BONES OF THE REPUBLIC

by Earl David Freeland

I weep.

The king didn’t take the throne.
The elephant knelt—
tuskless,
trumpeting fear,
its weight crushing the roots
of a nation it once carried.

Palms open,
backs bent,
offering the crown
wrapped in fear,
cheap flags for bows.
Will there be midterms?
Will it matter?
When power hums the same note,
ballots dusted under a golden sneaker,
lines redrawn to cut out the noise—
cut out us.

Maps don’t divide now.
They silence.
States, neat and obedient,
stacked under a crown.

What world waits for my son?
A place where truth
gets dragged—
hair tangled in fists,
paraded like a lesson.

Freedom?
Traded for chain-slick comfort.
Easy.
Cheap.

The anthem plays.
Hands rise—
not for hearts.

I see it—
the Mouth of Putin,
slick, wide, laughing.
Spitting out slogans,
black seeds rooting into
boots,
barbed wire,
burned books.

Long live the king,
they say.
And mean it.

I weep.

But I’m watching.
And if democracy dies here—
I’ll bury it with teeth.
Bared.
Fists raw.
Tear the ground open
and dig through the bones
the elephant left behind

Earl David Freeland is a mathematician, former cartographer, and teacher whose poetry balances precision with raw vulnerability. His work explores societal critique, existential themes, and human complexity with unflinching honesty. His poems have appeared in Poets Reading the News and reflect a deliberate rejection of polish in favor of visceral authenticity.

AFTERMATH — A FOUND SONNET

by Susan Vespoli

—all words in the poem from a KJZZ Interview with Tom Maxedon

Susan Vespoli and her book One of Them Was Mine

What happened? Officer Lindo shot my son

in the back of his head. Blew everything

apart. In the face of powerlessness,

we should say his name: Adam Vespoli.

 

Phoenix Police Department Disciplin-

ary Review Board: cop was found out 

of policy. Immediately resigned. Freedom 

of Information Act. Aftermath. Coping

 

with grief. A molten slosh of pain. Healing

thoughts and hearts. My son, a big believer. 

My mission, words in mouth, to be his voice. 

Lawsuit resolved. Financial settlement. 

 

The    policeman    is    no     longer 

a policeman. He’s driving a truck in Texas.

Susan Vespoli writes from Phoenix, AZ and believes in the power of poetry to create change.

GAZA, JUNE 8, 2024

by Elizabeth Poreba

The office of the U.N. High Commissioner for Human Rights said on Tusday that it was “profoundly shocked” by the impact on civilians of Israel’s raid to free four hostages, adding that actions by both Hamas and Israel may be war crimes. —The New York Times, June 11, 2024. Photo: A Palestinian medic carrying an injured child Saturday at a hospital during an Israeli military operation in the town of Nuseirat in central Gaza.

Credit...Mohammed Saber/EPA, via Shutterstock

We know from ancient bones that a pigeon or dove could atone 
now these bodies strewn 
sufficient sacrifice when less than a lamb or goat would suffice 
bodies anonymous to us 
the same birds that crowd our streets
but these could devise no flight 
their blood set the sinner right  
damage—collateral,  blood—fungible 
a ram replaces a son, or if no ram, 
a score of these little ones.

Elizabeth Poreba is a retired New York City High School English teacher. She has published two collections of poems. Vexed and Self Help (Wipf and Stock), and two chapbooks, The Family Profile and New Lebanon (Finishing Line Press). Her work is also in This Full Green Hour, an anthology composed of work by six of the O’Clock Poets (Sonopo Press, 2008). Kelsay Press will soon publish her new collection Yamma.

WHAT I WANTED AND WHAT I GOT

by Susan Vespoli

Corporeal Writing Softest Tee

I wanted my son back. 

I wanted the cop who shot him 

to be held accountable. I wanted my son 

to be standing here wearing his Pure-Heart 

t-shirt, handing out food boxes. I wanted him 

to ask for more light clothes for Christmas,

more white socks because he believed light colors 

would help him stay clean. I wanted another cross

for him to carry—mosaic-ed in fractured glass—

another coffee date at Starbucks, another tour 

of his apartment furnished with found lamps 

and a found statue of a bear holding a fish 

that says “Welcome.” I wanted his voice

saying “I love you, Mom,” his fingers 

texting me photos of geese and cats 

and quail eggs laid in a ceramic swan.

What I got was a wrongful death lawsuit, 

a deposition where I was shamed and blamed 

by an eye-rolling smirking bitch of a City 

of Phoenix lawyer who mocked my 12-step beliefs, 

asking sarcastically,     “Did it help?”    

I got my Facebook account invaded by the cop’s 

legal team, two of my poetry books used as evidence 

against my son. I got a gag order—no more speaking 

about or publishing poems about the loss or the case, 

two canceled poetry readings. I got a t-shirt that says: 

“Make art in the face of fuck.” I got the face of fuck. 

I got a pen and more notebooks because the cop’s lawyers 

confiscated my journals and I write anyway and I write anyway 

and I still believe good will prevail. Still believe the spirit of Adam 

stands among us, that his words “I think god has another plan for my life”

will ring and ring and crack the wrecking ball of the cops’ denial 

and out of the shatter—will glow my son’s smile, his essence, his light.

Author’s Note by Susan Vespoli: City of Phoenix is squirming about the upcoming results of the DOJ’s two-year investigation into their use of excessive force, high number of police killings, and unfair treatment of the homeless. The City claims they don’t need oversight. I, as the mother of an unarmed man shot and killed by police on March 12, 2022, shout: “YES. THEY. DO.”

Editor’s Note: The New Verse News has published a number of the poems written by Susan Vespoli in the aftermath of the killing by Phoenix police of her son Adam:   "Before I Knew Adam Had Died,”  "My Ex-Husband Calls… ,"   … In Reverse,” “I Am Finally Handed… ,” “Under Investigation… ,” “Dear 2022,” “Poem for My Middle Finger,” “Dear Gag Order,”

MY DEAD FRIEND’S SON POSTS FROM A BOMB SHELTER IN TEL AVIV

by Laurie Kuntz

I can remember you and your dad strolling
the beach, crab hunting.
I was close by teaching my son
not to fear waves going over his head.
You were both four—friends and schoolmates.
 
As parents, we were only 
concerned with keeping
sons safe and sane.
 
When your family immigrated to Tel Aviv,
I admonished your dad for taking you 
from a melting pot into fire.
A mensch from Boston, 
bringing up a son by the beach
would be enough for most. 
 
Three decades later,
your dad is gone and you post
ramblings of war from a bomb shelter,
numbers of the missing, injured, and dead—
 
Today your post is shorter, the news is the same
the sirens—louder, the numbers—rising
while the world becomes immune
our gasps less forceful
as we scroll down giving a thumbs up 
to  blooming gardens, exotic recipes, and all 
that is coming soon to a theater near you.
Anything to alleviate the burden of responsibility.

Laurie Kuntz  has published two poetry collections (The Moon Over My Mother’s House, Finishing Line Press and Somewhere in the Telling, Mellen Press), and three chapbooks (Talking Me Off The Roof, Kelsay Books, Simple Gestures, Texas Review Press, and Women at the Onsen, Blue Light Press). Simple Gestures, won the Texas Review Poetry Chapbook Contest, and Women at the Onsen won the Blue Light Press Chapbook Contest.  Her 6th poetry book, That Infinite Roar, will be published by Gyroscope Press at the end of 2023. She has been nominated for three Pushcart Prizes and a Best of the Net Prize. Her work has been published in Gyroscope Review, Roanoke Review, Third Wednesday, One Art, Sheila Na Gig, and many other literary journals.  She currently resides in Florida, where everyday is a political poem waiting to be written.

POEM FOR MY MIDDLE FINGER

by Susan Vespoli

with a nod to Catherine Pierce’s protest poems

“Fuck Authority” by Dan Colen, 2006, Oil on found painting

In protest I watch eight cops 

unload from their SUV, then strut

past me, a small granny with teal luggage 

waiting at the airport for a ride. 

In protest I say Beefcake. 

Fitted khaki pants and black polo 

shirts decaled with the word Police. 

Guns strapped to each man’s thigh 

with dark bands. In protest I say garter belts. 

In protest I say (in my head) I know 

what you did to my son. I saw the body 

cam. In protest, I glare. Puffed out chests 

and cocky swagger. In protest I say 

Mr. America patrol. I say rooster 

and remember the one that attacked 

my granddaughter at the peacock park. 

We thought it was a soft striped hen 

with a red mohawk until it high-kicked

its claws into her scalp. Blood spurted 

as she shrieked. In protest I say pull it in, 

dudes. Fold those football-player-sized egos

into cloth napkins at a memorial service. 

In protest I say humble. I say karma. I say

apologize. I want to scream, you don’t scare me, 

but remember my other kid saying, watch out, Mom. 

You’re gonna get yourself in trouble. In protest 

I say fuck Superman. I say fuck cultural authority. 

I bow down to sky, birds, dogs, poems, and peace.

Susan Vespoli lives in Phoenix, Arizona where she continues to write toward finding some sort of justice for her son, Adam Vespoli, who was shot and killed by police on March 12, 2022.

UNDER INVESTIGATION BY THE DOJ, PHOENIX POLICE DEPARTMENT REVISES USE OF FORCE POLICY

by Susan Vespoli

             “I think god has another plan for my life.” —Adam Vespoli, weeks before he was shot

City of Phoenix

solicits public input

on “Use of Force” policy.

        Officer Donnell Lindo, the cop who shot

               my son is gone.     

Core Principles: Goal 

of every encounter is

to resolve without force.

       Turned in his gun,

               his holster, badge.  

Employees shall make 

every effort to preserve 

sanctity of human life.

      was found by Critical

                Incident Review Board to be in the wrong.   

                Referred for discipline.

Employees shall respect, 

uphold value, rights, liberty,

dignity of all

      Resigned before he was fired.

                (Didn’t resign before he fired the gun.)  

persons at all times.

Always use de-escalation

tactics. Shall be held

      The cop who shot   my son 

                is gone.

accountable for

violating policy. 

Discharge of firearm. 

      Where’d he run?

“He no longer works for the department.” 

    —Clerk at Phoenix Police Public Records

Turned in his badge,

his bullets, gun.

Shooting person close 

range   in the head    is Deadly 

Force       always last resort.

My son is gone.

Author’s note: Words in italics are “found poem” from mail conversation with Police Records and "Use of Force" Proposal.

Susan Vespoli writes from Phoenix, Arizona where she continues to write toward finding some sort of justice for her son, Adam Vespoli, who was shot and killed by police on March 12, 2022.

Editor's Note: The New Verse News previously published five of long-time contributor Susan Vespoli's poems about the killing of her son by police:  "Before I Knew Adam Had Died" and "My Ex-Husband Calls To Tell Me Our Son Has Been Shot By Police," "Police Violence in Reverse," "Dear 2022," and “I Am Finally Handed the Critical Incident Review Board Report.”

DEAR 2022

an abecedarian

by Susan Vespoli

Abyss Painting by Gillian Fortson at Saatchi Art

Au revoir, heaviest year of my life,

bringer of shit and light,

carrier of catastrophe, 

death of my adult kid by bullet

explosion. It’s hard to say the word “dead,”

followed by the word “Adam.” I look for a

gentler way to say, “murdered son.”

How about “deceased,” or “angel son,” or

“invisible winged-son,” or “no longer

journeying on the physical plane.”

Kris, my cash-pay splurge of a

long-term therapist planted a

metaphor to help me

navigate: walking

over an abyss, holding a balancing

pole made of coping tools to remain

quaver-proof, (like poetry, therapy, 12-step, being in the

right-here-right-now), the rod’s weight increa-

-sing my moments of inertia,

tamping my tendency to fall. And I

understand, so I trek, carrying his

vivid lucence, his essence, as I

wire-walk, step tip to toe, eyes on

xystus on the other side of this

year, where I will enter 2023, sit cross-legged

zazen on the floor and breathe, Adam with me still. 

Editor's Note: The New Verse News previously published three of long-time contributor Susan Vespoli's poems about the killing of her son by police:  "Before I Knew Adam Had Died" and "My Ex-Husband Calls To Tell Me Our Son Has Been Shot By Police," and "Police Violence in Reverse."

Susan Vespoli writes from Phoenix, Arizona where police violence and the criminalization of homelessness are alive and well.

POLICE VIOLENCE IN REVERSE

a gigan

by Susan Vespoli 

Three bullets pop from the back of my son’s head

shiny, bloodless, sailing up the barrel of a gun

that tucks itself into the holster at the hip

of a 25-year-old policeman who still dreams

of the person he shot 11 months earlier,

still jolts awake screaming,      I’m sorry!

My son, no longer dead, returns to the bus

and falls asleep, traveling to the previous morning          

at 6:00 a.m., where he and his unhoused comrades

 

slumber in the underpass tunnel by the freeway.

No thoughts of bullets enter his head. Cops who arrive

at daybreak look around, say, I’m sorry, do not tackle them, snicker,

arrest them for “sleeping in a public place.” Instead, they pass out blankets,

coffee, flyers for shelters; see the wheelchair, the crutches, the backpacks,

people shivering from the cold, not fear of the badge, the taunt, the violent

ego of those hired by taxpayers to be protectors, peacekeepers.

Susan Vespoli writes from Phoenix, AZ where she believes in the power of writing to heal. Before her son was killed in March 2022, she told him about the poems she wrote about him and addiction in their family. He was quiet and then turned to her and said, "If the poems can help others, then good."

Editor's Note: The New Verse News previously published two of long-time contributor Susan Vespoli's poems about the killing of her son by police: "Before I Knew Adam Had Died" and "My Ex-Husband Calls To Tell Me Our Son Has Been Shot By Police."

BEFORE I KNEW ADAM HAD DIED

by Susan Vespoli

a hummingbird flittered on the other side of the glass 

patio door    a feathered sprite that stayed   stared

       at me     hovered like an airborne messenger     stayed 

       until I rose to face it      look into its seed-bead eyes

watch its wings thrum      to keep body aloft      its face

breathing in mine      until it released me       lifted off

       toward the pot of geraniums      breathed in billowy

       red petals      sipped nectar      through its dart-sharp beak

darted around the yard    like a small soft helicopter

and then      whoosh     disappeared over the fence. I didn’t know

       my son had already disappeared    from this human life

       or that I’d google to find a hummer is a symbol for freedom

and “may be a sign that a loved one has successfully made it

(like the hummingbird) to the other side   and is doing just fine.”

Editor's Note: Susan Vespoli’s son Adam, shot and killed by police last week, appeared in many of her poems, including "Chicken" and "Alex's Teeth" (Alex = code name for Adam) in The New Verse News.

Susan Vespoli writes from Phoenix, Arizona where the opioid epidemic is still alive and well. 

FOR KAREN, MOTHER OF AMIR

by Jennifer Hernandez

An officer with the Minneapolis Police Department SWAT team shot and killed a 22-year-old man early Wednesday morning during the execution of a no-knock raid, reinvigorating debate around a law-enforcement tactic that many say is ripe for abuse. The victim, Amir Locke, who appeared to be asleep on the couch that morning, was not named on that warrant. In a matter of about three seconds, body camera footage shows the man—buried under a thick white blanket—stirring to the sound of the cops' entry with his hand on the barrel of a firearm. Officer Mark Hanneman then shoots him three times. Interim Minneapolis Police Chief Amelia Huffman initially said that Hanneman shot Locke because Locke pointed his gun "in the direction of officers." But the footage released by the government appeared to contradict that: Locke's gun was pointed to the side, and his hand was on the barrel of the weapon, not the trigger. He owned the gun legally and had a concealed carry permit, according to his family's legal representation. "My son was executed…and now his dreams have been destroyed," said Locke's mother, Karen Wells, at a press conference Friday. "They didn't even give him a chance," echoed attorney Ben Crump. —reason, February 4, 2022. Photo: USA  Today, February 5, 2022

My child is also a deep sleeper.

 

If he crashes on the couch

at the home of a friend

after a night at the club or

making music or playing COD,

his head covered by a blanket

so he doesn’t see or hear

the door open, the strangers

enter the room, the strangers

kick the couch to rouse him

in the pre-dawn darkness—

 

If he wakes in fear at strangers—

If he grabs a weapon for protection—

 

will my son be shot three times

in nine seconds? Will I be left

to wail over his young body?

Will I be forced to fight

for justice? Will I?

Editor's Recommended Reading: "The Burden of the Black Mother"

 

 

Jennifer Hernandez lives in Minnesota with her husband and three sons. She teaches immigrant youth and writes poetry, flash, and creative non-fiction. Publications include Radical Teacher, Rise Up Review, Writers Resist, and This Was 2020: Minnesotans Write About Pandemics and Social Justice in a Historic Year. Her poem "Taco Love" was also featured in Poetry in the Park in the Dark sponsored by the Saint Paul Almanac.

"FLUFFY DOESN'T LIVE HERE ANYMORE,"

by Gil Fagiani

Richmond Center for Rehabilitation, Staten Island

 

my son says, as his new roommate: black teeth,

angry eyes, mumbles to himself, as he storms

out the door when I ask him to lower the TV.

 

Chubby, gentle, slow-talking Fluffy went every-

where with his pink teddy bear: the bedroom,

the dining room, the dentist’s office, he even

took showers with him—“that’s how he got

the nickname Fluffy,” my son reminds me.

 

He loved to sing Sammy Davis Jr. songs with Jill:

“Everything Is Beautiful, ” “The Candy Man.”

Last week he reportedly touched her backside,

“inappropriate contact,” the head nurse declared.

 

“He was sent to another unit,” my son says.

“Everyone on the ward misses Fluffy, even Jill.”

Gil Fagiani (1945-2018) was a translator, essayist, short-story writer, and poet. He  published nine books of poetry: Connecticut Trilogy: Stone Walls, Chianti in Connecticut, Missing Madonnas; as well as his collections Logos, A Blanquito in El Barrio, and Rooks; plus three chapbooks, Crossing 116th Street, Grandpa’s Wine, and Serfs of Psychiatry.

THE NIGHT BEFORE JERICHO BROWN WON THE PULITZER PRIZE FOR POETRY

by Claudine Cain

for Ahmaud Arbery

I did not write poems that night. My hands were as cold as my feet and I had to help mother’s sons find their way. I had heard the news, but some things are easier to know than see. Sometimes the children tarry too long in the place where it happens, after. I had to hold his hands, speak in the music of tongues he had forgotten, and wipe away his fears. I asked him if he knew that Jericho Brown was going to win the Pulitzer prize for poetry.

He said, no | yes.

I asked him if he’d like to stay or go back and, perhaps, be a poet too.

He said, I am.

I thanked him for remembering. He wanted to stay then, to let all of the warmth that never ends find its way back into him. So he sat down between mother’s knees and rested his head in her lap. She sang a song and began counting the strands of his hair.

He wanted to know, if it wasn’t too much trouble, if it would be possible for him to have wings.

Mother said, yes.

Claudine Cain lives in North Carolina where she attends UNC Greensboro. She is the former editor of Black Elephant literary journal. Her fiction, art, and poetry have appeared in Riggwelter, Eunoia Review, Dime Show Review, Public Pool, and elsewhere.

WE THE FAMILIES

by Lao Rubert

Photo: GORDON PARKS / GORDON PARKS FOUNDATION accompanying “Becoming a Parent in the Age of Black Lives Matter,” The Atlantic, June 2, 2020.

Today, I join the tribe that lives in fear
of a son traveling the wrong neighborhood,
knowing he will be watched,
viewed with suspicion
his powerful body seen
as threat only, object for capture.

I join the tribe of families
whose sons, husbands, nephews
have been swept up, swept in,
by the machine turning its massive rollers
over their muscular frames.
                                                                     
I join the families saying,
“Take care where
and how you drive your car,
your body
might be too beautiful.
It may frighten them.”                                      

I join families advising, “Think
where to put your hands if stopped.
Though you are quick, make no movements;
though you carry no weapon,
do not open your glove box.
These are things you must know.”

We, the families,                                                          
wait on the courtroom’s hard benches
as officials toss sentences into the air like confetti          
watching as the crane they call justice
swings its giant arm, its heavy bucket        
over the heads of young men forever standing
in the wrong place.

We listen to guards tell our lovely ones    
Where to stand, to sit
when to speak
how their jump suits must be worn,
their pant legs rolled.

We listen to prosecutors
who have no words written
or whispered
about hope
that hummingbird that keeps a young man alive
when trouble comes clanging in over the rooftops.
Where have they hidden it
and why?              

Lao Rubert is a poet and advocate for criminal justice reform living in Durham, North Carolina. Her poems have appeared in the N.C. Independent, the Davidson Miscellany, the Duke University Archive, the News & Observer and are scheduled to appear in Barzakh in May, 2020.

WHAT THE NEWS BRINGS: TOO MUCH, NOT ENOUGH

by Shirley Brewer

I




The sea calls, deep with freedom
and risk. A sparkling summer day,
a fishing adventure off the Florida coast
in their 19-foot boat. Born on the water,
the two teens learned to walk in water.
Are they heading toward a destination,
maybe the Bahamas, paradise,
an escape from the mundane? Nature
sings in open air, until the squalls.
When the boat capsizes, they become
lost boys. The ocean no longer a home;
it swallows them whole. Despite
days of searching, the sea rules.
The boat turns up, far away from the place
where they set out. The boys are missing.
Too much. Too much water.


II




A family of three from France
plans for a whole year to visit
the Wild West. A five-week journey.
Week One goes well. Then, New Mexico,
White Sands National Monument. They arrive
at noon, 100+ in the August desert.
What prompts them to set out
on the longest trail—4.6 miles, no shade—
with only two small bottles of water?
In the dreamer’s mind, a vision of adventure
doesn’t come with a temperature.
Mother heads back to the truck, feeling unwell.
She drops and dies. Father falls, stops breathing—
his tongue swollen. Their 9-year-old son will live.
Sands blow and shift: cruel beauty, brutal sun.
Not enough. Not enough water.


Shirley J. Brewer (Baltimore, Maryland) is a poet, educator and workshop facilitator. In addition to TheNewVerse.News, her poems appear in Passager, Stone Canoe, Spillway, Little Patuxent Review, Gargoyle, The Comstock Review, and other journals. Her poetry chapbooks include A Little Breast Music, 2008, Passager Books, and After Words, 2013, Apprentice House/Loyola University.