CONSTRUCTIONS

by Tricia Knoll

AI video created by Nightcafé for The New Verse News.

Bowerbirds do it. Paper wasps. The beaver’s mound accessible from under water.  Such a soft spot we hold for nest builders, from weavings to cups and knot-hole drillers. My two grandsons built two forts of fallen limbs leaned up against beech tree trunks. I can stand up in the bigger one to admire the couch dragged into one corner, a broken log. In the hands of the ultra-rich, the opposable thumb demands grandiose. Outrageous and expensive. Palaces. A home with its own power plant. Walled compounds. Cliff-top villas. Gilded mansions. Subject to the whims of time, rot, fire, and penury. Shelley on the narcissist’s build: “Nothing besides remains.” Prince Prospero’s ballroom could not withstand the contagion of the red death. Vanity and striving after the wind. What happened to the angel who saved three men who refused to bow down to King Nebuchadnezzar’s gold statue. She chastised the sneer of cold command known as retribution. The artifice of blue-tinged pools. As for the Arch, what words carved there would memorialize war, lies, inflation, tears of the hungry, sick and veterans betrayed. Good people disappeared. Such lone and level sands stretch far away. 

Most poets have memorized many of their favorite poems. Tricia Knoll is sort of stuck with Shelley's Ozymandias. In recent months she has moved from free verse to prose poetry. Her chapbook The Unknown Daughter was a finalist in the 2025 New England Poetry Club Chapbook contest. Wild Apples details downsizing and moving 3,000 miles from Oregon to Vermont. She is a Contributing Editor to Verse Virtual.

POETIC JUSTICE

by David Southward

Mother Nature has a way

of teaching all who underplay

her lethal power, not to do it.

How? She simply puts them through it.

 

Thus, when her emissaries sent us

germs to baffle an apprentice,

he who most pooh-poohed the virus

(heaping scorn on scorn to tire us)

 

soon bowed down to violent grace

and in a mirror saw the face

of vanity—its purse and pout

contorted by a creeping doubt.

 

 

David Southward teaches in the Honors College at the University of Wisconsin-Milwaukee. He is the author of Apocrypha (Wipf & Stock 2018) and Bachelor’s Buttons (Kelsay Books 2020), and winner of the 2019 Frost Farm Prize for Metrical Poetry.

DESCANT ON OUR DEFORMITY

by Rachel Voss

Richard III's skeleton as found in the grave beneath a parking lot. The remains of the King who died in the Battle of Bosworth Field on August 22, 1485 were reburied in a tomb in Leicester's Anglican cathedral on March 26, 2015.

What’s more naked
than bones?  The whitewashing
of history, a ghostly rose

to honor the dead.  Which
dead?  “It doesn’t look like
the face of a tyrant,” a woman

said.  Hasn’t she heard
of Shakespeare (who couldn’t
have written a better ending),

or known any real sons of bitches?
It costs a lot of money
to look this immortal.

The onlookers point their thousand several phones,
and every phone takes several similar pictures,
and every picture condemns us all for vanity.

Now is the spring of our
reinterment.  Despite
the line of worshippers

and the royal craze, I, for one,
am determined to hate
the idle pleasures of these days.


Rachel Voss is a high school English teacher and lives in Queens, New York. She graduated with a degree in creative writing and literature from SUNY Purchase College. Her work has previously appeared in Hanging Loose Magazine, Borderline, WORK, Blast Furnace, and The Prompt Literary Magazine, and is forthcoming in Newtown Literary and the Silver Birch Press Great Gatsby Anthology.