Journalism In Verse

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Post-Truth is the New Eden

in Politics by

 

Modernity is in trouble. Ask my hedge fund manager – he’s been
telling lies on my behalf for over a decade. It happened

slowly, spatially, that paradigm swap and that
parallel reality we all stumbled into. Like a leisurely

fall into a hole, or an unintended stroll
into the tombs of unnamed soldiers. Jesus’

followers didn’t just wake up one morning to find
he was dead. He’d been quietly dying

In that place I saw a judge initial his writ upon a woman’s breast

countless times in the place where water became
single elements and men told stories

with their backs to the flame. I pushed my gravy boat
out into the Dead Sea and spurned my believers shore-

bound, hiding behind their rabbit-proof fences, found strange
new lands of upside-down waterwheels and cataracts

spurting their vitriol skywards. In that place I saw a judge
initial his writ upon a woman’s breast, a man

with blood beneath his fingers and a train
that kept circumnavigating the same tired knoll. I pulled up my

10-point presentation and they listened, for a time, in the place
of walking forests and fig trees haunting thorns. Then I lost out

to games of rummy and poker played with bones
of endangered birds. Games to pass

the minutes that passed like hours in the days
that truth was dead. I left with my integrity

dishonoured like a cheque that bounced off
the continental shelf, when I realised the New World

had died between the weight of the over-full grocery bag
and the moment the mechanised check-out operator

spat my change out onto my leg.


Read More:
Donald Trump’s absurd war on truth is forcing the media to act like real journalists again [Quartz]
The Donkey [G.K. Chesterton]
How the Left created Trump [Politico]

Jo-Ella Sarich lives in Petone, New Zealand and has practised as a lawyer for a number of years. Her poems have appeared or are forthcoming in The New Verse News, Tuck magazine, The Galway Review, Anti-Heroin Chic, takahē magazine and the Poetry New Zealand Yearbook 2017.

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