Svetlana Litvinchuk
V. for Voice
on the television / uniformed men / in masks and sunglasses / stuff a person of color into a van / like an overfilled suitcase / the world drains to black and white / like fine print on a work order / the cars are the first to go grayscale / the notion of nation follows //
the cargo van transports stowaways / a one-way journey against their will / behind bulletproof glass alligator mouths snap shut // today justice has a metallic flavor / today justice refuses to yield to the merciful folds of our nation’s flag / today the red and white stripes across the fabric of our nation resemble prison bars / between them sleeps the history we whitewash / everyday is laundry day / every day americans justify the stains on our hands / we scrub websites / museum walls / the stain forever ground into the lines on our palms like blueberry juice after a day of harvest / like a tattoo of bible quotes / we are one nation / begging for mercy // somebody come save us // I’m ready / please wake me //
II.
The detention center is ringed by a moat surrounded by alligators / rows of teeth patrol for loose tongues / brambles amble across amber waves of grain / the thorns of our history never die // caution tape flaps in the wind, like a flag stretched far as the eye can see / fires burn in every kitchen in America//
I know what the world knows / I hear the alarm, see flames flicker each time I leaf through my passport / we mistake fireworks for freedom, for the right to bomb sovereign nations / see how those eagle talons are trained on you? / see how the optical illusion makes the dollar’s all-seeing eye follow you around the room? //
as we drive home, the road buckles from the heat and our tires grind to a halt / on foot, we wade through the swamp, past a marquee sign that reads:
misfortune
awaits
lucky you
III.
my husband’s mouth opens / a tongue rolls out like a red blanket / of words / of silence woven between them / I throw it on the fire / it extinguishes nothing // up close, I examine the fabric / see how it was sewn together by a grandmother’s hands / while she waited for apple pie to cool on the window sill / legacy suffocates in dessert / fires burn long like truck tires / like remnants of our mothers’ bras / no laws protect our nakedness //
my daughter dumps a glass of water on the flames / I watch them grow in the reflection in her eyes //
IV.
we’re in the grocery store / her feet swing from the cart / shoes on opposite feet / she sings a song in my lost native tongue // I use my wallet to scoop the water rising around us / fill our cart with blood / sweat / fear / overload it with all the things / I don’t want my crumpled dollar to buy //
I cry out / no sound comes / a hand gets closer / closer / too close / my swallowed cry joins one million other voices / that can speak but do not / why do they refuse to sing? //
my husband’s hand is on my back / he is trying to wake me from / my blanket struggle in the night / his shush is a flood / of alligators //
somewhere in the depths the whales are choosing to stay silent / in the distance of a musicless future I hear / a van door open / then close / I’m falling / I’m reaching / for something to grab / finding the edge of the mattress / below the abyss stares back with red eyes / and I wake /
VI.
sweat-drenched / I enter a room with an opulent banquet table / piled to the ceiling / with the blueberries my daughter asked for all morning // all our children want is blueberries //
outside I hear a neighbor / say grace / thank you, for all this food / we are so blessed with so much / more than we could ever eat / then the mouth complains / that the very same brown hands that put the food on his table / are the ones who take it from his mouth / knowing our waste could feed a nation //
Svetlana Litvinchuk is the author of Navigating the Hallways by Starlight (Fernwood Press, 2026). Her poetry has received multiple nominations for the Pushcart, Best of the Net, Best Small Fictions, and the Rhysling Awards. Her poetry appears or is forthcoming in Pleiades, New Orleans Review, swamp pink, Redivider, Moon City Review, Iron Horse Literary Review, Lake Effect, and elsewhere. Her essays and stories have appeared in ONLY POEMS, Astrolabe, Plant-Human Quarterly, Apocalypse Confidential, and elsewhere. She is the Events Director for Chill Subs and a columnist for Sub Club. Originally from Ukraine, she currently tends her garden in Missouri. Her work engages with themes of immigrant identity, feminism, ecology, climate grief, motherhood, and family relationships. Find her on Instagram @s.litvinchuk or at www.svetlanalitvinchuk.com.