CHAPTER AND WORSE

by Steven Kent

I'll sue your sorry ass—it's libel,

Claiming I misquote the Bible.

You are not my brother, sucker;

Feel my vengeance, motherfu… .

Steven Kent is the poetic alter ego of writer and musician Kent Burnside. His work appears in 251, Asses of Parnassus, The Dirigible Balloon, Light, Lighten Up Online, The Lyric, New Verse News, The Orchards Poetry Journal, Philosophy Now, The Pierian, Pulsebeat Poetry Journal, The Road Not Taken: A Journal of Formal Poetry, Snakeskin, and Well Read. His collections I Tried (And Other Poems, Too) (2023) and Home at Last (2025) are published by Kelsay Books. 

THANKSGIVING

by Morrow Dowdle

AI-generated graphic by NightCafé for The New Verse News.

My four year-old comes into the bathroom where I sit. 

He turns the toilet paper roll slowly, says, It’s a nice day

for peeing. Thankful for the body and its routines. 

And so am I—thankful for emptyings and intakes,

 

the food soon to be had, then had for days after. Thankful

I will eat more than a side salad. Thankful this holiday’s lie

of peace between buckle-hatted colonists and Indigenous

victims is obsolete. Thankful we gather anyway. 

 

Thankful for what won’t be at the table—china and silver,

political scuffles, sullen drunks. The chain-smoking

grandmother’s green bean casserole. The pedophile

grandfather’s electric knife. White-knuckled silence. 

 

Thankful for the Peanuts meme my sister texts,

that after all the fallings-out, we’ve righted the rowboat

called Family of Origin. Thankful I’ve been back

on antidepressants for a week and feel like having sex again,

 

or at least a hug. That I can forgive myself for not missing

someone recently deceased, but feel the burn of grief

for those who do, light a candle at the empty plate. 

I can forgive myself for singeing the cranberry sauce

 

and buying the wrong-sized pie crust, and not extrapolate

that I’m a failure. See, I’ve been fumbling towards sainthood,

but now I’m aiming at stable and decent and good enough. 

Thankful to host rather than be hosted, to have more

 

than leftovers to offer. Thankful to prepare every room

for guests, to cross each threshold and see traces

of my persistence. Thankful my son gave me this poem

and that I could receive it, knowing there will be days ahead

 

when verse will flow like gravy, and days there will be none,

and my mind will feel stale as the cheap white bread

we use to make the stuffing. But there will be days. 

There will be days.

Morrow Dowdle (they/them) poet / arts organizer / curator "Weave & Spin" performance series and open mic (founder/curator/host) @morrowdowdle (Instagram)

AT YOUR GRAVE

by Martha Landman

Arthur Rimbaud 20 October 1854 - 10 November 1891

I’m the only visitor today,  
small cemetery, speechless graves,
Your mailbox at the gate is full of fan-letters,
as if you’re the tooth fairy or some god.
 
It is wet and cold and my shoes 
gave me hell on the walk here.
Tomorrow I’ll wear my sandals, rain or not.
There’s lots I could ask you, but not here,
not today where you lie helplessly dead
on a peaceful summer’s afternoon, 
violet eyes shrouded in eternal sleep,
in the same plot with your mother 
and seventeen-year-old Vitalie.
 
Come to the cobbled square with me tonight.
Let’s dine and dance and have a quiet beer,
no absinthe, no hashish. Afterwards we’ll walk 
along the river Meuse under chestnut trees, 
past the mill, step into the tanner’s little boat
at the quay. Let’s sail into the flimsy air, 
set the night on fire, our reflections on the water,
you melding into me, the moon our lamp. 
Let’s write formless verse about our years in Africa,
mine as a child, yours as a merchant, explorer. 
I promise I won’t ask what I know you won’t tell
           —why did you give up poetry?


Martha Landman writes in Adelaide, South Australia on unceded Kaurna land. Her first single collection like scavenger birds was published by ICOE press, June 2023. Her poem “Girl From the Underground” (for Arthur Rimbaud) was highly commended in the WA Poetry d’Amour contest in August 2024.

LITTLE TOMMY TUBERVILLE

by Ralph LaRosa

Was Tommy Tuberville
from Nowherville
deprived of lovely rhymes
in childhood times?
 
He thinks that hearing verse
makes sailors worse!
Is his little cry, 
meant to imply:
 
Soft sailors in collusions
of “woke” confusions
are fighters made Lambs
by rhymes and Iambs?

Ralph La Rosa’s poetry appears on the Internet, in print journals, anthologies and the chapbook Sonnet Stanzas and full-length collections Ghost Trees and My Miscellaneous Muse.

POETRY IS DEAD

by Matthew King

It’s dead like God is, but the devil's in

the details of the mortal metaphor:

if death’s the wages, how did poets sin?

Does blood not soak their pages anymore?

Have poets found they’re lacking souls to pour

out? Some would say their skin has got too thin.

But here’s a piece of parabolic lore

to ponder, even if you’ve ears of tin:

God, having inspiration to dispose

of, shares it with some workshoppers of verse.

It makes him wish we all had stuck to prose.

He hitches back to heaven in a hearse,

and takes the sound advice his peers propose:

he sits down on a cloud to decompose.

Author's note: The New York Times published a piece arguing that poetry is dead. It provoked a lively response.

Matthew King used to teach philosophy at York University in Toronto; he now lives in what Al Purdy called "the country north of Belleville", where he tries to grow things, counts birds, takes pictures of flowers with bugs on them, and walks a rope bridge between the neighbouring mountaintops of philosophy and poetry. 

THE WORD WAR

by Ralph La Rosa

Remembering Wilfred Owen’s “Dulce Et Decorum Est”

 

He wrote in verse about this word

on a blank page as pale as death.

Though silent, it is mindfully heard.

He wrote in verse a word of the absurd

sweet lie: pro patria mori earns a reward

of decorous honors for one’s last breath.

He wrote in verse about this word

on a pale page—on repetitive death.

Ralph La Rosa’s most recent book is My Miscellaneous Muse.

ROYAL WEDDING

by Harold Oberman

It’s days like this
When I’m glad I’m not
Britain’s Poet Laureate.
Appointed by the monarch,
Expected to write verse
About significant national occasions,
There’d be an expectation I’d have to write about this.
Oh Lord
And Ladies,
Commoners and Kings,
Take me to the Tower.

I’m content to be
The self-appointed
Poet Laureate Of My House
And write about
Significant occasions there:

How the AC clicked on for the first time all Spring
Filled the upstairs bedroom with cold air
Soon confused by the ceiling fan
Into a current or eddy or breeze
That stirred the blank pages of this pad Into a rustling call for a blue pen;

How a random bee somehow got inside again,
Buzzed against the window pane until it dropped
Onto the inside sill, exhausted and wing-broken
From, I guess, its quest to get back to the hive
To produce honey or such, or to mate,

Or to meet the Queen.

Harold Oberman is the Poet Laureate of 25-d Montagu Street.  He likes pomp, but not necessarily circumstance or monarchy.

SPELL CHECK

by Jennifer Hernandez

Image source: REDBUBBLE

The constant covfefe
leaves me breathless,
when you voceffe
so close to me, makes
me want to run to our
special effecov and sip
a coffeev.  My evoceff—
so hip, so now—mingles
with ecoveff—so green &
environmentally friendly.
If I wasn’t suffering from
fecovef, didn’t have this
lingering evecoff, I wouldn’t
effvoce like I do. I’d be my old
voffcee self, singing voceffe
at the top of my fefevoc lungs.

Jennifer Hernandez lives in Minnesota where she works with immigrant youth and writes poetry, flash, and creative non-fiction. Much of her recent writing has been colored by her distress at the dangerous nonsense that appears in her daily news feed. She is marching with her pen. Recent work appears in Anti-Heroin Chic, Dying Dahlia, TheNewVerse.News, Yellow Chair Review, and Writers Resist.

ARS POETICA

by Megan Collins

Trivia Weatherspoon takes a photo of the mural depicting Alton Sterling following a July 7 prayer service and vigil at Triple S Food Mart where Sterling was shot and killed by Baton Rouge Police in the early hours of July 5. —The New Orleans Advocate, July 6, 2016. Advocate staff photo by HILARY SCHEINUK.

I don’t have a poem in me
for Alton Sterling.
I don’t want to write
how they laid out his body
like one in a coffin
before they even shot him.

I’m sick of stanzas
and what it takes
to build them.
The Italian for room,
yet they cannot house
the living or the dead,
can’t keep people safe
when the locks on their doors
are only words.

Look how these walls
tremble. See how the lines
never line up,
how they cannot be stacked
like men
and women
in the seasick belly
of a ship.

Look how the waves
keep surging,
how the water still gets in.
It doesn’t matter
how tightly
I craft my language
or if my metaphor
is mixed—
there’s no proper seal
in a sentence; there’s no one
these rooms can save.

Even now, at the close
of what I’ve written,
see how much I’ve already failed him—
how the end of this poem
is only a period
when it should be an infinite scream.

Megan Collins holds an MFA in Creative Writing from Boston University. She teaches creative writing at the Greater Hartford Academy of the Arts and Central Connecticut State University. She is also Senior Poetry Editor of 3Elements Review. Her work has appeared in many journals, including Linebreak, Off the Coast, Rattle, Spillway, and Tinderbox.