TO SAVE A LIFE

by Chen-ou Liu

The finale of the Israeli award-winning documentary NAZA, a Hebrew acronym for "collateral damage," captures a father trapped in a furnace of grief. Heat radiates from the tangled grid of collapsed iron and melted plastic. Coughing through blinding smoke, he drags broken blocks of drywall away, his cries echoing off the smoldering rubble that traps his children.

calm between fireballs

an armless girl gazing 

heavenward, yet…

Chen-ou Liu is the author of five books, including Following the Moon to the Maple Land (First Prize, 2011 Haiku Pix Chapbook Contest) and A Life in Transition and Translation (Honorable Mention, 2014 Turtle Light Press Biennial Haiku Chapbook Competition). His tanka and haiku have been honored with many awards.

HERSTORY

by MaryLisa DeDomenicis

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

I was only sixteen
when my best friend’s 
father stuck his hands up
my shirt and his tongue 
down my throat.

I was terrified to tell her
yet somehow she knew 
so I didn’t have to.

After my best friend’s father 
I never went braless.
Never mind I was donned 
in a thick crewneck sweatshirt—

He saw something
He wanted.

You don’t even have to be 
beautiful.
You only have to be
a girl.

Editor’s note: The New Verse News is honored to continue to host, in the wake of the news at Cornell, a series of courageous memoir poems.

A Best of the Net and Best New Poets (2026) nominee and NJSCA fellow, MaryLisa studied poetry at Stockton University. A three-time Pushcart nominee, her poems have won two Murphywriting awards, a Toni Brown Memorial Scholarship Award, and a Stillwaters Woman’s Words Chapbook competition. She’s had work published by Rattle, The American Journal of Poetry, and Mudfish, among others and her poems can be found in several anthologies including most recently Screaming Beyond Borders, a Woman Scream Series. 

PLACING SEASHELLS ON GRAVES, BY PHOTOS

by Joan Leotta

 
 

The poet by the beach at Les Braves Monument, Saint-Laurent-sur-Mer

Living far now, from where
the veterans among my
beloved dead are interred,
I will place by my
father’s photo
a seashell, one that is also
a veteran of sorts, a shell
from Omaha Beach, Normandy.
 
Walking with our guide
where our soldiers landed,
my fingers, on that cool
May morning plucked,
two slim jack-knife clam shells, 
from the wet sands before the
tide could steal them back.
 
That same guide had recounted how

scientists found that

even after seventy years
sand of this place
still carried traces
of the landing party’s blood.
 
That same day, we were given roses
to lay on graves in the American cemetery.
I also laid down one of these shells,
with a few grains of sand still
clinging to its curves like
hands clasping a lifeboat
thinking that perhaps
the grains carried
DNA from a comrade of the
unknown man I visited.
 
The other of this precious pair
found its way home with me.
I did not wash it or place it in a
generic box: “Shell, France.”
Instead, I kept it aside, wrapped.
Each Memorial Day, I carefully place
that small remaining
Omaha Beach shell
with its few grains of sand
by my father’s picture.
Although he was on
Pacific Coast sands beating
back assaults from a different
Axis Power foe, he and the
Omaha Beach men
were also comrades.
I imagine the soul or souls
on the sand in my shell
communicating with my father,
trading tales of their fight for justice.
 
On Memorial Day, especially,
I think of them and
all who sacrificed their
lives for our country as does
everyone who loves
and remembers those soldiers,
everyone who loves freedom.

Joan Leotta plays with words on page and stage. She’s been published as essayist, poet, short story writer, novelist, and a two-time nominee for Pushcart and Best of the Net. Her poetry and stories have appeared in Spillwords,  One Art, The Ekphrastic Review, The Lake, and many others. She performs folktale programs most often highlighting  food, family, and strong women; she performs a one-woman show, “Meet Louisa May Alcott, Nurse and a Force in Healing America post Civil War.” Contact joanleotta[at]gmail[dot]com for her Main Street Rag poetry chapbook Feathers on Stone.

A TRUE EPIDEMIC

by Diane Elayne Dees

 

"In the City of Shreveport, we have a true epidemic of domestic violence….”
—Shreveport City Council Member Grayson Boucher

 

When I was a little girl, my parents took me
on a rare outing downtown; my mother’s
face and neck were free of bruises,
so we could roam freely among other families.
As we crossed a busy Shreveport street,
a man shoved a woman against a car
and began hitting her with his fists.
No one intervened. Finally, a policeman arrived,
and pulled the man off the woman. “Listen,”
he advised: “Take her home and do that.”

At that moment, I thought I understood
everything about my mother’s bruises.
It would be years before I understood
that—even if a  policeman had taken
my father to jail—he would not have stayed
there. And even if he had, there was nowhere
for my mother to go. And even if there were,
the slow-dripping acid of trauma had already
eaten away her soul, and left burn marks
where there had once been beauty and creativity.

The killer in Shreveport had “dark thoughts,”
and now, eight children are dead. His wife
thought that she had escaped, but now she lies
in a hospital, with critical wounds. How do you
end an epidemic that courses through decades,
neighborhoods, churches, and income brackets,
and whose victims—if they live—become carriers
of trauma, fear, rage, and assorted deadly germs
that damage brains and flatten the souls of the unborn?

Diane Elayne Dees is the author of the chapbooks, Coronary Truth (Kelsay Books), The Last Time I Saw You (Finishing Line Press), The Wild Parrots of Marigny (Querencia Press), and I Can't Recall Exactly When I Died (Kelsay Books). Diane, who lives in Covington, Louisiana, also publishes Women Who Serve, a blog that delivers news and commentary on women’s professional tennis throughout the world. Her author blog is Diane Elayne Dees: Poet and Writer-at-Large.

THE SOBBING

by Alice Sims-Gunzenhauser

My father awoke one Saturday

and died as fast 

as though a bomb had fallen. 

There was no bomb, only 

the rogue rhythm 

of his heart. 

Our anguish seems so pure now,

the sobbing all turned inward. 

 

Did we understand the gift

we had been given,

to grieve without rage

or horror,

without the knowledge that 

honed malice   

had crushed beloved flesh? 

 

Would that there were a tonic

to suck out the venomous rage

of war, to leave the heartbreaks of life

untainted,

            a balm…

Alice Sims-Gunzenhauser is a visual artist and poet in New Jersey. Her art has been exhibited locally and regionally; she has had poems published in Kelsey Review and on The New Verse News. After a 43-year career working in educational assessment, she is happy to be able to dig deeper into both media. 

FREE BIDEN

by Indran Amirthanayagam

What we cannot explain. What we cannot 
decipher in mind and heart. What we cannot 
understand. That is the legacy of the man

who supplied 2,000 pound bombs, fighter jets,
attack drones; sent naval gunships to anchor 
within striking distance of the Strip, 

and provided building blocks for the Iron Dome. 
This man who championed and invested 
in America, in more red than blue states, 

besides walking the picket line, this loving 
father and husband, left his mind near Yaffa,
on the road to Bethlehem, yet another

occupied territory. Free Biden I hear 
blowing in the wind. among ashes. Too late.  

Indran Amirthanayagam has just published Seer (Hanging Loose Press) and The Runner's Almanac (Spuyten Duyvil). El bosque de deleites fratricidas is forthcoming from RIL Editores. He is the translator of Origami: Selected Poems of Manuel Ulacia (Dialogos Books). Mad Hat Press published his love song to Haiti: Powèt Nan Pò A (Poet of the Port). Ten Thousand Steps Against the Tyrant (BroadstoneBooks) is a collection of Indran's poems. He edits The Beltway Poetry Quarterly and helps curate Ablucionistas. He hosts the Poetry Channel on YouTube and publishes poetry books with Sara Cahill Marron at Beltway Editions.

NEXT MORNING TEXT TO A FRIEND

by Joanne De Simone Reynolds

Detail from “Morning Has Broken” (Oil and Acrylic on Canvas) by Brad Gray, 2017

I was despairing at 4 am—

 

I wrote the poem and sent it off . . .

 

I didn’t choose the illustration

 

Though I knew it was fitting a bit of a shock the bird a blue bird—something

 

Lifted—

 

My father didn’t serve in WWII

For freedom from dominance and division

For me to abandon the principle

 

The impulse—

 

That he passed away 22 years ago today on a Veterans Weekend is fitting—

 

What dawned in me this morning is what someone once called something like

 

Irregular reversal subversion—

 

What a morning like this one (not unlike the lines I wrote before these lines) calls forth or for

 

As if from a haunting (fathers poets birds)—

 

 

Joanne De Simone Reynolds is grateful to The New Verse News. This poem was written in response to her own poem published on the site on 11/9/2024. The words irregular, reversal, and subversion are taken from a letter William Carlos Williams wrote to Harriet Monroe, the editor of Poetry, in 1913.

PRACTICING FOR THE BIGLY DEBATE

by Wayne Scheer

No one ever saw a debate like this.

They tell me seven billion people

will watch me,

maybe more.

So I have to prepare bigly.

First, I’ll mispronounce her name.

Ka-MAL-a, 

Then I’ll call her 

Kamrade.

She’ll try to laugh 

And I’ll remind people how only low IQ people

laugh like that. 

I never laugh.

I smirk, sometimes I sneer.  Mostly, I grimace.

That’s manly.

She opens her mouth when she laughs.

That’s a girlie thing.  

My father once hit me in the mouth for laughing.

I hate people who are happy.

I have more money.  Money makes a person happy.

My father taught me that, too.  

Ka-MAL-a doesn’t have as much money as I have,

so her laugh is a lie.

It has to be.

My father said.

And stop feeding me all those facts and statistises.

No one wants to hear that.

My rating will drop with my followers if I spout facts.

They want red meat, not kale salad.

Do you know how much red meat has gone up

since Komrade Ka-MAL-a and Obama have been in power?

Neither do I.

But people tell me it tripled, quadrupled.

People have to feed their children sawdust 

because they can’t afford

prime rib for their babies.  I hear that all the time.

I teethed on filet mignon and lobster,

(this was pre McDonald’s) 

but children today suck on little plastic thingies.

It’s all Obama’s fault.  And Hillary’s.

Lock them up! Lock them up?

What’s that?  I’m going to debate Kamala Harris, not Obama or Hillary.

Since when?

Oh, that’s right, Ka-MAL-a.  

I get them mixed up.  Ka-MAL-a. O-BAM-a. Frederick Douglass.

Ka-Mal-a? Isn’t she the one who sat in the front of the bus

when she isn’t even black?

What? Why should keep that to myself?

You don’t know anything about ratings.  

It’s time to let me be me.

I’m President of the World and a black belt in Karate.

I trained as a Navy Seal, you know.

They say I was the best recruit they ever saw.

I would have gone to Vietnam and stopped that war in one day,

but my father had bone spurs... 

Wayne Scheer lives with his wife in Atlanta. After twenty-five years of teaching writing and literature in college, he is trying to follow his own advice and write. A Pushcart Prize nominee, his stories have appeared in such varied publications as The Christian Science Monitor, Sex and Laughter, The Pedestal, Flash Me Magazine, Cezanne’s Carrot, The Binnacle and The Better Drink.

THE DEATH OF A POET

by Roxanne Doty

These are the poets and writers who have been killed in Gaza. —Literary Hub, December 21, 2023

Before they were bombed from the sky 

warheads raining on their crucified city

littered with the bones of winter

and blood of children

they were a poet and a teacher

a mother and father who understood 

the hope of words, the way they slipped 

through walls and checkpoints

couldn’t be stopped by soldiers 

or guns, how they empowered

defied the laws of physics

and occupation and oppression

 

To the secretaries of war who murdered the poet

words were sterile instruments, tools

like wrenches and screwdrivers, hammers

from the hardware store, like bunker buster bombs 

and hellfire missiles from a rich country

with democracy and security on its lips

and complicity on its hands, to these priests

of destruction, the poet was a calculation

the result of collateral damage equations

estimates of death rankings of acceptable levels 

of slaughter

 

The poet was killed in their home 

and in a school and a hospital and a UN shelter

and a refugee camp and on a war-torn street

and waving a white flag

before they died the poet had asked

When shall this pass?

 

The poet understood that words are fragile

even with their power could crumble and die

they need an audience to listen

to absorb to act and the poet knew 

that all the children of Gaza 

are poets too

Roxanne Doty lives in Tempe, Arizona. Her debut novel Out Stealing Water was published by Regal House Press, August 30. 2022.  Her first poetry collection will be published by Kelsay Books in the spring of 2024. Her short story “Turbulence” (Ocotillo Review) was nominated for the 2019 Pushcart prize for short fiction. Other stories and poems have appeared in Third Wednesday, Quibble Lit, Superstition Review, Forge, I70 Review, Soundings Review, Four Chambers Literary Magazine, Lascaux Review, Lunaris Review, Journal of Microliterature, The New Verse News, Saranac Review,Gateway Review and Reunion-The Dallas Review.

NO ONE TOLD OLGA CARMONA HER FATHER DIED BEFORE THE WORLD CUP FINAL

by Carla Schwartz

And without knowing it I had my Star before the game started. I know you have given me the strength to achieve something unique. I know you've been watching me tonight and that you're proud of me. Rest in peace, papa

Olga Carmona scored the only goal in Spain's win over England in the Women's World Cup final... For each World Cup title, a star is added above the crest on a national team's jersey. —NPR, August 21, 2023

I had my star

I had my goal

 

I played my star

I am the goal

 

Olga, you won the game

but lost your pa

 

What

if you had known?

 

I had my star

the night before

 

the final day

of the final course

 

for my design degree

that 2 a.m. my sister called

 

to let me know

our mother    gone

 

That morning the teacher asked

why I even came to class

 

I had my star

I had my goal

 

I told myself

my mother would have

would have wanted me to

 

but my mother who was dead

wanted nothing   I won that goal

my focus soaked in grief

 

Olga will never know

Spain will never know

 

would she have achieved her goal

were she suffused with grief?

Prize-winning poet Carla Schwartz’s poems have been widely published, including in her collections Signs of Marriage, Mother, One More Thing, and Intimacy with the Wind. Learn more at  carlapoet.com, or wakewiththesun.blogspot.com or find her at (https://twitter.com/cb99videos), (https://youtube.com/cb99videos), or (https://instagram.com/cb99videos).

OF SNAKES AND STONE

by Olivia Fortier

 

“Self-portrait in the style of Medusa” by Andrea Mantegna c. 1474 Uffizi Gallery. 
Photo via Web Gallery of Art

 

Though afraid of the water, 

my mother hand-scooped the lake 

to wet my skin before she blew up 

water wings, and slid them to the tops

of my arms. 

 

I floated on the surface of a calm lake, 

the flotsam of a failed marriage;

my father had sided with the man 

who’d raped my mother, when he, 

the rapist, denied any wrongdoing, 

as rapists often do, and it was then 

my mother lost her head.

 

From the water, I watched my mother 

walk the beach in search of driftwood 

for garden ornaments. An hour later, 

her pile was small, her harvest thin, 

so I swam back to shore to help her, 

my skin burned from the sun’s reflection 

on the lake’s mirror top. Seeing her error, 

my mother glossed me with sunscreen. 

Then, stony-faced, as single mothers 

must be at times, doing everything alone, 

she removed my wings, deflated them, 

and withdrew into herself.

 

When it comes to driftwood, 

gnarls and knots are lovely decorative 

features. Dead tree roots are rare finds; 

initially disturbing to look at, yes, but 

given a couple coats of shellac to bring 

out their natural beauty, they transform 

into octopi, or staghorn coral. Or, as 

my mother explained to me as I grew,

the rape survivor Medusa’s head of snakes—

 

snakes being her punishment for Poseidon's

assault against her body with his venomous 

viper; the rape turned any future hopes she had 

for normalcy to stone, which is to say, as Medusa

lied under his shadow, Poseidon projected himself 

onto her—a terrifying appearance, a petrifying gaze.

Then she was called monster while he continued 

to reign freely. Any man who slayed Medusa 

with his long, sharp blade would be called hero, 

and brave; her severed head and deadened mind, 

a trophy. But until then, she was forced to withdraw 

from society and live alone in a cave,

 

for shame. Before Mother died, she told me nothing 

has changed for women, and that I am Medusa’s daughter, 

and that statistically speaking, I will also become

Medusa.

 

I am Medusa.

Olivia Fortier’s work has appeared in multiple literary journals. She is currently a Master of Fine Arts candidate.