A STITCH IN...

by Maria Lisella

Tell clothing brands to support workers by signing the Transparency Pledge. The vast majority of workers do not know whom to turn to for improving their working conditions because the brands they make clothes for are kept secret. This lack of transparency allows brands to avoid accountability and fuels abuses against workers. Transparency benefits workers—they can inform brands when they experience labor abuses. Transparency also helps brands—they can better take steps to stop and prevent labor abuses. Currently, 40 companies have committed to the Transparency Pledge, but hundreds continue to hide where they make their clothes. Workers and shoppers deserve to know where brands make their clothes. This shopping season, call on American Eagle Outfitters, Armani, Carrefour and URBN (Urban Outfitters, Free People, Anthropologie, Nuuly) to support workers by publishing a list of all factories that make their branded products. —Human Rights Watch

It required a stitch or two and so I tacked it
the two tabs that were sticking out
of her cheap striped shirt—
made in Bangladesh reads the label
where women who know nothing
about raised fists of labor united or
the IWW, or the AFL-CIO, sweat
for 14 hours a day, and 35 cents an hour
turn out shirts just like this one stitched
with labels that read: H&M, Calvin Klein,
Ann Taylor, Zara, Target and, yet,
when a factory goes up in flames or
crumbles to the ground in New Delhi,
Bangladesh, Ahmedabad, collapsing
into tangles of steel, concrete blocks,
mortar, or fizzle in flames, the label-owners
deny those women have ever
been making their products and those
women have nothing to do with their
$2.4 trillion dollars in profits.


Maria Lisella is the outgoing Queens Poet Laureate and a newly-named fellow of the American Academy of Poets; she is a travel writer by trade.

BOXCUTTER BLUES

by Damian Balassone


They put me in these overalls
They put me in these shoes
Yeah, they put me in these overalls
They put me in these shoes
They handed me a Stanley knife
Said, ‘son it’s time to pay yer dues’

Well, the stock is rolling in
And the stock is rolling out
Yeah, the stock is rolling in
And the stock is rolling out
I’m walking like a branded slave
When all I wanna do is twist and shout

Well, mama get me outta here
This ain’t the life I choose
I said mama get me outta here
This ain’t the life I choose
I’m shackled to this factory
Lord, I got the boxcutter blues

Damian Balassone is an Australian poet whose work has appeared in over 100 publications, most notably in The New York Times.  He is the author of three volumes of poetry, including the forthcoming Strange Game in a Strange Land.

YEARS AGO AT THE TROLL FACTORY(A FLASHBACK)

by Melissa Balmain

CNN video from Oct 26, 2016.

"What to know about the Russian troll factory
listed in Mueller’s indictment" 

—Vox, February 16, 2018

Chug-chug, the googly-eye machine

goes round; a massive table brims

with squat injection-molded limbs

and fluffy topknots (orange, green)

as workers in white coveralls

toil on without a kasha break.

At last: "We've done it, no mistake!"

the comrades whoop. Then silence falls

as they behold their masterpiece—

that gruesome grin! That triple chin!

That overcooked-kolbasa skin!—

and plot its glorious release.

Melissa Balmain is the Editor of Light, a journal of comic verse. Her poetry collection Walking In on People (winner of the Able Muse Book Award), is often assumed by online shoppers to be some kind of porn.

DISCORD

by Judy Kaber 

A distance of about five feet
separates my car from the mud-
spattered blue pick-up truck
with the Trump/Pence sign
on the cab’s rear window. This
wouldn’t be such a surprise
except we’re in the parking lot
of the YMCA and I can’t help
but wonder which of us is
out of place. Red-necks don’t
come here to exercise, but then
I am not young or male or even
Christian, so maybe the world
splits into more layers than I
can count, maybe the thrum
of feet on the exercise machines
sings songs of longing for
the past that never was, maybe
the man from the pick-up truck
misses the canning factory
and the chicken plant and what
do I know of belief, of prayers
whispered in the night when
you can’t pay your taxes,
your landlord wants you out
by next week and you smoke
two packs a day just to keep
your head on straight.

Judy Kaber lives in Belfast, Maine, and her poems have appeared in numerous journals, both print and online, including Eclectica, Off the Coast, The Comstock Review, and The Guardian. Contest credits include the Maine Postmark Poetry Contest, the Larry Kramer Memorial Chapbook Contest, and, most recently, second place in the Muriel Craft Bailey Poetry Contest.

BEING AM-ISH IN AN OLYMPIAD WORLD

by Krista Genevieve Farris

Image source: LGBTAmish.com

I got a call sometime last summer. He was shunned.
I wasn't allowed to cry, the conversation was never about me
but of his death and her muncha muncha on his segmented life,
the unfurling of her wings and a fighting not to be cliché butterfly fragile flight.

I consumed our youth, chewed on Polaroid bits,
tried to digest as I kicked the covers. Didn't say-
it hurt to swallow jigsawed shots  
it slashed each time I couldn't utter his name.

I gurgled I love you with a bloody throat
bi-sected, di-ssected- am-ish- the shunning- her-of-him
the sister who wears make-up, whose hair curls just so,
the one who tells me what it is to be a woman.

She is not Caitlyn Jenner. I am not a cool Kardashian.
We don't have implants, an airbrush, good lighting or awards.
I didn't hear her called beautiful 10 times today
or a hero when she kept her factory job.

He was. They were. She is.
We are.
I am.


Krista Genevieve Farris lives in Winchester, Virginia with her husband and three sons. Her recent poems, essays and stories can be found in The Literary Bohemian, Right Hand Pointing, Cactus Heart, Shot Glass Journal, The Screech Owl, Brain, Child Magazine, Mamalode, Literary Mama, The Rain, Party and Disaster Society, Indiana Voice, Tribeca Poetry Review and elsewhere.

VALUE ADDED TEACHERS

by Ann Bracken

Image source: Precarious Faculty Rising

She feels frustrated
as she rumbles around in cramped offices
with all the people shouting
Words don’t matter.
Especially when she hears graduates
of the university
referred to as output.

When people become output
there is no need for nurture.
Sewage pipes have output,
as do factories that churn out row after row
of standardized parts.

In cramped classrooms and windowless lecture halls
teachers are gauged by their productivity--
here every human complexity is reduced
to a series of data points, quantified and measured,
success or failure—positive or negative output.

These days she no longer relishes
seeing joy or surprise or the flash
of an ah-ha moment on her students’ faces.
Instead of planning for a field-trip to the meadow
for a sensory experience,
she spends time trying to quantify
commitment, measure amazement
and determine a cut score for
how much inspiration one needs
for a journey into the unknown.


Ann Bracken is an educator and writer whose poetry, essays, and interviews have appeared in the Little Patuxent Review, Reckless Writing Anthology: Emerging Poets of the 21st Century,  Women Write Resistance: Poets Resist Gender Violence, Life in Me Like Grass on Fire:Love Poems, Praxilla, New Verse News, Scribble, The Museletter, and The Gunpowder Review. Ann’s poem, “Mrs. S” was nominated for a 2014 Pushcart Prize. In addition to teaching professional writing at the University of Maryland College Park and working as a poet in the schools, Ann presents frequently at writing and creativity conferences including Mindcamp of Toronto, Florida Creativity, the Maryland Writers’ Association, the Association of Independent Maryland Schools, and The Creative Problem Solving Institute.

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.

MADE IN CHINA

by George Salamon

  My granddaughter's kitten stayed with me for a week.
  Her name is Mila.
  She's affectionate and playful.
  I bought her a furry toy mouse at the market.
  She batted it around the living room floor.
  She hid it under a dining room chair.

  She got bored and nestled against my arm next to the computer.
  I picked up the mouse.
  "Made in China," it said on the label.
  Where else, I thought.
  But I couldn't imagine the worker who made Mila's mouse.
  I couldn't see her face, hear her voice, watch her walk.

  I wanted to talk with her.
  What toys did she have when she was little?
  Did she love or hate school?
  Was her third grade teacher like Miss Grundy?
  What did she and her friends laugh about?
  Did her life turn out as she expected?

  I'll never find answers to my questions.
  In the global economy, human voices and fingerprints disappear.
  Transactions mesh into a seamless web without them.
  It's better, that way, for Return on Investment.
  Hansel and Gretel could follow pebbles home to human dwelling.
  There's no path for going back anymore.


George Salamon lives and writes in St. Louis, Missouri.

THERE WILL BE PARTIES

by Atar Hadari

Margaret Thatcher has died. There will be parties
Up and down the seams of coal
At the Trades Club, the Workers’ Associations, tubs
Of ale will be up-ended, dominoes
Will click across the boards, foaming mugs fail
To capture what the people will try to carol
That she didn’t quite stamp the soul
Out of every seam of the remaining factory trail,
Out of every cup in a palm held out for some help.
But will they be rejoicing
Equally in the halls
Where those who ruled this country fully
Before Margaret now rule it all
And for a while they were haunted
By this girl who knew every call
Of the metallurgist’s numbered table,
She knew what was silver, what was gold
And the basest element – the fire
That burns in people’s soul
That she knew how to ignite with a lyre
And it is burning again, now that she no longer cares
Burning and turning, turning like a ribbon in the wind,
A flag, like something from the Wat Tyler rebellion
Before he was cut down by the King’s men.


Atar Hadari was born in Israel, raised in England, and studied poetry in the US. His Songs from Bialik: Selected Poems of H. N. Bialik (Syracuse University Press) was a finalist for the American Literary Translators’ Association Award, his collection Rembrandt’s Bible will be published by Indigo Dreams on July 8.

THE FACTORY

by David Chorlton

"Richmond Hill" by LS Lowry

I
When they laid the first brick they said
This is progress,
and then they laid another, promising to carry on
until there was a wall
where previously the wind had blown without obstruction
across the grass. The wall
was high and strong, with just one row of narrow
windows for light to pass through.
Look at what is possible, they said
as they drew up plans for the second wall.
These will stand through any storms, they claimed,
and storms came to test them
and the walls remained.
Foxes came to sniff. They didn’t understand
what was happening. Swallows
flew above and in between the walls
until the third and fourth sides of a mighty rectangle
were complete. Sometimes a swallow
would go in through a window and fly playfully
out of the open space held aloft
by the walls. This is the future, they said,
this is the place
where darkness will turn to money.
So they covered the space with a roof
which blocked out light
except for the long, dusty shafts
that streamed in when the sun
was on the window side, and the valley appeared
to sit deeper in the earth
because of the weight
pushing down. Only a circling hawk
remained of the sky. They raised a tall chimney
and fed it with coal. This is the power, they said,
that nature forgot, and as they bowed their heads
in prayer a viper
slithered by and spat a hiss.

II
Many came to see it. Many more
entered by the door and stayed inside until each day
was over. Those who praised it
never went inside, but said to those who did,
You’re fortunate, be grateful. So the line formed
every morning, and each man
bowed his head as he moved to his assigned position
while outside, the deer
on their way to the river ran by
until water no longer ran there
because it had been redirected
and after it had been used
it became a kind of poison
so the decision was made
to have it soak into the ground and disappear,
but it was still there,
like fire just beneath the surface of the earth.

III
We need another one just like it,
they said, and they marked the ground
for the new one to stand on. We must cut down
these trees, they said, and lay a new foundation
that will seal the earth.
It looked just like the one before it
and those who entered looked
just like the ones who entered the first one.
Two were not enough.
However many they built
they kept on finding people to feed into them
and the many chimneys
poured waste into the sky
as if to make an offering to whichever gods
survived in the smoke.

IV
So it continued, each one followed by the next
until no trace remained
of the grass in the valley and the trees on the hills,
and nobody who came to see
what had replaced them
could ever imagine the way it used to be
when the air was clear enough
for the sparrows to be seen
with their feathers turning gold
as they flocked in early sun.
Don’t think about the past,
they said, your memories will not feed you.
And they kept on building,
beating down the earth
to make it level for another floor,
creating enclosures where once had been space,
and when they were sure
nobody could remember what they had replaced
a man old enough to have been dead several times
stood up to speak about what had been lost
but he could not be heard
above the growling of machines.

V
More, they said, we need more.
And it did not matter how many,
they were too few. Some sparrows appeared,
and a lost fox, but no matter
how few were the animals
they said, They are too many.


David Chorlton was born in Austria, grew up in England, and spent several years in Vienna before moving to Phoenix in1978. He pursued his visual art and had several shows as well as writing and publishing his poetry in magazines and collections, the latest of which is The Devil’s Sonata from FutureCycle Press. Although he became ever more interested in the desert and its wildlife, the shadow side of Vienna emerges in his fiction and The Taste of Fog, which was published by Rain Mountain Press.