NO KINGS ALLOWED

by DJ Benhaim

Cartoon by Omar Al Abdallat.

I.

In the beginning was asphalt.
And the word was protest.
And the word was pixelated,
buffering between freedom and feed.

A crowd of imperfect citizens
chants like a country relearning its name.
The chorus is improvised:
No kings allowed—no crowns, no conquerors,
no saviors in tailor-made sympathy.

Their voices ripple through barricades,
become algorithm, become echo—
a national heartbeat with a stutter.



II.

I have seen democracy drag itself
through a century of luminous slogans,
its reflection flickering in each broken screen.
Still insisting: I am not done.

Once, the Founders gathered by candlelight—
afraid of monarchs, afraid of mobs.
They drafted compromise as scripture,
named it law and order,
muttered prayers to Reason
as though Reason were a god inclined to listen.

Some nights I wonder:
who will amend the amendments,
who will serve the servants,
who will remind us that equality
was never intended to mimic sameness?



III.

—No Kings Allowed—
the maxim mutates through the crowd.
Each repetition, a revision:

No Kings (but maybe a firm hand).
No Kings (but someone must decide).
No Kings (unless it’s my kind).

The chant becomes confession.
The confession becomes commerce.
Every democracy finds its vendors.

A man sells T-shirts beside a food truck:
LIMITED EDITION FREEDOM.
The poet buys one—
because irony, still, is cheaper than hope.



IV.

O Republic,
child of contradiction—
you legislate mercy
and enforce it with tear gas.
You proclaim all men,
then redact the margins.
Your pledge is a mirror:
every mouth repeats it—
none can see its cracks.

Still,
you endure—
awkward and miraculous,
a choir harmonizing
in seventeen unresolved keys.



V.

Night closes in.
The crowd separates into numbers.
The flag waves like a faulty signal.

Somewhere, a migrant waits at the checkpoint,
a senator rehearses his talking points,
a teacher grades an essay on liberty
with a trembling red pen.

And the poet—our witness,
our reluctant chorus—
writes in the margin of his notebook:

We are not failing,
we are rehearsing.

He closes the book,
steps into the dark,
and feels the fragile promise
of a nation still deciding
whether freedom needs a throne—
or simply
a place to sit down and listen.

DJ Benhaim is an emerging poet from the Windy City—Chicago, Illinois, whose work explores current events, global awareness as well as Afro American culture and the preservation of its stories, history, and legacy. An avid supporter of the city’s spoken word and poetry community, he can often be found cycling along the lakefront, soaking up the sounds of local jazz and blues, or experimenting with a camera in hand. His work has appeared or is forthcoming in Sheila-Na-Gig’s AMPLIFY Anthology, Kinsman Quarterly, and African Writer Magazine.

PEACE WILL ALWAYS SOUND BETTER

by Joseph Hope

“peace” by Shahid Atiq at toonpool.

The body would prefer perfume to real bullets.

Prefer water to tear gas.

Prefer flowers to rockets.

Prefer anything that will not kill it 

to what can.

Ask the dead!

Brokering peace is better than taking a side.

Whether it's 

Palestine vs Israel or

Allah vs Jesus or 

White vs Black or 

Jews vs non-Jews

peace will still remain the only cure to conflicts.

Joseph Hope is writing from Nigeria, a student of Usman Danfodio University. His works are either forthcoming or already published in Reckoning Press, Evening Street Press, Zoetic Press,  The New Verse News, Praxis Magazine, Gemini Spice Magazine, Spillwords, SprinNG, Writers Space Africa, Nthanda Magazine, 5th Chinua Achebe Anthology, Ariel Chart, Best "New" African Poets 2019 Anthology, and many more. He's a young man running away from his name. How absurd! He tweets @ItzJoe9

MY PORTLAND

by Tricia Knoll

Photos by Morley Knoll

Portland people march. That’s what we do when called from our desks, our beds, classrooms, jobs. We know our history. The KKK. Davenport Flood. Japanese internment. Redlining. Gentrification.

We thread the blocks downtown like needles seeking to bind up frayed fabric. From four directions we come for Pride, Black Lives, climate change, our left-coast city. To the county whose votes determine how the state goes.

We mantra our weirdness, embrace the smallest park in the world and the largest city park. We drink micro-brews and unfiltered water. Bicycle repair shops feature espresso drinks.

We dress for the seasons’ rain, umbrellas good against gas. Leaf-blowers to blowback aerosols sifting down on our masks, homemade or for gas. Hockey and lacrosse sticks to return the cannisters to behind the fence.

Maybe we come naked, exposed, worried and afraid or angry and loud. A city's tradition of riding a bike naked from the top of the hills to the river.

Smell the Riot Ribs in the parks between City Hall, Portlandia, the Fed Building, Courthouses. The hostas were once lush there. A bronze statue of a white pioneer points the way as if native people never lived here in large numbers on the riverbank where salmon spawned upstream and century-old trade routes converged.  

We are moms, the displaced, overlooked, veterans, church-goers, atheists, the beaten on and the upbeat who walk and cry for a better day. For justice.

Board up Tiffany’s. Board up the banks.The Pioneer Place shopping mall. The artists come to paint. Show howbacks are stabbed. They give us the dead and butterflies that hope, list the names so we can say them again and again. We know this history. It was nothing to cheer about.

We also know that the untrained federal storm troopers, the mercenaries paid under contract, must go. Must go. Must go

Tricia Knoll moved recently from Portland, Oregon to Vermont to be near family. She lived in Portland for 45 years, worked in the Portland Building, lunched in all the parks adjacent to the courthouse, City Hall, and the Federal Building. She has marched and marched over many years on Portland's streets.

SOUND BITES

A Found Poem Pantoum of Shit I Read in the News
by Brady Riddle

More Shit found from #TRE45ON

One day, it’s like a miracle, it will disappear.
We inherited a broken test, a dead system
that didn’t work. One of the worst things that didn’t work.
Great marks for handling the infectious source!

We inherited a broken test, a dead system:
You got it wrong! They didn't use tear gas.
Great marks for handling protesters there!
Pepper spray is not a chemical irritant. 

You got it wrong! They didn't use tear gas—
riot control agents make people unable.
Pepper spray is not a chemical irritant. 
These THUGS dishonor Peace, on his knees, hands up.

Riot control agents make people unable
to rally against the death, the outrage.
These THUGS dishonor Peace, on his knees, hands up.
False and misleading claims, most of them from the past

rally death, outrage, control, downplay the situation—
that didn’t work. None of the things even worked.
False and misleading claims, most of them from the past
one day, like a miracle, will disappear.

Brady Riddle currently resides in Shanghai, China where he teaches secondary English at Shanghai American School. His poems can  be found in Lean Seed (San Jacinto College, Houston, TX), Ottawa Arts Review (University of Ottawa Press),  Spittoon Collective (Beijing, China), and most recently A Shanghai Poetry Zine.

TRUMPNACHT

by Sonya Groves

Residents gathered this month on a corner in Coquille, Ore., in anticipation of rumored (nonexistent) busloads of antifa activists.—“When Anifa Hysteria Sweeps America” by Nicholas Kristof, The New York Times, June 17, 2020. Photo Credit: Amy Moss Strong/The World

And when shall Kristallnacht occur and whose bodies will he pull into the street...black, brown, bilingual, dual citizen, naturalized citizen, undocumented, Democrat, liberal, atheist, poor...how shall he kill us, with the good book in his hand, with the poison on his tongue, with the chaos that follows him, snaking through our fiber pipes dumping hate, candy from a dispenser? When shall our night of terror begin or has it come and gone and we dying in our walled ghetto from tear gas, spittle from his unmasked minions, and ignorance on how to turn it off, turn it all off, walk into the light and reach for a hand out of the pit and onto the surface of compassion. Because we are dying down here, I am dying down here and the bodies are piling up, up so high he never has to see anything, anymore.

Sonya Groves is a teacher in San Antonio. She has poetry publications in over 20 journals, including  TheNewVerse.News, La Noria, The Voices Project, Aries, Carbon Culture Review, and FLARE: The Flagler Review.  Currently she is pursuing her PhD at The University of Texas San Antonio.

THE FLAMINGO CUP

by Jenny Doughty

The last time I cried was when I heard my daughter try and explain events on the TV to her three year old. There were protest marches, she started to say but Katie interrupted, What’s a protest march? My daughter hesitated. Katie flourished a cup picturing a pink flamingo. She’d liberated it from her baby sister earlier. Was it over a flamingo cup? The strain hit me of a week spent watching a black man die under a white cop’s knee, hearing I can’t breathe, seeing blood flow from baton blows, people gasp and choke from tear gas or bruised by rubber bullets. Baby girl, yes, it was all about a flamingo cup. It was about some people wanting all the flamingo cups and others having to use their cupped hands. It was about some people whose flamingo cups overflowed with the juiciest juice while others drank lead-tainted water from faucets. It was about cops stopping black people who had flamingo cups because they might have stolen them from white people. It was about people with the biggest and best flamingo cups taking them from others who were left, like your baby sister, crying on the floor. Sometimes it was about stopping somebody else from taking your flamingo cup when they already had their own but wanted more. It was about caring about that flamingo cup so much that you no longer cared about the person holding it, even if that person was left with only cupped hands to drink from or crying on the floor or crushed under a knee, not breathing.

Jenny Doughty is a former English teacher and Education Adviser to Penguin UK.  Originally British, she has lived in Maine since 2002. Her poems have appeared in The Aurorean, Pulse online review, Naugatuck River Review, Four Way Review, and several anthologies. She is currently President of the Maine Poets Society. Her first book of poems Sending Bette Davis to the Plumber was published by Moon Pie Press in 2017.

LAST WORDS

by Joan Mazza

Without TV, I turn to the Internet to see
videos of crowds rushed by the police
with shields and full riot gear as they push
back protestors. Tear gas and smoke,
shouting, chanting one man’s name,
his last words an echo of another’s—

I can’t breathe.

So many people pushed together, crowds
breathing each other’s breaths, droplets
of anger and outrage pooling to form
a stream, a river, an ocean of grief,
hundreds of years of slave masters
and tyrants, bullies and dictators.

I can’t breathe.

Gowned and masked, medical workers
adjust tubing and drips, hear last gasps
of the those dying alone. No visitors
allowed. We’re socially distant, isolated,
afraid of friends and family who have
marched to say no to brutality.

I can’t breathe.

George Floyd, your name enters
the litany with Philando Castile, Sandra
Bland, Michael Brown, Eric Garner.
White, armed protestors who threaten
the Wisconsin governor’s life are met
with hard stares, not tear gas.

I can’t breathe.

I’m coughing. My throat is sore. My eyes
hurt, joints ache. Ticks and pollen
are thick this year. The news is muddy.
Our president is no leader, no comfort.
He threatens more beatings, promises
shooting will reign supreme.

I can’t breathe.


Joan Mazza worked as a medical microbiologist, psychotherapist, and taught workshops on dreams and nightmares. She is the author of six books, including Dreaming Your Real Self, and her work has appeared in Italian Americana, Poet Lore, The MacGuffin, Prairie Schooner, and The Nation.

BREATHING LESSONS

by Mary K O'Melveny

“Can’t breathe” by Hong Kong artist Benson Koo at society6.

I CAN’T BREATHE

said Eric Garner, his loosies scattered
like toothpicks on the street, his chest
and neck compressed, his body battered,
then prone, as Daniel Pantaleo pressed
down harder until nothing mattered,
leaving questions for some later inquest.

WE CAN’T BREATHE

said Hong Kong protesters whose lungs
filled with tear gas as police fired
more cannisters and aimed their guns
toward their hearts, hoping they would grow tired
of trying to imagine worlds of other suns
where democracy was still admired.

THEY CAN’T BREATHE

said medics in hospital rooms, as patients
arrived in great numbers, gasping for air
while tobacco CEOs made deals in spacious
office suites for vaping products, aware
that regulations are slim and use contagious,
betting as usual that not enough would care.

SHE CAN’T BREATHE

said the driver who found a woman walking
alone on the roadway as Paradise fires raged,
her car abandoned long before, tires melting.
From his pickup, too hot to touch, he gauged
the odds of rescue and the dangers of stalking
cinders, then leapt out—one catastrophe assuaged.

THEY CAN’T BREATHE

said migrants still floating on choppy seas
about fellow travelers catapulted overboard
flailing, then sinking, while they watched with unease.
They had prayed to gods when they climbed aboard
these flimsy rafts and trembling skiffs. Those pleas
have thinned to terror as they continue seaward.

HE CAN’T BREATHE

said the mother whose wheezing child
struggled for each breath in and out,
while methane gas levels went wild
and fossil fuel fumes expanded throughout
their Appalachian hills. Even with their air defiled.
some still said there’s nothing to worry about.

WE CAN’T BREATHE

said Southeast Asian villagers choking in heat
and smog. Their farmlands cleared for palm oil,
nothing remains to be burned except the peat
which smolders like angry words beneath soil
while carbon fills the air with coppery sleet
and once lush jungles are forever spoiled.

I CAN’T BREATHE

said Mother Earth as Amazonian flames
joined those in Africa and Alaska to devour
her greenest places. As thick forests turned to arid plains
and savannahs, what once were leafy bowers
degraded to dieback deserts. Scientists maintain
some hope but she’s fast losing respiratory powers

Mary K O'Melveny is a recently retired labor rights attorney who lives in Washington DC and Woodstock NY.  Her work has appeared in various print and on-line journals. Her first poetry chapbook A Woman of a Certain Age is available from Finishing Line Press. Mary’s poetry collection Merging Star Hypotheses will be published by Finishing Line Press in January, 2020.

UN HOMBRE

by Alejandro Escudé

Video by RAICES, a 501(c)(3) nonprofit agency that promotes justice by providing free and low-cost legal services to underserved immigrant children, families, and refugees in Texas.

Tear gas is the language of idiots.
You wore your uniform that day, and died.
I blame you. Because you couldn’t have gone elsewhere.
Been there. You have mouths to feed.
I’ve seen that too. I have mouths to feed.
They feed on meaning. You listen to this President.
You recall your history, don’t you?
Abraham Lincoln. John F. Kennedy.
You look up at the Nixon moon.
It is too soon for the gas chambers.
The suits are on hangers. You give a nice speech.
As the poor people run holding their eyes in their hands.
I was a baby once. Do you recall?
The nation is here. The nation is Mexico.
Born on an island of sacrifice.
Like Marquez, you give them ice.
They run south instead of north. The north is full of promise.
The promise is made of money. The money,
When burned, smells of mota.
I smoke the mota you son of a bitch.
I smoke the women of the United States, so quick to divorce.
Guns. Ah, if that was really your problem!
Wink. Wink. If you arrive in Cabo San Lucas,
A woman tilts your head back
And pours tequila down the American carretera.
The years will pass. The American President
will die of some disease, eighty years-old, crazy.
His wife in pictures. Pictures. His wife.
This life is the same for us all.
I drink a shot of tequila for the migrants
Who are crossing the border while being detained.
They have achieved the American Dream,
Which is not wealth, or health, or living.
The American Dream. You smell it after the shared eagle.
To become the threat. Un hombre in the hands of niños.

Alejandro Escudé published his first full-length collection of poems My Earthbound Eye in September 2013. He holds a master’s degree in creative writing from UC Davis and teaches high school English. Originally from Argentina, Alejandro lives in Los Angeles with his wife and two children.

BETWEEN THE LINES

by Dennis DuBois

A demonstrator uses a racket to return tear gas canisters fired by Israeli troops during a protest where Palestinians demand the right to return to their homeland, at the Israel-Gaza border in the southern Gaza Strip, May 4, 2018. REUTERS/Ibraheem Abu Mustafa

Not to worry, my friend, nothing
will be asked of you,
but for a moment with your ears open,
to read between the lines.
it is only an intellectual exercise, something
one does to feel good
about oneself, and if you can have it
without risking the moral station
you occupy or an iota
of your accumulated wealth,
all the better. Rest easy
and breathe. Listen:
acre by acre they steal our homeland,
parsed into Bantustans, residence by residence,
they evict or bulldoze our homes.
They destroy our infrastructure, our mosques,
our schools, sanitation facilities.
Denied medical care, we die at the turnstiles,
Our organs transplanted into their people.
The men hide as they are marked.
The women march, children throw stones.
Snipers react with bullets. Tear gas canisters
aimed and fired intentionally
mangle protestors’ faces, eyes go black.
State of the art weapons and bombs
are dropped on us. The air reeks
of what has been lost, of unrecovered bodies,
buried in bombed out buildings.
Our celebrated youth disallowed
travel to collect awards.
Fisherman are attacked
to cut off food supplies.
They reroute and confiscate
aide-bearing ships.
Near and far they track and assassinate
our leaders.They denigrate us,
call us rats, and kill us with impunity
They pull up the roots, set alight
three hundred year old olive trees.
They arrest, jail, and torture our children.
They poison our drinking water, bomb our hospitals.
They remind us of the German pogroms
Even as they do the same to us—
They want it all, all of it,
and they don’t care where we go, but not here,
not in our historical homeland.
What have I to lose? Have I not
already lost everything?
If your heart breaks, or if a feeling of helplessness
overtakes you, it is a start,
a place to cleave toward one another.
The world sometimes offers a lukewarm shoulder,
but solidarity without shared pain,
an intellectual exercise.

Dennis Dubois holds a Master’s Degree in social work and has worked to help others for decades, while writing poems along the way. He has published poems in Bee Museum, Curved House, The Projectionist’s Playground, Runcible Spoon, and MessageinaBottle. He is preparing a collection of poems and a first work of fiction. He is an American expatriate living in Copenhagen.

GASSED

by Tricia Knoll





I can’t imagine how I will die,
what day, what hour, who will be there

but breathing gas? The people I knew
with numbers on their arms
march toward me from a mist. Anything
is possible in the world
of horror. My parents tried
to explain those numbers.

I swallowed tear gas
when it misted over yellow street lights
across the New Haven green
one May Day during the trial
of Bobby Seale and Ericka Huggins.

It followed me like a bold ghost,
slipped between my sheets, dented
my pillow and nauseous dreams
of blood and riot gear
smogged.

Syrian gas falls
beyond tears, laying out youth,
bodies, brutal line ups for speedy burials
in pits, dead hands
cannot point fingers.

I cannot imagine.
My throat rides
high in my mouth’s
last gasp
most deadly.


Tricia Knoll is a Portland, Oregon poet. She lived in New Haven, Connecticut throughout the Black Panther trials of Bobby Seale and Ericka Huggins.