Guidelines



Submission Guidelines: Send 1-3 unpublished poems in the body of an email (NO ATTACHMENTS) to nvneditor[at]gmail.com. No simultaneous submissions. Use "Verse News Submission" as the subject line. Send a brief bio. No payment. Authors retain all rights after 1st-time appearance here. Scroll down the right sidebar for the fine print.
Showing posts with label savage. Show all posts
Showing posts with label savage. Show all posts

Wednesday, March 05, 2025

MY OPEN LETTER TO ALL CHRISTIAN CLERGY FOR LENT

by Sister Lou Ella Hickman, OVISS

                           for jill, preacher




the season of purple has returned
and you will preach
either giving up or taking on
and for forty days most who listen   will
but what will you say to those
whose lent has been years of forty days
who  so tired
have become shadows
yet those shadows are the ashes
crossed on ash wednesday foreheads . . .
instead of the proclamation
of giving up or taking on
perhaps you could speak for them—
the voiceless
those who have already taken on
perhaps you could speak up
for all the invisible
who must bear alone
their long and savage lent


Sister Lou Ella Hickman, OVISS is a former teacher and librarian whose writing appeared in numerous magazines and anthologies. Her first published book of poetry is entitled she: robed and wordless (Press 53, 2015) and her second, Writing the Stars (Press 53, 2024.) She was nominated for the Pushcart Prize in 2017 and in 2020.  Using five poems from her first book, James Lee III composed “Chavah’s Daughters Speak” first performed at 92Y in New York City.

Thursday, August 18, 2022

(NONFICTION) THE SÁMI WORD FOR ‘HELP’ IS VEAHKKI! AND I YELL IT IN MY DREAMS TONIGHT, AND ALWAYS


by Ron Riekki


Above: Nils-Aslak Valkeapää, known as Áillohaš in the Northern Sámi language (23 March 1943–26 November 2001), was a Finnish Sámi writer, musician and artist.

“I am not saving my life for the future” 
Nils-Aslak ValkeapääTrekways of the Wind 
 
Tomorrow I go in front of a board 
to speak on the allegations that I 
was “speaking of native issues too 
frequently in class.”  When I heard 
 
these allegations, no, this allegation, 
no, this pissing-on-a-bonfire, I had 
the revelation of being had.  I had, 
yes, in class, spoke of indigenous 
 
issues, not realizing it’s a crime, 
but I am guilty of being native, of 
being Sámi, of being Karjalaiset, 
of being of a background where I 
 
hear, here, “I’ve never heard of 
that.”  The that falling flat.  And 
it’s a board of seven people.  And 
it makes me think of the time in 
 
Berkeley, where I was walking 
down the street and saw a black 
man, around 70 years old, peace- 
fully being drunk, on a bench, 
 
buzzed, yes, eyes red, yes, and 
leaving the world alone, then 
a police car drove up and an 
officer asked the man some- 
 
thing and he said something 
and another cop car pulled up 
and another cop got out and 
another cop car pulled up and 
 
more police got out and then 
a van pulled up, a cop van, 
a SWAT team reaction for 
this septuagenarian swept up 
 
so quickly into the back of 
the swallowing vehicles, all 
painted black, as if to mock, 
as if to mask them in night 
 
where the body was taken 
and I stood there and realized 
how there is the centrality of 
overreaction, of SWAT-style 
 
action movie hyperbole where, 
in the end, there is the pairing 
of kissing the woman while 
killing the man who didn’t 
 
matter, the man who was 
reduced to villain and a woman 
seduced by cliché and audiences 
in the dark, snoring.  And a First 
 
Nation playwright in Montreal 
told me that Hollywood cinema 
is all about conflict, that they 
love conflict, because colonialism 
 
is hearted in conflict, but native 
playwriting and screenwriting and 
story is about community, not con- 
flict, not the incarceration of their 
 
films, but instead about connection, 
and he said that there was a reading 
where afterwards a white man 
raised his hand and said he’d have 
 
to be honest and he said the play 
was boring, and behind him was 
a group of Anishinaabe who were 
all in tears, their sleeves filled 
 
with tears, and this man was 
bored.  And tomorrow I don’t know 
if I am getting kicked out of college 
or if I’m getting killed out of college 
 
or if I’m getting left in decorticate 
position, funeraled, how I was told 
that I was not only speaking too 
much about native issues, but I was 
 
being too “aggressive” with how I 
was talking about native issues and 
an elder, Red Pipe Woman, on 
the phone told me, “Oh, let me get this 
 
straight: a native person is being 
told they are ‘aggressive.’  They’re 
telling you that you’re being ‘savage’ 
by speaking of native issues.”  And 
 
our laughter was as normal as all 
the tall clouds above, and our laughter 
was sky-deep, and our laughter was tears, 
and the grey clouds were coming and 
 
I love walking in the rain and I walked 
home and I wondered if tomorrow 
they were going to try to destroy me 
and tomorrow I am going to find out. 
 
And tomorrow I am going to find out. 
And I will live even if they kill me. 


Ron Riekki co-edited Undocumented: Great Lakes Poets Laureate on Social Justice (Michigan State University Press).

Tuesday, July 11, 2017

THE TWO DONS

by David Spicer




Two vultures lurk on top of the tree,
both always wanting more, more,
slaves to their animal-egos’ greed,
each desiring money like a whore.
Don and Don, Jr. scowl, dark knights,
as if they despise the world they ravage,
father and son living to pick fights,
doing their best to act the savage.
Women? Just prized possessions
they might grab, fondle, and keep,
depending on their current obsessions
and whether they pounce after they leap.
Will Daddy devour Jr. under the bus?
More than likely, before he eats us.


David Spicer has had poems in Chiron Review, Alcatraz, Gargoyle, Zombie Logic Review, Poppy Road Review, The Reed Magazine, Ploughshares, The American Poetry Review, and elsewhere. The author of Everybody Has a Story and four chapbooks, he’s the former editor of raccoon, Outlaw, and Ion Books.

Thursday, December 27, 2012

CIVILIZED DENTISTRY

by Caru Cadoc




We pay dentists to shave down our canines
nice and flush with the others
to help us dress up
and play humanists.
It's vain but honest.
They're such savage looking teeth.
And who needs canines anyway
when we have blow guns of chrome
Powered by powder more forcful than our little jaws
To project shards of metal designed to tear far deeper
Than our quaint little teeth.


Caru Cadoc is the lyricist for the Pseudosufis.  His work has appeared in Dead Flowers,The BoilerMAKEJersey Devil PressWord Catalyst and Storyglossia.