KNOW THE VICTIM; KNOW THE SHOOTER

by Laura Lindeman

I know the victim!

knew…

Time in suspension 

For his extravagant antics:

Bouncing down the halls,

Bouncing words at teachers,

Bouncing a few punches 

off the faces of his peers.

But his smile races through a room 

Like lightning!

Dreads dancing on his head with the energy of a

Superbowl halftime show…

He was mischief and enthusiasm and zest!

But living in danger

His speed and agility 

Weaving through the violence

Not enough to protect him from the turbulence

Of generations of white oppression’s

Black destruction.

Armed by his family

False security in his sagging waistband.

At sixteen—just smart enough 

To make irrational risk 

Look adventurous.

Maybe this is why there used to be curfews?

Reasoning of the prefrontal cortex not fully formed 

For another half dozen years;

Which he won’t experience.

His unique weapon—fancy firearm

Not a secret.

Proudly waved 

Like a flag…

Or a dare.

During the next news cycle

I realize

I also know the shooter.

He took the dare;

Captured the flag.

Wanted the weapon of his friend.

Like two-year-olds in a sandbox

Tussling over a Tonka Truck.

What did they say?

“Mine.”

“Mine!”

“Give it!”

Bang…

Silence.

I know the shooter.

Smart, articulate

First year in middle school

Studying with headphones—Beats he called them.

Asking deep questions

Seeking complex answers

Quoting Tupac and Jay-Z

But survival on his block

Translates school as

“White people shit”.

Only slick, stark self-preservation

Was rewarded there.

The Seventh Sense

Of street survival.

Cutting classes,

Cursing teachers,

Curtailing disrespect from peers

At all costs.

Take what you want!

Command the room

      the block

      the bitches

      the boys.

So when he wants his bro’s gun,

He takes the weapon;

Takes the shot;

Takes the life.

Takes the arrest,

The parole violation.

Takes his OG’s soul

Her head in her hands in the court room.

Takes residence in a cell

No bail.

Taking traded for youth, freedom and “potential”

Barely a teenager

Playing adult games 

And losing.

Losing high school,

And chess club.

Losing a driver’s license and 

The right to vote.

Losing his siblings and 

His chance to age.

If tried and convicted as an adult

He’ll be incarcerated 45 to life.

Either way, life will be the sentence.

For the rest of his years, days, hours and moments

He will be dogged by the memory and 

Haunted by the choices 

He didn’t make:

To walk away,

To let go of the gun,

To put friendship over face-saving

And laugh at his own pretension

Stuck at fourteen forever.

Trauma imprints

Even if denied by bluster

He can’t out-run

out-shout

out-shoot

or fake out

His own fledgling soul.

I knew the victim;

I know the shooter.

Again.

Laura Lindeman is a new poet who has just decided to submit some poetry for publication with the help of a friend. This poem is a political poem focusing on gun violence, and as you will read, is based on her knowing, as a teacher, two teenagers before they became shooter and victim in a real-life tragedy. The poem speculates based on material revealed in news reports, but the poet has no first-hand knowledge of the crime itself.

TO BE A WITCH IN SCOTLAND

by Lynn White

From allegations of cursing the king’s ships, to shape-shifting into animals and birds, or dancing with the devil, a satanic panic in early modern Scotland meant that thousands of women were accused of witchcraft in the 16th-18th centuries with many executed. Now, three centuries after the Witchcraft Act was repealed, campaigners are on course to win pardons and official apologies for the estimated 3,837 people–84% of whom were women–tried as witches, of which two-thirds were executed and burned. After a two-year campaign by the Witches of Scotland group, a member’s bill in the Scottish parliament has secured the support of Nicola Sturgeon’s administration to clear the names of those accused, the Sunday Times reported. The move follows a precedent by the Massachusetts House of Representatives in the US that proclaimed victims of the Salem witch trials innocent in 2001. —The Guardian, December 19, 2021

Scotland was not the place to be a witch,

it really wasn’t.

There were more than four thousand witch trials

in Scotland

putting Salem to shame,

the Witch-Finders boasted.

One would suppose that 

wise women did not become witches,

but it seems,

many did

and paid a hot and heavy price.

So not many would be dancing,

even at Christmas,

even in spirit 

few would rise

for the occasion

only the bravest

would celebrate.

But this Christmas in Scotland

there is something more

a vindication,

a recognition of innocence

that does not require bravery to celebrate.

Even though it’s three hundred years late.

Lynn White lives in north Wales. Her work is influenced by issues of social justice and events, places and people she has known or imagined. She is especially interested in exploring the boundaries of dream, fantasy and reality and writes hoping to find an audience for her musings. She was shortlisted in the Theatre Cloud 'War Poetry for Today' competition and has been nominated for a Pushcart Prize, Best of the Net, and a Rhysling Award. Her poetry has appeared in many publications including: Apogee, Firewords, Peach Velvet, Light Journal, and So It Goes.

DURING LOCKDOWN

by Michael Mark





I danced in my house, every room, Watusied
into the cul-de-sac, in my neighbors’ yards,
driving dogs mad, setting off alarms. I Twisted
and shimmied, broke it down home-style to
the blasts, screeches, and wails for my neighbors
in their afternoon pjs, who banged on their windows,
flipped the finger, pointed pistols, semis, until
their yelling and banging turned into yodeling
and bumping and they switched on their entertainment
systems and danced in their living rooms with me
on their lawns. We danced at a safe distance, masks
on. They must’ve thought, This is kinda marvelous.
I danced on the runways and on the one plane cleared
to fly me to my sick dad. I danced for the captain
and I danced in the hospital where my 94 year old pop
was able to—to the gasps of the ICU nurses, whom I
waltzed with—raise a finger and conduct the band
in my head and we held hands so he wasn’t alone,
scared, and he felt I was a good son.

               No

Here’s what really happened: I abided by the edict,
stayed in, ate canned soup, rationed toilet paper,
washed my hands with soap while I sang songs
for two full minutes, sang to make sure I didn’t skimp,
sudsing conscientiously to rub those viral germs away,
adhering to the officials, and to keep from getting bored
I danced to the song I sang in the bathroom, even while
I dried. I danced in my house, and in my neighbors’
yards. I Boogalooed in the grocery with the elderly,
the most vulnerable, like my dad, in New York, alone,
94, who I can’t be with, and we danced in the oatmeal aisle,
cookie aisle, the Depends aisle, the pet food aisle.
They knew all the steps and we wore masks and gloves
and I took them by their tiny hands and we twirled
and twirled.

Michael Mark’s poetry has been published or is forthcoming in Alaska Quarterly Review, Copper Nickel, Michigan Quarterly Review, Salamander, Salt Hill Journal, The Southern Review, The New York Times, The Sun, Waxwing, The Poetry Foundation's American Life in Poetry, Verse Daily. He’s the author of two books of stories including Toba and At the Hands of a Thief (Atheneum). @michaelgrow