Category: Poetry

  • Night song – Abdulrazaq Salihu 

    after Sylvia Plath

    The rusty blood of brown blades 
    Set your body to rest like bean seed 
    In dry soil — decay.
    My small palms lay  5 inches  too small
    To hold your shoulders and the soft-
    Cracked air the night flushes in.
    An ode starts beside my lungs, magnifying 
    The beginning of a requiem     A new body
    That stared  too much into Medusa’s eyes
    Has come to rest, stone strong.  Your silence,
    A silhouette of our suffering casts its beauty 
    Fluorescent bulb staring tiredly at the open 
    Glow of the room shuts into darkness.
    You’re no more my father than the broken 
    Lyric of sad poems inject glory into a river’s 
    Mouth to reflect gory memories.
    All hail your breathlessness, how unpleasant 
    It makes me feel. I push my large ear into the 
    [supposedly] contracting corner of your chest 
    And the sound of objects put to rest  fills my ear.
    Realization, matter how cruel, strikes my head
    With a baton the size of a maize stalk. My eyes
    Shut roughly like small belts on wide waists 
    The night shuts softly like quiet.
    The music     Starts slowly 
    In time for the loss.     The way  kullu nafsin 
    Attaches itself to the lip   Of za’ikatul maut. 


    Abdulrazaq Salihu  TPC I is a Poet and member of the hilltop creative arts foundation. He has works published/forthcoming in Bracken, Eunoia review, Poetry column, poetry archive, poetry quarterly, Jupiter review, masks lit mag, and others. He won the 2022 masks lit mag poetry award, the Nigerian prize for teen authors, splendors of Dawn poetry contest and a suite of other prizes. He tweets @Arazaqsalihu and on instagram: Abdulrazaq._salihu 

  • I Will Remember Your Name – Mayor Prosper Ihechi

    Because the seers follow you across lifetimes.

    I am dreaming, and in my dream, we are together again, Temisola- the girl I can no longer remember, you. There is no face. All that remains is a voice, scratchy, like a broken gramophone record, and a memory: a song, hazy, like it has been a long time since it has been played, regret. I still protect this. Like the other fragments of myself, hidden in this flotsam called my mind, it presents another piece to this puzzle- the riotous search for myself in the midst of fading memories. Someday perhaps they might become a whole, like this phase of the moon under which we played, and I might remember who I was, once.  I might remember you.

    Like every dream, I must wake up, in more ways than one, only now to the electric twinge in my spine- and to fear. The twinge was new, fear having since settled as an integral part of my consciousness, the quiet friend you had come to forget was there. It was the fear that saved you, the fear that made you you in this world that forbade hoping. It was the fear that held you back, that made sure you never had to feel this electric twinge in your spine. Because when you did, they would know. And when they knew, they would come.

    I do not remember how this world began. We were not taught to know, never meant to know. We only knew that it was, in the same way one knew of the imprint of his own name- your only possession in a world that gave you none. It was not our way to ask, to dream of asking, dreams being what they were- an aberration, a glitch in the Anti-Christ Equation they had created to unify human thought as an answer to world peace. They had succeeded, banishing the impulses that had driven men to violence but at a cost. We forgot. Nothing remained of our memories of Before, of ourselves before we changed. I had forgotten how to dream; forgotten what it meant to think for myself, to exist- a wild card, outside of the horde. Till now- and for that,  I had become a criminal in this world, as I was a witch in the Other World so long ago. And for that, I was always running.

    Silence. 

    There is nothing to hear in this stillness, nothing save the blood in your ears and your own thoughts, colliding. There is nowhere else to go. How did one love in a world like ours, where we could not even recall tenderness, where your only friend was fear? How did you love the fragments of a memory, a person you had come to fear was fiction? I did not know but I held on still. I had become a slave to these things, an addict to memory. In a world that had moved on, I could not look away or forget.

    Knocking. Wind. The sound of shouts outside.

    I do not answer. I am thinking, dreaming, memorizing this self again before their supreme act of violation. They would break into my mind again. I would forget. Nothing would remain- not these memories of mine, not the fragments of my journey across lifetimes. Nothing but you Temisola- this husk of self, this ghost latching on to my psyche like the messy trail of a spirit child. Nothing would remain save this memory: me, looking at you, from that world from which we came, and  a voice, yours. I would carry it to my grave.

    There will always be those who bind us to this world.

    Static

    DreamRec. April the 24th. 2048.

    Enter Log.

    #

    A long time ago, before our world began.

    There will always be those who bind us to this world. We call them seers.

    Temisola

    You remember. You always remember, don’t you? The inevitable expanse of other lives- memory, the disconcerting awareness of history repeating itself before your eyes. This- the moment when you died, when your people realized you were never truly theirs but yet could not let you go. I do not blame them. How could they? You were a spirit child, yes, and the other world was sealed within your mind like a brand upon cowhide. You were not like the others, yes, who were made to forget, who the seers had driven into forgetting their home world. But you were the only child. You were the only one who stayed beyond your mother’s painful birth, crying and kicking for being born again. You were the only one who couldn’t leave, who Chukwu–  Great One, Chief of all Creation, would not let you return home- to me.

    No, you were not like them. They had learned to stay. You were not like me. I never left.

    Long ago, a woman wanted children so she went to the sacred Boka tree. Night fell, when the spirits of little children came to play under light from the full moon and she called softly, to the little wind dancing in the trees that was the sound of children playing:

    Mother Tree

    Mother Tree

    Give me a child

    And then she waited.

    We were there. We were there and we laughed- at her petition, at that queer mix of strength and pain we found so amusing in humans. Was this our crime? Did Chukwu look down from Elu-Igwe, His mysterious home in the skies, to find two spirits mocking man, the crown of His creation? Was this our penance- you, damned to go through their cycle of rebirths, unable to return, me, to wander the spirit world alone, unable to reach you outside your dreams?

    I do not know. These things were past finding, even for a spirit. I only know that you laughed, and a moment later you were silent, listening to her song.

    How would it feel to live a human life? This was the question you would ask later, softly, as your eyes looked towards the borders of the human world. Of course I didn’t know- I had never been a man. But I had heard the stories, stories of what it meant to be mortal- of suffering, of sickness, of death. I told them to you, but when your eyes got brighter instead of dull, and your skin did not go pale with fear, I should have known it was only a matter of time before you left me to seek the mortal world.

    You left that very night, to that woman and her song, and even now I remember how the night took upon a shade: darker, like there was no moon in the sky, and a heaviness I could not name. Grief. Grief was a human thing, but I couldn’t stop myself, the same way I could not stop myself from running to the border between our worlds even when I knew you were already gone, searching perhaps, for a residue of you.

    Grief. Grief was a human thing, but we carried it across lifetimes.

    Asemoa

    I am a child of both worlds. All children are, only that time passes and we forget, human life being what it is- a leaf, tossed about by the currents of the Earth so that when we remember, we are already old and our eyes are already set on going home.

    When I was born, I cried for many days. All children do. We cried for the lost things, the memory, and the obligations that followed mortality. We cried for our fellows, who cried with us, waiting, on the other side of time, for the few who could return. I cried for my twin, Temisola, who I had left to pursue the wonders of the human world.

    Only a few knew this, why all children greeted this world with tears, and it was this few that would damn us in the years to come.

    Seers. Emissaries of mankind to the Great One Chukwu, Father of All Spirits. They were the ones who saw, who felt the ripple of the veils that kept apart their world and ours. They were the ones who knew, who left in their wake the leash that bound all spirits to the Earth: old age, and the trappings of mortality. Frightened mothers would run to them when a child refused to stay, when a child came again, known, by the marks of another life. One look by a seer and a spirit would spill our secrets, confessing where we hid our deepest treasures, our iyi-uwa, our link to the world beyond. We would forget. Nothing would remain of who we were or the world we left behind.

    Not me. I could not forget, not Temisola- whose name resonated within me the sound of ancient memories, not the spirit world, to which I was inextricably bound. Sometimes they crossed this world and theirs, and I would see my brothers- they were waiting for me, on the other side of time. They did not smile any more- I was a spirit touched with the human world now, I was an Ancestor. Someday I will die and my body will return to the Earth from which it came, the last, in a long series of rebirths. I would remain, spirit but changed, made sacred by the very world which held me bound, by the very weight of her memories. I will no longer be the same.

    I wonder now. Would she still remember me?

    I look at my mother and my mother knows. She looks at me with the tears she does not shed anymore. What did the seer tell her?

    “You are not meant for this world”, she says with a sorrowful shake of her head. I do not reply to her. There was nothing I could say. What did she know of the lines that bound all spirits, the ancient longings planted in our blood eons ago by Chukwu Himself? What did she know of her, my twin, bound to me since the dawn of our creation, drawn to me in spirit as I was drawn to her in flesh? Only death could separate us, and we were spirit. We could not die. Only death could bring me home.

    You mortals call it love. If only you knew. Love itself is spirit.

    Still, there were little mercies. I came to love this world, in my way. Life was an adventure under the fear of dying- you found life or death or nothing at every end of the bend. I remember the first time I cut myself, the look I gave the growing red puddle at my feet, puzzled. My mother screamed, and a hotness flared up my leg for which I had no name then. Pain. I Iay indoors, flitting between light and dark for weeks, my spirit brethren waiting, but I had never felt so alive.

    Another time, I came upon a snake wound tightly round itself. It was a hot day, and the snake was warming itself by the bushes near our home. It must have been very weak because it didn’t sense my presence, and when I gently touched its brilliant, ringed black coils, there was no sound, not a ripple to be heard. Something about its posture spoke to me–of the circle of rebirth, of sunset and sunrise, of the world moving round and round till it came to itself, and I might have continued there brooding to my death had my father not shoved me away just before the snake poised to strike. He was livid.

    “Are you trying to kill yourself?!” he had shouted. His face was a mask of anger and relief, and fear.

    I could not answer.  How did you tell your father you had actually forgotten that you could die?

    Mortality. Mortality hung over us like a knife on an edge, a grim cloud. A man was born to the knowledge of his death, and his entire life balanced on that spider web. There were no certainties. An old man longed for the afterlife. A child just died. You walked through paths that were unfamiliar, even though you knew they were there: good and evil and death. You lived for the moment, wherever it was. And so they loved, and died. They threw their parties, and they died. They lived wickedly, and died. And it was these moments they had, this belief in meaning, that made them who they were. Man. They knew what things were valued because they knew what things were lost.

    We are spirit, and we are wise, but this was something we had never learned. There are some things you could not learn without dying.

    I do not know when I finally decided to stay. I do not even know why. Maybe it was my mother and her pleas, this woman I had tormented for many years, who had met seer upon seer in vain. Maybe it was me, I had not had enough of the human world.

     It didn’t matter. I was letting go of the world I left behind and I felt that world slacken, the bond growing thinner with the times. I would not see my spirit brothers again for many years and by the time I did, I was already an old man, with a wife long gone, and my weary eyes waiting for the afterlife- or if Chukwu wished, another rebirth. It did not matter, not any more.

    #

    Perhaps, we never truly forget

    29th October, 2010.

    The Present.

    Somewhere, in between dreaming and waking, I see her again- Temisola. We are under the Boka tree and we are laughing, our voices wild and free, by the light of a full moon. We are not alone. There is a woman too, and this woman is singing. Her voice is beautiful and haunting, calling to me in its terrible depth. My mother, from a long time ago.

    A moment later and there is silence. I feel Temisola staring at me.

    “I did not forget you, Temisola”, I try to say but the words catch in my throat and I do not say them. I do not even try to meet her eyes.

    I woke up. There is no one here, just the steady sound of rain and the noisy ceiling fan. My wife is out, probably on an early morning shift, but the air still holds faint traces of her cologne, a smell I have come to associate with home. This should be comforting, but I do not even acknowledge it. 

    I have not dreamt of you for many years, Temisola. Why now? I ask this of the empty room.

    There is no answer, but the wind blows suddenly from an open window, filling the room with my wife’s cologne. Almost as if, to blow the thought away.

    I do not dream of her again, but I see her everywhere now- her eyes, in a colleague at work, her voice, in a storekeeper. Once my wife was talking and I just sat there, listening. I could have sworn that we have had this talk before, once, in a previous life.

    “You remind me of someone”, I said to her.

    “Who?”

    I smiled but did not say.

    The world had changed much since the world I left behind- walking through this world had become a journey through history. I was here, thirty years ago, when it was just a bush path, and it was there I suffered a particularly violent death. It had become a burden, these memories, this weight of other lives. I was living in the present, yet haunted by the past.

    Once, a lifetime ago, I could not bear it any more so I told  my mother.

    “I cannot forget, Mummy,” I said.

    “Forget what?” she asked.

    “My former life.”

    She had laughed it off. In that life, people had to begin to forget. In this life, they had all but forgotten.

    There is no one I can tell now. I am the last of my kind.

    I have learnt to hide them, these memories, and all the knowledge that came with it. Where once they saw the ogbanje, an abiku, now they saw a man burdened with the weight of years. An old soul, they call me.  If only they knew. If only they remembered.

    Still, there were always those who knew, at some level. They were drawn to you, and did not know why. Like my wife, Oma. I had met her at a friend’s party and had told her to marry me. She had laughed, and we spent the rest of the party talking to each other. She had left without leaving a contact, but I was unworried. She was my wife in a previous life. We met two weeks later in a library and a few months later, we were married. We have been married for eight years, and there is no one alive who could read me as well as she does. No one but this woman from my past, Temisola, who, for some reason, had chosen to haunt my present like a ghost–the only relic of my past that had any substance. But for what purpose? Vengeance? Love? Was this Your sign, Chukwu, asking me to return to the spirit world?

    What would I tell you, Temisola?

    I was a man now used to knowledge. Still, I could not answer this. I almost laughed. This was how Chukwu laughed at us.

    Deep in my thoughts, I do not hear a car speed by in the worst of the rain. I do not register the sound, mud splattering, until the gritty feeling on my face and clothes. I pause. I am livid.

    A woman alights from the car and in my shock, I do not hear her spirited apologies. She is very dark, and her looks are not one you would easily forget. I couldn’t. Hers was the constant of every memory, the one person I had searched for in others for a lifetime.

    “Temisola?”

    She pauses her explanations and looks me in the eye for the first time. Her face is blank, with one eyebrow raised in a question.

    She does not remember me.

    Mayor Prosper Ihechi writes stories for the voices in his head, and poetry for his soul. Through words, he reenacts the miracle of flight. 

  • Christening of Peculiar Things – Oliaku Wisdom Ikechukwu 

    Call the world how it unfolds,
    a feeble, starving petal growing in your blistered palms
    towards the sun, from the spaces between your fingers 
    where mine used to intertwine.
    Call my love how it reaches,
    this nimble, persistent thing floating in an ocean
    of hurt inside of me, inviting you in
    (or the thought of you inviting me in), 
    In walls of a heart holding chants and space
    until my mind becomes your temple, 
    you wickedly delectable thing.
    Call a rose what it is, greet its thorns
    and salute the pain it leaves (once she leaves)
    and you are folded into March, sliced into three, 
    one for her to think about in faint lethargy, 
    one for the world to commiserate,
    and the last for solitude to try to destroy.
    Call a shadow what it brings,
    all the silent wandering, from dark
    unto obscurity, always lingering like a nightmare, 
    like a bad kiss in June, my first kiss with you.
    call the stars what they hide
    a million wishes, all of its light to obscure the obscurer.


    Wisdom is an avid reader and a weaver of words, with his first stint with poetry coming at a 2015 spoken word performance. He is a multiple-time finalist in the Tush Magazines writing contest, a content strategist, and an SEO writer with years of experience. When not lost in verses or re-reading Christopher Okigbo’s The Passage, Wisdom can be found drowning in his Indie Folk playlist and getting inspired by Bon Iver.

  • Four Poems by Tomas Maldonado 

    Muzungu Kwanjula 

    Have you ever seen Kampala from an airplane
    on a warm summer afternoon? The reddish marks 
    of highways expand as far as the graves of the forgotten 
    women of Juarez. Their names known only to the angels 
    dancing in the greyish blue clouds. 
    But sometimes we have to laugh to forget the pain or 
    our tears will remind us that the only thing in the heavens is blue sky.
    They say it never rains in southern California but does it ever snow in central Uganda? Why am I a muzungu in Nansana but a wetback in America? I’ll never forget the first time you did okufukamira. The Prophet said if he could’ve ordered any creation to bow to another, he would’ve ordered a woman to bow down to her man. Such things never concerned me. I only care about enough air in my lungs to breathe out your name. 
    In Luganda, olulimi is polysemous. It refers to both  
    tongue and language. The only difference is the way 
    it moves around in my mouth when I ask you what 
    you thought would take years to happen. 

    Ekirooto on Muzigo & Mbuubi Road

    A tall man walks past you sweating. The charcoal 
    bag on his back feels heavy. Bluish green made of 
    thin plastic threads and itchy covering his entire body. 
    You notice what’s between his sandals. Ashy feet calloused 
    enough to walk barefoot if it weren’t for the rain gods of 
    his ancestors. You see a book in his eyes telling whole chapters 
    divided into sections of dreams too long for you to finish.
    He knows hunger but is thankful for strong legs. He drifts 
    here and there longing for another sunset to lay upon his head. 
    There’s a funny way the wind strokes the palm trees back and 
    forth. Its breeze smells of hot cooking oil and burnt chapati. Maybe if 
    his mother dies the day after tomorrow he has enough for transport to 
    the funeral. They are a people in their villages but foreigners in their cities. 
    A piece of charcoal falls. You want to turn back, pick it up, give it to 
    him but you know if you do, he’ll tell you it’s not his, like most of his problems. 

    The Fanoos of Al-Azhar 

    There’s an ancient fanoos hanging in the hallways of Jami al-Azhar. 
    She shined her brightest during the days of the Mamluks: pearl 
    white, held by copper wires, Ayat-ul-Kursi circling her beautiful stomach. 
    The Ottomans changed her candle every Ramadan even as the French and 
    British carried on until the coup of King Farouk. She watched in sadness 
    when Sadat was placed under her. His shrouded body wrapped tightly in 
    chaos and hatred. And even when she was dropped and shattered by one of 
    the janitors during the inauguration of Mubarak, a craftsman fixed her good 
    enough that you couldn’t see one crack. But now time has taken its toll. 
    The glue that holds her melts with each new candle. She has fallen twice this 
    year. She’s stained with brown dust and fungus. I watch the janitors take
    her down from the wires. I can’t help but notice drops of candle wax leaking 
    from her, falling, the way teardrops do when you know it’s time to say goodbye. 

    Al-Qarafah: City of the Dead

    Reddish-glows govern beige mausoleums as white sun dives into Cairo skyline…I can see the stolen electrical lines feed life into cracks of forever darkness…it’s the stuff of Najib Mahfouz’s wet dreams, a novel in the making, maybe a novella, if you run out of typing paper or wake up from your sleep. I roll the window down, rub my eyes, and look to my left. A tragedy unfolds… 

    A pig, amongst many, 
    snuffles and snorts along 
    the dusty street avoiding 
    the Egyptian girl swinging 
    a long date palm switch across
    their backsides. She yells at them
    Yallah! Yallah! her silver cross be
    -jeweled with topaz swings side-to-side, 
    a toddler follows behind, he needs a diaper change, 
    a few feet away a family watches the news in the crypt 
    of Umm Anuk. The Egyptian girl slips in a puddle, the pig laughs, the others follow. His eyes long for freedom, to believe freely, to write, to express himself, to love who ever will love him, to live. One day, he thinks. One day.  
    Amazing what one observes from a taxicab headed to Ahmed Helmy.  

    Author’s Bio

    Tomas Maldonado is a Mexican American creative nonfiction writer and poet who teaches English for Academic Purposes and English Composition at South Central College in South Central Minnesota. He uniquely blends creative writing in his TESL courses while mentoring his multilingual students as they journal their writing experiences via poetry and creative nonfiction. Tomas writes personal essays, interviews, and book reviews for Erato magazine and has had his creative nonfiction, poetry and short stories published in Chrysalis, Rio Grande Review, SEDAA, Latin@ Literatures and The Corresponder. When he’s not taking long walks through Kampala, he’s making snow angels in Mankato. 

  • ‘The Past Future War’ & ‘Mane’ – Mark Kennedy Nsereko

    (Use desktop mode to get the best visual experience of Mark’s poems)

    The Past Future War 

                   the oldies think they’re gold                                    the futures eager to occupy spaces
             the seedlings think they’re rubies                                  the pasts unwilling to leave positions
    the former crowns the latter the future,                                  the latter insists on being in charge,
           yet never call themselves the past.                                  as the formers remain inexperienced.
                       

    the past decides for the futures,                      the oldies think they’re justified
                          decisions require experience.                       the seedlings are just entitled
                            the oldies think they’re gold                       the oldies think they know best,
                         the seedlings are but, newbies                       the seedlings deserve less.
                    

    the justified wear their medals of toil      Why have the entitled,
                         the entitled tire rather too quickly      if not to bequeath your titles?
                      the justified preach hard work pays,     the oldies think they’re gold.
                                 the entitled are not believers.     the seedlings think they’re rubies.
                                       

      the oldies are certain they’re intelligent,
                                                                     the intelligent assert subordination,
                                          like at a latter age comes sage.
                                                                  sexual morality and cave ways.
                                       The seedlings rejoice in their ignorance,
                                                                     the ignoramus want life on their own terms,
                                        they’ll know better when they come of age.
                                                                   gold belongs in the ground.

    Mane 

                                                         I was taught my hair 
                                          is a disease, grass to cut short; dispose of
                                   those weeds. Routinely scoured bald for school, while
                       the Indian kids played with their hair ribbons. Teachers zealously 
                hunted us with scissors, to make paths on our scalps. They grinned ear to
              ear as they mutilated our bodies. We were taught our hair was shame. They
           called our hair unkempt, for they couldn’t fathom that a mane sprouts not to be
         kempt. To them my hair was shabby, for they saw it through the colonialist’ gaze
     whose mandate they elevate. Employers demand qualified men cut their dreadlocks to 
     get hired, weighing competence by the length of the strands. Do clients seek our tresses
      or our prowess? They say men                                                    who plait hair are bayaye.
        Count the country’s                                                                        biggest crooks filling
         public offices with hairless heads.                      Forever too quick to dictate what a
            respectable man                                                                              should dress like.   
             Today, I grow my                                                                            mane carelessly,   
                 shear when I                                                                            want, not when   
                   they tell me.                                                                          those who find    
                       me feminine                                                                       call me she/     
                            girly, to                                                                     emasculate        
                                 me. I am                                                            flattered   
                                       for woman is a synonym for beauty. What my     
                                           mane does                                 is accentuate  
                                               me. I bask in their stares as I whip my    
                                                      hair; contempt or reverence.  
                                                          A crown of pride I wear.  
                                             


    Mark Kennedy Nsereko is a Ugandan writer. His work reimagines beauty, draws darkness, and reveals bits of what keeps him up all night. His writings have featured in the poetry anthology I Promise This Song Is Not About Politics and Brittle Paper.

  • Signs – Nozhan Resalati

    The fireflies shine in the pitch darkness.
    Unique flashing pattern to find a mate!
    Dazzling, alluring, sparkling, mysterious,
    More than a flickering light for a date!
    Isn’t that a sign of appreciation?

    Waking up in the morning,
    Drinking a cup of tea by the window.
    Watching the sunrise through the rain,
    Sunlight kisses a rain droplet.
    Rainbow colors. Like your dreams.
    Isn’t that a sign of imagination?

    The baby looks at its reflection
    In the mirror and laughs. For the first time.
    Luster of eyes, wavy hair, radiant smile.
    Breathing, fogging, rubbing, crying!
    Isn’t that a sign of curiosity?

    You’re lying in bed, in puppy pose,
    Arched back! It’s driving me mad.
    Igniting my flame, killing me again,
    With your hot lips on my skin.
    Isn’t that a sign of passion?

    It’s been thirty years since
    Like a journey through time!
    Although you’ve lost your memory.
    But I know that you are mine!
    And you’ll always be my cherished.
    Isn’t that a sign of faithfulness?

    Author’s Bio

    Nozhan Resalati is a writer and an ESL teacher based in Iran. He writes short stories, flash fiction, nonfiction, and plays. He is in love with words and passionate about literature and cinema. His works are forthcoming in Bending Genres and Bull. You can find him on X @nozhanresalati and Instagram @English_journey86

    Featured Image Credit: CreativeNK

  • The Blue Bird Left No Joy on X – Agboola Tariq A.

    in a video,
    i watch how chaos chases a boy from home.
    on the runway,
    a rifle points him towards heaven’s gate
    & a bullet catches up with him.
    like a pinball arcade,
    a boy is fired into strange horizons
    & the only way home is a road that leads nowhere.
    in a country not far from here,
    blood has washed humanity off its borders.
    bones are mistaken for bricks,
    pandemonium sways like pendulum,
    rockets swinging from both sides,
    & there, a boy stuck at the center of chaos,
    where the only thing that brings light is fire.
    he watches how fire eats up his home
    & doesn’t spare his family.
    tears flowing into storm,
    but it isn’t enough to kill the fire.
    in another video,
    a girl is badly hurt.
    her voice
    collapsing like her father,
    her home, her country.
    her body, buried under burning clouds,
    becomes a log of hope.
    & the birds,
    have taken all that’s left of it.           


    Image Credit: Starboyscotty

    Author’s Bio

    Agboola Tariq A., Swan II, is an unfolding poet from Western Nigeria & an undergraduate student of law at the University of Ibadan. He explores in his writing, self / identity & spaces he occupies. Some of his works are forthcoming/in Brittle Paper, Eunoia Review, Olumo Review, IceFloe Press, The Hellebore Press, Variety Pack, Fiery Scribe Review, The Poetry Journal & elsewhere.  He tweets: @Agboola_Tariq_A

  • Two Poems by Emmanuel Yamba

    Greatness is a Survival Story

    When you were born, your body was offered to God –
    the priest held you in the air before the congregation,
    before the altar, and there, surrender your life. The man
    of God said, he saw greatness in your eyes and your
    mother grew a butterfly and named you Emmanuel. As your
    days became to stretched, your mother didn’t know she couldn’t
    live to see her crying baby walk with smiles planted on
    his face out of secondary school. Or that of his father that
    was going to be missing for a time long like forever. She would
    feel sorry to also know that her father’s daughter would grow tire
    of calling you son and misnamed you, yet you kept your body. The
    priest didn’t do well, he should’ve told her greatness is a survival story.

    Glossary of Things We Inherited 

    TermsOperational definition 
    abomination this time a man gun did not mistake a man for an animal but, another man offered his daughter to a rich man for a reasonable price, learning slavery from his ancestors.
    brokennessthe streets bring back memory of the war – violence, you packed in a corner of the road to see how a boy hauled scissor out of his side to carve the body of another boy into wounds.
    catastropheyou know God’s angry when he steals the sun and send heavy rainfall. once it turned our home to pool & everything floated like the way a brother lost in the sea, was brought to the shore after two days.
    darknessafter the civil war, we were found without form & void, darkness grew over the face of this city and we spoke light, till this day, our voices are still struggling for existence.
    elegyis another name given to a country who still knows nothing other than keeping homes of lifelessness in its body like a cemetery. today, i peel this country off my lip and replace it with nothing but watch if our wounds will heal out of time.
    frustrationyour phone waited for you to make your bed and walked out of the table, tore the window screen and found the street. never to return.
    griefwhen God gets tire with silence, he answers with grief. he inject it into the veins of our country till a boy couldn’t find his father after the war, a girl raped at 14 became mother & your mother jagged language still translate the anger in widowhood
    hopenot everything falling beneath the ground is buried, some are seeds planted to grow into trees. hope is a metaphor for living in a broken country.

    Bio

    Emmanuel G G Yamba writes from Monrovia, Liberia. He’s a graduate of the University of Liberia and SprinNG Advancement Fellowship. His work has been featured and forthcoming in The Shallow Tales Review, The MUSE, SprinNG, Inkspired, Funminiyi Anthologies, Libretto Magazine, Salamander Ink, African Writer, Kalahari Review, Odd Mag., Rigorous, TVO Tribe, Ibadan Arts, An anthology for Abunic and elsewhere. He’s on IG as yamba86163

  • 4 Poems by Chinemerem Prince Nwankwo

    Portrait Of Catch and Quest

    —this poem breathes:        precision with[out] end. 
    searching for reason . man & the finesse of dredging.
    the River:   trawl & trawlboat. portrait of catch & quest.
    find the depth —naked rostrum of plunging. catch —
    artefacts of longing & becoming. tell the River, grace of 
    shores. every bound:   the lingo burning to know, bosom
    shape of history lingering. paddle & carve fingers in the
    waters: time & memories. Isn’t it sprint of souls winding 
    in the canvas of time? or the largesse of a poem evolving?
    man —pustule of perfection angling in the et cetera of 
    being. say, a creel of self spawning in the glimpse of dawn.

    I, Decimated Self

    elegy:           she appears, 
      breaks the dead &
    rocking in         sawdust. 
            fold the sanity —
    breaks them. piece & 
    pieces apart. —goads of
    flesh prodding in grief. 
    deserted. —everything 
    at hedge of beholding. &
    you:         driveling in the
    demijohn of self. anesthesia,
        soul off the hook &
    ballast. once wore God in 
    blotched melanin. & your
    heart grappled the pain &
        it pageant away. matted 
    & tuft of a kinky spirit —
    you & the guts of no glory.

    microcosm as a body of death

    [for souls throng to the weight of life. & for a poem gazing

                                          the body in fighting arsenals]

    splinters of inner voices: 

    —he hangs a gaffled breath. holds the grapnels 
    of grief in no salvation. say his flesh ripples of  vile 
    blood. & light of his becoming alters in darkness.  never
    yielding his slouching body a miracle. why is he    an 
    anatomy of a suicidal blood? & his soul a   pendu-
    lum swung from sanity? the grisly scenes in his head
    & the daily ruffled notes soaked of solitude craves  
    an escape, the tethering symphony of goodbye. if 
    man is an owl, he’ll hoot into night loom. he’ll own  
    his soul in crucifixion. & won’t he anguish in drool gasp 
    of venom & gall? again, when life happens:  flood as
    of Noah’s, absorbs his bawls of fragility. & he sketches 
    as an apparition of things in nameless bodies. in 
    celestial pedigrees. those tiny echoes raising a fiery blast, 
    make ashes of his   protruding force to be & to
    become. his head curricles the dream of sepulchres. 
    suicidal ideation akin to him as flesh skinned to bone.       
    nay, he’s a man. yes, he isn’t a deep water. bet       his 
    body bares no oasis but the residue of a living desert. 
    pray him a good spirit ‘cause it’s no easy feat to look the 
    river without drowning. without transiting to no    return.

    nostalgia

    of a poem delicate & svelte. of things shaped in the knobs of memory. how we become & became a roadmap of a never ending you & I. perhaps it’s often said [in a soulful lingo] love is sweet with the right person. the right sacred bosom & hearty alley. the sun & moon dazzled. they always gaped at the artistry of our naked desires. say it’s a heaven’s gaze upon two ravishing mortals. I remember. yet if I do, they say it is a love poem. say it’s the art of escaping the universe. & morphing into your same shadows. bet love is spiritual. deciphered by the mouth of two eyes. two flames flickering at the sight of a single spark. you & I against the storm. against roving waters with familial siege. crystal //& pellucid is the heartbeat of a two-to-tango. maybe a poet is a love poem hidden in many couplets. one day a lover will return more than roses but an empty heart to threshold the finery of reminisces.


    Chinemerem Prince Nwankwo, SWAN IV, is currently a final year student of the Department of History and International Studies, University of Uyo, Nigeria. He is the Poetry Editor, The Cloudscent Journal and an Assistant Poetry Editor, Arkore Arts. He tweets @ CP Nwankwo.

  • To the Kids – Emmanuel Omonusi

    To the kids who don’t have pools
    At the back of their house
    To the kids who fate rouse 
    Their hope in steady bloody spools 
    To the kids who kneel in torn blouse
    And call on God to see them and choose
    To the kids whose flowers quit bloom
    In spring, and fall during the rain.
    To the kids who trust a faith 
    And stare at a worse smirk from fate
    I am still a kid and all that I ever did 
    Was to satisfy the hearts that so earnestly thrust
    Commands from old at my battered chest
    And the day I refuse shall refuse remain of me
    Bones crunched under the teeth of toil
    And no worth attached to the chronicles of me. 
    Hence, to the kids who pound forward
    The days of hide and seek are at end
    To heaven do you ascend
    After staring at your future 
    Through the glass sheet of hope.


    Emmanuel Omonusi is a final year student of English and Literature at the University of Benin.