INDEPENDENCE DAY 250

by W. Luther Jett

Let there be no

celebration this time.

I will drape our Declaration

with sombre crepe—No flags

will line my avenues.

My music will not be beaten brass,

but the song of steel wheel

on steel rail—a wail high

as snow-locked peaks

in that place where the sun

lies down at last to rest.

Give me fireflies over fireworks.

Give me stars that refuse to fall.

Do not pray for me for I

am not your prey.

W. Luther Jett is a native of Montgomery County, Maryland and a retired special educator. His poetry has been published in numerous journals, as well as several anthologies. Luther is the author of six poetry chapbooks— his most recent is  The Colour Wars, (Kelsay Books, 2024). His full-length collection, Flying to America was released by Broadstone Books in 2024. Luther is the facilitator of a monthly virtual open mike sponsored by the Hyattstown Mill Arts Project in Hyattstown, Maryland. He also coordinates two monthly on-line poetry critique workshops. Luther is also a singer-songwriter who performs sporadically in wine-bars and cafes. He has released two singles and is in the process of recording an album of original material.

LETTER FROM A POET TO AI

by Terri Kirby Erickson 

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

What do you know of heartache?

How it feels to watch your father die 

gasping for air like a fish in a bucket, 

or to find your comatose mother in her 

front yard, dying alone in the dirt? 

My brother bled to death in front 

of my eyes when he was twenty. Can 

you even imagine it? Of course, you 

can’t. You have no imagination, no 

feelings, only data, data, data that you 

spit out like pits from fruit you’ve

never tasted. And what about the good 

stuff? That first kiss from a guy who 

means it? Holding your newborn baby 

in your arms, astonished by how much 

love one person can bear? Have you 

strolled down the Champs-Élysées in 

the rain? Laughed at a joke or made 

love by an open window to the sound

of Italian doves? Tasted a chocolate 

milkshake or pumpkin risotto? Have 

you thrown a softball or climbed a tree? 

Ridden a Merry-Go-Round or a bicycle, 

seen Mick Jagger strut like a rooster 

across a stage or watched the Rockettes

kick their way to Christmas? So you can

write a semblance of a poem or a story

or a novel, so what? Your creations are 

rickety scaffolding, Hollywood sets that 

will never be the Swiss Alps or even

a human home, which is better, even if it 

sucks, than anyplace you could generate 

because you are nothing but a vending 

machine, AI—stocked with empty words.

Terri Kirby Erickson is the author of eight full-length collections of poetry, including The Light that Follows Us Home (Autumn, 2026, Press 53). Her work has been widely published and has won numerous awards, including the Joy Harjo Poetry Prize, Annals of Internal Medicine Poetry Prize, International Book Award for Poetry, and the Tennessee Williams Poetry Prize. She lives in North Carolina, USA.

DANCING WITH MR. BUNNY

by Alan Walowitz

 

 

Alan Walowitz is a Contributing Editor at Verse-Virtual, an Online Community Journal of Poetry.  His chapbook  Exactly Like Love  comes from Osedax Press.   The Story of the Milkman and Other Poems  is available from Truth Serum Press.  From Arroyo Seco Press,  In the Muddle of the Night, written with poet Betsy Mars.  The chapbook The Poems of the Air is from Red Wolf Editions and is free for downloading. 

BLESS

an abecedarian

by Susan Vespoli

Photo source: DeMilked

Holiday depression feels a lot like regular depression, but it’s triggered by the onset of holidays, holiday get-togethers, large family gatherings, and attending or hosting social events. Holiday depression is similar to “winter blues,” but it may come and go in quick bursts as one event ends and another begins, or it can linger for the days or weeks leading up to and beyond the holiday season. —Cleveland Clinic, December 13, 2023

all the shiny

baubles and brouhaha of

Christmas. Seasonal

depression. Air-filled

enormous plastic Santas bobbing 

front yards. Fairy lights

glittering rooftops. Guy in tight 

holiday pants, knit like a sweater,

in Safeway.

Jubilant crimson poinsettias. My daughter

Kate hospitalized again. Oh,

let it work this time, I hear

myself beseech the sky.

“No,” the

omnipotent ozone replies,

“power.” Oh yeah. Powerlessness. 

Quiet morning sun

rises, turns navy gray into orange

sherbet. I

tilt my head back and there

undulates a 

vibration of grackles 

waving and wafting like winged

eXclamation points, black dots

yodeling squawks, pepper grinder of

zest that, in unison, settle on an electrical wire like musical notes.

Susan Vespoli writes from Phoenix, AZ and believes in the power of writing to stay sane. Her work has been published in The New Verse News, Anti-Heroin Chic, ONE ART, Gyroscope Review, Rattle, and other cool spots.

AS I WATCH ROSALYNN CARTER’S TRIBUTE

by Barbara Eknoian

Why do tears keep falling from my eyes as I watch? They say Rosalynn stood by her husband for seventy-seven years, and that she cared deeply for the most vulnerable among us. Throughout my life, although I am a good person and wouldn’t harm anyone, I never did anything as inspiring as she did for others. When the choir sings “America the Beautiful,” I’m a young girl again at school singing. Why do I find this tribute so touching? The religious music playing is the old-fashioned kind, which I miss very much. Maybe, that’s why the tears flow easily while listening to all her good works. One of the speakers comments that Rosalyn would be pleased that First Ladies from both sides have come to honor her, including Biden, Obama, Bush, Clinton, and Trump, and everyone laughs. I feel like I’m at an inspiring church service, though I haven’t attended in years. I’m so glad I’m watching. Her husband Jimmy, left hospice at their home in Plains, Georgia, traveling l40 miles so as not to miss his wife’s tribute. He is wheeled into church. Their daughter, Amy, says, since her dad can’t speak, she’ll read a love letter he wrote to Rosalynn when he was in the Navy seventy-five years ago. I imagine him thinking this right now: 

Good-bye Darling, 

Until tomorrow 

                            Jimmy

Barbara Eknoian’s work has appeared in Chiron Review, Cadence Collective, Redshift, and Silver Birch Press's anthologies. Her recent collection of short stories Romance is Not Too Far From Here is published by Amazon. She lives in La Mirada, CA with her daughter, grandson, one cat, and a very mischievous kitten.

WHEN ASKED WHAT SKILLS WE GAINED FROM SLAVERY

by MEH

how to run [from slave catchers, the klan, crooked cops,

especially when finding the distinction difficult]. how to

keep our own counsel. to code-switch. to sing songs

in mother-tongues they will emulate and sharecrop

in blackface or while ignoring their origin—jazz, blues,

rock and roll, R&B, rap. how to hide our babies from

[see original list], christening them with names proper

to replace stolen drums, lands, gods. how not to list

the skills we already possessed, were compelled to

employ—navigation, cultivation, curing smallpox—

knowing they will fall on ungrateful ears. how to turn

our every cheek. to be more Christ-like than those who

disgraced the religion they forced upon us. to embody

the fruits of the spirit—especially patience and self-

control—in arms, legs, backs chiseled in cottonfields,

defined by bearing the lash of injustice. how to refrain

from calling down a legion of angels, or easily poisoning

their food, or slitting an oppressor’s throat in their sleep,

at least for now.

Matthew E. Henry (MEH) is the author of six poetry collections including Teaching While Black (Main Street Rag, 2020) and the Colored page (Sundress Publications, 2022). He is editor-in-chief of The Weight Journal and an associate poetry editor at Pidgeonholes. MEH’s poetry appears or is forthcoming in The New Verse News, Cola Literary Review, The Florida Review, Massachusetts Review, Ninth Letter, Pangyrus, Ploughshares, Poetry East, Shenandoah, and The Worcester Review among others. MEH’s an educator who received his MFA yet continued to spend money he didn’t have completing an MA in theology and a PhD in education. You can find him at www.MEHPoeting.com writing about education, race, religion, and burning oppressive systems to the ground.

THE WATERS OF LAKE MEAD

by Alfred Fournier

Water levels at Lake Mead have fallen dramatically amid a record drought. Compare the satellite images of the lake in 2000 and in 2022, and you can see the stark decline. NASA Earth Observatory via Vox, August 17, 2022

shrunken by drought, 

reveal body by body our sins: 

missing children and sunken mob hits,

bricks heaved into once-deep water. 

Inch by inch, layers of strata denuded 

become sheets of ancient music 

played on instruments of doom. 

One last chorus for the climate scientists, 

our voices rising in thin atmosphere,

where far above the moon peers down. 

Is that a frown on the old man’s face, 

or does our willful dance with fate amuse him? 

Alfred Fournier is an entomologist, writer and community volunteer living in Phoenix, Arizona. His poetry has appeared in The New Verse News, International Times, The Main Street Rag, The American Journal of Poetry, The Indianapolis Review, and elsewhere. 

LOOK, UP IN THE SKY

by Michelle DeRose

Trey Ganem's company, SoulShine Industries, created special caskets for 19 of the 21 victims killed at Robb Elementary School, Uvalde, Texas.

What music accompanies a Superman coffin?

What song will waft your boy over buildings

that block your sun, black your path

with shadow? Does the melody

to lull you to sleep exist, and 

will the hum of your own voice

be enough? Birdsong mocks, small 

throats on spindly legs, sparrows still

in the care of their father. Where 

will your boy fly now, outstretched 

arms and closed fists planing so fast, 

so fast, 

away from you?

Michelle DeRose teaches creative writing and Irish, African-American, and world literature at Aquinas College. Some of her recent poetry has appeared or is forthcoming in Midwest Quarterly, Dunes Review, Sparks of Calliope, Making Waves, and The Journal of Poetry Therapy.

NO ONE IS COMING TO SAVE YOU

by Umang Dhingra

do not be too loud on the streets; do not play music; 

this is how you hide if there is a bombing, this is how you hide if there is noise, this is how you hide if there is a knock on the door, this is how you hide if the shadows outside your room change shape; 

this is how you cover yourself up 

but i thought we did not have to do that anymore– 

this is how you cover yourself up; 

this is how you read books you stole from school, this is how you read books from your father’s shelves, this is how you read books when you are not supposed to; 

this is how you cry for help; 

do not wear bright colours; 

do not look anyone in the eyes; 

do not go outside until I tell you to; 

this is how you beg for asylum you thought was guaranteed; 

this is how you live with no electricity; this is how you live with no food; 

this is how you live with no dignity; 

this is how you live with constant fear 24/7 on 365;

this is how you pray and beg and hope that someone is coming to save you,

knowing

no one is coming to save you.

Umang Dhingra is a 17-year old writer from India. Her work can be found in numerous publications, scraps of paper around the house, and her family's WhatsApp group. She usually writes about being a brown girl from India, about her family, and what her mother calls, 'little explosions of sadness.’

"A MESHUGGENEH IS ON THE LOOSE"

by Judith Terzi

& I'm sitting here with my morning

coffee watching a cockatiel 

slip tail feathers through his beak. One by

one. The ends have become ragged

with so much preening. "Rumba Poderosa"

by the band Incendio is playing 

on a cd. The bird begins to sing along, 

dance on his perch. He scurries

to the left, then rushes back to his usual

place in front of his big purple

mirror. You see, he imagines the music 

emanates from his constant mirror 

buddy. His identical twin. The bird is in love 

with his own image. I am in love 

with the bird. He sways back & forth to any 

music, but especially to a Latin beat. 

A rumba. A bolero. A tango. It's a kind 

of bird praying, a bird davening, 

you might say. While all this sashaying 

is going on, a committee is meeting 

in a sedate space on the opposite coast. 

You could say the nine members 

of the committee have been placed in a different 

kind of cage. One with carafes of

hot water & coffee, sweet rolls, bottled water.

No ladders, no pinwheels, no miniature 

crystal balls. The committee is subpoenaing 

witnesses, scratching every surface 

for any evidence anywhere data can be found. 

The bird is biting its cage bars in between 

chirps to "Rumba Poderosa." Rumba of power 

in front of his own image that he adores. 

I think he's calling me. I hear a wolf whistle 

while I'm writing this. "Let's get it 

over with," he's saying. "What's the holdup? 

A meshuggeneh is on the loose." 

Now he's started to preen his feet. He's biting 

his nails. The music has stopped. I'm 

eating a whole wheat bagel with cream cheese. 

I'm having a second cup of Joe. 

Judith Terzi is the author of Museum of Rearranged Objects (Kelsay) as well as of five chapbooks, including If You Spot Your Brother Floating By and Casbah (Kattywompus). Her poetry appears in a wide array of journals and anthologies. A poem, "Ode to Malala Yousafzai," was included on a "Heroines" episode of BBC/Radio 3's "Words and Music." She taught French for many years in Pasadena, California, as well as English at California State University, Los Angeles, and in Algiers, Algeria. A new chapbook, Now, Somehow, will appear later this year. 

CHRISTMAS CARD

by George Salamon

We have not yet been touched by

the better angels of our nature,

I hear the music of our time

singing songs of ill will, waging

campaigns of hate, shouting

murderous chants, but few

angels singing.

Let us wake them up and let

them sing of peace and good

will and join them by sharing

fruitcake and gingerbread

by the same tree in the

spirit that  has been fleeing

from our land.

George Salamon hopes those better angels will touch America on both sides of the many-sided divide that has settled upon our lives.

DELIVERED

by Julian Matthews

“Dinner With Friends” Painting by Victoria Coleman

A poem on our first meeting after being in a writing workshop on Zoom for six weeks, and in various lockdowns for a year and ten months.

And so we sit at the table partaking of a meal,

the home-made, home-cooked, home-delivered

a gathering of friends, new and old,

unmuted, unzoomed, live, in-person, fully embodied,

greeting each other like refugees

meeting on the dock, our boats having survived

the treacherous crossing of middle class suburbia

and stepping back onto the shores of human connection again, 

wetting our cold feet and lapping up warm chatter about pets, 

pasta, pastries, prices, politics and the pandemic, always the 

     pandemic,

and, thankfully, of our common love of books, and writing and 

     poetry

and missing sitting in darkened theatres with strangers, to watch 

     a movie,

or a play or just chilling with a warm-up, pre-concert cocktail, 

     perhaps a long island tea, 

or two, before listening to an orchestra, fingers fondling keys, 

     bows caressing strings,

lips pressed against mouthpieces, hugging tubas, the tsk-chizz 

     of sticks on cymbals, 

being enveloped by the sensurround sounds of music played by 

     real, in-the-flesh humans...

And in the end there is laughter, ribbing and the teasing out

of each other's backgrounds, our reasons for being, why the 

     need to put words

on rectangular screens, this unboxing of the isolation inside us, 

     this shedding of thickened skins,

double-vaxxed, immunized, and unmasked, fully ensconced in 

     that most singular of human acts,

the Art of Conversation, manifesting our ancestral DNA of 

     gathering around the embers of dying

fires under stars, trading stories, sharing opinions and yes, even 

     gossiping,

just to know we are alive, 

we are still alive.

Julian Matthews is a former journalist finding new ways to express himself in the pandemic through poetry, short stories and essays. He is published in Beltway Poetry Quarterly, Nine Cloud Journal, Poor Yorick Journal, Borderless Journal, Second Chance Lit, Poetry and Covid, the anthology Unmasked: Reflections on Virus-time (curated by Shamini Flint), cc&d magazine, a Scars Publication, and forthcoming in the American Journal of Poetry. He is based in Malaysia.

BLY AND SONDHEIM: ELEGAIC DUET

by Earl J Wilcox

Making music that puts to shame a few

classic muses, you two gave us power

in poetry, in song—day after day

night after night, anytime we felt down-

hearted, no blues for you just strong

& virile and passionately human songs

for the soul. For words, we lift high

Robert, for lyrics we can never go

wrong with Stephen: harmonics

Not hysteria. Never mute, ever live.

 

Earl Wilcox, a Broadway buff and a deeply rooted poet for activism, grieves the loss of these two iconic word warriors.

MY PLUS TWO ECLIPSE

by Earl J Wilcox   

Photo by Peter Forister, November 19, 2021 at 04:00, Charlottesville, VA, USA at EarthSky

My plus one last night, Alexa,

awakens me right on time.

I am up—groggy, sour-mouthed,

muttering, mumbling musing,

old guy grumbling despite

a magnificent moonshine worship

moment waiting above my balcony.

 

Alexa plays some familiar Mozart,

as agreed on at my bed time. Out-

side I shiver, huddle in a small chair,

I’m overcome with a sublime scene:

in the fog of near-freezing November

and my dense macular mist, a small,

bright Beaver moon hides half its face

behind a dark somewhat ominous shadow.

 

A distant shrill of sirens, ubiquitous

revving motorcycles break my

somnolent stupor. Even with a cold

arse my heart pounds with warmth and joy.

Unique as this moon light masquerade

provides, earth is the place for me.

It is not music of the spheres I hum

—just some earth-made melodies

by Mozart, our universal plus one

making a little night music.

Earl Wilcox has been humming and howling at The New Verse News for many years.

PAGE FROM A BOOK OF DAYS

by David Chorlton

Swallows at the windswept pond

this morning, quick as good fortune, make the light

sway back and forth above

the water while it keeps

its secrets dark.

                         It’s a quiet time;

Say’s Phoebes barely clear the grass before

returning to the fence from which they came,

and a Loggerhead Shrike moves down

from the desert

with a prayer in his beak.

                                         The Red-tailed Hawk

has made the streets his hunting ground

where the pigeon flock

scatters left, right and skyward

as his shadow scythes between them.

One more day;

                       another step toward

the unknown, with a moodswing peak

to peak along the mountain

as it leans back against the sky. A different

message blows

                         from each direction: another

ten killed in Colorado; the doves

returning early from the tropics; music

on the radio so old

it wouldn’t recognize the world today;

and the voice within, too long

in solitude to know

what its next word should be.

Throughout the pandemic David Chorlton has lived quietly and communicated with the local wildlife. His new book Unmapped Worlds from FutureCycle Press features poems that hid in his files for too many years and which now enjoy new exposure. 

WHEN IT IS OVER

by Katherine Tian

A weekend afternoon, the park near my room,

the stone table where my friends and I used to sit is covered with a thick layer of dust.

Untrodden weeds cross the dirt path.

When it is over,

we will come together like a wind gust.

Our friendship will only bloom.

 

After a long day at work, a nurse mother goes home with a sigh of bliss.

She can only embrace her toddling daughter with her gaze and tears,

close at hand, but on opposite sides of the canyon.

When it is over,

my little dear,

Mom will hug you in her arms with a long kiss.

 

During a festival, I walk on the empty square,

music and fragrance that once wafted through the restaurant disappear like a cloud.

Now only cold wind blows through.

When it is over,

the long-lost crowd

will gather again to breathe the free, healthy air.

 

Golden wedding grandparents pass away in isolation, looking at each other like new lovers.

The memory and close goodbye can only dwell

in the relatives’ sorrow hearts.

When it is over,

the belated remembrances and farewells

will turn into rainy tears and falling flowers.

 

I miss the sound of my teacher's marker scratching on the white board,

the crowd in the hallway,

the morning flock of school buses.

When it is over,

to my dear teachers, I will say,

in the back of the classroom, I will never fall asleep or get bored.

 

The early spring flowers are about to sprout.

The birds in the trees are singing happily as they cheer.

At this darkest moment of the pandemic,

my dear friends,

can you hear

the footsteps of the warm sunshine behind the heavy cloud?

Katherine Tian is a senior at Ward Melville High School on Long Island, New York. She is a long-time dancer and a long-term volunteer at a local elder-care center.

TRAVELING IN PLACE

by John Azrak






I pull down my mask, gaze out over the Sound
the coastline asleep, buoys bare, the distant kayak’s
shell a streak of yellow paint; fog eclipses
the Throgs Neck Bridge and John Prine is on a jelly roll—
has been since I left the house—loose-limbed and impish
feeding the pigeons some clay, walking off his blues slyly
taking down the disheveled girl in the White House,
Lady Liberty, she must be, caught in an embarrassing situation
but—oh yes, John—a situation just the same. What you knew.
I take a deep breath, pull up the mask, adjust the AirPods—
two miles down, three to go—happy to walk with James Taylor
to Mexico then Carolina in his mind as I head to the Point
where across the sound Gatsby’s East Egg absent
the green light, Dylan conjuring the sun, sand, spirit breezes
of Mozambique, the pretty girls (so many) left behind
before off he is to imaginary Black Diamond Bay, storm brewing
verse to swelling verse until a volcano erupts that sinks the island,
all souls lost when I reach the inlet’s park, its empty picnic tables,
trash-bagged b-ball hoops, hooded like criminals on crosses,
deserted monkey bars: Misery loves company but not these days.
I forego my half-way bench (germs? really? maybe? fuck it)
under the curved spine of a dogwood I lean against, scroll through
the sleek Fitbit watch— number of steps, miles, calories burned,
numbers for the heart senseless, embarrassingly so, with nearly 100,000
Americans dead on trump’s watch—and I need to run, Sonny Rollins
blowing a heart thumping storm of his own, tribute to St. Thomas,
the no doubt about it Virgin Island, ancestral home of the young
saxophone colossus, upbeat Sonny, pulsating New York City Sonny,
now ninety Sonny still playing, plague be damned, what hasn’t he
faced up to? I think, climb the Vanlose Stairway in Copenhagen
with Van Morrison’s soul rollicking live in Montreux band
before the quick transfer to his Trans-Euro train—
Kilroy was here Kilroy was here Kilroy was here
flashing on walls hard driving Van picking up my pace
as I hop the Marrakesh Express, CSN”s sweet harmonies
broken by Dylan’s edgy longing (she might be in Tangiers)
the Slow Train Coming slowing me to a jog on the final bend,
John Prine coming back around, missing him as my heart races—
Hello in There, John, Hello

John Azrak lives in New York and has published fiction and poetry in a wide variety of literary journals and anthologies.

A COMMUNITY OF TWO

by Earl J Wilcox

Early this morning just after the sun
begins its day in our neighborhood

two elderly men arrive in their
little white truck, its bed hauling

shovels, axes, a pick or two, wheel-
barrow, assorted rakes—and their

little black boom box. They are here
to whale away at a big patch of wild

weeds and grass I need defeated from
my front yard. I sit on my porch step,

not to oversee because they have known
for all their lives how to work against

weeds and other stubborn growth.
The pandemic is no match for these

two whose social distancing may not
suit the virus gurus. As they dig and

rake and haul away their talk animates,
fills the air—hardy laughs, grunts

accompany tugs against tough grass.
pauses to wipe a brow, massaging

a calloused hand, back stretching.
In their galaxy today, the antibody

is talk mixed with dollops of country
music, occasional arias of southern

gospel plus a local car salesman still
hawking the best deals in town.


Earl Wilcox is reopening his back yard to squirrels, robins, and cotton tail rabbits. Early worms show up at their own risk.

AT EIGHTY-SIX HE LIVES ALONE

A PANDEMIC A.M. POST
by Earl J Wilcox




When he awakens—eyes too full of macular
to see any clock—Alexa, his roommate,
tells him the hour, temperature, date, begins
their day with Adagio for Strings. It’s 6:30.
Robed, peeing done, doddering, wobbling,
he shuffles down a hall, toward his kitchen.
Morning meds taken, coffee perking, he
strolls into his sun room; late, white
azaleas wave in a Carolina breeze. Two
squirrels scamper, a red bird flies away.

The NYT headlines on his ancient Windows
screen blur. Numbers of new cases, deaths,
something about masks, T***P fibs again.
He glances at the theater section. Fun.
Performers posting happy videos. This early
Monday too young—he feels—to count as
another day just yet as the sun is still hiding
behind lush dogwoods, cherry trees. His coffee
smells better than it tastes. His macular eyes focus
slowly. Spring pollen clogs ears and throat from
clearing properly until mid-morning. Abetted
by coughing he could sound to some is if the virus
found him overnight. Until time for the women
on The View to take up their verbal cudgels exactly
where they left off yesterday, the TV is silent.

Online the local rag counts case and death numbers
on page Two. He avoids noting too closely how
many who die are near his age, though the papers seem
to equivocate or just don’t report for some reason
the causes of death among some elderly folks.
People in pictures atop obits are smiling. Why not—
he sighs—since the snaps were made thirty
years ago. His ancient computer is now fully
engaged as is he ready to surf. He avoids all accounts
of the virus. About ten pages of an EXTRA
section of the newspaper are devoted to almost
every nuance of the disease. The online news has
run the same section for several days. There is
no lack of news about COVID-19. In the
Sports section, more reports of games canceled.
Are the NFL, MLB, NBA going defunct?
He gives a mental “thumbs up” to ball-playing
millionaires helping raise funds for needy families.
Seems the NFL draft is the spring sporting event.

His puny small stocks made modest gains
yesterday, and the weather will let the azalea blossoms
hold their blaze another day. The morning
meds taste funny without food. He eats a banana.

Sinus clogging and sneezes are common. It is not
the virus season after all. A classical radio station
plays Bach and soothing, nostalgic olden goldies—
Brahms’ How Lovely Are Thy Tabernacles by Mormon
Choir. In his best dulcet tones, the radio announcer
avoids mentioning COVID-19 until the end of his
shift. It is good to have four hours of music
uninterrupted by updates on cases and deaths
and prospects for future. At his age, some of these
projections have been in his profile for a decade.

Earl Wilcox is reopening his back yard to squirrels, robins, and cotton tail rabbits. Early worms show up at their own risk.

ODE TO A CHAINED SONGBIRD IN THE TIME OF CORONAVIRUS

by Julia Meylor

Credit: Mauritshuis, The Hague

      In response to The Goldfinch, Carel Fabritius, 1654


We, too, sing behind locked doors, sweet bird.
Bound by restraints of fear, desire, the absurd.
We listen to operas, Broadway musicals, country western, jazz,
our deafening heartbeats, razzamatazz.
We open wide our patio doors to blast our fancy stereos,
to strum our guitars, to serenade our masked heroes.
We ask Alexa to drown out our loneliness, our unrest,
our entitled nonessentialness.

Tethered bird, we are appeased by sweet useless notes
that spin off to full pink moons and aligned planets.
Simple refrains of all for one—lean on me, come together,
rise up, sweet Caroline. Alleluia.
But it is the specters on empty streets and poisoned ships
we fear as much as touching our face, our lips.
It is a choked scream echoing across a backyard fence,
why we soap our hands and rinse.

Oh, feathered thing, keep vigil on your solitary throne,
feed us the seeds of a hopeful tune we can call our own.
For we are stumbling blindly into a craven new world,
with no elixir, no redeemer, no magic sword.
Give us this day, this week, this greening season of hush.
Show us how to bless it all without human touch.
For we are chastened by all we thought we knew,
by all we’ve lost, by all we cannot do.

Julia Meylor, of Groton, Connecticut, is a published poet and essayist, freelance editor, proofreader, and occasional babysitter. She retired in 2018 after working as a corporate communications manager, high school English teacher, and newspaper editor. Her poems have appeared in numerous literary journals and anthologies. She shares her poems, essays, and photography in her blog, Between Land and Sky, and she loves words almost as much as her grandchildren.