ONCE UPON A TIME IN THE OLD WEST

by Gale Naylor

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

ice melting at the poles was our nightmare scenario—still is—but now it’s interrupted by ICE in masks, killing legal immigrants (and whoever gets in their way) like it’s eighteen-seventy-five—but here in twenty-twenty-six, it’s the lawmen who kill/terrorize/strut through the center of town—camo peacocks, daring the town folk to speak or act—but the peacocks forgot: bad guys wear masks, and that’s how you know this is more bad LSD trip than Sergio Leone or John Ford movie with a scripted ending—oh, no, we’re crowd-sourcing these final moments, and I hope in this film the town ejects the masked bandits, and the woman who runs the general store is persuaded to lead—though she only accepts if everyone pitches in—because this is when we live our Sunday best, this is when we can return to solving the bigger problems, this version is when we have a snowball’s chance in hell of finding a lasting solution to ice.

Poetry is how Gale Naylor makes sense of the world as a survivor of incest and sexual abuse; they hope their voice helps other survivors feel less alone. Gale's poems have appeared in Exposed Bone, Calliope-on-the-Web, S/He Speaks 4, Jupiter Review, The Ekphrastic Review, and the California Poet Laureate’s “Our California” website. Gale received an MFA from Antioch University Los Angeles in 2026.

FALSE FLAG OPERATION

by Sahil Mehta

Rama Duwaji is censured

by dim association.

Meanwhile,

the Sharia Free caucus

expands hatred with impunity.

The goose and the gander

must play on separate teams.

ICE is at the airports.

Why shouldn’t the fox be a stripper 

at the hen party?

An alphabet soup 

threatens to jumble the truth.

CBS is tilting at the windmills.

Being a Muslim in America

is antithetical

to our right to bare arms,

says the Congressman from Tennessee.

The only acceptable use of hijabs

is to cloak a woman’s words.

Sahil Mehta was born and raised in India. He currently lives in Boston, MA, where he works in the hospitality industry. His work has appeared in Foglifter Journal (nominated for PEN/Robert J. Dau Short Story Prize for Emerging Writers), Tint Journal (Special mention, Pushcart Prize anthology), Cleaver, Sixfold, South 85 Journal (2023 Julia Peterkin Flash Fiction Award, second runner-up), and other publications. His debut novel Love, Loss, and Lost Causes was published by Rebel Satori Press.

AFTER THE LATEST IMMIGRATION RAIDS IN LOS ANGELES

by Carrie Farrar

 

Thousands of people rallied at MacArthur Park in Los Angeles on Friday [May 1] calling for legal protections and citizenship for immigrants and dignity for all workers. Janitors, stadium workers, car wash workers and educators stood shoulder-to-shoulder Friday with students, faith leaders and other community members for the annual May Day event, which is also celebrated around the world as International Workers’ Day. More than 125 pro-immigrant and social justice organizations mobilized their members under the banner “Solo el Pueblo Shuts it Down – No Work, No School, No Shopping,” according to a press release by the LA May Day Coalition. Photo by Martín Macías, Jr. —Los Angeles Public Press

They came as Michoacán, Jalisco, & Oaxaca,
feet tuned to rhythms of banda & norteño.
They came to roof houses in Inglewood & Watts,

to pick strawberries near Oxnard, to bus tables
on Figueroa, to fix rebar & copper in Compton,
to patch asphalt along Florence & Avalon.

They built drywall & scaffold
wedged into their place in South Central.
Decades of smog changed the skyline,

from oil pumps to cranes, & dream-footed
hard work rattled their bones.
They danced Zapateado. They lived

& died. Shrouded in flags, in unmarked graves,
in deportation vans idling at dawn again,
the headline already scrolling beneath the weather.

ICE owned them in neighborhoods of fear,
in alleys of Pico-Union where whispers
outlasted the sirens,

where this week’s footage loops
hands zip-tied outside a parking lot
no one will name twice.

Before developers arrived, bougainvillea
crept over chain-link & memory,
the scent of carne asada mixing
with jet fuel from LAX.

Did descendants & newcomers shoulder
the same dread, hauling drywall,
eyes darting at the low hum of drones?

Soon, footsteps of downtown’s marble lobbies
strutted overhead, back & forth
between old denials & new arrivals,

going from major to minor violence,
always on the go. The knock of boots,
the tap of a badge awaking the dead.

 

Carrie Farrar is a Los Angeles–based poet whose work explores labor, displacement, and the emotional architecture of survival. Her poems have appeared in several online literary journals.

THE REVOLUTION IS BEING TELEVISED

by Alex Stolis

after Gil Scott-Heron

You cannot escape it by staying home 

the revolution is alive

the revolution is a nuclear sun melting black ice

the revolution will not let you rest.

There are no news highlights

there is no news, only revolution,

no memes, no theme song, no uniforms,

no military-industrial complexion.

The revolution is being televised

in B&W

in Technicolor

in IMAX 3D.

The revolution is being televised as you read this

the revolution does not care about talking heads,

doesn’t believe in DHS or FBI or ATF or 

any other alphabet-despotic soup.

The revolution is being televised

while you eat, sleep, make love, 

while you want to believe things are normal,

ignore the revolution at your own peril.

The revolution is being televised

coast to coast, station to station

a commercial free telethon streaming 24/7

it is Bot-proof, cleared of influencers.

This revolution takes no prisoners

it names names & kicks ass, it spins 

spin back to truth, it’s a Springsteen song 

written & recorded in 48 hours.

There will be no taping or film at 11:00

no reruns,

tune in or turn out

the revolution is being televised.

There will be no ctrl-alt-delete

lock screen, reboot

this revolution is being televised

is being televised live.

Author’s note: Last week, Bruce Springsteen wrote a song in protest of the ICE actions in my hometown, Minneapolis. It brought to mind Public Enemy's song "Revolution" which brought to mind Gil Scott-Heron's song "The Revolution Will Not Be Televised" which, in turn, brought this poem to me. I am reminded of how art is connected, the power of words and how we, the people, do have the power to direct history.

Alex Stolis has had poems published in numerous journals. Two full length collections, Pop. 1280 and John Berryman Died Here were released by Cyberwit and available on Amazon. His work has previously appeared or is forthcoming in Piker’s Press, Ekphrastic Review, Louisiana Literature Review, Burningwood Literary Journal, and Star 82 Review. His chapbook Postcards from the Knife-Thrower's Wife was released by Louisiana Literature Press, RIP Winston Smith from Alien Buddha Press, and The Hum of Geometry; The Music of Spheres in by Bottlecap Press. He lives in upstate New York with his partner, poet Catherine Arra.

NOT ICE

by Erin Murphy

Homeland Security officials have urged disaster response staff at the Federal Emergency Management Agency to avoid using the word “ice” in public messaging about the massive winter storm barreling toward much of the United States... The concern is that the word could spark confusion or online mockery, given the ongoing controversy surrounding US Immigration and Customs Enforcement—also known as “ICE.” —CNN, January 24, 2026

It’s frozen water—not ice.

We have mouses not mice.

Say two times, not twice.

 

Your kid’s hair may be lousy

but it’s not crawling with lice.

Predators lure but do not entice.

 

Even the city in France

must change its spelling

to Niece instead of Nice

 

which looks like nice.

Casinos don’t use dice—

from now on, the plural

 

of die is dies. Take your

chances at the craps table,

on the sidewalk, in your

 

own car or home. Believe

what they say you saw

with your own eyes.

Erin Murphy’s latest books are Human Resources and Fluent in Blue, winner of the 2025 American Book Fest Best Book Award in Poetry. 

EPSTEIN WAR

by KP Liles 

Cartoon by Nick Anderson

It was always about the crude.

Extracting the dark

archives out 

from under us.

A few wealthy men 

plotting to own

everything, down

to the last

liquified remains 

they groom 

to burn. Virgin 

trillions naked

for the taking.

O Power! the Power!

Unrivaled deployment—

Military, ICE, beyond oversight…

Taste Venezuela: 

lest we forget

it’s a jungle out there. 

War

drugs, law, lust

regime change

Mexico, Cuba

Minneapolis

Iran

Portland, Greenland

Behold! A politics of scandal 

heaped on scandal heaped

on scandal heaped on

morals. On truth.

Still, the trafficked girls

will not be

silenced. Drill! 

If you have the stomach for it.

It was always 

about the crude.

KP Liles desires a better, safer world for his daughter. For his son, his family, his students, his community, his fellow decent human beings. So, while he would have preferred to have spent time indulging in his newfound enthusiasm for birding, he felt obligated to put on the poet uniform for this piece.

O GREENLAND! MY GREENLAND!

by Anne Gruner

Global AI race makes Greenland's critical minerals a tempting target —NBC News, January 17, 2026

Frozen for millennia,

your ice melts faster and faster,

the shiny shield that protects you

from the sun, reflecting its rays,

like armor deflecting spears, arrows,

and swords but not outrageous fortune.

 

Invulnerable for ages, your permafrost

softens, disgorging its methane and carbon

to fuel the global bonfire of the vanities.

Ancient microbes, freed from glacial captivity

create black holes of “giant” viruses,

standing ready for missions of good or evil.

Fresh and cold, your newly born meltwater

floods the warm salty ocean,

and like a hormonal imbalance,

it slows the sea's circulation,

a fateful harbinger.

 

As your ice bids its long farewell,

you say hello to a new peril,

one from humanity, which may transmogrify

your beauty into toxic mountains of sludge, acid,

dust, and runoff from crushing, grinding,

and chemical bleaching for coveted minerals

and a cesspool of data centers, accelerating

your blackening, melting, warming,

and death. 

 

For the first time in human memory

you have shed tears on your highest peak,

weeping for the Earth.

Anne Gruner is a two-time Pushcart nominee whose poetry has appeared in numerous print and on-line publications including Amsterdam Quarterly Review, Beltway Poetry Quarterly, Honeyguide Literary Magazine, The New Verse News, Humans of the World, Spillwords, and Written Tales. Her fiction and non-fiction can be found in Dogwood, Rhapsody of the Spheres, Persimmon Tree, Constellations, Hippocampus, and others. A former CIA analyst, Anne lives in McLean, Virginia with her husband and two golden retrievers.

THE INHERITANCE

by Jim Bellanca

Gainesville, Georgia, 2020 (Shutterstock)

Jim Crow’s obituary read,

“After a lengthy illness, Jim has passed away,

His Crow name now just history.” 

I thought “maybe not, maybe so.”

(You cannot trust the news these days.)

 

I knew Jim’s sister Jane had moved to Toronto

with her DACA son Juan

a surprise, a ten-year caboose

behind three sisters college gone,

had joined the family late.

Juan Crow was the most interesting one,

a son who’d volunteered for war, 

three tours in Afghanistan’s battle fields,

a Silver Cross and long times spent from love.

Back home, a hero named, he learned again, 

(most definitely not his first experience),

the curse of Jim Crow’s name, 

with his life separated by skin

in school,

        —at water fountains

        —on school bus ride

        —in restaurants

        —in restrooms

        —in voting booths

        —in marriage beds

the profile depicting all brown men

as one no matter where or who or when

ICE labeled shady caricatures,  

        —“beaner”

        —“wetback”

        —“gringo”​

        —“spic”

who tequila too much, siesta too long, 

just “don’t belong” on our turf;

accused of job stealing, rape, and more, 

tattooed as M-13,

by Presidential decree,

      —“the worst of hombres”

      —“the most detestable of human beings”

      —“the lowest despicable animal beast”

      —“a greaser druggy poisoning our lands”

any excuse the man can name

while hooded fiends from ICE 

day-quota-sized kidnapping any brown man

      —in church or school  

      —in hospital bed

      —in shopping mall

      —in strawberry fields 

      —in pizza huts

all blared and shared in local tv news, 

dread images bent with bowed shaved heads, 

arms tattoed with criminal marks

slow marched to caged jail cells,

(no one knows where)

—to scare the most innocent

—to leave their family love 

—to end their journey to freedom’s land

—to prove the power of the President

            by breaking what laws, he wished.

 

Juan Crow’s red blood

once given to save the land, the nation he loved,

no longer flows free. Juan sits in Alcatraz,

in his separate unequal cell

all son and martyr and hero dream

of Jim Crow newborn, a cosmic transfer,

a heritage inherited without recourse

Jim’s curse transferred to Juan, 

a lifetime injustice to bare, 

all ball and chain and prison wrack, 

all Sisyphus rock on his back.

Jim Bellanca, former English teacher, publisher and gadfly, now a late blooming poet, favors paining memory images about nature, family, peace, social justice and wry comments about senior life. He fervently assumes a “No Prufrock I” position when he writes about social injustice. More than two dozen poetry journals including Witcraft, Write City zine, Aerial Journey. Down In the Dirt, Sparks of Caliope, Westwood Quarterly, The Lyric, and East on Central have published his poems.