PINS ON THE MAP

by J. Alan Nelson

 

After spending some of his prime years aiding German concentration camp survivors and guarding Nazi leaders tried for crimes against humanity at Nuremberg, a US second world war veteran is now believed to have become his country’s oldest known organ donor. The story of 100-year-old Dale Steele (above), who died in February after a head injury led to his being placed on life support, demonstrates how donors’ health is a more important consideration than how old they are, according to Live On Nebraska, an organ-procurement organization in his home state. “Mr Steele … is a powerful reminder that generosity has no age limit,” Live On Nebraska’s president and CEO, Kyle Herber, said in a statement. —The Guardian, March 13, 2026

Whenever I swear I don’t care anymore,
I open the phone, that glowing atlas,
and touch the red pins I dropped like blood drops
across the skin of the world.

One for the women I fucked in borrowed rooms,
their breath hot against my neck, thighs parting
like pages in a book I never finished reading.
One where Father left the dog behind,
old mutt howling at the empty driveway,
a childhood door slammed shut forever.

One where I straddled a pine like Frost’s secret rider,
sap sticky on my palms, wind laughing through needles.
One where I held the knife above an evil man’s throat,
his wife asleep beside him, innocent as milk,
and mercy rose up, sour and sudden,
and I walked away empty-handed.

One for the half-mile district win,
lungs burning, crowd a blur of small-town faces.
One for the bear in the Rockies,
black eyes meeting mine, both of us startled
into stillness, two animals deciding not to fight.

One where I sank into Icelandic snowdrift,
white world swallowing me whole,
cold like a lover who won’t let go.
One for the switchblade in Mexico,
cold steel kissing my throat,
I tasted metal and my own pulse.

One where I crashed Clinton’s party,
slipped past Secret Service like a dream,
shook the president’s hand, felt history
warm and ordinary in my grip.

I pin these moments still,
geography of scars and small triumphs.

Late nights when the step counter mocks me,
a few thousand short of ten,
I walk the empty streets at ten p.m.,
beer can sweating in my fist,
streetlights buzzing like tired blues.

On my pointer fingers, tattoos: RS and LP,
right starboard, left port,
so even drunk I know which way the ship turns.

And somewhere in Nebraska,
a hundred-year-old veteran, Dale Steele,
WWII quiet in his bones,
gives his liver after death,
organ young as three, they say,
regenerating cells like a river keeps running,
old body gifting what still lives.

I think of him when I pin another dot:
a man who outlasted war, depression, time,
then handed over the soft machine inside him
so someone else could keep breathing.

The map glows.
I zoom in, zoom out.
Infinity folds in on itself,
tessellations, impossible stairs,
hyperbolic curves bending away forever.

Yet here I am,
walking home under stars,
beer almost gone,
still pinning,
still caring,
one small step at a time.

J. Alan Nelson, a poet, actor, lawyer and journalist, has been nominated for a Pushcart Prize, Best of Net and Best Microfiction. He played the lead in the viral video Does This Cake Make Me Look Gay, the verbose “Silent Al” in HBO’s Emmy-winning SXSWestworld, and narrated New York Times videos on AIDS programs in Africa.  

FIRST BOMBLESS DAY

a tanka sequence

by Chen-ou Liu

hometown

once a place of human warmth

and safety

now a pile of stones and dust

where memories crumble

family

once a source of love and help

now whispered names

on trembling lips

with a question, "still alive?"

ruins and ruins ...

under Gaza's smeared sun

childhood memories

scatter like splintered shards

that can’t be fit together

ceasefire deal

once a sunbird singing nonstop

now a mute swan

battling the chilly winds

of hunger and despair

Author’s note: The Palestine sunbird pictured above (Cinnyris osea) is a small passerine bird of the sunbird family, Nectariniidae, and in 2015, the Palestinian Authority adopted the species as a national bird. Native to Eurasia but migrating south for the winter, the mute swan (Cygnus olor) is a rare winter visitor to Palestine.

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.

TODAY THE SKY BLED RED

by Kyle Hina

Today the morning sky bled
red with memories that I can
only imagine from a far, all
caught up in the air beneath
the hazy sun. Wisps of a thing 
infinitesimally small in size but
of infinite magnitude, summoned to
one last sail across heaven’s sea.

Somewhere in there, I’m sure,
is the country blue farmhouse 
that grandpa built, with the tan
guitar in the corner that turned 
him into Johnny and grandma 
into June when he played it. 

There are the skinny emerald
pines that dotted the trail of
a friend’s first date.  And the 
silver and rust car that caught
her sobs when she found 
that love isn’t always evergreen.  

There is the ivory wedding gown, 
all bejeweled and moth-balled, 
that hung in the closet, still 
awaiting its turn to renew a
couple's love. And the matching 
aqua tie that the husband was 
too scared to wear, for fear it 
might find that brown tea stain 
to match all of the others.

A teal blanket that went home
with the baby and the yellow
cleats he wore when he kicked
his last goal. Violet flowers, 
magenta scrapbooks. A faded 
purple skateboard and greyscale
photo of the family reunion, 1989.

On and on, memories too 

numerous to count rise in a 
prism’s worth of colors, but 
carry too much despair to 
form a rainbow. Instead they 
coalesce into a crimson blanket 
that covers the city like a car 
too old to ever be used again. 

In another world, white men 
in black suits point fingers and
shout names, maneuvering for
attention like children at a funeral.  
But my eyes are on the horizon,
where tonight the sky bleeds red.  

Kyle Hina is a husband, father, software engineer, and musician living in Zanesville, Ohio with his wife, two sons and dog. He has one published short fiction work on 101words.org .

TO THE ASHES IN L.A.

by Alexis Krasilovsky

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

A poem is a monument

when there aren’t enough stones

to place on the burial grounds

to hold ghosts

in place.

 

A poem is a monument

when you’re exiled from the land

and poems are portable.

 

A poem is a monument

when tears

evaporate before

words can be written down.

 

When you’re fleeing flames

that multiply like stars

in a darkening firmament,

only a poem

can speak to it.

 

When lies propagate

into your flickering

consciousness,

sweeping under rugs

the killing fields.

 

When your bare feet

step onto

radioactive sand.

 

When rose petals fly

in fiery winds,

replaced by embers

and ashes.

 

A poem is a monument

when pots filled with ashes

are left in the rain,

overflowing.

 

When seeds of memories

sprout anew,

and trees grow

high enough to bring shade.

 

          A poem is a monument

          when you take time to imagine

          the gravestones

          of your ancestors.

 

Alexis Krasilovsky most recent book Watermelon Linguistics: New and Selected Poems (Cyberwit) was a finalist in the 2022 International Book Awards. She is also the author of Great Adaptations: Screenwriting and Global Storytelling and has traveled to twenty countries making and screening her global documentary features Women Behind the Camera and Let Them Eat Cake—available for free streaming on Kanopy.com.

CANDLE GLOW IN UKRAINE AND HONG KONG

by C. J. Anderson-Wu

We read books by candlelight whenever
power is out after air raids

We hold candles in the prohibited vigil 

for those nameless students killed

more than three decades ago

 

In the underground shelter we take turns
to recite stories for one another

At the park we mourn anonymously

in order to protect one another

 

We are in a war for
our dignified identity

We are in a war against

the deprivation of memories 

 

By candlelight we relay ancestors' stories
in our language

By candlelight we pass on the history

the regime is forcibly erasing

 

We are in a war 
for hard-earned sovereignty 

We are in a war 

against thought control

 

After the air raid alarm we briefly go home
and our stories are to be continued

As police approach we disperse into the night

and our struggles drag on

 

Reading, mourning, hiding and remembering
with different forms of resistance
we are in a war

Author’s Notes: 
     The publishing industry in Ukraine experienced significant growth after the outbreak of the war, as reading became one of the few activities people could engage in during power outages caused by bombardments. Additionally, the invasion led the Ukrainian public to value their own culture, history, and language more deeply.
     On June 4th each year, people in Hong Kong used to hold a candle vigil at Victoria Park for those who died during the Tiananmen Square Crackdown in 1989. However, since the implementation of the National Security Law by China in 2020, any event commemorating the slaughter of June 4th has become illegal. Several pro-democracy activists who persisted in continuing the vigil have been arrested and imprisoned without due process of law. 


C.J. Anderson-Wu (吳介禎) is a Taiwanese writer who has published two collections about Taiwan's military dictatorship (1949–1987), known as the White Terror: Impossible to Swallow (2017) and The Surveillance (2020). Currently she is working on her third book Endangered Youth—to Hong Kong. Her works have been shortlisted for a number of international literary awards including the Art of Unity Creative Award by the International Human Rights Art Festival. She also won the Strands Lit International Flash Fiction Competition, the Invisible City Blurred Genre Literature Competition, and the Wordweavers Literature Contest.

SARGASSUM

by Mark McKain

“Yellowtails and Turtles in Sargassum” by Michelle Nicole Lowe

This morning folds of orange light, the garden under construction. 
A heat wave threatens. The Gulf Stream slowing.
 
Dislocated matts float into the Caribbean. Home to fish, turtles, 
childhood memories. Sexual identity, nutrient availability,
 
dust from Africa. Wanted: herbivories to graze algae from the reef 
able to scrape the toughest deposits. It won’t recover
 
without your teeth. Seaweed swirls, coquina clams burrow. Shush 
of white noise only birds can penetrate. Water sings to the child,
 
running to the shelter of mother’s knee, a soft tree. Wake up worrying 
I will have to flee—censorship-antisemitism-misogyny-racism
 
feet high washing ashore. A teacher works overtime to erase “take a knee.” 
Her job eliminated if she didn’t ban empathy.
 
Rows of brown-green rafts on the shore, covering turtle nests, 
choking air passages with sulfur fumes—how I often feel,
 
out of place, like Braithwaite in New York, yearning for the “blue mist 
from the ocean” the cotton tree in the school yard,

the crack of sugarcane. The houses flood the trees aflame the bed shaking 
like a theme-park ride throws me into the street.
 
On the curb with cracked cup. And you, sea, gulping water and sky.
The house groans, swims.  

Mark McKain’s work has appeared in Agni, The New Republic, The Journal, Subtropics, Cimarron Review, Superstition Review, ISLE, and elsewhere. He has published two chapbooks: Blue Sun by Aldrich Press and Ranging the Moon by Pudding House Publications. He writes, teaches, and experiences global warming in St. Petersburg, Florida. 

ODDS AND ENDS

by Gil Hoy

Dan Hudson. "Garbage Can" (1992), oil on panel, 24×34 inches.

On Wednesdays, 

I take my trash down to the curb. 

There's a blue bin for recyclables, 

a black bin for regular trash

and a brown bin for yard waste. 

You can tell a lot about a man 

from the contents of his trash. 

 

Our neighbor is obsessed with Covid 

and now buys most of her things 

on Amazon. Her son got sick a year ago, 

was in intensive care for three weeks 

and then died. Her blue bin is filled 

with broken down boxes every week. 

 

Her husband stays inside and has started 

drinking again. There are three or four

empty wine or bourbon bottles 

in their blue bin every week. 

 

A divorcee a few houses down  

worries about getting old. Her black bin 

holds the week's trash from products 

promising to make her gray hair brown again 

and remove the wrinkles from her face. 

She's put on weight since her husband left her 

for a younger woman five years ago. 

There are often three or four 

empty pizza boxes in her black bin. 

 

You can tell a lot about a woman

from the contents of her trash. 

 

Another neighbor has three birch trees 

next to his driveway. His yard waste bin 

is filled with grass the yard boy cut 

and birch tree branches that once encroached 

upon his driveway. His shiny Mercedes 

can now get in and out again without a scratch. 

His regular trash bin has empty pill bottles 

used to keep his blood pressure down. He bought 

the Mercedes and keeps his yard carefully 

manicured to keep up with his neighbors.

 

A house up the road has two recyclable bins 

that are always full. The house's black bin 

never has much trash at all. The owner works 

for a company that reduces greenhouse gases 

and makes our water cleaner. The owner 

attends political events most nights 

focusing on climate change. 

 

You can tell a lot about people 

from the trash they don't have.

 

A neighbor on the next street over 

is an accountant. His blue bin is filled 

with shredded paper: tax schedules, 

financial statements and old tax returns. 

By the time April 15 comes around, 

he has three blue bins that are overflowing.

 

Another one of my neighbors 

doesn't play by the rules.  

He puts his trash out early most weeks. 

And then he's fined by our Town. 

He was arrested a while back 

for stealing money from his clients 

and had to spend a few years 

away from his family. 

 

You can tell a lot about a person  

from how they handle their trash.

  

And as for me, my trash is not 

what it used to be. My wife passed away 

suddenly and the kids have all grown up 

and moved away. I don't talk with them 

or see them much anymore. 

 

I miss the deflated balloons from birthday parties 

and worn out hockey skates that used to be 

in my black bin. And the leaves that filled 

my yard waste bin when I could sometimes 

get the boys to rake. I miss my wife's 

empty fancy shampoo bottles 

I used to put in my blue bin.

 

On a good week, when I'm eating well, 

my bins may be as much as a quarter full. 

But most weeks, they're as empty 

as an old man's broken heart.  

 

You can tell a lot about a man 

from the contents of his trash. 

Editor's note: The losses mentioned in the final four stanzas of the poem are suffered by the poem's Speaker and not, thankfully, by its author. 

 

 

Gil Hoy is a widely published Boston poet and writer who studied poetry and writing at Boston University through its Evergreen program. Hoy previously received a B.A in Philosophy and Political Science from Boston University, an M.A. in Government from Georgetown University, and a J.D. from the University of Virginia School of Law. While at BU, Hoy was on the wrestling team and finished in second place in the New England University Wrestling Championships at 177 lbs. He served as an elected Brookline, Massachusetts Select Board Member for four terms. Hoy is a semi-retired trial lawyer. His work has recently appeared in Best Poetry Online, Muddy River Poetry Review,  Tipton Poetry Journal, Rusty Truck,  Mobius: The Journal of Social Change, The Penmen Review, Misfit Magazine, Rat’s Ass Review, Chiron Review, The New Verse News, and elsewhere. Hoy was nominated for a Best of the Net award last year.

THE CALL

by Maria Lisella

The call came

A three-story roof,

not a big building

serious enough

to break bones.

A day later,

another call comes.

A room

at Jacobi.

 

I plan.

He drives.

I’m the passenger.

She’ll be there, you know.

I know, I hear myself say,

the mother is always there.

 

I hate

the stereotype, but it fits.

The mother takes him back.

He doesn’t get better.

He never leaves except

this way.

 

The cycle—failure,

salvation, failure,

a passive remote control.

Patched up.

Lateral moves

ward to ward.

Suicide watch.

 

From the parameter,

I watch.

Stepmother

not blood

not natural.

Despair respects no borders

legal, illegal.

 

You love what you touch,

love more what touches you.

Maria Lisella is the recipient of a Poet Laureate Fellowship from the American Academy of Poets and the author of Thieves in the Family (NYQ Books), Amore on Hope Street (Finishing Line Press) and Two Naked Feet (Poets Wear Prada). She co-curates the Italian American Writers Association readings and is a travel writer by trade.

BURROWING

by Farah Art Griffin

“Into the Void” by DINA D’ARGO, 56, SPRINGFIELD, TENN. Acrylic on canvas via The Washington Post. “‘Into the Void’ symbolizes stepping into the unknown — the idea of life ‘after the pandemic’ and the insecurity of not knowing what lies ahead.” 

still burrowing —

drowning in yesterday's time

past grips us in its palm

wounds

            still wet

            still dripping

memories

            still clear

            still swimming

cave of unforgotten sorrow —

echoes in the dark

Farah Art Griffin is a literary and visual artist. She holds an EdM in Arts in Education from Harvard University. Her work is forthcoming in The American Journal of Poetry.

VET'S HALLOWEEN

by Linda J. Himot

Image source: Shopsafe

Halloween and all those kids in skeletal black,
glow-in-the-dark green and purple –
no fairy princess pink Mama, please –
roam the streets for candy treats while my neighbor,

secreted behind his kitchen counter – shades drawn,
lights out, hides trembling.  Fears ghouls and worse –
gooks –rise – like ghosts – from steamy jungle floor –
every night – silent, stealthy –  then melt away –

before first light.  Dead bodies left to mark their trail.
He made it back – except his mind – to live alone –
on duty, dusk to dawn.  Forty two years he’s kept watch,
high alert, rifle steel slick with sweat – ready,

mission unchanged – protect his buddies, kill
or be killed.  Sees sallow, shiny, enemy faces creeping
through his front yard swampy grass.  Hears mortar
in the back fire of passing trucks, cruising motorcycles.

Fears he will kill a kid if one should knock.
So takes a double dose of meds, stuffs his ears
with cotton, repeats Hail Mary’s aloud until
the fire horn sounds the end of trick or treat.


After many years as a psychiatrist, Linda J. Himot began writing poetry in 2005.  Her poems have been published in a variety of journals such as The MacGuffin, River Poets, The Dead Mule School of Southern Literature.