What the Eagle Guards

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They come in masks, boots, all in black,
With “sacred duty” steaming from their breath,
To shield the homeland from invented attack—
All those they’ve marked for civic death.

“By blood or sweat, we’ll get there yet”—
A government slogan, shared and praised,
Retweeted, liked—lest we forget—
Echoes of our darkest days.

They cruise the gun shows, work the lots
At NASCAR tracks, at cage-fight nights,
Where wounded men connect the dots
And grievances are crowned as rights.

No college needed, fifty grand to draw—
Just aim your rage at foreign hordes,
A readiness to break the law,
And be the tyrant’s loyal swords.

One law for friends, one for the lower class
They’ve branded enemies of the state,
Where constitutions fracture into glass
As the tyrant plots behind his iron gate.

“One Homeland. One People. One Heritage”—
The tweet goes out, the lie is sown,
Goebbels’ ghost howls above the wreckage:
The Big Lie lives; it’s found its throne.

They shot Renee Good in the bitter cold,
Then branded her a “terrorist bitch,”
While Vance smiled on—brazen, bold—
Absolving every nervous twitch.

They shot Alex Pretti, armed and free,
Then damned the gun he’d legally carried—
“Shall not be infringed” bends at the knee
When the one infringed is the one they buried.

The court, once balanced, tips the scale
For thieves in suits with gilded claws,
While those who cannot make their bail
Are crushed within its grinding jaws.

We’ve watched this show before—we know
The “temporary” tyrant’s scheme,
How “emergency” measures grow
Into the accustomed regime.

So this is what the eagle guards:
Not freedom’s consecrated flame,
But jackboots storming through the yards
Of those they’ve taught us all to blame.

America’s Ordinary Violence

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In Minneapolis, the January sun
Lay stark and bright across the hardened sleet,
A mother kissed goodbye her youngest one,
Then turned for home, her morning near complete.

She saw the armored strangers in her street,
Their faces masked, their purpose cruel and clear,
And stopped to watch—no protest, no retreat—
Not knowing death was standing somewhere near.

“I’m not mad at you,” she said—her final words
To men who’d come with weapons and with rage,
A sentence soft as song from morning birds,
A blessing from a woman in a cage.

Three shots rang out. She’d turned the wheel to leave
When bullets tore through glass and then through bone,
Her body seized, the car crashed—no reprieve—
They cursed her as she bled and died alone.

They blocked the doctor. Made the stretcher wait.
Let minutes bleed like mercy to the ground.
Then spoke of “self-defense” to hide the weight
Of murder that cameras had coldly found.

Her glove compartment held no gun, no knife—
Just stuffed animals for children yet to know,
Small relics of an ordinary life
Now splattered red on Minnesota snow.

She wasn’t armed. She wasn’t breaking laws.
She briefly paused, then turned to drive away—
Yet they would use her death to serve their cause:
A “terrorist”—the blood price she would pay.

We say her name because they wanted silence,
We light the candles where they spilled her blood,
We stand against the ordinary violence
That killed a mother with the name of Good.

And so we learn what “Good” can come to mean
In empires that have turned upon their own:
The guns fall silent, but her light is seen—
A mother’s grace outlasts the tyrant’s throne.

Elegy for the Healer

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He learned the grammar of the failing lung,
The lexicon of monitors and drips,
The dialect that ventilators sung,
The silence balanced on a patient’s lips.
He sat with men the battlefield had hollowed
And stayed in rooms their nightmares had swallowed.

A Wisconsin boy who sang in childhood choirs,
Who chose the ordinary and slow,
Who felt no thirst for what the world admires
But walked toward the wounds that didn’t show.
At thirty-seven, rooted, unadorned,
He worked the hours the privileged scorned.

The veterans at the VA knew his gait,
The steadiness arriving with his shift,
His quiet way of making anguish wait
While turning his mere presence to a gift.
They’d given years to wars the flags paraded;
He met them when their welcome home had faded.

That January morning, bleak and pale,
He stepped into the street with phone in hand—
No megaphone, no flag, no coat of mail,
Just conscience he could never countermand.
A woman crumpled underneath the spray;
He moved toward her. Healers move that way.

They blinded him with chemical and force,
And found a gun still holstered at his waist,
And then pursued their vigilante course:
Ten rounds—administered, executioner’s haste.
No tourniquet, no hand reached out to save—
The frozen street became his unmarked grave.

The man who spent his years defending breath,
Who held the dying steady through the night,
Was designated threat and shot to death
By men who’d never sat with fading light.
They branded him a terrorist, a foe,
Then justified their murder in the snow.

Those who knew him called the narrative a lie,
As we must do when language turns obscene.
The autocrat described him fit to die,
Like vermin swept to keep the homeland clean.
But cameras caught what power cannot erase,
And somewhere, someone knows each hidden face.

What caliber of cowardice requires
A mask, a weapon, a target unarmed?
What doctrine bends protection till it fires
On those who’ve only healed, and never harmed?
Who tracked his footsteps? Who ordained the street?
The questions gnaw. They multiply. They feast.

A republic rots before the light of day;
It fractures through the silences we tend,
The moments when we waver, look away,
Expendable—the lives we won’t defend.
When healers fall for lifting strangers up,
We share the guilt. We drank the poisoned cup.

Say slowly what his thirty-seven years
Were worth—relentless shifts, the steady hands,
The calmness that dismantled all the fears
Of those returning from the broken lands.
Say Alex Pretti—syllables soaked in pain,
Like pressure on a wound that bears our name.

The Mouth

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The century came with coastlines burning,
With markets gutted, ventilators churning.
And into this, a new mouth learned to speak—
Its words ripped from the mouths of the meek.

Once they spoke of giving fire to all,
Of light unchained, of knowledge without walls.
But something turned—a lock, a ledger, a throne—
And the mouth that would free us ate its own.

In Memphis, a grandmother tends her plot.
The server farm drinks what her well has not.
It swallows water, lithium, labor, ore—
And still it opens, hungry, wanting more.

A technician walks the humming rows at night.
He makes his rounds, adjusts the blinking light.
He never meets the mouth, just tends its shell—
A priest who serves a god he cannot tell.

In Texas, a billionaire builds his vault.
If something breaks, it will not be his fault.
His rocket’s ready. His bunker’s fully stocked.
He sold our future, and his door is locked.

A child swipes before she learns to write.
The algorithm studies her delight.
It knows what makes her pause, what makes her stay—
It’s shaping who she’ll be before she’ll say.

A river slows. No salmon make their run.
The current’s drawn to cool a distant hum.
No one explains it to the heron’s eye—
She waits on the bank and watches the waters die.

They promise still: the best is yet to come.
More speed, more scale, more everything for some.
The graph ascends. The shareholders applaud.
The future’s bright, they say. The mouth is god.

And when at last the century goes dark,
What will remain of us? A data mark.
A profile, a preference, a purchase catalogued—
Our lives reduced to what machines have logged.

Her Hands Already Knew

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Hello, fellow collapsitarians. I can’t think of a better way to spend my time than making art—whether in the garden, at the easel, or at the desk—as we prepare to dance on the graves of our oppressors. I’ve been revisiting my earlier poems and rewriting them, now that I’ve learned to abide by these primary rules:

  1. Rhyme must feel inevitable, not forced.
  2. Every line must earn its place.
  3. Verbs do the work; adjectives are guests.
  4. Specificity beats abstraction.
  5. The ear is the final judge.

Here is one of my earlier poems, “Ark of the Soil-Stained,” that Nan reblogged on his site. I’ve since rewritten it completely. The original had problems I couldn’t see at the time: the title was overwrought, reaching for importance instead of earning it. Rhymes were forced or abandoned mid-stanza. I told the reader what to feel instead of showing them a woman bending between the stalks. I wrote “produce” when I should have written “peppers.” I wrote “provisions” when I should have written “garlic, carrots, winter rye.”

The new version is called “Her Hands Already Knew.” Same woman, same garden, same collapse. But now the poem trusts its images. The verbs do the work. The rhymes land where they should. And the title comes from inside the poem, not above it.

The city dims behind its wall of sound.
She’s planting what she hopes will not be found—
A cache of garlic, carrots, winter rye,
Seeded for the day the city dies.

The blackberries don’t ask about the grid.
The beans climb their poles as they always did.
She walks the rows, pulls weeds, forgets the news—
The world can end. Her hands already knew.

The power died in April. Then the phones.
She heard the highways empty, songbirds flown.
By June the silence was the only news.
She kept the rows. The peppers came in twos.

The fence is where the world stops making sense.
Inside, the rows are thick, the green is dense.
She bends between the stalks like someone praying,
Her breath a hymn she doesn’t know she’s saying.

No manifesto. Just the turning year.
She plants by moon, by frost, by what’s still here.
She reads the leaves, the roots, the morning light.
She weighs the harvest. Eats alone tonight.

They said the end was coming. Maybe so.
She planted beans. She watched the peppers grow.
The soil doesn’t know the world is through.
It only knows her hands. Her hands already knew.

Widow’s Work

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I came to tend the hives when I was young,
A widow’s daughter learning widow’s work.
My mother taught me how the smoker’s tongue
Could still a thousand furies with its murk.

She taught me how to read the waggle dance,
Whose urgent spirals chart where blooms still thrive,
How every forager’s ecstatic trance
Spun honey into being, hive by hive.

My mother died in August, stung too often.
Her body had grown weary of forgiveness.
I wrapped her in a sheet and built her coffin
From pine boards bleeding their slow golden witness.

The village cast me out beyond the fen.
They feared my bees, their hunger and their hum.
I walked through mist alone, spoke not to men.
The bees don’t ask. They know what I’ve become.

Decades pass. They still come for my honey.
They bring their coins, their hunger and their need,
Their children’s children, golden-haired and sunny.
I give them what they crave. I watch them feed.

I sell them what they came for—gold and thick,
The summer meadow simmered, bottled down.
I smile. They pay. The honey does the trick.
They carry home the darkness of my ground.

They do not know I’ve learned to love the sting,
The venom threading fire through all my blood.
They do not know what certain pollens bring
With clover, thyme, and winter’s patient mud.

I give them everything they asked me for.
She made me in her image, stung and still.
The hive crowned me its queen of keeping score.
The sweetest things are always slow to kill.

The Long Goodbyes

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The champagne caught the light of our denial,
We raised our glasses to a year unnamed,
While snow outside rehearsed its slow burial
Of everything we’d loved and left unclaimed.

You whispered all the selves we’d soon become,
The maps we’d fold, the mornings we would steal,
Your voice gone soft with some persistent hum—
As if a calendar could make us heal.

The countdown started, mouths thrown wide to cheer,
Ten seconds left to shed our former skin.
You turned to me with something close to fear
At what we’d wished for, threatening to begin.

At midnight, strangers pressed their mouths to strangers,
The bells broke open like a wound of sound.
We stood among the beautiful, brief dangers
Of wanting what we’d never really found.

We wove through streetlights drunk on their own flicker,
Your hand in mine, the high-rises gone mute,
The century beneath us growing sicker,
Our eyes closed tight to rot engulfing root.

Now here I stand, another New Year falling,
Same champagne raised to consecrate our lies.
We swore we’d answer something in us calling—
We just got better at the long goodbyes.

The Last Set at Laveau’s

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They gathered in the violet dark to play,
A band of souls who’d sold themselves to song,
Their instruments like lovers who betray—
The only place the damned and blessed belong.

The banjo man caressed his silver strings,
His glasses thick as all the years he’d spent
In smoke-filled bars where fading spirits ring,
The ghost who played and never would repent.

The trumpeter raised his horn to graze the sky,
A prayer of brass that pierced the velvet air,
While ivory keys bled soft a lullaby
For dancers who had drifted into prayer.

She struck the drum, her silhouette ablaze,
A heartbeat lent to those who’d lost their own,
While guitars wept through veils of amber haze
For wanderers who’d never dare atone.

The music rose like wildfire through their veins,
Each note a needle suturing the wound,
And strangers wailed those nameless, ancient pains
That only ghosts and instruments have crooned.

They played until the darkness knelt, implored,
Until the dawn came bleeding, half-afraid,
A hymn for every soul that life ignored—
The last true light before the world decayed.

The papers told of tragedy next day:
The club burned down—no music, no goodbyes.
But those who passed still heard them start to play,
Their requiem a flame that never dies.

Where Beauty Hides

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Beneath the bridge where needles hold the pain—
Where someone chased the numbness through their vein—
A dandelion shoulders through the stone,
Yellow as a bruise, and holding on.

In alleyways where shadows feast,
The rats compose their masterpiece—
Their scrabbling paws, their savage art,
The squirming at the city’s heart.

The homeless man’s calloused palm
Holds more weight than any psalm—
A rune the wealthy cannot read,
A tongue the fed will never heed.

Beauty blossoms where it’s banned,
In shattered glass and broken hand,
Where polished shoes refuse to tread—
The dandelion crowns the dead.

So mock the rose that costs a fortune—
Wild beauty shuns its measured portion
Of praise or frame or gallery wall,
Needs only dirt to rise—and grace to fall.

The Idling Heart

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The garage door opens to cathedral dust,
Where wrenches hang like relics on the wall,
I strip the engine down to chrome and rust,
And feel my hands remembering the call.

There’s scripture in the service manual,
A liturgy of torque specs, gaps, and shims,
My hands grow fluent in the mechanical,
And learn to speak in camshafts, valves, and pins.

She came to me a heap of scattered parts,
A basket case the seller couldn’t name,
Such stillness lives inside these iron arts—
And in my dream, I am the iron frame.

My wife says I smell different now, like fuel,
That I don’t blink as often as I should,
I kiss her cheek—my lips are dry and cool—
And promise her that everything is good.

I haven’t left the garage in thirteen nights,
My wife leaves dinner at the door, meanwhile,
I eat it cold beneath the fluorescent lights,
And something in my chest has learned to idle.

Once I woke up weeping on the floor,
My hands still wrapped around a crankshaft case,
I crawled halfway to the kitchen door—
Then turned around to find my proper place.

I notice oil is beading on my skin,
A faithful engine idles somewhere near,
My blood is slowly cooling from within,
And I am becoming chrome and gear.

My wrists have locked to handlebars of steel,
My vertebrae are clicking into chain,
My heart has traded blood for something real,
And I have never felt so free of pain.

She’s finished now, immaculate and still,
I mount her in the driveway, turn the key,
And ride out past the highway, past the hill—
The wind tears through us both—at last, set free.

They found the bike alone. Still running. Warm.