Conscripted Dust


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“Dry bones can harm no one”
So sang the voice from Wasteland’s shore,
But I have walked the killing fields
And know the lie that silence bore.

The bones do speak, though long decayed,
Unearthed by hands not theirs to claim,
Given tongues by zealot priests
Who mouth their prayers and speak their shame.

In Kosovo’s fields, in Gaza’s dust,
In Armenia’s buried grief,
Across the sands of Erbil’s night,
The dead are stirred—not for relief.

They rise not in their own defense,
They rise to justify the blade,
Embroidered with fresh fable-cloth,
With memories half-new, half-made.

The Promised Land is paved with skulls
That never sought a throne or crown.
The gospel of the grave is preached
In voices never theirs to claim.

The soul-stained call them forth once more—
These ventriloquists of vengeance
Make calcium speak of causes
The buried never chose to bless.

They cry for peace, yet hear their names
Proclaimed to summon death, not justice.
Their marrow plundered, their repose
Defiled while ancient wounds burn bright.

They do not ask to be avenged—
No whisper from the tomb requests
A mother’s tears be matched by some
New covenant of blood and fire.

Until we bury not just bone
But pride and myth and righteous sword,
The dead shall march in vengeful script
To scrawl our creeds in sacred dust.

Dry bones should harm no one—
Yet see how we conscript the dust,
Make weapons of our ancestors,
And brand our vengeance just.

The Reckoning

“Here I am, an old man in a dry month, / Being read to by a boy, waiting for rain.”
—T.S. Eliot, Gerontion

“Enigmas never age, have you noticed that”
—Donald Trump, in a 50th birthday greeting to Jeffrey Epstein, as reported by the Wall Street Journal, July 17, 2025


John Martin's The Great Day of His Wrath
The Great Day of His Wrath by John Martin, 1853, oil painting on canvas.

Not with a whimper but with judgment—
the hollow men are laid bare.
Between the shadow and the substance falls
the weight of what they’ve done.

April reaps the harvest of unburied sins,
memory and justice tally their dues
in the counting house of broken promises.
The rats abandon ship; the reckoning arrives
through cracks in gilded towers.

We are not hollow, not stuffed with lies—
we are the thunder that shakes foundations,
the rain that scours the ledger clean,
the voice that names the unnamed.

In this valley of false prophets
their empires crumble while truth endures,
and when the smoke clears, we remain—
the witnesses in the empty boardroom,
the light that penetrates the shadow.

The desert remembers. The wasteland testifies.
And those who thought themselves untouchable
now face the music of their making:
Here. Here is the bill.

Between the crime and the punishment
falls not silence, but the sound
of debts returning to their debtors—
inevitable, unrelenting, just.

In the room the power brokers scheme and plot,
but tonight the doors are locked
and the receipts read aloud.

This is the way the world ends—
not with their bang, but with our thunder—
the final indictment.

The bell of reckoning tolls—for thee.

Where the Furies Pause

by Donald S. Yarab

In myth, the Furies pursue the guilty. In this meditative poem, they do not chase or condemn, but pause—witnesses to memory, silence, and the uncertain balance between reckoning and reprieve. Beneath the yew, they wait—not gone, not appeased, but listening.


Vincent van Gogh, Trunk of an Old Yew Tree (1888)
Oil on canvas, 91 × 71 cm
London, Helly Nahmad Gallery
Vincent van Gogh, Trunk of an Old Yew Tree (1888)
Oil on canvas, 91 × 71 cm
London, Helly Nahmad Gallery

Necdum illum aut trunca lustrauerat obuia taxo / Eumenis…
Statius, Thebaid VIII. 9–10

“Nor yet had the Fury met him, bearing the lustral yew…”
Statius, Thebaid VIII. 9–10 (adapted translation)

As darkness descends and light abates,
The Furies wake at the turning of fates.
No horn is blown, no omen flies—
Only the hush where judgment lies.

They come not crowned, but cloaked in ash,
With broken names and eyes that flash.
Not wrath alone, but what endures—
The weight of memory that never cures.

They walk where silence used to sleep,
Where secrets rot and letters bleed.
The breath of dusk is cold and tight—
A wound reopens in the night.

By yews they pause, where death takes root,
In soil grown thick with ash and fruit.
The bark is split with silent cries,
The rings record what speech denies.

They do not speak, but still the trees
Murmur of trespass in the breeze.
The wind forgets its mournful tone—
As if the world waits to atone.

A shadow stirs, but does not fall;
A light withdraws, but leaves a call.
No hand is raised, no doom is cast—
And yet the pulse runs through the past.

The air is thick with what might be:
A breaking, or a turning key.
The Furies halt—but do not sleep.
And from the yews, the silence… deep.

So still they stand beneath the yew—
The Furies veiled in dusk’s soft hue.
Its needles dark, its berries red,
It shelters both the quick and dead.

They neither strike nor turn away,
But hold the hush at break of day.
Their eyes are dark, their purpose blurred—
As if they wait to hear a word.