The central purpose of this chapter is to account for a poetry of war resistance that directly engages the clandestine activities of the national security state. How do poets help us to see anew a highly mediated form of warfare that nonetheless conceals itself in the black ops, redacted docs, dark money, and classified landscapes comprising the secretive theaters of “low visibility” twenty-first-century violence? War writing has come from numerous camps of American verse over the past seventeen years; I will argue, however, its most sustained treatment appears in three overlapping communities: Middle Eastern American poetries, documentary poetics (or “docpo”), and left communist circles. Philip Metres’s Sand Opera, Solmaz Sharif’s Look, Juliana Spahr’s This Connection of Everyone with Lungs, Sinan Antoon’s The Baghdad Blues, and Khaled Mattawa’s Tocqueville are exemplary, as are works by Lawrence Joseph, Craig Santos Perez, Ara Shirinyan, Etel Adnan, Joshua Clover, Hilary Plum, Hayan Charara, Allison Cobb, Samuel Hazo, Anne Boyer, CAConrad, Judith Goldman, and Jena Osman, among others.