PRIVATE ALTAR TRUMPS

by J. Alan Nelson

AI-generated graphic by NightCafé for The New Verse News.

 

You can buy one for the mantel
or the corner of the kitchen table
where the bills used to go.

 

A golden Trump, small enough
to fit in the palm,
heavy enough to feel like something
earned.

 

For those who have decided
science is a rumor
and most other people
are an inconvenience,
except the ones who write checks
large enough to keep the foundries running,
the molds poured, the gilt applied.

 

Facts are only obstacles
on the way to the next order.
Denmark is a minor interruption
between here and Greenland.
Democracy is a temporary arrangement
that can be redirected,
like a pension check,
toward the manufacture of more golden figures
for the home altar, the office shrine.

 

Iran will be humiliated
in the proper sequence,
and a prize for peace
will follow as naturally
as the next shipment arrives.

 

Women and children may speak,
but their voices do not alter
the shine on the hair,
the tilt of the chin,
the fixed, triumphant gaze.

 

Place him where the light hits.
He does not require belief,
only space.

J. Alan Nelson is a poet, journalist, lawyer, actor, and nominee for a Pushcart Prize, Best of Net and Best Microfiction. He played the lead in the viral video “Does This Cake Make Me Look Gay,” the verbose “Silent Al” in HBO’s Emmy-winning SXSWestworld, and narrated New York Times videos on AIDS programs in Africa.

THE PEELING OF AMERICAN FLAG BLUE

by Celeste DeSario

Cartoon by Nick Anderson

“Multiple arrests,” Truth Social shrieks!
“People vandalizing the Reflecting Pool”
“Eco-Terrorists!”
 
David Hearn, the “eco-terrorist”
Aka former Olympic canoe racer
Stopping by the pool during a 64-mile bike ride.
Curious as to what is going on,
(These days we have to see for ourselves—
So much spin, so many lies.)
 
Curious, a regular citizen,
Reaching into pool to examine the peeling coating,
briefly touching a chunk on the side of the pool,
Letting go the moment a park worker tells him to.
Detained by National Guard troops for 5 hours before being released.
Because that’s what we have become:
fodder for an old man’s lies.
 
There. That takes care of all those doubting Dumb-a-Crats
Who keep asking why I spent $14-million- plus
Just to spruce up the green, algae -laden pool
For the nation’s 250th anniversary.
 
Backfired? Mistake?
Never admit to a mistake.
It’s Biden’s fault. It’s Obama’s fault.
 
American flag blue will cover up the Iran war, 

Why did we attack them again?
The Epstein files, 

Did you finish redacting any mention of my name yet?
The dismantling of the East Wing,
The dismantling of our democracy.
 
Throw in chemicals!
Kill the algae while I find the time to attach blame.
Drain the swamp!
Deflect it.
Shroud it.
  
The American Flag Blue lining peeling away
Beginning to fail,
Exposing the filth on the bottom.
You can only cover that up for so long.
 
And, here’s my question:
What do YOU see when you stand by the edge of that reflecting pool
And look into the green globs of phytoplankton, bacteria, green scum?
 
The water is “crystal clear.”
Believe me.
Just look away.
 
You, throwing insults and bombs
Retreating to your gilded office
To type out words you hope the world
Will believe.

Celeste DeSario taught English at Suffolk County Community College in Brentwood, New York for 37 years and received teaching honors from both SUNY and the University of Texas. Now focusing on creative writing, her recent poetry has appeared in The New Verse News, The Changing Times, The SportScribe Literary Magazine, The Ekphrastic Challenge of June 6 of Wenzel Hablick’s Utopian Buildings and The Ekphrastic Review’s July 6th online issue.

STAYIN’ ALIVE: NO KINGS

by Roderick Deacey

Cumulonimbus clouds jostle & dominate
the dark side of the sky.
             They have gathered in towering, glowering stacks,
as ominous grumbles of thunder announce
the storm is upon us.

             Of course we ignored the signs—
we have long learned to ignore warning signs
             here at the far end of democracy,
lest one of the regime’s masked rib-breaking squads
             single us out somehow,
& fling us to the ground & kick us until our ribs break.

              So, we simply accept,
that under the hard rain that’s gonna fall,
             we will, as usual, get soaking wet.

             How did we become so sad & beaten down?
Isn’t it true that, en masse, Americans are good people?

             Perhaps racist & prejudiced, but with good hearts?

             Maybe short on critical thinking, but mostly meaning well?

Whatever—this is still America—
                          supposedly no kings allowed.

            We can put on raincoats & resistance yellow hats.
            We can wear red knitted hats like WWII Norwegians.
            We can wear turquoise knitted hats, or teal—
& many of us will wear those bright rainbow hats—
            because that’s where we stand—
& some ladies among us will dig out their old pink pussy hats
            from back when
                       the country was another country.

What we seemingly can’t do
            is decide on a single unifying hat color—
                      not a good omen.


Roderick Deacey writes many poems and is rejected a lot. James is always very nice about it, though.

INTERVAL

by Rajat Chandra Sarmah 

They said

this is your moment.

So we sat—

a few rows in—

watching

democracy

adjust its lights.

Promises entered first.

Well-dressed.

Fluent.

They spoke

in our language—

better than we do, sometimes.

Jobs arrived next—

counted aloud,

like blessings

no one stopped to check.

Cash followed quietly.

No speeches.

Just something understood

without being said.

We clapped.

Not loudly—

just enough.

Somewhere between

need

and negotiation,

we stopped thinking too much

about what was ours

and what was being offered.

The button—

small,

decisive,

mercifully simple.

Press.

Nothing to show later.

Interval.

Lights dim.

Noise settles

somewhere behind us.

When the curtain lifts again,

the stage is lighter.

Fewer promises.

Some things

just not there this time.

What was announced

comes back

“under process.”

What was certain

slows down—

then disappears.

We do not protest.

We adjust.

Survival stretches itself

over the years.

Dignity—

it comes and goes.

Outside,

the posters fade first.

Inside,

something follows.

Next election,

they will return—

with improved scripts,

cleaner numbers,

and our own words

borrowed again.

And we—

seasoned audience,

repeat believers—

will take our seats

before the lights come on.

No one will ask

what the first show changed.

No one will ask

why we stayed.

The applause will begin

on time.

And we will give it—

not because we believe,

not because we forgot,

but because

we have learned.

Rajat Chandra Sarmah is a poet and writer based in India. After a 36-year career in India’s power sector, he now focuses on literary writing. His work explores public memory, environmental crisis, social change, and everyday human endurance. His poetry has previously appeared in The New Verse News and other international journals.