~ While I frequently advise writers to use a larger font, this choice may be a little over the top. Pear in mind that this is opinion; there's no rulebook anywhere saying what font you should use. But Size 5 Courier Bold makes the letters so big that the user has to scroll a lot to read the piece. I will admit, on the other hand, that it is easier to see. Again, this is an opinion.

~ More important than anything, the dialog is very stilted, very stiff. It reads as though English is not one's first language? Specifically, there are far too few contractions and pronouns. For instance:

“We’re going to continue toward our next destination,” answers Harold. “We should have enough gas to get to our next destination. After that, we don’t know how long it will take us to find more gas. It depends on how advanced this city is now.”

      Would read more smoothly as

“We’re going to continue the journey; we have to,” answers Harold. “We should have enough gas to get there, but after that, I don’t know how long it will take to find more. It depends on how modern this city is.”

I suggest using contractions more frequently, such as we're instead of we are, for example.

~ There was a part of the conversation with the family that seemed very odd to me. The conversation centering around the children's puberty and potential for sexual activity and parenthood seemed very, very far from a) any conversation that children that age would initiate, and b) so unrelated to the main story that it felt awkward and forced. I'm not advising that one censor this kind of conversation; there's nothing wrong with the topic at all. This conversation simply doesn't feel like it belongs here.

You might want to look for better wording in some spots. For example: "When feet are tired / Or the sun gets hired..." "Hired" means engaged in an activity for material or monetary compensation—the sun is free! While not a technical rhyme, the word "higher" would work just fine here, not sacrificing rhythm or rhyme to any significance.

Although punctuation in poetry is loosely governed, I would still suggest you add some punctuation so the readers knows when your thoughts and images stop. Remember, there's a big difference between: "I like cooking, my pets, and my family." vs "I like cooking my pets and my family." A little punctuation can go a long way!

~ That first section could be broken into a couple or few paragraphs. It's pretty dense.

~ You've got some capitalization and punctuation issues, too. Example: "...media. just 30 minutes ago i saw..."

~ Now, there is a lot to work on with structure and word choice. You have several instances of plurality disagreement—for instance: "All of my perceptions wields the flag of destruction." In this case, the plural subject, perceptions, requires a plural form of the verb, wield. You have used wields, which would apply to a singular noun. The trees wield power; one flower wields power. There's quite a bit of this, but I'm not going to tear the poem apart to point them out; you get the gist.

~ There's problems with tense agreement, also. For instance, So how did my friend gained a victory vote? should read So how did my friend gain a victory vote? Again, several instances of this type of error.

~ Vocabulary. Hmm...this is a tricky one because poetry is so subjective and flexible. Layering multiple uses of a word can make vocabulary seem out of place at first, until the reader gains better understanding through context. In this case, however, much of the vocabulary is stilted, and the sentences don't flow right. Is it safe to observe that English is not your first language?

~ Metallica: For Whom the Bell Tolls
~ Eric Maria Remarque: All Quiet on the Western Front
~ Bruce Springsteen: The Nothing Man
~ (Throw in Pink Floyd's Our Possible Pasts for a bonus.)

"Everyone watches you, like you’re the most amazing thing they’ve ever seen. Yet somehow, you look at me like you understand what I feel"

          could be distilled down to:

"Everyone watches you, the most amazing they’ve ever seen. Yet somehow, your look understands what I feel"

~ "Voice of the Drowned Saints" How backward-looking and mysterious. Frank Herbert was excellent at this in the Dune series; I love it.

~ "Ash Feathers", " each syllable a dagger in the skin of the world." Brilliantly eerie images. The reader is immersed in the dark eeriness of the scene.

~ "...every motion deliberate and eerie in its calm." Like when the strong man slowly turns to face his aggressor and the aggressor all but soils himself, this sort of controlled power is such a great tool for building tension.

~ "He knows the weight of broken things." The emotional baggage that unresolved situations symbolize is nicely captured in this line.

~ "Why are you here? he doesn’t ask." With your usual flair, you emphasize the impact of something by defining its negative space. The isolation of Evander is demonstrated by his reluctance to speak more than a few words—and those simple words were enough of a task for him. Silas' silence reiterates the theme of isolation, which is also woven through this story.

~ "...this drowned woman whose shape stutters between flesh and floodwater..." Impermanence is studied several times, as well as your recurring theme of water as an implacable force. Evander somehow survived his own drowning, but he sees here how easily distorted the human condition can become, and how it can be washed away into entropy by the act of one angry man.

~ "Justice is a raft...But truth—truth is the current." You redefine concepts for the reader, forcing us to think along different lines and perspectives. Like a poem, we need to read between your lines to reflect on our own perspectives and meet the challenge of creeping along new ones to see what light or darkness there could also be. Evander sets the example for us as "He bears witness" to redemption amid the wreckage.

~ The bleeding REPENT sign speaks to salvation through bitter trials. Layered on this is the blood of Christ, the salvation for which the penitent must reach. Overall, however, is the concept that that salvation is watery, unable to be captured and held. Penance and salvation are constant actions, not goals to be attained and sat upon.

~ Silas' wavering outline evokes similar concepts. The direction toward justice is never clearly defined. We have to pick it up where we find it, follow the trails and trials, and deal with the results as best we can; and we are not always the hero, just a means to an end.

~ "All the buried things. Fighting their way up." The truth will out, in other words.

~ "Curled like a question mark." / "Where ferns uncurl." Death can be hidden in mystery; but laying the evidence in the light allows life (represented by ferns) to resolve the question mark into something readable and actionable.

~ "Tectonic." This one word was pivotal to me, mind-shaking. The discovery of truth moves continents in the liminal realm, and the metaphor that it shifts the human consciousness permanently to another position is brilliant.

~ "Festering." The truth is not comfortable, and all the repressed facts we bottle up will eventually come to the surface if we truly wish to "survive"...but it's gonna hurt like a bitch.
The ending is particularly satisfying to me for the specific reason that it is unsatisfying. The hero doesn't win. There's no medals, no sighs of relief. Just more searching—for justice, for truth, for survival. It's genius, because that's life. We find out, we discover, we uncover; and then we go on with our gray lives, nothing special, nothing new, nothing true. It's genius because it reminds the reader that we are all Evander, having survived out own drownings in one way or another, and we are all on the prowl for something worthwhile to do.

~ Silas. What's the significance of the name? Instead of gold, what is she hoarding?

~ Why the repeated references to grease and oil and diesel. Just to emphasize the filth of existence? To illustrate how easy it is for things to slip through our grasp?

~ When did Evander drown again? He downed for the first time at his father's hands. That implies he drowned again, or is going to drown. This loose end bothers me. Maybe it's supposed to...?

Though the waves may roll between us a vast span,
I carry her with me in every breath I take.
Across the Atlantic, my love for her does roam,
An ocean between us, but in dreams, she's home.

~ "I wonder if he’s nothing but a fly..." I struggle to make sense of this. I think it means you are in disbelief that it is really him, but there's not much clarity. This line sticks out because it is less mature than the lines around it.

~ "This pain of thine" does not fit the rest of the poem's vocabulary or presentation. I understand you needed to rhyme against "time," but I would encourage you to find a way to rework that line so it is not in such an archaic form.

~ The rhyme scheme changes for stanza 5 only. That's very odd.
     s1: aabb
     s2: ccdd
     s3: eeff
     s4: gghh
     s5: ijij
     s6: kkll...

~ For one, you really capture the concept of hyper-vigilance—"He must live every day watching the rope, / testing his grip, / containing the fire." This is a skill that is a two-edged sword. It is interesting that you mention fire in this metaphor, because constant hyper-vigilance can burn a person out. Been there, done that, unfortunately. I really felt that line; great wording.

~ "He must hold the beauty...while honouring the danger..." Super-zen concept here! Everything is this/that, black/white, give/take...beauty/danger. I love the concept of "honouring" the danger. That's even better than respecting it. Double-marks on wording again!