NO. NO.

by Nan Meneely

 

 

This protest was regional, the work of dedicated leadership in several small Connecticut towns. A group of somewhere between 20 and 30 or 40 people of all stripes, races and ages (and signs) gathered outside a café where three local roads collide, every single Saturday morning from the one directly following Trump's first election for more than four years. Nan's sign read "Honk Against Hatred;" the vigil was supposed to be silent, but she was unable to restrain her shouted thanks for every honk. This is a picture of one of the first meetings, with the central sign that was reproduced after the first and larger one was defaced.

2016
We hold a protest silently with signs 
that welcome all who worship other gods.
A pickup ploughs the shoulder 
where we stand, kicks gravel as it stops.
We back up quiet, listening. A man in camo, 
raging, crying, leans across his passenger 
to scream his epithets: ignorant fuckers,  
we don't know shit of the animals we invite.
Who of us has watched a friend
disintegrate, arms and legs no more
than shrapnel in a blazing Afghan sky?
His mind is full of massacre.
He loved. He hates.

I want to climb in next to him,
hold him in my Nana arms until he stills.
I've heard his wounds before.
My husband keened in nightmare
when he found again among the vines
of Vietnam his comrade's boots
with nothing of his comrade but his feet.
 
I know my luck that I don’t know.
Even as the soldier curses me
in his convulsive bitterness,
I want to love him back 
from where he lives. 

2026
Ignorant fuckers, haven't you learned 
you kill the ones who survive ?

 
Nan Meneely’s first book Letter from Italy, 1944 (Antrim House) was noted by the Hartford Courant as one of thirteen important books by Connecticut writers in 2013. It provided the libretto for an oratorio of the same name, composed by Sarah Meneely-Kyder and performed twice by Connecticut choruses and symphony orchestras. Her second book Simple Absence (Antrim House) was nominated for The National Book Award and placed as a grand prize finalist in The Next Generation Indie Awards and the 2021 Eric Hoffer Award. She has been published and rejected by The New Verse News.

SCULPTURE

by Jan Chronister

In Duluth, Minnesota

a well-known snow sculptor

crafts a car on his front lawn—

Honda Pilot with smiling driver,

arm hanging out. 

He adds a sign that says,

“I’m not mad at you.”

Someone places flowers

on the white canvas.

A photo of the sculpture on Facebook

draws close to one hundred hateful comments,

some even rejoicing at her death.

It’s going to be cold in Minnesota—

wind chills as low as -60.

The snow car and driver

will be around a long time.

Perhaps long enough

for the haters to find 

their humanity.

Jan Chronister is a retired educator who splits her year between the extremes of northern Wisconsin (by Lake Superior) and southern Georgia. She has authored three full-length poetry collections and twelve chapbooks. Jan edits and publishes the work of fellow poets under the imprint of Poetry Harbor.

HOW CAN I WRITE A LOVE POEM?

by Rose Mary Boehm

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

Do I write about poets with red holes

in their forehead? Students whose eyes

have been shot out, the mother of four

small children is rotting in a cell full of other people,

excrement, wails, the sounds of metal and wood

on flesh and bone.

 

How can I write a love poem when 

all I know is that planets no longer align,

that war has been declared on peace,

that all the crystals disintegrate into millions

of nano shards, shaken by the vibrations of hate.

 

How can I write a love poem when

I am no longer allowed to trust my eyes,

when blue is red, up is down, no means yes,

when, while I am hollow and starving

a blonde demon laughs and tells me I have riches

to look forward to. Perhaps even in this life.

All I have to do is believe.

 

And haven’t we all been taught to believe?

To believe that there is a big old man on a cloud

somewhere, an old man with a long, white beard

who has a big book and writes all your 

little misdeeds in big letters,

and who they say is love and who asks you to love

‘the other’ as you love yourself.

 

So, for many it’s easy to believe that in his name,

in the name of love, you are being hung

upside-down by your feet until you

confess how much delicious hate you feel,

and that you never had it so good.

A German-born UK national, Rose Mary Boehm lives and works in Lima, Peru. Author of two novels, eight poetry collections and one chapbook, her work has been widely published mostly by US poetry journals. A new full-length poetry collection is forthcoming in 2026.

HATE IS LEARNED, THEY SAY

by D. R. Goodman

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

Hate is learned, they say. I say it’s born
and hunting for a target from within,
coiled like a cat and patient, weapons worn
 
in secret, sheathed and still. As claw, or thorn,
it catches what comes close and pulls it in.
Hate is learned, they say. I say it’s born:
 
a hollow place the world must fill with sworn
invented enemies. Beneath the skin,
coiled like a cat, impatient, weapons worn
 
in fancied self-defense, it levies scorn
against whatever hapless prey strays in.
They say that hate is learned. I say it’s born,
 
innate and natural. We cannot warn
away what lives inside us, burrowed in
and cat-like, coiled and patient, weapons worn
 
then sharpened once again—keen claw, spike-thorn.
Our work is to expose love’s mirror-twin.
They say that hate is learned. I say it’s born.
It coils like a cat within us, weapon-worn.
 

D. R. Goodman is the author of Greed: A Confession from Able Muse Press, a past winner of the Howard Nemerov Sonnet Award, and twice winner of the Able Muse Write Prize for poetry. Her poems have appeared in Ted Kooser's American Life in Poetry, as well as in many other journals and anthologies. She is founder and chief instructor at a martial arts school.

INDIVISIBLE, WE STAND

by Darrell Petska

Have you noticed how crowded
America’s thin air has become?

Now it’s homeless humans
joining immigrant humans,
LGBTQIA humans,
Black humans—assorted humans
of every persuasion, more
and more each day, into thin air.

Or so would hearts shriveled by hate
and power lusts have us believe:
think Hitler and Pol Pot, Pinochet
in Chile, Netanyahu in Gaza, and
America’s Trump disappearing souls
who don’t fit white, regressive ideals.

But the disappeared, the disparaged,
do not go away, whether the living
to whom we owe their dignity as they
pursue universally human needs
and aspirations, or the dead
to whom we owe life’s memory.

To our own selves, as well, we owe
the essential humaneness we ask
of all other humans. There can be
no invisibility, only indivisibility.
We are one body. That which divides
we must call out: inhuman!

Darrell Petska is a retired university engineering editor and three-time Pushcart Prize nominee. Father of five and grandfather of seven, he lives near Madison, Wisconsin with his wife of more than 50 years.

MAGA SAGA... OR PROJECT 2025 CONTRIVED

by Gilbert Allen

Cartoon by Pat Bagley, The Salt Lake Tribune, UT

Fear queers.

Ban trans.

Hire liars.

Bring on Elon!

Pardon felons.

ICE raids

housemaids

nurse aides.

Prez sez

"I buy

Gaza Plaza!

Bombshell hotel!

Max tax

Canuck crooks!

Vex Mex!

They pay

duty booty!

Hate great!

True Blue?
Screw you.

Gilbert Allen has tried to live True Blue in Travelers Rest, South Carolina, since 1977. For more information about him and his work, check out the interview here.

THE BRAIN RESPONDS TO THE FIREHOSE OF SH*T

by Kay White Drew

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

Pounded from all directions
by edicts of spite and hate,
words and acts of cruelty
and stupidity, the amygdala,
fear’s hangout in the brain, grovels
on the unstable ground of shifting
demands, screaming for mercy:
I’ll do whatever you want! Just
please make it stop! Meanwhile,
the cerebral cortex, where reason
and discernment reside, frowns
in puzzlement, tries to ask
the relevant question: what
course of action might be
best in these circumstances?
but cannot get a word in edgewise.

Kay White Drew is a retired physician whose poems appear in Bay to Ocean Journal, Pen in Hand, Intima: A Journal of Narrative Medicine, Gargoyle, and New Verse News. She’s also published short stories and several essays, one of which was nominated for a Pushcart Prize, and a memoir, Stress Test. She lives in Rockville, MD with her husband.

FINE PRINT

by Tricia Knoll

Corporations make it so small you don’t

    read a word of it as if they save paper

    by cramming everything together 

what privacy you give up

hidden costs

contraindications, side effects –

one decreases cognitive abilities

on a drug doctors said I needed

as I age. Getting old

brings out glasses,

prescription or straight 

from the pharmacy rack. 

Woe: when it isn’t 8-point 

type, when it’s spelled out big

with a flaunty signature 

of a President who hates they, them

pronouns, turns the tables on being born

on safe soil, pardons killers, changes

the name of the highest mountain 

on the continent—the Great One. 

And on and on, writ large.  

Might as well be billboards

his words that make

my heart ache—what irony

I can’t even read his floozy signature. 

 

Tricia Knoll is an aging Vermont poet and feminist who hasn't yet conquered the heartache for women of losing the write to choose health care in so many states. She has nine collections in print, both full-length books and chapbooks. She is a Contributing Editor to the online journal Verse Virtual. She wonders how liberal folks will move forward in the coming years. 

LET’S DROP THE BALM

by Melanie Choukas-Bradley

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

Salve for the whole planet
Nuclear, to the last atomic particle
A wind so obliterating it removes all hate
Leaving a fallout of divine love with no half-life
Across all lands, all cells, all souls
 

Melanie Choukas-Bradley is a naturalist and award-winning author of eight nature books, including Wild Walking—A Guide to Forest Bathing Through the Seasons, City of Trees, A Year in Rock Creek Park, and Finding Solace at Theodore Roosevelt Island. She has had three previous poems published in the New Verse News and many poems published by Beate Sigriddaughter’s Writing in a Woman’s Voice, including four that have won “Moon Prizes.” 

A TEAR FALLS FROM THE MOON

by Richard L. Matta

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

Hideous weeds hide

in high grasses. Experts examine

lawns with satellites, surveil 

with drones, send in spies.

Intelligent eyes can’t locate 

the wild pests so tap-tap-tap 

go the buttons and neighborhoods 

are bombed and burned and stripped 

bare and young lingering eyes of flowers 

are cut off at the head.

I could ask a question of the wise 

pale moon in the thick evening heat 

but it’s dusted with debris. 

A speaker echoes…

         indiscriminately

                   inhumanity.

And I ask myself is this not a swarm

of bees in the making, generations 

of hate stewing, a turn of minority 

to majority, a dark legacy.

Richard L. Matta grew up in New York and now lives in San Diego. Some of his work is found in Ancient Paths, Dewdrop, San Pedro River Review, Third Wednesday, Slipstream, and many international haiku journals. 

LEGACY

by Jim Hanson

He finally was voted away
but left with the flick of a match
a wildfire burning across the land
turning once fertile fields of green
barren and black under a cloud,
as institutions smoldered from
forces of heated hate and malcontent
leaving behind for generations ahead
the remains of a republic uncertain
to rise in an unforeseeable future.

Jim Hanson is a retired university researcher and sociologist who lives in the St. Louis area. He has published three poetry collections titled Endless Journey, Ruminations of Living and Dying, and Perspectives, also some thirty single poems, and is a member of the St. Louis Poetry Center and Illinois State Poetry Society Southern Chapter.

CAN YOU LET THE CICADA BE BEAUTIFUL?

by Morrow Dowdle

When one, newly broken from its honeyed shell

tests flight’s imperative,

   whirs, strikes your skin,

will you turn to see who’s there?  Don’t look up.

Don’t think you deserve only what’s lofted.

This holy spirit lies on asphalt on its back.

 

Reconsider where it comes from, this fear

of what that can’t harm us. 

        Why do we hate it?

Turn it over if you are brave enough to touch it. 

Braver still if you will lift it.  Make your fingers

delicate as chopsticks on a robin’s egg.

Don’t pitch it in the grass.  Let it cling

to your wrist,

           its legs’ gentle sharpness.  You are just

another kind of tree, flesh-barked.  It crawls

your arm, and that’s when you see its eyes of red,

such a red we could never manifest—

not the richest lips, not the sex in its engorged

glory.  And its wings,

           its wings when they unstick,

intricate as any dragonfly, yet you’ll never find them

enshrined in silver, glass, or amethyst.

Are you brave enough, now, to allow it

to approach your head?  You have no xylem, no sap

for it to taste.  Nothing

                                     to dread.  But would you kiss it?

Could you name it the most modest of angels,

if much disgraced?  An angel must have wings,

but surely, it can wear any face.

 

Morrow Dowdle has poetry published in or forthcoming from New York Quarterly, Pedestal Magazine, Fatal Flaw, and Poetry South, among others. They have been nominated for the Pushcart and Best of the Net.  They edit poetry for Sunspot Literary Journal and host “Weave & Spin,” a performance series featuring marginalized voices. A former physician assistant, they now work as a creative writing instructor for current and former prison inmates. They live in Hillsborough, NC.

OH, ISRAEL

by Bonnie Proudfoot

Next Year in Jerusalem is said at the end of the Passover Seder. It is an ancient tradition that was first recorded by Isaac Tyrnau in the 15th century. Above art by Caren Garfen.

Oh, Israel, if my love is a suitcase, when I get to your house

I won't unpack, even though my mother and her mother,

my uncles and cousins are buried in pine boxes beneath

a star of David and our Rabbi wept for victims of the Holocaust,

 

cried for a homeland for the children of Zion. Yes, I used to feel

my chest swell open when I heard Hatikvah, yes, you've suffered,

people taken in sleep, in song, as they walked out of their homes.

I know you are perched on a precipice of strife. I too have felt

 

like a stranger in a strange land, my family holding our faith close

to shield us from hate or harm. Here, in the safety of my small

life, I see signs on the highway, a deer rearing up, a warning one

may careen across the road, but that isn't how it happens, not

 

right beside a road sign. When terror charged, you weren't

ready. I see stolen homes, stolen land. I see that hate calls out 

in darkness for more hate. Gazan families starve, pick through 

ashes to find bodies to bury while you shatter hospitals, shelters. 

 

I mean blood will stick to you, Israel. You shatter us too, we 

who were raised with a dream, who held you in the light each

Friday night. Two peoples, breath of one breath, voices raised to 

the same God. The more faith you steal, the less you'll keep.

Bonnie Proudfoot was raised in Queens, NY, and currently resides in Athens, Ohio. Her poetry has appeared previously in The New Verse News and many other fine journals and anthologies. Bonnie's first book of poems Household Gods was published by Sheila-Na-Gig editions, and her first novel Goshen Road was published by Swallow Press. It was named the WCONA Book of the Year and long-listed for the PEN/Hemingway Award.

KEEP AWAKE

by John Linstrom

Rescuers pull a child out of the rubble of a building in Khan Younis, on October 24, 2023. Photo:  Mahmud Hams / AFP / Getty via The Atlantic

for Gaza

The sun darkened, and the moon,
stars falling from heaven, powers

shaken. A toddler is lifted
from a pocket of air

below a concrete slab barely held
by neighbors: her eyes are hollow planets,

dry, they stare—these are not her parents,
she had just been napping and now

the world has gone all dust and jagged.
It was very loud, then very quiet.

This child is the same age
as my own daughter

who wakes with the sun
in the crib across the hall

each day. This child is your child;
she is one of two million.

O God, that you would come down
but you nor no one ever else would be

this child’s mother, nor the quilt
to pull down from over the couch, 

the rocking chair, the picture
of the rabbit at the end of the hall,

the pitcher of juice, the stuffed dog. This child
will now be fed the bread of tears: you

have given her tears to drink. This night
is too dark, carries no answer, and the only words

that come in the furtive inky air are keep awake. 
When she cries, what father will come in to lift her 

in the night? Keep awake. Was there a sibling
for whom those dry eyes moistened? Keep awake.

O God, that you would come down and shield
these children from the blinding grief that falls

with hate, from the ancient territorial tragedy
as we grasp for the revealing of some balm

this child is stricken to the root
deeper than tears, than her voice

and my God may we keep awake, for all
our righteous deeds are like a filthy cloth

until we cry out for this stricken girl
and for her loose our voices and

O God kindle our brushwood souls
and fire our water to boiling—powers shaken,

restore us that we might be saved from this,
that all might be saved in this night

for yes, I see, you have come down
and are there: crushed beneath the stone,

and there, sprinting over, lifting boulders, and
there: neighbors lift you and you stare

out among us as stars fall from heaven
and staring, wordlessly demand,

for every child, for every shining light
threatened in the falling night, to keep awake.

John Linstrom’s first collection of poems To Leave for Our Own Country is forthcoming from Black Lawrence Press in April of 2024. This poem, “Keep Awake,” was written in his role as Poet in Residence at Trinity Lower East Side Lutheran Parish in Manhattan and was read in worship for the First Sunday in Advent. His poetry has recently appeared or is forthcoming in Northwest Review, North American Review, and The Christian Century. He is the series editor of The Liberty Hyde Bailey Library for Cornell University Press, making available the works of environmental poet-philosopher L. H. Bailey (1858-1954). John holds an MFA in Creative Writing and Environment from Iowa State University and a PhD in English and American Literature from New York University. He lives with his wife and their young daughter in Queens, NY.

THE BETRAYAL OF TIKKUN OLAM

by Beth Heller

art by Nina Bonos

To repair the world, they said,

was our duty and our privilege
and the reason for our continued existence
 
Israel was supposed to be
the place where this work was embodied
and my body was put to use in its garden
 
I carried water in buckets
My 15 year old arms reaching toward trees
planted in the name of hope

We looked across the border
into barren desert and felt pride
And this was the mistake

This pride in green fields on one side
and desert on the other
We thought it meant they didn’t care

or couldn’t do the hard work of growing
We thought we had the right
and the power

And that THEY did not
And that THEY only wanted bombs 
and rage
 
This pride is the killer
the border, the dividing line 
between right and wrong

When all we had to do was step over 
a nonexistent line in the sand
drawn by meddlers and offer a hand
 
Now it is too late
The healing has flipped to genocide 
in no other name than power
The thing that was planted
was hate
on both sides of the fence
 
Tikkun Olam is for all of us
A responsibility and
a privilege

And the path is a walk
through a rain of blood
nurturing nothing

Same as it ever was
in this desert where humanity
has wandered far too long
 
Blame us
Blame them
Blame everyone

Or not, but walk
Walk that path 
towards oasis

The one fountain
contained in our bodies
everywhere

The same blood pumps through all of us
The same blood stains the ground
on either side of the fence

The same blood
calls out for 
peace

Beth Heller’s poetry has appeared in a variety of chapbooks and anthologies, including those of the Austin International Poetry Festival, the Houston Poetry Fest, Wild Word: Poets of the Gunnison Valley, and Fools Court Press, Houston, as well as newspapers and journals such as the Mountain Gazette, Fungi Magazine, and most recently and after a decades-long absence from public poeming, Medicine for Minds & Hearts: a MycoAnthology of poems inspired by a love of mushrooms, Fungi Press.  She moves around but is currently nested in Western North Carolina