the next fashionable thing

cherished dreams and personal lives
of laboring souls be damned.
Torn from families and home,
Rana's dead remind us still

life and love abide in our hearts,
not our closets.


Darrell Petska, writing from Madison, Wisconsin, is a freelance editor in adult education who previously worked as a mental health caseworker, nursing home evaluator, and university editor. Past publications include Modern Haiku, Verse Wisconsin, ProtestPoems.org and others.