TORN

by Thomas R. Smith

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

Though our little lives go on, we’re aware
of a massive tearing—a fabric
we’d thought sturdy is being ripped by
unseen hands, cruel, immensely powerful.
This was not supposed to happen in our
country. The rent is pulling apart
the graves of those who died for a proud
ideal. My high school Memorial Days
in the band playing trombone at the cemetery
are torn down the middle, every
school morning that began with the Pledge
of Allegiance in shreds, and the history
book pages of our defeat of fascism
fallen to the ground like shotgunned birds.
Sit with it a moment and you’ll hear it
loud and close, a chainsaw biting into
our soul. Where are our old Scout masters,
our civics teachers who elevated
the virtues of our form of government? 
Where are the leaders we were taught to respect?
Where are the generals sworn to uphold
the Constitution while the demented
king wages war on his own people? Where
is Betsy Ross with her needle to drive
into the hole in our nation’s heart
and stitch back together this wounded cloth?

Thomas R. Smith’s recent books are a poetry collection Medicine Year (Paris Morning Publications) and a prose work Poetry on the Side of Nature: Writing the Nature Poem as an Act of Survival (Red Dragonfly Press). He lives in western Wisconsin near the Kinnickinnic River.

MARRIED TO A FIBER ARTIST MARRIED TO JOANN’S

by Dick Altman

A farewell to a beloved emporium that ralllied the
artistic spirits of generations

Your quilting ideas
all begin humble
enough—with a visit
to the base of Joann’s
multi-hued tree,
whose fruit feeds
your artistic passions,
blooming eventually,
perhaps months later,
into fabric canvases,
selected for eyes
of a dozen countries
or more.
 
You don’t create
for the prize.
Your true love,
a love since
childhood,
is breathing life
into your imaginings,
using a paint brush
of needle and thread,
and blossoms
of fabric culled
from Joann’s
garden
of visual delights,
almost beyond
number.
 
Nothing,
it seems,
lies beyond
your reach.
A portrait
of a distant cousin,
wounded
in America’s
Civil War.
Raised arms
whose fingers
transmute
into a ululation
of flames,
recalling conflict
in the Middle East.
A storm at sea,
whose
three dimensional
sea gulls,
appear to rise
off the canvas,
as they
weave themselves
amid waves
seeking to touch
the clouds.
 
I often stand
in wonder—
I who struggle
to turn a patchwork
of words
into a caress of lines—
as you sketch
your ideas into being,
with a sureness,
I could never wring
from a first draft.
You call Joann’s
your bazaar
of inspiration.
I call it
a spinning wheel
of miracles.

Storm at Sea—Dance of the Gulls by Holly Altman

 
Dick Altman writes in the high, thin, magical air of Santa Fe, NM, where, at 7,000 feet, reality and imagination often blur. He is published in Santa Fe Literary Review, American Journal of Poetry, Fredericksburg Literary Review, Foliate Oak, Landing Zone, Cathexis Northwest Press, Humana Obscura, Haunted Waters Press, Split Rock Review, The Ravens Perch, Beyond Words, The New Verse News, Wingless Dreamer, Blueline, Sky Island Journal, and others here and abroad.  His work also appears in the first edition of The New Mexico Anthology of Poetry published by the New Mexico Museum Press.  Pushcart Prize nominee and poetry winner of Santa Fe New Mexican’s annual literary competition, he has authored some 250 poems, published on four continents.

THE PROMISE OF HANDIWORK

by Jen Schneider




A single tear drops and pools on uneven hardwood planks.
Startled white mice scamper. Droppings where gravel
and cement once filled buckling wood crevices cushion
wool socked soles. A burgundy chest, adorned with two
brown leather straps and a single metal lock, rests
in the far-right corner. Blanketed in warm layers of dust
and tattered cloth, the family heirloom boasts of guarded memories.

Blurred photos, sweat-stained frocks, penned letters—
Normal times and ordinary folk

To its right, a cardboard box, coated in a film of powder
and particles unknown, houses a machine long silenced
yet now pulsing with hope. Its thick black electrical cord,
wrapped in a tight coil, springs loose as lungs near
and far struggle to contract, then release.

Ready. Set. Go. Breathe.

Soon settled at the square kitchen table, pots
of needles, spools of speckled thread—shocks
of light lavender, crimson red, pistachio green -
and piles of fabric—gingham, plaid, tartan—
emerge with potential born anew.

Unordinary times. Normal folk seek purpose.

Coffee brews, then turns cold. Time presses
on as dry, chafed hands, fingers arched
from years of fieldwork, pull threads, needles,
and long discarded garments from bedroom
chests and kitchen drawers. Bodies work
with an urgency—a race against no ordinary clock—
long stifled and now eager to breathe.

Hours later, the machine continues to whirl
as needles pulse and earlier anxious feet pump
in a calming pattern—One, Two, Three, Breathe.
One, Two, Three, Breathe—generating new life
in old shifts to aid the beat of chests worn down
by a silent beast that silences the beat of a nation.

Moments of silence turn lengthy. Prayers for a world on pause.

Scattered thoughts focus on spools of twisted and spun
threads that bind with supple cloth. Patterned sketches
of protective gear for front line heroes convert
to tangible realities.

Ordinary days in extraordinary times.

In unity we find strength. And hope blooms anew.

Jen Schneider is an educator, attorney, and writer. She lives, writes, and works in small spaces throughout Philadelphia. Recent work appears in The Popular Culture Studies Journal, Bat City Review, Zingara Poetry Review, Streetlight Magazine, Chaleur Magazine, LSE Review of Books, and other literary and scholarly journals.

MY GREAT-GRANDPARENTS & THE BURKINI BAN

by Judith Terzi

Image source: Judith Terzi

after “What people are saying about ‘burkinis’ in France” 

—L.A. Times, August 18, 2016

Zipporah. She is covered from head to toe 

with an apron & layers of cloth. 

There is the idea that . . . women are 

immodest, impure, that they

should therefore be completely 

covered. Wool scarves swirl around her 

hidden neck in the black & white 

photo. A headscarf, or a tichel, hides 

every strand of great-grandmother's 

hair. [This] is not compatible 

with the values of France and 

the republic. Zipporah––a bird in Hebrew.

She flew from Russia to a brownstone 

in Baltimore. She sits on a stoop. Even her 

hands are invisible; we see only her 

withered face. She is over a hundred. 

I issued this order . . . to ensure the safety 

of my city . . .  am only prohibiting 

a uniform that is the symbol of Islamist 

extremism. Zipporah––a bird who 

flew to the heavens before I was born. She 

sits next to my great-grandfather 

in the black & white photo. Hasidic white 

beard, a yarmulke between him and 

his God. It is the soul of France that is

in question . . . France does not hide half 

of its population under the . . . odious

pretext that the other half would be 

afraid of temptation. An oversized wool suit 

envelops his body & his fringes. 

In the 32mm film, he blesses my mother 

& her sisters. His body rocks. Back 

& forth, back & forth, as he recites prayer. 

Pious great-grandfather who gave me 

my name. The beaches, like any 

public space, must be  preserved 

from religious demands. Great-grandparents 

covered in faith & fabric.

Author’s Note: Italics indicate direct quotes from French governmental officials, including the Prime Minister, the Minister for women's rights, and the Mayor of Cannes.

Judith Terzi's poetry has appeared in a wide variety of journals and anthologies including Caesura, Malala: Poems for Malala Yousafzai, Raintown Review, Spillway, Unsplendid, and Wide Awake: The Poets of Los Angeles and Beyond. If You Spot Your Brother Floating By is her most recent chapbook from Kattywompus Press. Her poems have been nominated for Best of the Net and Web.