MALL MONUMENT TO A PRESIDENT

by Patrick G. Roland

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

Maybe every other president was doing it wrong.
Hell, maybe I’m doing it all wrong. 

My four-year-old once told me
my tie looked like an elephant trunk with a cold,
so she swapped it for a toy mermaid’s tail,
and I got compliments—
even a high-five from my boss.

So, I turned to her again,
this time about the president’s tour of the Middle East.

In Saudi Arabia, he’s got luxury towers going up.
They gave him $600 billion for defense.
“Rapunzel had a tower for her hair, Daddy,
maybe he needs to protect his hair.”

In Qatar, it’s golf resorts and seaside villas.
They threw in $200 billion for Boeing,
and gave him a $300 million jet. 
“When I eat all my dinner,” she said,
“I get vanilla ice cream for dessert.”

In the UAE: a golf course, a skyscraper, and a crypto deal.
They pledged $1.4 trillion for U.S. tech.
“Krypto was Superman’s doggy friend.”

Don’t get me wrong, it smells like what I think
immoral would smell like—
if ethics had a scent.
My daughter can smell hardened Play-Doh
before she even opens the canister.

So I asked her if any of the deals 
smelled like an emolument.
She said mall monuments smell like pretzels.

“What am I doing wrong?” I asked.
You ask questions.

Patrick G. Roland is a writer and educator living with cystic fibrosis. He explores life’s experiences through poetry and storytelling, seeking to inspire others in the classroom and through writing. His work appears or is forthcoming in Hobart, Sacramento Literary Review, Maudlin House, Trampoline, and others.

HE'S THEIR MAN

by Orel Protopopescu

To the tune of "I'm Your Man" with apologies to Leonard Cohen

If he needs a liar
They’ll say anything he wants them to
And when his pants catch fire as they do
They’ll push his point of view
When he tries to sell his corporate brand and
When he needs to keep an aide or witness
Off the stand
He’s their man

If they ask for players
He won’t run onto the field for them
But when he needs naysayers
There is nobody they won’t condemn
If he’s got remittances to hide
Or when he wants to take us for a ride
He knows he can
He’s their man

Ah, the truth’s too bright
And the noose too tight
The world can’t go to sleep
While he’s making good on his vows to the hood
In Moscow where his debts run deep.

Ah, but no one ever got a country back
By abandoning the race
While he smirks for the cameras with a blade in his sheath
Or howls at his rallies like a dog in heat
Or he claws through our laws while we’re gnashing our teeth
And tells his base (so base!)
I’m your man

And if we lose our way along this road
They’ll let him steer for us
And as he adds more carbon to our load
They’ll let him crash the bus

If you want a future for your child
Or only want to walk in peace a while across this land . . .
He’s not your man

Orel Protopopescu won the Oberon poetry prize in 2010 and a commendation in the Second Light Live competition, 2016. Her poems have appeared in TheNewVerse.News, Light Poetry Magazine, Lighten Up Online, and paper-based reviews and anthologies. Her book of translations (with Siyu Liu) A Thousand Peaks, Poems from China was honored by the NYPL. Other publications: a book for teachers of poetry, prize-winning picture books, a bilingual poetry app for children and a chapbook What Remains. She is currently completing work on a biography of the legendary ballerina, Tanaquil Le Clercq.

BLIGHT

by Katherine Smith

I was born for the same journey as the birds,
the poem about the poem, the pure lyric
of the ovenbird in the wood
calling for a mate to end its solitude
from the top of the American chestnut tree.
I learned to distinguish the American chestnut
from the oak chestnut by the serrated edge,
from the beech by the clasp at the hooked tip.
I learned to recognize my kind by its serrated song.

I step into the woods this morning,
chasing the ovenbird, stepping around a pile
of mating dung beetles. Pure lyric
was once mine. I woke this morning

to fungus on the radio: sixty Palestinians
shot at the border the day the embassy opened
in Jerusalem, the president’s Indonesian resort
paid for by China, and the Russian oil company sold
to Qataris to pay off the president for lifting sanctions.

Pure lyric was once my everyday speech.
The ovenbird calls in the tree canopy
of hickory and oak.
All winter I taught writing
to teenagers from Honduras
now scheduled for deportation.

I’m part of a vast experiment
like the Lego experiment
in which people are given Legos
and told to build, then watch
as their creations are destroyed
while their despair is measured
and recorded for eternity.

I fantasize about what I’d do
if an ICE officer came to the classroom door.
The sweeps never happen
where I can see them.
One by one my students—
Transito, Luis, Fernanda—
will be dropped off at the border
with their English composition skills,
their aspirations and their associates degrees.

Now it’s May and I’m mildly depressed.
Pure lyric hasn’t been my style for twenty years.
The ovenbird calls deliriously from the top
of the American Chestnut tree.

Katherine Smith’s publications include appearances in Poetry, Cincinnati Review, Missouri Review, Ploughshares, Southern Review and many other journals.  Her short fiction has appeared in Fiction International and Gargoyle. Her first book Argument by Design (Washington Writers’ Publishing House) appeared in 2003. Her second book of poems Woman Alone on the Mountain (Iris Press), appeared in 2014. She teaches at Montgomery College in Maryland.

NAMING OF PARTS

by Tricia Knoll

Image source: White Mountain Puzzles

After Henry Reed

Spring eased the almond blossoms open
and promises of cherries while we named parts
left over from winter. Collusion. Taking
away, reducing, throwing in the trash
legal widgets that keep the water pure,
air open to the cherry’s pollen flight.

We named parts with words round
to our tongues, like emoluments, to see
how that piece fit in the grooves
of palaces and greens like golf courses.
Lies are new lower swing swivels
alternatives, the stock aiming.
We call the liar  a number, not a name.

We watched tired armies of people
whose papers dictate that they bolt
backwards, locked. Riled bees assault
the fumbling flowers and some too
called that easing the spring.

Assembled from parts, the barrel
is loaded and pointed at every one
of us. The sick. Disabled. Those
who stumbled. Women mourning
in too many dry cities to count.
Children born to know only this.

Whatever bitter cold silence ensues,
whatever violence, these parts came
forged as cocking-pieces, and the many
words to name them buzzed over us
diseasing the spring.

Tricia Knoll is an Oregon poet who in the last week has read Henry Reed's famous 1942 poem "The Naming of Parts" about fifteen times, sharing the dismay of progressives at how rapidly important protections of people and the environment can be dismantled. Her new book, Broadfork Farm, is a series of love poems to a small organic farm in Trout Lake, Washington.