VANISHING ACT: ICE IN AMERICA

by Sarah M. Prindle

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

Pull a rabbit out of a hat,

pick a card,

levitate a large table.

Such magic tricks bring joy

and gasps of amazement.

But smoke and mirrors

can be deceptive,

engendering fear

of the unknown.

When harmless strangers

are distorted into threats,

magic takes a sinister turn.

Children playing at recess,

women behind the store’s counter,

men toiling in the field…

Poof! Gone.

Masked men swarm the area

and make them disappear,

a vanishing act that brings grief

instead of wonderment.

 

Sarah M. Prindle received an Associate in English from Northampton Community College. She loves reading everything from historical fiction and memoirs to poetry and mysteries. She hopes to someday publish her own novels and poetry collections and has already had her work published in several literary magazines and websites.

MASK

by James Penha

 

Foot-Combat Helm of Sir Giles Capel (1485–1556) - possibly British - The Metropolitan Museum of Art

 

 

Four years ago, I would have seen a mask

certain to prevent a virus from infiltrating.

Now we debate whether masks that can hide

the faces of criminals or immigrants should

be legal. But there are no such restrictions 

on the bullies in the region of this museum.

Sir Giles reincarnate, they take on all comers 

to this country. They pull brown deliverers out 

of their Uber Eats cars… they tackle innocents 

checking in at the courthouse… they wrestle 

workers from warehouses… and pound them 

down with their bulk into our halls and streets. 

Who are you? let an observer ask. The answer 

is the mask. Steeled as a weapon for white 

Christian nationalists, it will hear no objection

from the White House overseers of art. Indeed, 

I can imagine this helm set on a block of ice 

emblematic of our new divine right of kings.

James Penha hosts The New Verse News. His short story collection Queer As Folk Tales really needs good reviews at amazon but can be bought at non-bezos outlets as well.

THE CIRCUS COMES TO SAN DIEGO

by Steve Rodriguez

September 16, 2026

Someone whispers, the circus is in town.  A dark 
caravan is seen parading down the road. We might expect 
to see trained lions, and the trapeze artist;
death-defiers treading a tightrope balanced high above. 
 
Instead, we are treated to a disappearing act. Sheer scale of magic 
catches everyone by surprise. Scary clowns, wearing olive drab
outfits – complete with black masks, helmets, ICE cool military swag—
pour out of their armored vehicles. Under a big top canopy
 
of blue coastal skies, they form three-ring spectacles
in front of restaurants, Home Depot lots, and apartment complexes. 
Resembling Death Star troopers arriving far too late
for this year’s Comic Con, they begin disappearing humans
 
like strong-armed, Kevlar-vested magicians shoving rabbits 
in and out of a top hat. Citizens observe the action. 
Poof!  Another body vanishes into the transfer portal.
What did these people ever do, a bystander protests?     
 
Murders and rapists, one costumed joker responds, adding
gang member as an afterthought.  Nothing slick about 
these clowns-slash-illusionists. No smooth sleight of hand.
More like a fight card of UFC brawlers employing muscle
 
and well-rehearsed intimidating stares that peek out 
from above the masks. We in the crowd feel helpless,
unable to stop this performance gone horribly awry, 
all the while insisting the ringmaster answer for his debacle.
 
From a distance, however, indeed going all the way back 
to Pennsylvania Avenue, the orange impresario can be heard hawking,
“Step right up and observe the greatest show on earth”
as another human—heart beating like a rabbit—
magically evaporates into thin coastal air.     

Author’s Gloss:

Circus—
1.     a travelling company of acrobats, clowns, and other entertainers which gives performances, typically in a large tent, in a series of different places.
2.     a public scene of frenetic, noisy, or confused activity.

Steve Rodriguez is a retired U.S. Marine Corps officer and a retired high school English teacher. He resides in San Diego, CA. His poetry has recently appeared in several local anthologies, as well as The New Verse News and Beatnik Cowboy. One of his poems was recognized at the 2025 National Baseball Poetry Festival.  

YOU GOTTA LOVE

by Joey Whitton

after Bob Dylan’s “Gotta Serve Somebody”

BBC, September 14, 2026

Here you are handing out PTSD like candy

What parts of you were left in the dog crate that

you stuffed Immigrants in

Who speak only english, have all American children,

Who don't know english, have no one,

Maybe a shopkeeper, a mechanic, a computer whiz

Maybe a housekeeper, a dog sitter, a nursing aide

Maybe a fast food worker, a grocery clerk, a good friend

Maybe a Christian, a Muslim, an atheist, a Jew

Maybe a teacher, a paramedic, a soldier, a leader

Maybe a mother, a father, a brother, a sister

Maybe a child

You gotta learn,

You gotta ask,

You gotta pray,

You gotta love.

Joey Whitton was born on the East Coast, raised on the West Coast, and now lives in the Deep South. Hardcore punk has inspired him for decades. His poetry is forthcoming in Heavy Feather Review, Neologism Poetry Journal, and Double Dutch Magazine and has appeared in Flipside Magazine, Misfit Magazine, Sky Island Journal, Poetry Pacific, The Broken Teacup, Trashlight Press, and BlazeVOX Journal.

NOT NICE EUPHEMISMS AND DYSPHEMISMS

by Anne Gruner

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, Wayfarer Magazine, The New Verse News, Humans of the World, Spillwords, and Written Tales. A former career CIA analyst and lawyer, Anne lives in McLean, Virginia with her husband and two golden retrievers.

BUNKER HILL

by Betsy Johnson

 

 

 

Maybe history belongs in an aquarium,
sealed glass, nothing escapes,
tourists tapping,
their faces blurring into the water
like fish circling stones,
forgetting how a river ever tasted.

Blindfolds are now built into the monument,
no need to hand them out.
People gather,
guessing at the gaps,
swapping stories about words that used to live here.
There’s a kind of bravery in pretending
not to flinch.

Slavery, taken from the wall.
Women erased,
the ones who refused to fold themselves small.
Immigrants, scratched out.
Only the dead left,
the ones good for a headline in June.
Someone decided truth was too “woke” for the daylight.
Wouldn’t want anyone catching empathy from a plaque.
You stand in front of absence,

try to piece together stories from what’s left in the shadows.

The monument looks lighter,
but the air is heavy,
pressing on your chest,
the way silence does
when no one wants to go first.
Tourists line up for their photos,
kids run the steps.
It gets too easy,
not seeing what isn’t there.

History shrinks down,
something you can keep in your pocket,
hard questions packed away in dust,
stories left behind
because they were too honest to let us sleep.

And I wonder,
what happens to a country
that keeps pretending it’s finished telling the truth,
when everyone who knows better
is still standing here,
waiting for their name to be spoken
in the story that always belonged to them.

Betsy Johnson is a poet, storyteller, educator, and autism specialist whose work explores belonging through disability, caregiving, healthcare, social justice, and the natural world. Her writing weaves personal narrative with larger social questions, tracing how people navigate uncertainty, connection, loss, resilience, and change. Her poem "Mathematics of Mercy," on the human impact of Medicaid policy, was read on the floor of the House of Representatives.

THE MAD HATER’S TEA PARTY

by Lisa Shulman

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

“I’m throwing a Party,” the Mad Hater decreed,

“And it’s only for those of Certain High Breed.

The workers and riff-raff will not be allowed

We’ll clear this Great Land of such unwanted crowds.

We’ll send them all packing to back where they came

And build big border walls in Liberty’s name.”

 

He wanted the people meek and afraid,

Instead they came chanting and dancing, they prayed.

They flocked to the aid of their neighbors and friends,

They poured through the streets, angry crowds without end.

 

“Criminals!” the Mad Hater shouted with venom,

“Violent assassins, we’re going to get ‘em!”

He called out his proud boys, his goons and his gnome,

Said, “Smash their car windows, crash into their homes.

You’re breaking no laws if you do what I say,

My Words are the only Law you must obey.

But these people with cameras and signs in their hands

Are the worst of the worst, destroying our Land.

Arresting them all is how we stay Free,

Anyone is a traitor who doesn’t agree!”

 

The people still came with their banners and songs,

Would not be defeated, they knew right from wrong.

 

Then, “Off with their masks!” the large crowd declared,

“Let’s see why these big men are so terribly scared

Of children and mothers and men holding phones,

It makes them all trembly right down to their bones.

Their pepper and guns are no match for such threats

As inflatable frogs and knitters in sweats,

And pink dancing sharks and sweet unicorns,

And kids banging drums and blowing on horns!”

 

With all this distraction, this hullaballoo,

The Hater was pleased by something he knew.

He rubbed his small hands and gave a sly smile,

“At least they’ve forgotten about those damn Files!”

 

 

Lisa Shulman is a poet, children’s book author, and teacher. Her poetry has appeared in Sheila-na-gig, About Place, Anacapa Review, Inkfish, Kitchen Table Quarterly, ONE ART, The New Verse News, and elsewhere. She is the author of the poetry chapbook Fragile Bones, Fierce Heart. A Pushcart nominee, Lisa teaches poetry with California Poets in the Schools, and workshops for women in recovery.

HARRY HINES BLVD, DALLAS, TX, 0647 AM

by Kay White Drew

Taillights stream by like corpuscles thru blood vessels, branches
off the aortic arch (there’s a mnemonic for that I’ve forgotten),
blurred and softened by the translucent window shade.
Traffic lights turn from green to brief yellow to long red,
downtown skyline hulking in predawn distance, the stark ovoid 
tower of the Renaissance Hotel lording it over the rest.

A mile down the road, my brother sleeps in an isolation room,
his embattled bone marrow doing what it can to recover
from the chemical onslaught it’s been subjected to
in the name of healing, even as the drivers of these cars
whizzing by my 3rd floor hotel window go about their business—
driving to work, worrying about their bills and their kids
and their ailing parents, listening to some false prophet
on the radio telling them it’s all the fault of the immigrants
and the trans people rather than the demented tyrant in the White House.

How many miles from here to the nearest of the concentration camps
(and how many are there in this state?) where the people detained
would give anything to be driving to work, worrying
about an overdue mortgage payment or a wayward teenage son.
These hulking urban clusters, the fruit of oil/blood money,
can’t help but draw my contempt, even my hatred…

Yes, I hate you, Dallas, not just because my brother’s dying here,
but because our country is, too.

 

Kay White Drew is a retired physician whose poems appear in various anthologies and internet outlets including The Intima, Gargoyle, Second Coming, 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, about medical school in the 1970s. She lives in Rockville, MD with her husband. Reading and spending time in nature keep her sane(ish) in these difficult times.

OLD AND FAMILIAR

by Dick Altman

A preliminary review by U.S. Customs and Border Protection’s internal watchdog office found that Alex Pretti was shot by two federal officers after resisting arrest, but did not indicate that he brandished a weapon during the encounter, according to an email sent to Congress and reviewed by The New York Times [January 27, 2026].

We were both

ten years old,

and best friends,

the colonel’s

daughter

across the street

and I,

when he said

I think

you’re old enough

to see these

army newsreels,

from my days 

back

in World War II.

 

Down into 

the basement

we went.

Before he turned

out the lights,

we watched

as he took out

a giant reel

of sixteen millimeter

black and white film,

he fitted

to his old army

projector.

 

The two of us

watched in terror,

as people were

dragged from shops

and apartment

buildings,

thrown

to the ground,

and beaten.

With the same

fright in our voices,

we asked

what they

did wrong.

 

The colonel

stopped the film

and turned

on the lights.

What did they

do wrong,

he repeated.

Hitler—

a name

we knew barely

at a distance—

hated Jews,

he said.

The people

pictured here

were Jews.

In that quiet

fatherly tone,

I knew so well,

he looked at me

and said,

you’re Jewish,

aren’t you.

 

The next images,

forever fixed

in my mind,

showed mounds

of dead bodies 

being bulldozed

into trenches,

at what he called

“the camps”.

A vile end,

I later thought,

for a people

doing nothing 

wrong,

but approaching

their god,

in the Fuhrer’s eyes,

from the wrong

testament.

***

I can’t pick up a paper,

or see a newscast,

that doesn’t remind me—

as ICE grabs individuals

off the street,

or wades into crowds

with smoke bombs,

to break up protests—

of those images

the colonel

shared with us,

that day long ago.

 

We were still

too young

to understand

when he told,

how Hitler came

to control the truth

proclaimed 

by print

and radio.

As truth today

seems to reincarnate

with each sunrise,

the colonel’s films

begin to feel

eerily familiar.

Have America’s

once welcome

immigrants,

incarcerated now

at every turn,

I ask myself,

become

yesterday’s

vilified Jews,

our government

more Hitlerian

by the hour?

And more

terrifying?

 

Dick Altman writes in the thin, magical air of Old West’s high desert plains, where, at 7,000 feet, reality and imagination often blur. He is published in the American Journal of Poetry, Santa Fe Literary Review, Fredericksburg Literary Review, Foliate Oak, Landing Zone, Cathexis Northwest Press, Humana Obscura, Haunted Waters Press, Split Rock Review, The Ravens Perch, and others here and abroad.  His work also appears in the first edition of The New Mexico Anthology of Poetry, published by the New Mexico Museum Press. Pushcart Prize nominee and poetry winner of Santa Fe New Mexican’s annual literary competition, he has authored over 290 poems, published on four continents.

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.