VERDICT

by Donna Katzin

Demonstrators march towards Boston Police Headquarters to protest the police-perpetrated killing of 16-year-old Ma'Khia Bryant who was shot by Columbus Police on April 21, 2021. This march was initially organized to celebrate the life of George Floyd following the verdict of Derek Chauvin. Credit: ANIK RAHMAN / NURPHOTO via GETTY IMAGES via TRUTHOUT

There’s a reason why so many activists have insisted that the Derek Chauvin verdict — though it offers a measure of solace for George Floyd’s family — isn’t justice. Our current way of thinking about and doing justice does not and cannot meet the moment. If anything, the Chauvin verdict achingly demonstrates that justice as we know it is wanting. It’s time to imagine a new justice that does and can…  It’s about reckoning with and disrupting entire histories, legacies, and systems of racial terror and white supremacy that, like monsters who we think are dead but keep coming back, relentlessly replicate and reproduce themselves. —Fania E. Davis, Truthout, May 9, 2021

After a year of protests,

witnesses, testimonies, videos,

this time we see the scales balance --

a white perpetrator in blue found guilty

of squeezing the life out of a Black man.

 

For a moment the weight of planets

lifts from our backs, shoulders,

necks, and we can stand

a little straighter,

breathe again.

 

But still we hear

the ripping of the land

as more Black bodies fall, blood

oozing from crevasses

too wide to heal.

 

In the streets, the howl

of the original sin refuses to die,

roots like a relentless, toxic weed

in its shallow grave, waiting

to show its face again.

Donna Katzin is the founding executive director of Shared Interest, a fund that mobilizes the human and financial resources of low-income communities of color in South and Southern Africa.  A board member of Community Change in the U.S., and co-coordinator of Tipitapa Partners working in Nicaragua, she has written extensively about South Africa, community development and impact investing.  Published in journals and sites including The New Verse News and The Mom Egg, she is the author of With the Hands, a book of poems and photographs about post-apartheid South Africa’s process of giving birth to itself. 

HALLOWEEN FOR A NEW GENERATION

by Lois Leveen

Photo by Sarah Gould.

It's odd to dress up
as a Jew when you
are already a Jew
but I do. Costume
myself in calf
length skirt, bright blue
blouse, covered head. The nose
I have with me always.
At my throat, sixteen
carat  מָגֵן דָּוִד shield of David
dangling from rope
chain. I clutch prayer
book instead of purse.
Apply make up to make
a bullet hole between my eyes, another
at my heart.

When I arrive at the party
vampires and zombies
snub me. Skeletons turn
their scapulared backs.
A werewolf at the punchbowl
mutters asshole.
Undaunted by the undead
I search the crowded room for a black
kid killed in the park by a cop,
queers of color gunned down
on the dance floor, teacher
and students schooled
to death by a lone shooter, any one
of fifty-eight massacred country
music festival attendees. But not even
the Sikh slain for being
Muslim has come. You're a fright
to behold! screams
the glow-in-the-dark tshirt of the ghoul
who tells me to leave. A fright not
to be held in this house
of horrors, I step into the dark
and stormy night of America. America opens
its arms to ones like me.

Lois Leveen is old enough to remember when adults didn’t go to Halloween parties and children to go through active shooter drills in school. She is the author of the novels Juliet's Nurse (Simon and Schuster) and The Secrets of Mary Bowser (HarperCollins). Her poetry and short prose have appeared on/in Ars Medica, The Atlantic, Bridges: A Jewish Feminist Journal, The Chicago Tribune, cloudbank, Culminate, Hawai'i Pacific Review, The Intima, The Los Angeles Review of Books, The Millions, Monkey Puzzle, The New York Times, NPR, and The Southhampton Review; one of her poems is inscribed on a hospital wall.

AGAIN, A GUN

by Akua Lezli Hope

As Stephon Clark’s death shows, we live in a time when the term “unarmed” is becoming inconsequential—and, for a black man in certain settings, meaningless. —Jelani Cobb, The New Yorker, April 5, 2018. Photograph by Max Whittaker / NYT / Redux via The New Yorker.

Whose cell phone is a gun
Whose frown is a gun
Whose toy is a gun
Whose today is a gun
Whose smile is a gun
Whose tomorrow is a gun
Whose wallet is a gun
Whose loud is a gun
Whose soft is a gun
Whose CDs are a gun
Whose silence is a gun
Whose protest is a gun
Whose stop is a gun
Whose go is a gun
Whose yes is a gun
Whose no is a gun
Whose pipe is a gun
Whose hand is a gun
Whose stand is a gun
Whose advance is a gun
Whose retreat is a gun
Whose plea is a gun
Whose kneel is a gun
Whose showerhead is a gun
Whose question is a gun
Whose answer is a gun
                         is a gun
                         is a gun

Akua Lezli Hope is a creator who uses sound, words, fiber, glass, handmade paper and wire to create poems, patterns, stories, music, adornments, sculpture and peace whenever possible. A paraplegic, she has founded a nonprofit paratransit firm. Her poetry collection Them Gone will be published by The Word Works Publishing on June 1, 2018.

IN THE CLASSROOM

by LouAnn Shepard Muhm

I mention Eric Garner.

All the usual tropes are in attendance.

This was not his only arrest, is in the front row,
wondering when we will get back to
what matters: graded things, things with points.
Her anxiety manifests in demands for rubrics
and in her bouncing leg, her rolling eyes.
She does things right, has no mercy
for digression, for mistake.
She will go home tonight and listen
to her brother and her father fight,
each so disappointed in the other’s
imperfection.

Next to her sits if he hadn’t been doing anything wrong
nothing would have happened to him,
fingering the cross she wears,
this Catholic girl who wants to be a nun
but likes a boy in class. It pains me
to watch her clumsy, unsuccessful bids.
The war inside her is constant
and unrelenting, but she has the naïve
trust in the world that so few
sixteen-year-old girls have anymore.
It’s hard not to envy her,
harder not to cringe against
the ways her knowledge may come.

Everybody knows not to talk back
to a police officer no matter what
is headed for the military, and
I can feel him wondering
what he would do:
chokehold or no chokehold,
chokehold or no chokehold,
can feel the adrenaline jolting him
at the thought, graduation
only two months away
and everything so suddenly looming.

It’s sad, but I don’t see how
that makes it OK to riot
keeps looking at his phone,
waiting for his girl to text him
from the math class three doors down,
waiting for her to tell him
where they can go later to fuck,
waiting for her to confirm that they will
again today, after practice, as they do
whenever they can, because they can
and because they are young
and because it is new
and all-consuming.

Maybe there’s a lot of racism
in other places, but
I just don’t see it here
has a hard time sitting in the desk
at six-foot-two, and wonders
how long he can lift
in the weight room after school
and still get his chores done before dark.

Meanwhile, just last year two people
in this class called me nigger
slides down in her chair,
trying to disappear out of this
conversation that is focused on her
without being focused on her,
as so many conversations have been

and stop asking me if I live on the rez
remains silent as always,
pulls the hood of his sweatshirt
further down his forehead,
turns his music
up.

LouAnn Shepard Muhm is a poet and teacher from northern Minnesota. Her poems have appeared in many journals and anthologies, and she was a finalist for the Creekwalker Poetry Prize  and the Late Blooms Postcard Series.  Muhm is a two-time recipient of the Minnesota State Arts Board Artist Initiative Grant in Poetry and has been awarded scholarships from the Key West Literary Seminar, Vermont Studio Center, and Sierra Nevada College. Her chapbook Dear Immovable was published in 2006 by Pudding House Press, and her full-length poetry collection Breaking the Glass (Loonfeather Press, 2008) was a finalist for the Midwest Book Award in Poetry.  Muhm holds a Master of Fine Arts in poetry from Sierra Nevada College, and was recently granted an 18-month Artist's Fellowship by the Region 2 Arts Council of Minnesota.

MY COLOR

by Eaton Jackson

“Implicit bias is the mind’s way of making uncontrolled and automatic associations between two concepts very quickly. In many forms, implicit bias is a healthy human adaptation — it’s among the mental tools that help you mindlessly navigate your commute each morning. It crops up in contexts far beyond policing and race (if you make the rote assumption that fruit stands have fresher produce, that’s implicit bias). But the same process can also take the form of unconsciously associating certain identities, like African-American, with undesirable attributes, like violence.” —Emily Badger, The New York Times,  October 5, 2016. Photo: Late last month in El Cajon, Calif., demonstrators protested the fatal shooting of a black man by a police officer. Credit Gregory Bull/Associated Press via The New York Times

my color
forces you to
close your eyes in fear and squeeze the  trigger
one  two  three  four  five  six times
until my color falls to the ground  until
my color jerks spasmodically no more
one  two  three more salvos into
the inanimate object of my color to make sure
that my color is dead
explosions that
the kids playing ball in the park dismissed as firecrackers
until the shooter’s chest heaves no more with primal fear
Until the frozen aim thaws
lowers slowly its nozzle
at the ground where
the six footer
threat to your life
is now  prostrate at a skewed angled lifeless colorless
unseeing, open-eyed stare at your partners
also gun-drawn
applying CPR.
RIOTING THROUGH THE NIGHT

primordial anger as combustible as the overturned car
seething like molten asphalt       running people
running    people  running stumbling falling stumbling back up
towards a recently renovated convenience store
towards the innocent, pretty store

running   running  right  through shuttered  windows
busted open  by thrown missiles        running    running  
and  more  town-folks   and more homies  join in
ripping at the innards of the  convenience store
whose high visibility quotient      no fault of its own

but merely a child of town’s  exaggerated soaring architecture
no fault of its own,
now raped of everything inside
defiled virgin in tatters among the smoldering ruins    
and the riot runs on

the burning building  breaks into half
falling
into its own leaping inferno.

Eaton Jackson is an aspiring Jamaican writer. He has been a permanent green card resident in the United States for the past four years. Writing has been an attempt at fulfilling an artistic yearning and a source of therapy for him, when life’s aches, pains and depressions rain down.

THE DOG RUNS ON

by Laura McHale Holland

Alejandro Nieto was killed by police in the neighbourhood where he spent his whole life. Did he die because a few white newcomers saw him as a menacing outsider? —The Guardian, March 21, 2016. Image source: Justice for Alex Nieto.

the dog runs on
and my daughter’s friend
is gone

Alex carries a burrito
up Bernal Hill
a neighborhood jewel
his lifelong home

a husky, off leash, lunges, yips, growls
in pursuit of Alex’s food
the dog’s owner doesn’t notice, doesn’t care
he’s looking at a female jogger’s ass

Alex leaps onto a park bench
the dog lunges, yips, growls
Alex stands, fends off the fangs
the dog’s owner doesn’t notice, doesn’t care
he’s looking at a young jogger’s ass
the dog lunges, yips, growls
Alex pulls out a taser, points it at the beast
the owner notices, reins in his dog,
sees he’s facing a taser, not a gun

he trots off with his dog, calls a friend
says he wishes California were like Florida
he could stand his ground against
a brown-skinned, no good gangbanger
who dares to threaten his lovely dog
he could stand his ground against
a Latino dressed in red 49ers jacket
black 49ers cap, black pants, sunglasses
he could dispense with Alex
who is unnerved by a dog lunging
for a burrito on Bernal Hill
a neighborhood jewel
Alex’s lifelong home

Alex sits down, bites into his burrito
some passersby see a normal guy, a familiar face
others see a menace with gun tucked at his waist
one calls 911, police drive up the hill
Alex finishes his meal, stands up
a security guard with licensed taser tucked away
Alex, ready for work, ambles a familiar route
police move in
Alex ambles a familiar route, police move in
he does not know his new neighbors
ensconced in remodeled homes
believe he’s a threat, police move in
Alex does not know his neighbors, ensconced
see him as a threat, police move in

What happens next?
officers involved say they told Alex to stop
but he crouched, weapon in hand
they feared for their lives
he crouched, weapon in hand

people who loved Alex say
he would never do that
he was a role model, a youth advocate
a community volunteer
he studied criminal justice
he knew better than most
how to respond to police

an eyewitness says Alex did not
crouch, did not pull out his taser
an eyewitness says Alex did not
pull out his taser, did not crouch
an eyewitness says Alex’s hands
were in his pockets

my daughter says Alex, her friend
from Horace Mann middle school,
was a sweetheart, a peacemaker, always
a connector, a sweetheart always
in all ways

bullets blast and soar
through Alex’s lifetime home
knock the young man down
shatter his jaw and teeth
rip through leg bones
blast and shatter his lifetime
bullets pound the young man
already down without motion
bullets mangle his brain
his blood colors the ground
and the bullets stop at last
his blood pools on the ground

Alex, Buddhist, peace activist,
junior college graduate
aspiring probation officer
Alex, campaign volunteer
community event organizer
Alex deeply loved and loving deeply
breathes his last on Bernal Hill, his home
Alex, a neighborhood jewel
loving deeply and deeply loved
breathes his last on Bernal Hill
and the bullets stop at last

When San Francisco’s finest enter the home
where Alex dreamed the dreams of childhood
where he grew from beloved boy to beloved man
they do not tell his parents their son is dead
they interrogate, look for gang affiliations
they do not tell his parents their son is dead
they interrogate, look for drug connections
proof that Alex was unstable, unreliable, violent
San Francisco’s finest fail to mention that Alex is dead
until his parents demand answers
with no warrant, San Francisco’s finest steal Alex’s car
they find no drug connections, no gang affiliations
they smear Alex’s memory, look for drug connections
gang affiliations, look for dirt and find none

police brass, city brass exonerate the officers
the grieving parents seek justice, restitution in a civil trial
the dog’s owner testifies, jokes about the jogger’s ass
Alex’s grieving parents look on
the officers laugh in the hallway
the grieving parents look on
a jury clears the laughing officers
the grieving parents look on
the dog’s owner doesn’t notice, doesn’t care

the dog runs on and on
my daughter’s friend
is gone

Author’s Note: This poem is related to several police shootings being protested in San Francisco. It is specifically about Alex Nieto, who was gunned down in 2014. On May 9, people in the Justice for Alex Nieto group were among the protesters seeking the resignation of police chief Greg Suhr. Last week, after another in a spate of officer-involved killings, Suhr was asked to resign, and he did.

Author, editor and storyteller Laura McHale Holland has published the anthology Sisters Born, Sisters Found: A Diversity of Voices on Sisterhood; The Ice Cream Vendor's Song, a flash fiction collection; and Reversible Skirt, a memoir. You can sign up at her site to receive an excerpt from Resilient Ruin, her new memoir in progress.