Poetry from Sana Jangeer Hamad

The Tragedy of a Woman

The tragedy of a woman is her strength

 hidden beyond broken walls.

The tragedy of a woman is her broken wings,

 framed like ancient pieces.

The tragedy is the belief rooted in her bones,

 yet she is silenced.

The tragedy can be her tears lying upon the pillow every night.

The tragedy is the nightmares embracing

 her innocent heart, burning her endless dreams.

The truth is a tragedy 

that exists beyond reality.

It is her definition.

It is the definition of her skin and bone,of her features.

They called her frail, with disbelief.

But it was never her tragedy.

It was theirs.

Sana Jangeer Hamad is a Kurdish author, poet, writer, translator, compiler, and final-year English student at Salahaddin University. From Kurdistan, she is a First-Place Winner of an International Poetry Competition, a Voice of Asia delegate representing Kurdish women, and a Model United Nations delegate representing Uruguay in UNESCO and UNDP committees. She has also been selected as a Model United Nations delegate for the UNDP Committee at an international MUN conference in Istanbul. She was selected among 40,000+ writers from across the globe at the Pan India Mega Pen Star Writing Event, organized by Epic Sphere Publication, representing Kurdistan, Iraq.

She has also been invited by Radio Aldora Argentina and television channels to discuss her literary work and achievements. Her poems have been published internationally by literary magazines, organizations, and initiatives, and she is a co-author of multiple literary anthologies. She has experience in translation, English education, literary compilation, and international youth initiatives. Her learning and professional development experiences include programs and initiatives connected with the United Nations, UNDP, OHCHR, HP LIFE, Google Cloud, Microsoft, the British Council, and Cohort. Aspire.

Poetry from Ashiqur Rahman 

A Day of Remembrance

On the twenty-fifth of August, these days.

The lives we lost, the tears we cried,

The homes we left, ones by our side.

May peace return to our homeland,

We remember mothers calling,

We remember children’s fear,

We remember those who vanished,

And the voices we still hear.

Our identity will never fade.

Our past will never be forgotten—

Our future will be free.

And peace will replace the night.

Let the world hear the Rohingya voice,

We ask the world to hear our story,

To stand for justice, truth, and right.

And those who died that day.

Though years may pass and roads may change,

The mothers, fathers, sons and daughters,

Not only sorrow, but our hope.

With unity, courage, peace, and justice,

May the world remember what happened,

Never forget the lives we lost.

Never forget the truth we carry.

May justice come, may peace return,

Your names are written in our hearts.

—————————–

1.2 Million People Cry.

Under the same sky.

Different villages,

different roads,

different houses.

From Maungdaw,

from Buthidaung,

from Rathedaung,

and from many other places,

we came with nothing.

A place where

a million people stand,

waiting, waiting—

only seeking peace.

No checkpoint.

No passport check.

No ID card check.

Why?

How?

How is it possible

for 1.2 million people

to suddenly become refugees?

We asked the border police officer:

“Where should we go?”

The boat suddenly came

to an unknown place.

The sea was behind us.

Our homeland was far away.

Then we heard a name:

Prime Minister Sheikh Hasina.

Hasina gave us

a place to stay—

Cox’s Bazar.

A small place

for people.

We ask for only one thing—

who had lost a whole homeland.

Some people said,

“She wants the Nobel Prize.”

How?

Why?

When?

I do not know.

I only know

that 1.2 million people

needed somewhere to stand.

“Where will I go tomorrow?”

No Questions.

No Answer.

We fled

An Unknown place.

2:00 AM Tonight,

1.2 million people

look at the faces.

And remember the villages.

They were forced to leave.

The cows are gone.

The villages are silent.

The borders remain.

A million hearts still cry:

“We are Rohingya.

We are human.

We want peace.

We want dignity.

We want to go home.”

— Asheqe

—————————-

Short Bio 

Rohingya Poet / Author

A dedicated student from the Rohingya community at IIUC, where I’m studying Electronic and Telecommunication Engineering (ETE). I have a strong interest in leadership and rights defense—Rohingya community development.

As part of my academic journey, I also studied for an Associate Degree in Political Science at the Rohingya Academic Research Institute. 

As a member of the Rohingya community, I’m passionate about education, empowerment, and creating opportunities for displaced people. Through my writing, I represent the Rohingya community’s engagement. I hope to contribute positively to society and inspire young people to pursue their dreams despite challenges.

Poetry from Thomas Fink

GOAD 33


    The package                 exaggerates volume of contents. 
America     wants.           More.  Not  all  Americans. 
                Slow up:        read waves. 
               The  re               mainder of 
             this globe                 may   not 
              continue                 to get  be
                 hind us.           Think about 
                   how you       can  dodge 
                      perils of some major
                            investments.



































							Thomas Fink


GOAD 34


         Well-fed                     shoes. Snoring thighs. A human shelf. 
Shackled     to a             wealthy lifestyle. Chronic devil-may-care 
                 avidity          paused by 
             occasion.       al avalanche. 
          Toupee               umbrella leak. 
       Complain                ing cheerfully. 
        Dessert                      devouring 
          diner. Lack             fills. From 
             is toward not.   You  give 
                 your  cardiologist  a 
                      heart attack.

































							Thomas Fink



GOAD 35


      Shards                    of fact merge to inflate shrunken 
photos.  House           keeper of losses, laminating lament
                 ations.      Applying 
               angry             wallpaper. 
            For the                    love  of 
          hatred.                        Feasting 
           on curses.            Should any
             one be stuck     with  that 
               personality? Obdurate 
                      waste ensues.

































							Thomas Fink


EGG YOLK


                                           explodes in microwave. 
                                              Sometimes the floor 
                                             is the ceiling. You’re 

                                    an idiot, right? Tuition’s 

                                paid for 
                       intuition. 
Can’t count on     facts we don’t have.                       
    



Poetry from J.L. Orango

THE WAR HAS A KITCHEN TABLE

No one calls it a front line
because there are placemats.

Because a child is colouring
three feet away.

Because the man shouting
has a family photograph
in the hallway
and a job he goes to
in the morning.

But she knows
where not to stand.

She knows which sentence
will make the room change.

She knows the distance
between his anger
and the drawer
where the knives are kept.

She knows how to make
her voice flat,
her hands useful,
her face unreadable.

These are civilian skills
for a war
the world keeps filing
under private.

No medals.

No ceasefire.

No official count
of all the nights
a woman negotiated
with danger
while packing lunches
for tomorrow.

The table is set.

The children are hungry.

Someone asks her
why she did not leave.

As though leaving
were a road
and not another battlefield.

THE WORD DOMESTIC DOES TOO MUCH WORK

Domestic violence.

The adjective arrives first,
soft as a dish towel.

Domestic:
of the home,
of ordinary life,
of things kept inside.

Violence:
there it is,
second,
already made smaller
by the room around it.

We do this with language.

We put terror
in slippers.

We call stalking
relationship conflict.

We call control
jealousy.

We call repeated threats
a difficult breakup.

We call a woman
high-conflict
when what we mean is
she has learned
to document everything.

Maybe the word
we need is not domestic.

Maybe the word is
public.

Because every woman
who has to calculate
whether home is safe
is living inside
a failure
the whole society built.

The walls may be private.

The consequences
are not.

THE WOMAN WHO WAS BELIEVED TOO LATE

First they asked
whether she was sure.

Then whether she had proof.

Then why she stayed.

Then why she returned.

Then why she waited
to tell anyone.

Then why her story
had changed
in one small place
after years
of carrying it alone.

By the time
they believed her,
she had become
an archive.

Screenshots.

Dates.

Photographs.

Witnesses.

The whole terrible museum
of what one person
can do to another
while the world
requests better documentation.

She did not need
to become more credible.

Everyone else
needed to become
less comfortable
with disbelief.

THE MOST DANGEROUS SENTENCE IN THE HOUSE

It was not
I hate you.

That would have been
easier to name.

It was

I love you.

Spoken after the door
was blocked.

After the phone
was taken.

After the apology
became an accusation.

I love you
meaning
you belong to me.

I love you
meaning
your leaving
is something done
against me.

I love you
meaning
my fear of losing you
has more authority
than your fear of me.

Years later,
someone says it
without ownership.

No demand follows.

No audit.

No punishment
for being separate.

She learns
that love
is not the sentence
that closes the room.

It is the one
that leaves the door
where it was.

WHAT SURVIVAL LOOKS LIKE FROM ACROSS THE STREET

From across the street
she looked fine.

The garbage went out
on Tuesdays.

The children wore coats.

The lawn was cut.

She waved.

This became evidence
against her later.

People prefer suffering
with visible smoke.

They want the house
to announce the fire.

But some women
survive by becoming
excellent neighbours.

They answer
How are you?
with Fine.

They remember
birthdays.

They bring cupcakes
to school.

They learn
that appearing ordinary
can keep a dangerous person
from becoming more dangerous.

Do not confuse
function
with safety.

Do not confuse
a clean kitchen
with peace.

Sometimes
the woman waving
from the driveway
is not hiding the truth
from you.

She is hiding
inside the only version
of the day
she knows how
to get through.


J.L. Orango is a British Columbia writer whose poetry and nonfiction examine survival, coercive control, motherhood, accountability, women’s rights, and the ordinary life built after violence. Her work centers survivor voice and the language societies use to minimize what women endure.

Poetry from Gregg Norman

THE BOATMAN

He was waiting at the dock

in a Bass Cat Puma STS

with a rumbling 250 Pro XS Merc,

a Minn Kota troller and enough

Garmin and Hummingbird tech

to sink the thing.

It had power pole blades,

Blue Tooth sound,

and a live well

that had never seen anything live.

He wore a Cabela’s cap

set at a rakish angle

over a crewcut

and a bloodshot squint.

He said Charon

was down with the flu

and he was filling in.

When he took my coins 

from my eyes

and swung out across the river

he didn’t need to remind me

that it was a one-way trip.

Gregg Norman is a Canadian poet living and writing in a lakeside cottage with his wife and a small dog who runs the place. His work has been placed with many international poetry journals and literary magazines. He has been nominated for Best of the Net and The Pushcart Prize.

Short pieces from Marjorie Thelen

Seated Lohans

It was Halloween and raining steadily in New York.  It was also cold, but Ellen was layered with wool and suede in black and tan, and scarfed and caped and booted.

She was enjoying the weather. It hadn’t rained in a while. Even though her small gray umbrella had a broken handle and was difficult to manage, she picked her way among the sea of other umbrellas along Madison Avenue and remained relatively dry.

She was in the east sixties, trying to find the bus stop on Madison which would take her to the Metropolitan Museum of art. She didn’t wait long for the bus, climbed aboard, dripping around the edges, and deposited her token. Smelling of wet wool, she moved to a seat and sat down gratefully. The bus moved slowly up Madison through the crowds of traffic.

She got off at 83rd and walked over to the Park.  There was the Metropolitan Museum, in all its wet magnificence, draped with banners whipping in the rain and cold wind. One banner read “Degas”. But it wasn’t Degas that prompted Ellen to come through the ran today.  It was the Seated Lohans.

Yesterday Richard had asked her if she had been to the museum lately. She hadn’t been for six years.

“Go to see the Lohans,” he said in his usual cryptic way. Nothing more than that.

It had been Judith who explained that Lohans (Ellen kept calling them loohans until Judith corrected her twice) were perfected beings who had achieved Nirvana and would not be reborn again.

“Stand quietly and watch the old man,” Judith said. “There are only two of the at the Metropolitan. When these were found, they were a group of sixteen seated in a circle, representing the sixteen disciples of Buddha. The rest are scattered in other museums.”

Ellen made her way to the information desk and asked where to find the Lohans. None of the three advisors knew. They pulled out their floor plans and decided that Ancient Chinese Art was the place to start.

It was Tuesday morning yet the Museum was crowded. Many seemed to be in line for Degas. But Ellen was there to see the Lohans.

She had to walk through the Ancient Egyptian exhibit. She was awed with the magnitude of the hall, the columns, the statues. She made her way steadily past the clay figures and art to the end of the hall where she walked slowly and with purpose up the stairs. They were marble and wide and magnificent, deserving to be walked upon.

At the top was China. The guard knew where the Lohans were. “Down the hall and . . . see the entrance to the left. There.”

She followed his directions and entered a large room with Buddhist statues from China. Most seemed to be of clay.

The two seated Lohans flanked the entrance. They were life size and pale gray almost white, with green, yellow and crimson robes draped around them. They sat on pedestals four feet off the floor.

A little read, “Seated Lohans in porcelain, three colors. T’ang Dynasty 9th century AD.” Ellen read the description of Buddhism in China. It said the Lohans were transcended beings.

She spent twenty minutes with them, which was all the time she had, standing quietly at different angles to see what was there. She wanted to experience them.

She stood close to look at the old man, and she stood back. His face was formed with distinct lines, his ears large with long lobes. His mouth had full lips which turned down at the corners. He didn’t look oriental. His eyes looked down.

Tell me what you know, old man, she said to him in her mind as she looked into his eyes.

She stood back and watched from a quiet place inside. Even though his mouth turned down, she realized he was actually smiling a soft, peaceful smile. He was incredibly calm and serene.

The second statue seemed to be of a younger man who sat twisted at his waist to the right. He, too, seemed to be smiling, not as peacefully but somehow knowingly.

The guard walked in and out of the room several times, maybe wondering why she stood there so long. Most people wandered casually through, stopping only briefly.

Then it was time to leave. She didn’t really want to go. She folded her hands in front of her in salutation and bowed briefly to each one. Tears accompanied her as she slowly made her way back out onto the wet, cold street of New York.

Ho’s Wok

Lunch at Ho’s Wok. 

People crowding in. 

Confusion ebbs and flows. 

She waits to see where

the tide will flow next.

A look at the menu board.

What to order?

The combo chicken with garlic

sauce has a star.

She steps to the order line. 

The entrée steaming 

on the front counter 

looks better.

Too late now.

“No more combos,” shouts the head server.
“Water, please.”

“No water, only soda.”

“No napkins?”

“Napkins on table,” shouts the man.

Tray in hand 

she makes her way

to the front window

where she can watch Sixth Avenue.

Slowly, the food disappears from her plate. 

It burns in her stomach.

She catches the eyes of 

several who go by.

She looks away.

A young man, wrapped in wool,

smoking, 

goes by.

Dark hair and moustache, 

friendly smile. 

He looks into her eyes,

smiles

and looks again.

He waves a greeting,

smiles wider and

goes by.

She pauses 

fork in hand

and smiles back.

A small smile, 

half expecting him

to turn around

and come back 

to chat awhile

in Arabic or Persian.

Pleasantness fills her.

The smile drifts down 

into her body and

stays with her 

out onto the street.

The Loft on 27th Street

Filtering light through New York windows decorated with rain spots and dust overlook other windows with rain spots and dust. Dark, uneven courtyards with potted plants, fading now. Rust and black fire escapes.

Wide plank floors. New York off-white ceiling in bas relief square patterns. Light on a bed through a skylight, grilled and etched in fashionable, New York grime.

No place to hide. Everything exposed. No secrets.

Air slightly cool. Hot tea takes the chill off.  All Hallows Eve. The promise of an only-in-New-York-parade in the West Village.

Brakes squeal, doors slam, boxes load and unload. Horns honk and honk and honk.

The traffic never ends. The horns never stop. The people keep coming. 

Poetry from Mooch Simon

DEATH IS CALLING

Death is calling 

and yet you summoned me 

to clean your earthly dirts.

I am already ahead of you,

one foot in hell and another on earth.

I recalled going to war of survival 

with my kinsmen, 

friends, strangers and enemies 

trying to make life___

But we got smacked in the faces and got scattered.

I could not remember who ran where.

So, I spent decades waiting, 

waiting and waiting 

for them to come back 

but when the world went cold,

moon disappeared 

and the sun gone, 

I realised they were all dead.

You ended them just like you did to their fathers 

and those before them. 

I am not scared, 

I am not sheken 

and I am not moved 

when you say you are going to kill me 

because I started dying long time ago. 

I began dying the day I was born in to this world.

Every birthday increases my speed to the  grave.

No one will rot alive

So, when I am gone today I will leave the door wide open for you to pass through.

When the time that birthed your strength, 

your magic and your powers dies, 

the faces of the people you are forcing us to forget will come to see you,

and when they do, 

you will be crwoned in fears.

Every mark of terror, agony and pain you inflicted on them will come roaring like thunder and hunting you like a hungry lion.

They will watch you bleed and 

leave you lifeless body to the divine.

You held my ancestors, 

pushed them down the mountains, 

hanged them on the trees 

and now your map is drawn to me 

and probably the unborns too 

who will emerge after the death of time

many moons, many seasons, 

many leagues and many years from now. 

Before I die, 

I will continue to speak in the old tongues of the earth and the new 

I will blend in the old ways and the new 

I will shout to the ears of the living

and scream to the ears of the dead

and if they don’t hear me,

 I will speak in the tongue of soil.

I will continue to expose you to lightning 

I will expose your lifestyle and your hideouts 

So, Mr. Depression if you see me die, it is not your work, it is death calling.