MARCH OF THE POSTER BOYS

by Scott LaMascus

for Robin Davis

He Took His 68-Year-Old Secret to Court and Finally Confronted His Ghost: Robin Davis (above) spent a long career in finance and philanthropy haunted by what had happened to him as a boy. Could an unusual trial on Long Island help him find peace? —Michael Wilson, The New York Times, August 5, 2024

The poster boys for this malady 
each stare into their mirrors hoping to see the ghost
they would be able to fight now
their feet are no longer frozen to the spots

of their only crimes — the car ride with a coach, 
an after-school job, a church’s back room. 
They gather now in a spectral locker room of boys
chosen by chance and dark intention, charged 

and armor-plated by twenty, thirty, sixty years
of silent shame driving them to something else.
However much success they find, the juries snicker
and some doze, nodding away at lack of blood

and gore, for they cannot see the fright of spirits
gathered on each side of the glass, a throng of 
poster boys facing ghosts who picked them out 
of the schoolyards of time. No justice can redress 

the fraids on either side of the mirror, peering 
in with one hand on gavel and one on a scale, 
sometimes seeing the wispy victims, sometimes not,
I suspect. All velocity has settled now into sleep.

The pardon Robin seeks is in that mirror, too,
as he speaks before the harsher judge and jury all in one,
a lone poster boy standing again before his ghost
testifying now into the wisp of time he cannot unimagine.

Author’s Note:  This poem puts Davis (and me) into the company of a myriad of ghostly perpetrators and ghostly victims. A “fraid” is the technical name for a gathering of spirits, in this poem’s vision a two-sided confrontation of ghosts of perpetrators and of survivors. The poem also turns on found language from the Michael Wilson article including the three F’s (fight or flight or freeze) quoted by Wilson from the courtroom testimony of the psychologist, Valentina Stoycheva.

Scott LaMascus is a writer and public-humanities advocate living in Oklahoma City. His recent work may be found in World Literature Today, The Writer’s Chronicle, Bracken, Red Door, and Epiphany.

WHO

by Akua Lezli Hope

Illustration by Tom Bachtell for “Trump’s Confusing Strike On Syria,” The New Yorker, April 17, 2017.

Who calls for walls and not for bridges
whose thoughts line his head in ridges
who calls for denial not acceptance
whose platform was a new intolerance
who launches air strikes and not aid
whose debts have often gone unpaid
whose employees are perforce, afraid
who creates chaos and alternate facts
who baits and switches at the drop of a hat
who denies sanctuary and bans entry
who sends bombs without strategy
who fuels fright and exploits uncertainty
who refuses immigrants and denies refugees
who despoils and blasts the citizenry
who defends perfidy and pretends to care
who launches Tomahawks over there
who keeps a bevy of madmen near
who slow dances with the cold Russian Bear
whose tax filings are still not shared
who starts war and exploits fear
who starts war and exploits fear

Akua Lezli Hope is a creator who uses sound, words, fiber, glass, metal, and wire to create poems, patterns, stories, music, ornaments, wearables, jewelry, adornments and peace whenever possible. Her work appears in many anthologies and magazines: most recently in Sexuality Anthology,  Revise the Psalm: Work Celebrating the Writing of Gwendolyn Brooks Dozen, the Best of Breath and Shadow, Faerie Magazine and Andromeda Spaceways #66.