The Shirt

By Elizabeth B. Morse

When the others wore white shirts, Diana wore a black one.

The black button-down shirt meant rebellion. One that was tiny, to be sure, but a rebellion just the same. She’d bought it at Brooks Brothers on sale.

Nobody said anything at the office, even though she and her co-workers sat right next to each other around a table. She sat between two people who often made remarks about other people’s clothing. Your coat wasn’t suited for the weather because it was either too heavy or too light. Your high heels sounded like a horse clopping. Your dress was too flashy; you should have worn something more subdued. To Diana’s relief, the black shirt garnered no comments.

With it, she wore a bra that had the explicit purpose of holding her in so the buttons didn’t gap. She was tired of being perfectly modest, but that level of I don’t care hadn’t happened, at least not yet.

She’d worn the shirt when doing a presentation in one of the conference rooms. The only comments were about the charts and graphs she had drawn on a set of PowerPoint slides. Astute, people said. Accurate for the foreseeable future. Nobody complained about the bright colors in the donut charts.

She was good at her job and earned a good salary. These were accomplishments to be proud of. However, in college, she’d taken studio art and longed for a gallery show of her paintings and sculptures. But making a living took precedence. She had to be practical. She had to pay the rent and utilities, not to mention her phone. But she still kept a sketchbook and drew faces she passed each day. A small rebellion.

At work, she rebelled by taking a lunch hour. After all, the workday was twelve hours long. Once, when she got back, the boss was standing by her desk. He had on a white shirt with the buttons gapping over his stomach. “We’ve got deadlines!” he barked. “No time to go out. Why don’t you just grab a sandwich like the rest of us?”

Her most fierce rebellion was the protests she went to, and she was terrified both times. She did want to fight for economic justice and against racism, but at first, she’d stood on the sidewalk petrified. It took her some time to actually join each march. She’d worn sunglasses so that no one would recognize her, even though one protest was at night.

This time, however, Diana was really going out. Out out. Not just to lunch. It was time to be bold. It was okay to be scared, but it didn’t matter. She had to do what she had to do.

Slowly, she stood up from her swivel chair and put on the puffer coat the boss had laughed at. “How come you’re wearing that?” he’d scoffed. “How can you be cold? It’s spring!”

Finally, his opinion made no difference anymore.

Diana looked around at her co-workers. All of them had eyes on their laptop screens. One was eating what looked like stew and rice out of a glass container.

“I have to leave,” she said. “I have to leave right now.”

They all  looked up, some with raised eyebrows. Nobody said a word.

She opened a glass door and made her way to the elevators. Hungry, she imagined the lunch she would have, complete with soup and dessert. After that, she’d decide what movie she was going to see.


Elizabeth B. Morse’s work has appeared in literary magazines, such as Kestrel and Ginosko, and anthologies, such as Help Yourself. Her work has been nominated for a Pushcart Prize, and she he won first prize for flash fiction in Cardinal Sins. Her full-length poetry collection, Unreasonable Weather, (Kelsey Books, 2025) was an international Book Award 2026 finalist. She has an MFA from Brooklyn College, and is the poetry editor of BigCityLit and a co-editor of Brownstone Poets Anthology. Visit her website at www.elizabethmorsestories.com.

Photo credit:


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Smash, Build, Rise

By Chelsie Zuccollo


I’m no architect, but I can lift a bag of cement.
Smash the patriarchy, then build something better.

I’m no contractor, but I can see the possibilities.
Don’t break the glass ceiling—redesign the roof.

I’m no lawyer, but I use my voice for others.
Pay me the same as a man; it’s overdue justice.

I’m no tour guide, but I know how to manage an itinerary.
Feminism is fragile. Don’t leave anyone behind.

I’m no soldier, but I know when to raise my rifle.
This body is mine, not your front line or a combat zone.

I’m no astronomer, but I can use a telescope.
Use your voice as a constellation to light up the dark.

I’m no politician, but I know how to debate.
My consent is not a negotiation.

I’m no firefighter, but I extinguish forest fires every day.
Freedom tastes like fire on my lips.

I’m no seamstress, but I can thread a needle.
We stitch power into every wound we wear.

I’m no poet, but my words rise and reclaim.
The body is a poem; the mind is a riot.


Chelsie Zuccollo serves as an Assistant Professor of English, Interdisciplinary Studies Program Director, and Writing Center Director at the University of Saint Francis in Fort Wayne, Indiana. With an interest in performative gender studies, she hosts an annual event for her community: Voices of Feminism. This event showcases the work of local feminists, poetry, and art.

Photo credit: Rise Up by Patrick Emerson via a Creative Commons license.


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Aunt Annie’s Recipe for the Resistance

By Jane Frances Gilles

Dear nieces and nephews,

You call me “The Resistance Maven.” It’s kind of funny, and I know you mean it as a compliment. But I don’t think you get what’s required to resist. So, here’s my recipe. By the way, there are tons of people who are more active than I, and there are other recipes. This is mine.

Aunt Annie’s Recipe for the Resistance

Number of servings:
One serving to thousands, maybe millions. (If you keep at it, your efforts will produce a yield far greater than you can imagine, and you will never know how many people you’ve served.)

Preparation time:
Five minutes to a few hours. (The shorter the better. Always be ready.)

Cooking time:
One hour to months. (As long as it takes. Which can be a damn long time.)

Total time:
There’s no end to the work. (It continues. Always.)

Ingredients:

Dry ingredients (These provide the structure and foundation for the recipe)

Fear and Courage: In equal measure

Anger: 1 cup (for intense frustration) to 1 lb. (for screaming outrage)

Humility: 2 lbs.

Curiosity: Start with what you have on hand and keep adding

Love: 1 dozen bushel baskets

Salt: To taste (Like Grandpa always said, “Aim to be the salt of the earth.”)
Wet ingredients (These activate the dry ingredients, making resistance possible)

Time and Inconvenience: Enough to cover dry ingredients

Voice: Equal parts spoken and written

Feet: As needed (for marching and standing up for your neighbors)

Hands: As needed (roll up your sleeves; there’s real work to do)

Your people: ½ dozen to hundreds

Supplies: Variable

Directions:

Gather the dry ingredients. Make sure you take time to consider each of them. Most are self-explanatory. I’ll elaborate on a few.

  1. Fear: You need to understand right up front that resistance requires risk, and risk produces fear. Fear is good; it helps keep you safe. The risks are real, so don’t deny your fear. (When a rubber bullet was used against your great-uncle Fred during a Vietnam protest, he lost an eye. But he’s still out there protesting injustice every chance he gets. Yeah, I know Grandma Gladdie liked to say it was a work injury. That was a lie, God bless her.)
  2. Humility: Humility takes many forms. At this stage in your lives, the key aspect is awareness of your privilege. All of you, dear ones, are privileged. You’re white. You were born in the U.S. Most of you are cisgender and heterosexual. (If you need a lesson on how that contributes to your privilege, ask your Aunt Kate. She has stories. And wounds you can’t see.) You’re able-bodied. Never have you had to worry about getting enough to eat. I could go on and on. Bottom line: Most people don’t have the same advantages as you.
  3. Curiosity: Be curious about your neighbors. Get to know them. Listen to them. (In this family, we’re blessed with the gift of gab—but talking non-stop is no way to learn about others.) Be curious about the world beyond the cocoon you’re living in. I’m not talking about following the news. Yeah, you should pay attention to current events. That’s basic. But to develop empathy for others, get your nose out of your phone and explore the arts, volunteer, travel, read about lives and cultures different from your own. This is a lifelong endeavor. Get on it.

Mix dry ingredients.
Make sure you have enough of each dry ingredient throughout every resistance effort. If you’re running low on any of them, stop and gather more. And watch the portions of each. (I’ve had weeks where I didn’t add enough love and put in way too much anger. Let’s just say it wasn’t good.)

Gather wet ingredients.
These are your tools. Depending on the effort, some are more critical than others, but you need all of them every time. A couple of explanations:

  1. Your People: Some you know today. Some you’ll meet tomorrow. Connect with organizations you believe in and respond to their asks. (Trust me, you’ll be inspired by the people you meet when you resist.)
  2. Supplies: Good shoes for marching, or groceries for your neighbors, or your keyboard for contacting legislators. You might need posterboard or a whistle (who knew whistles would be a thing?) or a new app on your phone or protective gear or a candle (because Grandpa also said, “Never be afraid to let your light shine.”) Sometimes it’s money. Give what you can and be ready to sacrifice.

Fold together dry and wet ingredients. Mix well.

Bake or freeze. (On hot pavement in summer or on icy streets in winter or wherever whenever.)

  1. Seek opportunities to resist. Don’t wait for a crisis staring you in the face.
  2. Stay in conversation with your people. You need each other.
  3. Do at least one thing every day to resist. That said, know that when you need a break, others are doing the work.
  4. Be aware of the feeling—the taste—of resisting. (Sometimes sweet, sometimes spicy, always satisfying.) It feels lousy to doom scroll. It feels lousy to complain without lifting a finger to help. It feels lousy to watch the same horrifying video over and over. So, get in the fight. Stay humble, yet know you are taking actions that place you on the right side of history.

Someday, when I’m gone and you have your own children or nieces and nephews or godchildren or neighbor kids who see you as family, tell them how delicious it is to resist. And share this recipe with them.

Love,
Aunt Annie


Jane Frances Gilles is a writer, former educator, and proud Minnesotan. She holds bachelor’s and master’s degrees in English education and a Ph.D. in education policy. Her fiction has been published in The Writing Disorder and MoonPark Review.

Photo credit: Photo by Theme Photos on Unsplash.


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“There Will Be Casualties”

                  —President Donald J. Trump (2/28/26)

By Ashley Mace Havird

I saw it from the top of the hill.
Hoped it was not a dead anything,
only a weird hump in the street.
(It was, after all, street-colored,
the same variations of gray.)
Cycled nearer. Dog? Too loaf-like.
Cat? No cat was ever that fat.
Possum it was,
I saw as my bike raced past.
Curled to die just inches
from its mother’s unbreathing snout,
a fetal joey (the offspring’s proper name).
Crawled or else flung from the pouch.
Old story, wrong place wrong time,
car gunning like a missile in the night.
Were there more young ones?
I could not look down to count.

It would have been dangerous.
I was going too fast, you see,
an old woman on an old bike,
dodging the pavement’s pocks and cracks 
on my way to the gym and Pilates class,
flying almost, downhill. . . .
Opossum. I should use the proper name,
give it that much respect.
I confess that I could not stop
thinking of the little ones
in that school. Not the ones
who keep getting gunned down over here
in the US of A, but the bombed ones far away.
Girls in their bright headscarves,
with their bright dark eyes.
How could anyone look to count
the crayons and books and little shoes?


Ashley Mace Havird is a poet and novelist whose most recent collection, Wild Juice (LSU Press), appeared in 2021. The Garden of the Fugitives (Texas Review Press) won the X. J. Kennedy Prize. She has also published two chapbooks. Her debut novel, Lightningstruck (Mercer University Press), won the Ferrol Sams Award for Fiction. Swimmer, her second novel, is scheduled for publication (NatureCulture Press) in early 2027. Her poems and short stories have appeared in many journals including Shenandoah, The Southern Review, and The Virginia Quarterly Review, and in anthologies such as The Southern Poetry Anthology, IV: Louisiana; and Hard Lines: Rough South Poetry. Ashley lives in Shreveport, Louisiana, with her husband, the poet David Havird, and their own best dog in the world. 

Photo credit: Casualties of War by James via a Creative Commons license.


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Static Between the Folding Tables

By Fendy S. Tulodo

The microphone died exactly as I said, “I’m an atheist, but even I believe in miracles. Like affordable insulin.”

Silence.

Then someone in the back shouted, “Blasphemy!”

I held the dead mic in my hand and said louder, “Sir, if God’s got stock in that corporation, He owes us an apology.”

The bartender didn’t look at me. The assistant principal did.

Her name is Marisol Vega. She still wears her district ID on a blue lanyard even at night, like she’s ready to discipline the whole country. She’d come straight from another school board fight, where they tried axing ethnic studies again. Looked exhausted. But her gaze? Sharp as glass.

“Keep going,” Marisol said from the front table. “We’ve heard worse.”

The mic came back. I leaned into it.

“Tonight’s set is about capitalism,” I said. “Relax. It’s a short set. Capitalism hates long commitments.”

A few laughs. Tight, careful. This is Southern California after 2016. People laugh like they’re checking who else is laughing first.

I finished with a bit about corporate pride flags and unpaid interns. Afterward, Marisol bought me a soda.

“You know they’re watching,” she said.

“Who?”

“Everyone.”

I smiled. “Good. They need material.”

She didn’t smile back.

• • •

The church basement potluck had buzzing lights and folding tables stained by years of tuna bake and whispered breakups. I don’t believe in God, but I come anyway, this is where plans get made.

Marisol stood by the coffee urn, chatting with two older lesbians from the condo building across from her school. Their names are Diane and Carol. They wear matching sneakers and walk with straight backs like former athletes. They’ve been together since the seventies. They’ve seen worse than this.

Diane waved at me with a paper plate. “You’re the comic,” she said. “You made that joke about insulin.”

“Guilty.”

Carol grinned. “You were funnier than the pastor.”

“Not like there’s much competition.”

Marisol cleared her throat. “Focus. We’ve got a problem.”

She spread documents across the table. Emails. Screenshots. A hidden union scandal at her school. The teachers’ union rep had been quietly meeting with district officials, trading silence on overcrowded classes for a seat on a statewide advisory board.

“They’re selling us out,” Marisol said. “And the staff doesn’t know.”

“Tell them,” I said.

“If I do it wrong, they’ll push me out. Assistant principals are easy to replace.”

Diane tapped the table. “You’ve got parents on your side.”

Carol added, “And us. We’ve waved at worse people than school board members.”

Marisol looked at me. “Can you . . . turn it into something? Make people listen?”

“You want stand-up about labor corruption in a church basement?”

“Yes,” she said. “Make it funny so they don’t shut down.”

So I did.

I stood by the potato salad and said, “Let’s talk about loyalty. When your union rep says ‘We’re negotiating in good faith,’ what he means is, ‘I’m updating my LinkedIn.’”

Laughter. Louder this time. Teachers leaning forward. Phones coming out.

Marisol stepped in after me and laid out the evidence. Names. Dates. Direct quotes.

Diane raised her hand like she was back in high school. “Are we staging something?”

Carol didn’t wait for permission. “We should.”

• • •

Two weeks later, I was on a sidewalk in front of a grocery store chain that had been price gouging baby formula. It was hot. The asphalt stuck to my shoes.

Marisol had printed flyers. Diane and Carol brought folding chairs I carried a sign: “FEED BABIES, NOT SHAREHOLDERS.”

Kids from Marisol’s school showed up. They lay down across the entrance, backpacks under their heads. Staging a die-in. They looked very young.

A security guard walked out. “You can’t block customers.”

Diane stood up. “We’re customers.”

Carol added, “And voters.”

I snatched the megaphone. “Not leaving till they apologize and pay families back!”

A mother with a stroller stopped beside me. “My sister drove to three stores last week,” she said. “Nothing.”

Marisol took the megaphone. “We’re documenting everything,” she said. “Every empty shelf. Every inflated price.”

The guard went back inside. Thirty minutes later, a manager came out with a statement printed on paper.

“We regret the inconvenience,” he read.

“Inconvenience?!” Diane shouted.

I took the paper, read it aloud: “Due to supply chain disruptions. . .”

“Say the real words,” Carol said. “You raised prices.”

The manager flushed. Cameras were on him now. Students were live streaming.

By evening, the corporation posted a formal apology online. Price adjustments announced. It wasn’t a revolution. It was a small correction. But the correction came because teenagers lay on hot asphalt and refused to move.

Marisol squeezed my shoulder. “This is how we win,” she said.

“Piece by piece,” I said.

• • •

At the open mic the next night, I told the story.

“Ever notice,” I said, “how corporations only learn empathy when it trends?”

The crowd laughed harder this time. The room felt different. Like something had shifted.

After my set, a woman approached me. Haitian accent, hospital badge clipped to her scrubs. Her name was Nadine. She works at the ER downtown.

“I saw you at the protest,” she said. “I translate for frightened elders every day. Spanish, Creole, broken English. They’re scared to ask for care. Scared of bills. Scared of immigration. You made them less scared.”

“I told jokes,” I said.

“You made noise,” she said. “Noise helps.”

She asked me to come see the hospital. “Not as someone sick,” she added, grinning. “As someone who sees.”

• • •

The ER waiting room buzzed, lights too bright, chairs too full. Nadine weaved through fast, dropped to her knees beside an older man gripping his chest.

She murmured something in Creole, then faced a nurse. “He says it started three hours back. Waited ’cause he thought he couldn’t pay.”

Nurse scowled. “We’ll sort billing after.”

Nadine snapped, “You always say that.”

I leaned against the wall. A woman in a headscarf asked about forms. Nadine translated. An elderly Latina asked if her insurance was valid. Nadine translated again.

“This is resistance too,” she told me during a brief pause. “Not letting them be erased by forms.”

Back outside, she wiped her forehead. “People think activism is only marching,” she said. “It’s also explaining the fine print.”

“Can I use that?” I asked.

She laughed. “Use it.”

• • •

The union scandal exploded faster than we expected. Teachers confronted the rep at a staff meeting. Parents demanded transparency. Marisol got called into the superintendent’s office.

“They want me to shut up,” she told me later, sitting on the curb by the church basement. “They said I’m overstepping.”

“You are,” I said. “Into the future.”

She exhaled. “If they push me out, I lose health insurance.”

Diane and Carol walked toward us, holding hands.

“We heard,” Diane said.

Carol added, “We’ve got a lawyer friend. Retired. Angry.”

Marisol laughed despite herself. “Of course you do.”

The church doors opened behind us. More teachers stepping out, talking fast, faces lit with purpose.

“This isn’t going away,” I said.

“No,” Marisol said. “It isn’t.”

• • •

At the condo complex across from the school, Diane and Carol stood on their balcony during a small Pride march that passed through the neighborhood. They waved rainbow flags high above the parking lot.

A man shouted from below, “Go back inside!”

Diane leaned over the railing. “We’ve been inside for forty years,” she called back. “We’re done.”

Carol kissed her cheek. Students from the march cheered.

I filmed it and posted the clip. It spread faster than any of my comedy sets. Elderly lesbians waving at hecklers while teenagers chant below. Resistance stays online, too.

That night, my inbox filled with threats and praise in equal measure.

Marisol texted me. “You okay?”

“Yeah,” I wrote. “They hate jokes more than facts.”

“Be careful.”

“I will.”

• • •

The superintendent held a press conference about the union scandal. Cameras lined up. Marisol stood behind the teachers. I stood near the back, phone ready.

He said, “We take these concerns seriously.”

A reporter asked, “Did your office know about the private meetings?”

He hesitated.

Teachers began reading emails aloud. Names. Dates. Details. The story was public now.

The union rep resigned within the week.

Marisol kept her job.

For now.

• • •

The open mic returned to normal attendance. Same sticky floor. Same tired bartender. But the air felt charged.

I stepped on stage.

“I used to think I was cracking jokes,” I said. “Now I realize I’m just filing complaints, with punchlines.”

Laughter rose.

“I don’t believe in God,” I kept going. “But if something’s watching, it’s stacking folding chairs in a church basement, a nurse wrestling with hospital bills, teens lying flat by sliding doors, and two old women waving from their balcony.”

Applause.

“And if you’re waiting for a hero?” I said. “Look in the mirror. It’s probably you.”

A man near the back shouted, “Amen!”

I grinned. “Careful. I don’t believe in that word.”

The crowd roared.

• • •

Three months later, Marisol called me at midnight.

“They’re offering me a promotion,” she said.

“Congratulations?”

“It’s at the district office. No direct contact with students. Higher pay. Less trouble.”

I sat up in bed. “What’s the catch?”

“I’d have to stop organizing. They said they need ‘neutral leadership.’”

Neutral. The word tasted bad even through the phone.

“What’ll you do?” I asked.

Silence stretched.

“I’m taking it,” she said.

My ribs squeezed. “What?”

“Listen,” she said quickly. “From the inside, I can see budgets. Contracts. Emails before they’re cleaned up. I can leak smarter.”

I was quiet.

“Don’t go silent on me, like I betrayed everyone,” she said. “I’m walking right up to the flame.”

I laughed, shaky. “You’re terrifying.”

“I learned from you,” she said.

“From me? I tell jokes.”

“You build noise,” she said. “I’m building access.”

We stayed on the phone until two in the morning, planning. Carefully. No grand speeches. No big announcements.

• • •

At the next church basement potluck, I leaned by the coffee urn again. Diane and Carol bickered over potato salad, mustard or mayo. Nadine arrived late, still in scrubs.

Marisol walked in wearing a new district badge.

People went quiet.

She cleared her throat. “I have news.”

I felt the air tighten.

“I’ve accepted a position at the district office,” she said. A few gasps.

“And I’m not going anywhere.”

She looked at me, then at the teachers, then at Diane and Carol.

“They think they’ve promoted me,” she said. “They’ve promoted us.”

Silence. Then Diane started clapping. Slow, steady. Carol joined. Nadine smiled wide.

I stepped onto a folding chair.

“I guess my new set writes itself,” I said. “Assistant principal goes undercover in central office. Coming soon.”

Laughter broke the tension.

Marisol raised her badge like a small flag. “We’re not done,” she said.

Outside, students packed the lot, phones up, streaming live. Comments rolling in. Support from other states. Other countries.

Resistance stayed online. And offline. And inside the places that thought they were safe.

I looked around the room. The lights kept flickering. The broken chairs were still there. Tired eyes stayed fixed ahead, not turning away.

I’m still an atheist.

But watching a basement full of people who won’t stay quiet? I start believing in something.

Not miracles.

Strategy.


Fendy writes from Malang, Indonesia. His pages carry deep feelings and real life. Stories touch on love, control, and new beginnings. He examines the shadowed sides of existence. His characters face hard choices where right and wrong mix. Follow him on Instagram at @fendysatria_.

Photo Credit: Resistance Is Beautiful by teofilo via a Creative Commons license.


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To my father, whose mother tongue is a village dialect

By Anonymous

When you rebuild yourself
from remnants now old
in a country where you are
not a citizen you are an alien,
how many times do you
mention how lucky you were
to rebuild yourself when
broken in college because of your dialect
in Botswana because of your
language in South Carolina and Georgia,
how many times were you told
the alphabet your mouth formed
was wrong. How does it feel to
rebuild yourself for
the fifth time in this
one life you’ve lived here for
decades and you always say
how lucky you were
to be the one in your family
of six siblings to make it
out of China alive.
How does it feel
to be frayed
into pieces again scared
again that everything
is going to fall apart
scared again that your race
is an arms race
tossed around by
politicians of all colors,
that your race
is a rifle
pointed at your face
if you don’t
“go back to where you came from.”
Make it the sixth.
Because the day
before your birthday
in 1989 bullets rip
past your face and
you run, you ran
for your life a day
away from 25, because
when you woke the next
morning your gift was
a door a square a
sky of bloody bodies.
China China China we are not
China he says
in tariffs and
deportations of Asian immigrants
and we are not China
but somehow after
decades of living here
your birthday
gift this year was
yet another herd
of youth
sent away
in the violence of
silence because the
silencers are elected
here by silent
power, of silent
promises, of silent
purging our yellow bodies from the
silent white Gulf of America,
because silence hides
between beats of your heart
as you run for your life.
How does it feel to
put more time and energy
and money into politics
than your citizen wife
and three American
daughters, combined,
how does it feel
when our
democracy only
bites you back
in executive orders
and cases from
the Supreme Court
of Injustice? Father, how does it
feel to be cracked
by news of youth
like you
denied Green hope and
Green opportunity
after walking life so far for a
Green Statue of Liberty
when only a Statue of
Oppression and Denial of Life
remains, her torch
toppled by greed
of men, and
supporters, toppled
into pieces
like you.

Father, teach me your language
because maybe I will learn to produce nectar,

sweet with stickiness that
I may piece your home of a body

half-whole again. And I’ll ask
in the words of your village,

how does it feel to be falling apart
and half-whole again. And you’ll laugh

and respond; And I know
it is our tongue you will respond in.


The poet is a young writer living in the United States. They are an editor for their school’s literary magazine. Outside of writing, they enjoy spending time with family and friends.

Photo credit: Photo by Bernd 📷 Dittrich on Unsplash.


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The Most Radical Protest Right Now Is Handmade

By Amanda Jackson

There’s a sweet settling fiber artists know, where time softens and fingertips warm with effortless energy. Meditating on patterns, settling into rhythm, mesmerized by repetition.

Top to bottom, bottom to top. Stitch, stitch, stitch. My mom taught me to cross stitch as a little girl, kittens, rainbows, and hearts emerging from hundreds of tiny x’s.

Knit, purl, knit, purl. Almost all my classmates knit when I studied visual art at the Interlochen Arts Academy. We may not have known it then, the magnitude of fiber art or it’s connection to resistance, but we were most content with piles of yarn curled in our laps. Butterfly kisses of soft mohair, luxurious cashmere, we even craved thick, scratchy wool against our fingers.

• • •

Fiber art has been a seasoned storyteller. It has passed messages in plain sight, spied on opposition, and formed social movements, threads tightened into banners, votes for women, my body, my choice, love is love. It has documented injustice, asserted identity, and expressed solidarity where words fell short or posed risk. Quiet and unexpected, fiber art has voiced the silenced, resisted unapologetically, and woven strength greater than any one of us could alone.

Suffragettes embroidered protest banners in the early twentieth century. They were marched through city streets, draped over railings, and held up high. Domestic labor became public defiance, claiming space and igniting collective power.

Fiber art has become a global language of protest.

During the Pinochet dictatorship in Chile, women made arpilleras, small, hand-sewn tapestries that depicted scenes of daily life, violence, and disappearance, transforming fabric into testimony and bearing witness to human rights abuses where speaking out was fatal.

For Palestinians in the diaspora, the continued practice of tatreez, a traditional hand-embroidery technique, sustains cultural memory and asserts enduring identity.

During wartime, where there were knitters, there were often spies.

During WWI and WWII, the Belgian Resistance and Allied spies used knitting to gather intelligence. Undetected women positioned near railway lines encoded information in their knitting as a form of steganography, or hidden writing. La Dame Blanche, with over 1,000 agents, provided 70 percent of Allied military intel in WWI.

Spies such as Elizabeth Bentley used knitting bags to secretly transport documents. Phyllis Labour Doyle, a notable British Special Operations Executive (SOE) agent sent over 135 messages through the language of knits and pearls while operating behind enemy lines in the 1940s.

The U.S. Office of Censorship eventually banned the mailing of knitting patterns abroad during WW II.

• • •

The loom met me like a familiar dance partner, seamlessly moving into step. I’d leaned my full body into the work, digging into memory, borrowing from dreams. I wove Lake Michigan in layered blues, bright, warm sunsets, white pages peeling from birch trees with stories etched in coal. I’d granted them weight line by line in my fiber arts classes at Interlochen.

In another place or time, would I have been layering and stitching fiber into maps or messages, passed openly, unnoticed?

Will I still?

• • •

By transforming yarn and thread into a medium of expression, fiber art continues to take a stand.

In the aftermath of Donald Trump’s 2016 election, Kat Coyle created the “Pussyhat,” deliberately reclaiming the term as solidarity after his misogynist comments surfaced during the campaign. The quote itself does not merit repetition. For many women, its video is easily recalled, its impact still visceral.

The Pussyhat Project remains a collective act of care, visibility, and belonging, with over 160,000 projects recorded: “Women’s rights are human rights. Always have been. Always will be.”

Welcome Blanket was a craft-centered, community-powered response to the first Trump administration’s proposed 2,000-mile wall along the United States–Mexico border. Los Angeles artist Jayne Zweiman invited fiber artists to reimagine the barrier in fabric. Across living rooms and kitchens, hands knitted, sewed, crocheted, and wove blankets, a refusal to let policy have the final word.

The project quickly exceeded its goal and aims to encircle the globe in 36,521 handmade pieces. 8,000 have been collected so far.

Most recently, deep red yarn and pointed red hats with tassels began appearing across social media following a surge of federal immigration enforcement in Minnesota and the deaths of two residents as a result. In response, Minneapolis yarn shop Needle & Skein launched a fundraiser to support the community, offering $5 patterns for “Melt the ICE” hats that quickly gained widespread support.

It was clear to Gilah Mashaal, a Jewish immigrant, how her shop would protest. “What’s happening in Minneapolis has been so egregious and awful and so destructive to our community.”

The hats were inspired by Norway’s WWII “nisselue,” or Santa hat, worn in opposition to Nazi occupation as a symbol of hope and morale. For Norwegians, the hat was meant to be “distinctively non-violent.” They eventually became illegal for citizens to wear or distribute.

Having also learned Norwegian traditions from my mom, I came to recognize their subtle strength early on.

Since launching the “Melt the ICE” hat project, Needle & Skein has raised over $650,000 for organizations supporting community members affected by ICE, inspiring knitters and crocheters around the world.

My local yarn shop, Wool & Honey, started a fundraiser for Minneapolis with bold, red yarn spun to order. They’ve hosted community “Melt the ICE” knitting gatherings at their shop in northern Michigan and the Leland Public Library. Grassroots organization, Indivisible Leelanau purchased 200 stamps for the group to send “resist postcards” to Congress and the White House.

It’s uncertain whether “Melt the ICE” hats will become illegal, like the nisselue before them. For now, the pattern is still available through Needle & Skein on Payship and Ravelry.

From stitched banners to the pink and red hats of contemporary protest, fiber art highlights the persistent power of small, deliberate actions. So, we knit, croquet, embroider, weave, and stitch.

We resist.


Amanda Jackson is a creative nonfiction writer exploring fiber art, resistance, and the politics of domestic craft. Her work uncovers the histories stitched into cloth and the enduring power of art. She lives in northern Michigan with her spouse and loyal rescue shepherd, Jax.

Photo credit: Courtesy of the Norwegian Resistance Museum.


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Two Poems by Susanna Lang

Hiatus

            in memoriam Renee Good

We are a field
untilled, an empty

echoing well, a trellis
winter’s stripped of its vine,

a bell held still,

a river muzzled
by ice, a widow

bewildered

by the abrupt bark
of a gun

            •

No one knows
when river ice

will break up –
it rots from inside

then jams, erects
a barricade

            •

Listen – the river
groans

the bellringer
pulls on the rope


On the Blue Line

            Chicago, January 2026

Sunday afternoon, snow driven by wind. We weren’t surprised to find two seats together. Who goes out in this weather?

But at the next stop, and the stop after that, the car filled up, puffy coats, scarves pulled up, hats pulled down. Signs in their mittened hands, Estoy aquí por los que no pueden venir, ICE OFF OUR STREETS, Silverio Villegas González, Renee Nicole Good, Alex Pretti. Justice for, justice for, when will this end? Drawing of a blue hat worn by a five-year-old standing in the snow, held by a man who isn’t his father.

The train grew warm.
We had nothing in our hands.


Susanna Lang divides her time between Chicago and Uzès, France. Her most recent chapbook, Like This, was released in 2023 (Unsolicited Books), along with her translations of poems by Souad Labbize, My Soul Has No Corners (Diálogos Books). A new collection of Souad Labbize’s poems, Unfasten the Silk of Your Silence, was published in 2025 by Éditions des Lisières, and her translation of My Forests by Hélène Dorion is forthcoming from Book*Hug Press. Her fourth full-length collection of poems, This Spangled Dark, is forthcoming from Cornerstone Press. Her poems, translations and reviews have appeared in such publications as The Common, Asymptote, Tupelo Quarterly, American Life in Poetry, Rhino Reviews, Mayday and The Slowdown. Her translations of poetry by Yves Bonnefoy include Words in Stone and The Origin of Language, and she is now working with Hélène Dorion and Christine Guinard on new translations. More information is available at www.susannalang.com.

Photo credit: A La Plage TX.


A Note from Writers Resist
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Welcome to Writers Resist the Summer 2026 Issue

This is Writers Resist‘s tenth summer, and this issue is one of our most challenging—not solely due to its size. Perhaps it’s the prolonged exposure to putrid politicians (a putrescence of politicians, if you’ve an affinity for terms of venery) that has inspired the constellation of passions reflected in the issue. From the analogies in nature’s invasives, in Danita Dodson’s poem, to raging against ICE, in Karen Crawford’s spoken word poem, these creations ring the truth, the despair, the joy, the hope. And we hope you find all this as you make your way through the summer of 2026.

The virtual reading for this issue is on Saturday 11 July at 5:00 pm PACIFIC. Please email us at writersresist@gmail.com for the Zoom link.

Now, a little note from our publisher: I admit defeat; YouTube and I are not friends. While I seek absolution from the literary gods and our contributors who’ve been asking to see their recorded readings, I’m praying for someone who will teach me how to post our readings on YouTube. I have the basics (sort of), but they need those opening and closing title slide thingies, and more patience than I’ve been able to muster. If someone will take pity and walk me through the process, I will be exceedingly grateful. If you’re out there, please send me an email at kbgressitt@gmail.com.

Finally, and most important, Writers Resist the Summer of 2026:

Invasives by Danita Dodson

Goodbye and Good Riddance by Carolyn Gevinski

Deliverance by Phyllis Wax

13 Ways of Looking at Wicked by Suzanne Edison

Insurance Approved by Samantha Lucia

CASE FILE #1776″ The Murder of Lady Liberty by Daniel P. Douglas

astomatous by Victoria Reyes

Flying Free by Marc Audet

The In-Between by Krista Lee Hanson

The Law by Anne Reiner

The Boy by Raima Larter

Fog of War by Laura Buxbaum

How to Ignite Polite Fires by Em Arata-Berkel

In the Unlikely Event by Rebecca Watkins

While Europe Was Burning by Tytti Heikkinen

Someone Will Be Right With You by Laura Grace Weldon

Fruit Flies by Deborrah Corr

No Quarter by Julie Gard

Two Poems by Erin Vaughn

Dear Colleague: by Shannon Frost Greenstein

To the League of Extraordinary Ladies by Sarah Gane Burton

They Forget by Mandy Prell

Something So Small by Phebe Jewell

The Janus of Freedom by D. Edgar Cook

To those out there with hope by Catherine Zickgraf

Winter in Certain American Cities by Alina Zollfrank

Unbroken by Karen Crawford


Photo credit: K-B Gressitt.


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Invasives

By Danita Dodson

Better the autumn olive growing wild, the kudzu dragging
barns back into earth, the honeysuckle choking
fenceposts—than the fever of a nation shuttering its gates to
human dreams. Better the Johnson grass towering over
barbed wire, the Hungarian brome in ditches, the Nepalese
browntop flaring through fallow fields—than the metal
mouths of B-2s dropped by a madman. Better the red fire
ants swarming, the hairy-tailed mole tunneling beneath the
garden, the sirex woodwasp needling into oaks—than the
muzzling of laughter that once lit living rooms. Better the
foul-sweet blossoms of the Bradford pear, the empress tree
with its fake royalty, the tree of heaven cracking
foundations—than the boots on the ground overtaking cities.
Better the deadnettle carpeting lawns, the spotted knapweed
sprawling, the Chinese lespedeza colonizing
roadsides—than the gerrymandered erasure of communities.
Better the ornamental burning bush gone rogue, the winter
creeper winding tight, the gall wasp swelling branches—than
the whitewashing of history in national museums. Better the
starling’s dark flash at dusk, the gecko skittering glass, the
Cuban treefrog calling from a drain—than the children
counting bodies instead of stars. Let the marmorated stink
bug clatter at window-screens. Let the spotted-wing
drosophila turn sweet fruit sour. Let the fire ant decapitating
fly do its clean work. I will not spend time and money on
pesticides. There are far more critical plagues to name, to
fight, to root out.


Danita Dodson is an educator, literary scholar, and the author of three poetry
collections, Trailing the Azimuth (2021), The Medicine Woods (2022), and Between
Gone and Everlasting (2024), all published by Wipf and Stock. Her poems have
appeared in Salvation South, Tennessee Voices, Braided Way, Women Speak,
Untelling, and elsewhere. She is a native of the Cumberland Gap region of East
Tennessee, where she hikes and explores local history connected to the wilderness. For
more, visit www.danitadodson.com.

Photo credit: Neal Wellons via a Creative Commons license.


A Note from Writers Resist
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you can make a small, medium or large donation to Writers Resist on our Give a
Sawbuck page.

Goodbye and Good Riddance

By Carolyn Gevinski

This is not Polly’s first murder, Polly thinks. Malbec blood spills between her fingers.

But this is the first time she feels for what she’s done. Guilt, in every crevice of her body. Shards of remorse, glass between her thighs.

It’s a stupid thought, but she thinks it anyway. Goodbye, goodbye, goodbye.

Even when Calum Allenton’s Dodge Challenger spun off Route 9 and wrapped like violet licorice around a streetlamp, Polly felt nothing. Nothing, but the sharp swell of relief.

“Good riddance,” she said aloud to the town paper. The paper didn’t talk back, but her mother smacked her bald across the face.

“You killed him! You killed him!”

Spread-eagled in a blossom of red, Polly coos to the dead thing. “You didn’t deserve this, dead thing. But life is no fête, I promise you that.” She swims in it, sticky all over. Fractured, splintered, freed, is the dead thing, and Polly is left behind.

It feels right, for an instant, to pretend that the dead thing is taking her with it.

Lead venom from her lips races toward her heart. Useless gray veins under paper. Polly withers before she has the chance to age. The chemical reaches its target and when her eyes flutter closed, a throng of parishioners form a halo in the sky.

“Whore,” they chant, her mother among the cult. “Satan! She-devil!”

Those wretched missionaries. Polly laughs. And once they set her off, she cannot stop. A bubble pops at the corner of her mouth. No air spills between her clenched incisors, but she is laughing, yes laughing. Through the guilt, not over, not under. The dead thing laughs too. Polly can hear it babbling in her mind. They laugh, and they are one, and they are nothing.

Ringing, like bells at Christmas. It’s true that life flashes before your eyes. Polly’s glimmer, and she’s fourteen again.

Tarring mascara and stolen whiskey. A cracker that Calum shows her to feed the ducks with. That is, before he holds her down in the bank.

It’s a curse, to be fourteen.

Calum Allenton drags his feet on the way out, head hung. Ducks into the car. Everyone in school is watching Calum, but Polly is watching Mrs. Abraham. Unabashedly, the woman watches back. Knowing Polly inside out and stuffing strewn all over.

You called them.

A week later, Calum Allenton is dead, and Polly’s mother calls her a killer.

Good riddance, Polly tells the paper.

Good riddance, echoes Mrs. Abraham. The back of her hand feels cool on Polly’s welt.

“You will never be fourteen,” Polly tells the dead thing. They lie together on the grout.

At her checkup, the doctor will whisper, “You did what was necessary.”

But as she’s leaving, the folks with signs will spit at her. So many people have words to say about what Polly’s done.

“Goodbye, goodbye, goodbye,” Polly hisses.

“And good riddance,” she says to the thing that she never wanted, and never wanted to want, and never did.


Carolyn Gevinski’s poems have been published in Across the Margin, Lavender Review, and Prosetrics and are forthcoming in Scapegoat Review, Academy of the Heart and Mind, and ΑΒΛΑΝΑΘΑ. Her journalism can be found in El País, GLAMOUR, Grassroots Magazine, Al Jazeera, and Out Magazine. She is a graduate of Columbia Journalism School, where she currently works on their postgraduate investigative team.

Photo credit: Olya Prutskova via a Creative Commons licanse.


A Note from Writers Resist
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Deliverance

By Phyllis Wax

Where is the angel
who will save us?

            Not in masked thugs
            who descend on ordinary people
            and whisk them away in unmarked cars           

            Not in civil servants
            who, to keep their jobs,
            bend to the boss’s demands

            Not in political appointees
            who think any law
            can be broken

            Not in judges
            who ignore the harm they do
            when they allow fists on the scales

            Not in educators
            who rewrite history, consider
            facts malleable

            Not in politicians
            who place office above country

No
There is no angel
to save us

Our deliverance will come from ordinary people    
chanting their outrage
in the streets  And from voters
marching to the polls
to restore democracy

We have to save ourselves


Phyllis Wax lives near Lake Michigan in Milwaukee, WI. She grew up in the Washington, DC, area, which might be why social justice issues push their way into much of her work. Also inspired by nature and human nature, as well as by music of all sorts, her poetry has appeared in many publications, including Writers Resist, Jerry Jazz Musician, Rise Up Review, Spillway, Peacock Journal, Wordpeace, New Verse News, Your Daily Poem, Mobius.

Photo credit: Bogdan Krupin via a Creative Commons license.


A Note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist on our Give a Sawbuck page.

13 Ways of Looking at Wicked

By Suzanne Edison

                    All words in italics come from at least one federal agency’s list of
                    “woke” terms that need to be avoided—
NYTimes, 11 March 2025

I.
Born in the garden, a sanctuary. No barriers and all beings had a sense of belonging.

II.
Assigned at birth, her gender, female. Though perhaps transgender . . . you know, Adam’s rib, etc.

III.
Her name, Eve, on the cusp of . . . with Hebrew roots, signified life.   Oh, but the trauma

IV.
of knowledge,                      as if pregnant with privilege,                      was deemed a disability

V.
warranting exclusion.

VI.
Her clean energy sex with Adam, i.e. people + uterus = key populations + a brimming bag of pronouns

VII.
increased diversity.             She wandered. An immigrant.                    Was she Black or brown?

VIII.
Racial identity indeterminate.   Equal opportunity victims declare her cultural heritage colorless, as this page.

IX.
(From a scientific perspective, white (light) is all-inclusive of the diverse colors of the visible spectrum.)

X.
Science, expendable, as the Gulf of Mexico—a victim of brain disparity

XI.
from undervalued, biologically male, stereotypes, prolific as climate crises.

XII.
These systemic prostitutes advocate

XIII.
altars to oppression.


Suzanne Edison’s book, Since the House Is Burning, was published by MoonPath Press in 2022. Her poetry can be found in The Missouri Review, Verse Daily, Whale Road Review, Lily Poetry Review, MER, and SWWIM Daily. Her poetry had also been recognized as finalists in Naugatuck River Review and RockPaperPoems. She lives in Seattle, and her website is at www.seedison.com.

Photo credit: Terence Faircloth via a Creative Commons license.


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Insurance Approved

By Samantha Lucia

I said yes to permanence at 27
They called it ESSURE    
They called it SAFE

Two metal coils
threaded
into fallopian tubes
like promises — like policy    

                                                                                          market-vetted
                                                                                          APPROVED
No incisions
In-office procedure

Try coils
thrust raw
into tubes
unanesthetized

                                                                                          Women’s pain
                                                                                          thresholds

Twelve years of
my body screaming,
“STOP!”

And physicians saying,
“PROVE IT.”

The coils scarred over — created blockages
leaked nickel into unwilling tissue

Inflammation exploded
a language I couldn’t speak — but couldn’t stop speaking
A language of pain that      
bent me,   
bowed me,    
made me small

Pain that doesn’t image—
So, they decide,
“You’re imagining.”

                                                                                          even after the
                                                                                          BLACK BOX
                                                                                          warning

                                                                                          even after they
                                                                                          PULLED it
                                                                                          from the
                                                                                          market

Physicians looked and declared,
“Essure doesn’t cause this.”

They KNEW

The market’s small print
had written itself into my organs
in allergy ink

Certified itself
in bedridden years of,
“We need a biological excuse.”

A woman’s pain isn’t valued enough
to remove its source

A woman’s suffering only matters
when it can be CODED
365 days
of merciless bleeding

My body performed its loudest proof —
its most monetizable symptom

Until the insurance surrendered to
a code it recognized

‘Murderous Coils’— NO
‘Diseased Uterus’— YES

                                                                                          INSURABLE

A hysterectomy at 39

                                                                                          becoming
                                                                                          algorithm-
                                                                                          legible

                                                                                          becoming
                                                                                          profitable
                                                                                          loss

The market sold me the device
The market cut it out

They logged it . . . TWICE


Samantha Lucia (she/her) is a queer poet and photographer living in the American South who writes from the archive of a body the record kept getting wrong. Her work has appeared in Corporeal, Poetries in English, MENACE, Witches Magazine, Twisted Tongue, Spellbinder, and January House, among others, and is forthcoming in the 1455 Books: Women Writers Anthology (2026). Follow her on Instagram @iamsamanthalulu.

Photo credit: Ittmust via a Creative Commons license.


A Note from Writers Resist
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CASE FILE #1776: The Murder of Lady Liberty

By Daniel P. Douglas

New York Police Department – Homicide Division
Detective Joseph “Joe” Law, Badge #1886
October 2025

The call came in at 3:47 AM on a Tuesday that felt like the end of the world’s longest hangover. Rain pounded Manhattan, each drop a reminder that even heaven had given up trying to wash this place clean.

“We got a body,” the dispatcher said, voice deader than yesterday’s coffee. “Big one.”

“How big?”

“Liberty Island big.”

I crushed my Lucky Strike into an ashtray I hadn’t emptied since Bloomberg was mayor and grabbed my coat. In thirty years working NYPD Homicide, I’d fished bodies out of the East River, scraped them off subway tracks, found them stuffed in dumpsters behind bodegas. But this was different. This was America’s dame, face-down in New York Harbor.

VICTIM IDENTIFICATION

Name: Liberty Enlightening the World, aka “Lady Liberty,” “Statue of Liberty”
DOB: October 28, 1886
Height: 305 feet (151 feet without the pedestal)
Weight: The burden of 330 million promises
Last Known Address: Liberty Island, New York Harbor
Occupation: Symbol, Promise-Keeper, Mother of Exiles

The crime scene was Liberty Island, but the blood spatter reached from Battery Park to Ellis Island. Yellow tape couldn’t contain it. The Staten Island Ferry captains were calling in sick rather than sail past her corpse.

INITIAL OBSERVATIONS

She was still warm when I took the police boat over, which told me the murder was fresh as this morning’s bagel. The killer wanted us to find her like this, toppled forward off her pedestal, torch extinguished in the harbor water, tablet cracked down the middle. The inscription remained readable through the break: “Give me your tired, your poor…” But someone had tagged it with red spray paint: “OFFER EXPIRED.”

I lit another cigarette and walked the scene. Her crown’s seven spikes stood bent and twisted. In the water around the island, I found children’s backpacks bobbing in the harbor. Spider-Man, Frozen, Pokémon, the kind kids clutch when masked and uniformed strangers thugs break down doors at dawn.

WITNESS STATEMENTS

David Steinberg, Journalist: “I recorded every broken promise, every shattered law, every deleted regulation. They tried to shut me up, deport my sources, kill my stories. But someone had to keep the record. Someone had to remember what she looked like before they took the knife to her.”

Anonymous Federal Worker: “The shutdown wasn’t chaos—it was surgery. Precise. Calculated. They knew which departments to gut first, which services would scream loudest. Like watching someone dissect a living patient.”

Carmen Rodriguez, Bronx Mother: “They came at 4 AM. ICE, a few of them said, but most said nothing. Took my babies while they were still in their pajamas. My neighbor, she tried to film it. They took her phone. They took her too. And their eyes . . . their ICE eyes looked empty. They’d killed something inside themselves first.”

Mike O’Brien, Con Edison Supervisor: “They cut power to the whole South Bronx last week. Said it was maintenance. But I saw the orders. They came from high up. Real high. They’re turning off the lights, neighborhood by neighborhood, erasing parts of the city.”

AUTOPSY FINDINGS

The coroner was Dr. Ruth Goldstein, been cutting up New York’s dead since Giuliani’s first term. Her hands held steady, but her voice cracked, ice in warm whiskey.

Cause of Death: Multiple contributing factors

  • Acute Constitutional Hemorrhaging
  • Systematic Organ Failure (Justice Department, State Department, EPA)
  • Blunt Force Trauma to Democratic Processes
  • Poisoning via Disinformation (blood toxicity off the charts)
  • Strangulation of Free Press

“Forty years I’ve been doing this,” Goldstein said, peeling off latex gloves. “Seen nothing like it. It’s overkill, Detective. Someone didn’t just want her dead. They wanted to make an example of her.”

SUSPECT PROFILE

The killer operated in broad daylight, Fifth Avenue penthouse type who treated laws as suggestions and democracy like a hostile takeover. This wasn’t a crime of passion. It was a business transaction, hostile acquisition of a 249-year-old corporation.

Physical Description: Spray-tan complexion, architectural hair, suits that cost more than a cop’s annual salary
Known Associates: A rotating cast of oligarchs, fixers, and true believers
Modus Operandi: Gaslight, Obstruct, Project, Intimidate, Lie, etc.
Previous Crimes: See filing cabinets 45 and 47

But here’s what chilled me to the bone: the accessories after the fact. The reps and senators who held her down. The judges who sharpened the blade. The millions who live-streamed the murder and hit “like.”

THE INVESTIGATION

I started where every New York cop starts. I followed the money. It led me through Wall Street towers and offshore shells, through Moscow laundromats and Saudi investment funds. Every thread pulled revealed two more until I had a conspiracy that made the Five Families look like a church bake sale.

The immigration raids. The infrastructure blackmail. The journalist deportations. The power cuts. All connected, all coordinated, all designed to kill not just the body but the very idea of what she stood for.

I interviewed kids from the raids when their lawyers could sneak me past the guards. One girl, maybe seven, drew me a picture with crayons some church lady had smuggled in: Lady Liberty on the ground, her torch being used to burn apartment buildings.

“Is she dead?” I asked.

“Mama says she’s just sleeping,” she whispered. “Says she’ll wake up when enough people remember the dream.”

Three weeks into the investigation, working out of a precinct that felt emptier every day as cops got reassigned to ‘federal support duties,’ I noticed something.

Lawyers working pro bono out of Brooklyn basements. Teachers holding classes in churches when their schools got shut down. New York Times reporters publishing from undisclosed locations after their building got raided. Bodegas feeding families whose food stamps got cut. The city that never sleeps refusing to close its eyes to what was happening.

I took the ferry out to Liberty Island at dawn. The statue remained down, still dead. But in the pre-dawn darkness, I saw them. Thousands of lights. Phones, candles, flashlights from boats. Each one a tiny flame, together bright enough to outline her fallen form.

That’s when I knew what wouldn’t make it into the official report.

FINAL DETERMINATION

Case Status: Homicide confirmed. Victim DOA.

Additional Findings: Unusual post-mortem activity observed. While subject shows no vital signs, grassroots nervous system remains active. Cellular regeneration noted at community level.

Lady Liberty was dead as Hoover. The America that survived the Depression, won the World Wars, faced down the Soviets—that dame had sung her last song.

But here’s what thirty years of homicide taught me: Some victims don’t stay dead. Some ghosts are too stubborn, too angry, too damn New York to stay down.

DETECTIVE’S PERSONAL NOTE

I’ve worked enough murder scenes to know dead when I smell it. But I’ve also lived in New York long enough to know that this city’s got more lives than an alley cat.

The killer’s still walking free, still posting from his penthouse, still signing executive orders with her blood. The accomplices are still on cable news, explaining why she had it coming.

But in the Bronx, mothers are organizing. In Brooklyn, communities are building their own support networks. In Queens, immigrants are documenting everything. In Manhattan, even some Wall Street types are whispering about resistance. In Staten Island . . . well, Staten Island’s complicated, but even there, some folks remember what that torch used to mean.

Lady Liberty is dead. Long live Lady Liberty.

I’m filing this case closed, but I ain’t closing the book. Because every good cop knows that sometimes you solve a murder by making sure the victim comes back to haunt the killer.

The rain’s stopped. Dawn’s breaking gray over the harbor. Somewhere, a kid in P.S. 92 is pledging allegiance to a flag that doesn’t mean what it used to. But maybe—just maybe—it’ll mean something again.

I light my last Lucky of the night and watch the sun rise over the city.

If Liberty’s gonna rise from the dead, it’ll start here, in the boroughs, in the projects, in the spaces between what was and what might be again.

Case closed. Investigation ongoing.

Detective Joseph Law
Badge #1886
NYPD Homicide Division
October 2025

P.S. They can kill the body, but the ghost? The ghost is gonna haunt them till judgment day. And brother, judgment’s coming.


Daniel P. Douglas is the pen name for identical twins Phil and Paul Garver. Daniel P. Douglas has been named a Foreword Reviews 2014 INDIEFAB Book of the Year Awards Science Fiction Finalist and is a Readers’ Favorite Award winner. His first novel, Truth Insurrected: The Saint Mary Project, centered on a decades-old government coverup of contact with extraterrestrial life. The Richter’s War series blends sci-fi with hard-boiled intrigue in Los Angeles during World War II. Douglas’s first nonfiction endeavor, Six-Shooters and Starships: A Comprehensive Guide to Crafting Space Western Stories, explores the rich history of the Space Western genre in fiction and entertainment media. In 2025, the first two books of the space Western series, Wild Frontier Chronicles, were released along with other expanded universe projects. Please visit the “Intelligence Bulletin from Author Daniel P. Douglas” on Substack for more information.

Photo credit: Chris F via a Creative Commons license.


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astomatous

By Victoria Reyes

                    for Mahmoud Khalil

itstartedoffanordinaryday. suddenly:accosted. handcuffed.kidnapped. withoutawarrant &with
holdingtheirnames, ICEagents tearyou fromyourdoctor wife,8monthspregnant, filmingtheordeal.
secretedtoa Louisianabunker, you’regivennopillow tolaydownyourhead, nocloak
tostaveoffthecold, missingthebirth ofyourchild. forwhat longingforaFreePalestine?
anendtogenocide? youareremindedofSyria. Werecall genocide &enslavement asU.S.origins. thereisnofreespeech—

only the rich have mouths.


Victoria Reyes (she/her) is a writer, poet, and scholar. She’s also the author of Global Borderlands: Fantasy, Violence, and Empire in Subic Bay Philippines and Academic Outsider: Stories of Exclusion and Hope. Her poetry has appeared in Feminist Formations, Departures in Critical Qualitative Research, and Dissident Voice.

Photo credit: Henry Burrows via a Creative Commons license.


A Note from Writers Resist
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Flying Free

By Marc Audet

Lake Whitney shivers as the winter wind descends upon us from the Canadian Arctic. I pause my walk and search for the Canada Geese that visit these waters. They are back this morning, floating some distance away in composed tranquility, hardly noticing me. To think that they dare to cross our northern frontier in contempt of our politics, mocking our insolence to even suggest that we could tell them what to do. They care not for borders, more concerned about that sheet of ice that formed overnight, nudging them to seek shelter in the warmer waters nearer shore, by the clustered rushes where last spring, I saw a mating pair of swans nesting. On this frigid morning, I rest my spirit from the over repeated news cycle and take solace in the calmness of the lakeview before me. The geese are content to wait in the shallows for the seasons to turn. We are creatures less patient, our collective angst seething. We ache to scream, to be heard over sound bites of prevarication, to spread wings and be free again.


Marc Audet lives near New Haven, Connecticut, where he is self-employed as a web application developer. He has traveled and lived in Canada, England, France, and Ireland. His short stories, creative nonfiction, and poetry have appeared in Across the Margin, Flash Fiction Magazine, Uppagus, Rappahannock Review, The Prose Poem, The Gilded Weathervane, and elsewhere.

Photo credit: Tim Rains via a Creative Commons license.


A Note from Writers Resist
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The In-Between

By Krista Lee Hanson

                          For Renée Nicole Good

You said your soul lived, perhaps,
in-between your pancreas & large intestine.

My soul has been skittish,
these days, hiding, perhaps
in-between my cranium &
cervical spine, under hunched shoulders
bracing for the next disaster,

but your violent
murder,
the sudden snuffing of your life,
your mother-poet light,

the horror of it has shaken me,
rattled something loose,

and in the aftermath my soul has spread
wide as a lake on a windless day,
clear as this winter breath,
fully inhabiting my gut with the knowing:

we are many millions more than
mercenaries and despots,
we the people, who threaten the regime by loving
the things they cannot sell us: our neighbors,
friends and strangers, children and their teachers,
the ones they have insisted are other,

and, also, the migrating birds,
the coyotes and beavers,
the trees with their secret language,
their souls telling stories in the soil,

and the hope that comes,
every single sunrise, that our love
and solidarity is magnetic,
drawing more and more
people into our circles.

You wrote about sacred texts,
wondered about science and
faith meeting, asked if those religions
could be as gentle as your mother,
sliding long hairs behind your ear

and now we know your mother
is both tender and fierce,
your wife, too, speaking your name,
calling you baby—
            drive, baby, drive

& now telling the world
about your Goodness.


Krista Lee Hanson (she/her) lives in Seattle, Washington, home of the Coast Salish people, with her partner and two children. Krista’s writing has appeared in The Rumpus, The Normal School, Rad Families, A Celebration and other publications. She has been a finalist for CRAFT’s Flash Nonfiction prize, and she was nominated for the 2025 Pushcart Best of Small Presses prize. Currently, Krista is writing a memoir about disability and complex care, and organizing with her neighbors to build webs of community care. Visit her website at kristaleehanson.com.

Poet’s Note: This poem is in response to On Learning to Dissect a Fetal Pig, by Renee Good (previously Renee Nicole Macklin).

Photo credit: Diana via a Creative Commons license.


A Note from Writers Resist
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The Law

By Anne Reiner

                            For Alex Pretti

we’re all under the same law
Newton’s third
where forces always come in pairs 

tear gas roars at 
a citizen
a citizen 
roars back with an
equal and opposite force
of a protest 

a knee pushes against
a neck 
a neck
pushes back with an 
equal and opposite force 
of a movement

an agent of the state shoots
a bullet 
a bullet 
a bullet 
a bullet 
a bullet 
a bullet 
a bullet 
a bullet 
a bullet 
a bullet 

• • •

my young son tells me
a ball could pass through a bat
if all the atoms 
arranged themselves
with unerring exactness

if we the people 
had a rising
that was 
atomic 

and arranged ourselves
just 

so we passed
right through them

a strike without a hit 

in our unequal and opposite 
reaction

to lay down
the law


Anne Reiner is a writer and biostatistician based in New York City. Visit her website at annereiner.com.

Photo credit: Jay Rembert on Unsplash.


A Note from Writers Resist
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The Boy

By Raima Larter

The boy grasps the rope, swings out over the river whooping, lets go, splashes, laughs. The light is a misty green and it all seems a dream, a time that never was. 

The crowds march in subzero cold, breath freezing in nostrils, shoes squeaking on frozen snow as booted troops watch from the side. Their leader stands calm in his long coat, watching the children wave placards.

The boy’s childish scrawl infuriates the man in the long coat who hustles him into a waiting van. The boy wonders which world he belongs in: the river or the van?

The boy swings out again over the water, dripping from his earlier swim in the lazy river, wondering if this life is the dream or is it the one in the back of a dark van, squeezed between men he doesn’t know. Their bodies stink of fear. Their wrists bleed from tight handcuffs.

The people march. Some wear clerical collars, some robes. They hold up their hands in prayer, chanting. With God all things are possible, they say. God is with you, they promise.

The boy wants to believe. The boy also wants to cover his eyes, block out the world he is in, but he can’t move his hands. He is bound tightly, here among the prisoners. 

The boy wants to believe he is at the river, but he knows he is in the van. It is warmer in the van than it was outside. The boy is glad he still has his nice warm hat. At least he has his hat.

The people march in the street, a sea of humanity blowing whistles. The people shout at the invaders to leave their town, return their children, go back to where they came from, which surely must be hell, a place warmer than the one they march in.

The booted men watch as people surge and fill the streets. The man in the long coat stands, his hands hidden in pockets as the people blow their whistles. 

God is with you, the whistles shriek. God is with you. With God, you can do anything. 

Anything.

Anything.


Before moving to Colorado, Raima Larter was a chemistry professor who secretly wrote fiction and poetry and tucked it away in drawers. She has published four novels, a nonfiction book, and numerous short stories. She is Nonfiction Editor at Utopia Science Fiction. Read more at raimalarter.com.

Photo credit: Enoch Leung via a Creative Commons license.


A Note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist on our Give a Sawbuck page.