Blindfolded // she’s been molded into and out of systems of loopholes and bureaucracy // corruption and special interests // a more than occasional rush to judgment // leading to injustice // her antithesis // within justice is word play // just/ice // a metaphor for coldness in the belief that what was handed down was somehow just // righteous // this is no game. lady // and Lady Justice is no lady // at least no longer as you might define it // stronger than the chains // the cuffs // the zip ties that bind // mightier as she drops the scales from her hands and eyes // and simultaneously spies what is just // no longer our bronzed statue // a blind-frozen bust of trust in a system that, by the evidence presented, can no longer be trusted // Lady Justice on the move is not to be confused with on the take // follow her // follow her into the hood and the holler // places urban and suburban // into cities where bigotries fester // she is nobody’s monument // not standing for the standard binary // not him and them // neither he nor she but we // not black nor white or even bronze // but a color you can’t quite put your finger on // unable to tip her newly balanced scales // follow her // which is to say you, us, and for all // pay close attention for hers is the new face of conviction.

Thad DeVassie

Thad DeVassie is a multi-genre writer and painter from Columbus, Ohio. He is a recipient of the 2020 James Tate International Poetry Prize for his manuscript SPLENDID IRRATIONALITIES. His chapbook, THIS SIDE OF UTOPIA, will arrive in 2021 from Cervena Barva Press.

NOVUS Literary and Arts Journal
Lebanon, TN