Tag: nigerian-literary-magazine

  • Going Mad in Nsukka – James-Ibe Chinaza

    Going Mad in Nsukka

    Mọ́renikeji, God is dead, and I’ve been binge-watching videos on YouTube. I swear, I am not trying to be a woke babe. The world is made of blood, and we are all gut-deep lacerations, asymmetrical axes, Linea nigras, butchering ourselves like every other jolly old meat seller—swipe the knife and hackhackhack. We all eat ourselves—I ate my brother’s index; don’t blame me. What’s the difference if it’s brewing in bitter leaf broth? It’s alright Mo, like rain, you can taste the world on my lips. I do not know what killed my grandmother, but it must have been me in some way. Yes, I use her yellow wrapper to sleep at night, and it’s really no problem; she was a murderer too. Yes, I have killed more than a million men for being free. I saw a little girl yesterday; she was bent over a gutter and brushing her teeth. I told her it was alright because everybody drank blood around here. Then I told her to swallow her spit next time, or we would kill her. I forgot to tell her there was no use running because she was us and she would kill herself. I don’t understand why people think dying is such a difficult thing to do—a dog died this evening, and all it had to do was cross the road. I don’t really care, but my mother killed that dog. His name was Bruno, but that’s my name as well. Yes, the rain drowned my sister, and all she had to do was look up. The boy we shot—all he had to do was blink twice. So it’s weird to see you spending your whole life trying to die when the world is specifically made to kill you. That’s blatant insolence, but it’s effective as well—it killed my cousin last month. Not like I know anything more than you do—as you can see, I bagged a bachelor’s degree for being depressed for four years. I might stick it in the toilet or rule the world. Don’t get any wild ideas; there’s no difference between the world and a toilet. Or, I am just an educated illiterate. I don’t even know the difference between blood in the body and blood on the floor. No, you can’t say spillage because we wouldn’t have so many holes if spillage were a sin. I am not going to argue with you, Mo, because I don’t see the difference between the body and the floor. I don’t even know the difference between Bruno, Bruno, and Bruno. So, maybe we died on hot coal tar while a truck was driving a man. That is no new thing. Hey, Mo. Don’t you think ‘lived’ is such a weird word?

    Going Mad in Nsukka II: Ophelia on a Walk.

    It is 6 a.m., and all the stray dogs are minding their business. I’m not implying that the old women around here are bitches, but they don’t respond when I greet. They must think I’m mad and harmless; I bet they don’t know that I killed a cockroach last night while my roommates went yellow from screeching. Well, that’s that. I’ve got a clump of chicken shit beneath one leg of my favorite bathroom slippers, and it stinks like life. I don’t like the chickens here because they’re too lithe to be caught. I mean, on camera, I’m not a thief, you jackass. I had to run. When you hang around people for too long, they get all of their business in your nose until there’s no space for yours and you can’t breathe. I guess that means a lot of people are not stray dogs. They have hands they don’t use for walking, yet they don’t think it’s enough for them. I hate it that I’m too sane to get lost. It is fear that makes me put my pocket in my phone when a smoking, bald man passes. If I were mad enough, I would have tossed it in this puddle. Yes, the sky is too small to be a pocket; that’s why all hell is let loose. Yes, I spent last night holding back my tears because there was no evidence of my pain. I don’t think God put in all his care; I’ve been leaking all my life. This school girl’s skirt is too tight, her hair is too low, and her teeth are too dirty. She greets me, and I don’t respond. I guess that makes me the same as the old women I didn’t say were bitches. This damned phone is ringing again. Home haunts me, and I’m too sane to set the whole thing on fire. This coal-black dog scratches its right ear with its right hind paw. I wish I had a superpower like that. I bet all of these buildings are sore and miserable from not dying. Yes, death is the kindest gift I’ll be getting, but I think the delivery man made off with it. Ill luck. I mean, look at this perfectly crushed chick on this death road. Blood vaporizing. Everything is messed up because I am not it. Everything is messed up because I am not Odysseus. I don’t care about Ithaca; I just want some quiet. Yes, I am innocent; my feet are the sane ones. My concerned would be mother if she saw this, but we can keep it between us. I wish I was a stray dog. I wish I was a stray dog. I wish I was a stray dog. They can’t go home, even if they want to.

    Going Mad in Nsukka III: The Year the Poet Died

    He wrote something like, I don’t cook for my mother, but I’d cook for you. He was so good at writing bad poetry, and I loved him. Anyway, this strawberry-flavored ice cream is so sweet and cheap. I think thin slippers are for people who don’t give a fuck anymore, so I plan to get another pair of flip-flops. I called him, and he didn’t answer. I’ve been calling him for days now. I don’t want him dead, but if he isn’t, I’d be offended. Now these people want me off this lovers’ bench because I’m alone. I don’t care if they’re kissing or fondling; I just want to sit down. Byung-Chul Han said something about touch being the only way to live this life. Heck. My ass is not so fat, and if you read the last poem, then you should know that I’ve been walking. I see the moon nuzzling against the neck of this tall building, and I remember his hair on my neck. He always came with warm light. I see the moon nestled between the parted legs of this twin birch; it’s such a beautiful metaphor for sex. No, I don’t like to think of sex because all of the phrases are so violent and cannibalistic. I mean, I’m a girl, not a batch of doughnuts. I don’t know how a person can smell like cake all the time, but he did. I bet if I let him kiss me, he would have tasted like cake too. Now, I’m thinking of eating him. I’m not different from the rest of the world after all. These ornamental trees look hunched with sadness. I take a photo of them and send it to my friend, who knows a lot about trees. She says it’s a Masquerade tree, but I’m not so sure about that. I like to watch the pretty girls walking, but if they talk to me, I’ll get pissed. It’s important to watch all the pretty things from a distance; get close, and the magic will be besmirched. Everybody is in love around here; it kind of makes me not want love. I call him again, and he doesn’t answer. Maybe we’re doing test runs for the future. I really want to sit bare-assed on the sculpture of a hand holding a lamp. It says something about light and showing people the way; all I want is some air up my asshole without people calling me mad. I know I am, but the least you can do is be polite about it. I’m a simple person, really. Maybe that’s why nothing special ever happens to me. I think that’s cool because if the world has given me nothing, then I owe it nothing. Then he said something like, I want to run through meadows in Japan with you. I lied; that’s from a song I wish he sang. Well, I think he’s dead now. You know, poets like to die just to see if they really can. He did. And I can still smell cake on my fingers. I still do not know what love is, but giving him my hands was a cool reflex. I guess I should be grateful because if the poet hadn’t died, then nothing special would have happened to me this year. It’s just that I miss him, and I’ve been eating so much cake.

    A wanderer at heart, James-Ibe Chinaza spends her time walking, thinking, and thinking about thinking. She is a writer, a poet dying, music eater, and hobbyist photographer. She currently serves as the Assistant Editor of the Muse Journal, UNN. She goes by Umami_kun on X, and yellowin_teeth on Instagram.

  • Shore-gazing – Praise Osawaru

    I am on the shore, pretending to listen to the water’s music
    with my lover. there’s no harm in knitting thoughts to comfort

    one’s self from the chill of loneliness. the body can only acco-
    mmodate absence so long before it collapses, pillars succumbing

    to a windstorm. I wish to understand how a body dissolves into
    another at the wand of love. how another’s arm becomes a safe

    house one can run into, away from the insanity of living. before
    the day began, a friend texted, saying God must have mistaken 

    quicksand for rock when he set my feet upon the ground. 
    him & I are both photographs on the wall in a room

    dead dark, yet I say everything lost will come alive with the sun
    & he embraces it as a prayer. what hasn’t eluded any of us?

    ask the hen what it dreams of, and it will tell you winging the sky,
    like a bird. this is how we carry on as everything becomes sour

    & half-dead, even us. still on the shore, I fall backward onto 
    the sand & caress my shoulders, a plain attempt at relief. 

    I pretend I’m not a hollow in the well, a music box
    without a song, a tulip blooming in the meadow of longing.


    Praise Osawaru (he/him) is a writer of Bini descent. A Best of the Net, Pushcart Prize, and Nina Riggs Poetry Award nominee; his work appears in Agbowó, FIYAH, Frontier Poetry, Down River Road, The Maine Review, 20.35 Africa, and Uncanny Magazine, among others. He’s the first-place winner of the 2021 Valiant Scribe Poetry Prize. He’s a Contributing Poetry Editor for Barren Magazine and an Associate Prose Editor for Chestnut Review. Find him on Instagram & X @wordsmithpraise.

  • How to Tell My Body I Love You – JoeMario Umana

    after Georgia Ifunaya’s Self-Love 

    running water
    from the shower
    becomes hands
    & crawl my skin
    like cover crops over soil, 
    planting a million pimples 
    on my body—a land fertile
    with want. 
    I slide into the tunnel
    of my left palm’s index
    and thumb, 
    slippery like okra’s draw
    made from soap and water. 
    this is how I tell my body
    I love you, 
    a fellowship with eyes closed, 
    desire popped up
    like opened picture 
    on phone’s gallery, 
    and breath caught
    with body trembling
    —a flesh quake, 
    the world dead. 
    then an exodus of self
    —a coming out. 
    and surrendering
    into guilt’s arms
    feeling all filthy and sinful
    remembering what the pastor says
    about my love and a fire
    that never sleeps
    and will never turn
    my body
    to black powder
    but offer
    an everlasting pain, 
    the water
    from the shower
    washes it all away
    along skin, 
    semen and soap lather.

  • Thoughts about Tension – Blessing Obiahu

    Tension should not be the umbrella word for that jolt that reverberates through your bones and skin when you brush a live wire on a day IKEDC forgets to flick the switch off in your zone because it does more than reverberate; it constricts, twists, flings, kills if there’s no one around with a plank to whack you free of the copper. 

    Countless other tensions—unseen but ever-present—coil around our necks like floats as we struggle to float. The worry lines stretching on Mum’s brows, each furrow a map to a different concern; scraping together school fees, putting food on the table, beating Iju Road’s daily traffic, balancing this tilted scale.

    For Brother Mark, it’s the pressure he feels to succeed in a fiercely competitive job market; forcing him to change the 0 in his 1990 YOB to 8 and swear affidavits outside the High Court in Ikeja. Sister Franca doesn’t talk about hers, but I know it. She feels it in the questioning eyes that gaze at every educated but unmarried Nigerian young lady.

    These tensions, unlike the electric shock—if  you survive—that fades with time, become a chronic state of being, like the refrigerator hum that persists even when the power goes out. It’s something I know kall too well, but, perhaps, not well enough. It’s like feeling both overdressed and underdressed at the same time.

    Sometimes, it surfaces as a nagging voice that questions if this path—this career—that I have envisioned, along with the thousand other lawyers that are called to the Nigerian bar each year, is what I truly want. The problem is, this tension—this nagging voice—stays tucked away in a quiet corner of my mind until moments that truly matter.

    Moments like when I’m about to stand before a sea of black-and-white-wearing gents and have my five minutes of fame. Or shame. But my mind fixates on the latter. Suddenly, I start to think of who is smiling at me, who isn’t, and why. Then, the thoughts drift to whether they are staring at my figure and judging whether it fills out my tight black skirt, wondering why my figure is the number 5 rather than the number 8. I’m cursing myself for choosing to wear the skirt today of all days, instead of the loose, pleated one that earns me a warm “Sister Amaka” from Sanisa whenever I walk into the faculty.

    I manage to regain a semblance of control and wrestle my attention back to the present. The next thought that pops up is which one of the stern-faced men in black suits—the panel—will throw a question at me—a question that will throw me off the balance I’m managing to cling to, out the window, with the burglary proof flying out with me.

    The absurdity of wondering why I’m the second person called when my surname starts with O makes a bitter laugh rise in my throat. My shaky legs carry me to the front of the hall, a silent plea escaping my lips for my worn-out soles to hold strong, to not give, to not have the last laugh. Not right now. At least. 

    Every thought except the one I should be focusing on—my internship defence, which I spent all night rehearsing in front of the mirror, the wall, and even the mirror with my bedspread draped over it—floods my mind. But here I am, my mouth already blurting out where I interned and the fact that the experience was “more observational than participatory.” I see some heads nodding in agreement, but their faces remain a blur. Still, this tiny acknowledgement fuels a surge of confidence, and my feet feel a little more grounded on the linoleum.

    But a new anxiety creeps in: the fear of my tongue twisting and betraying me with a grammatical blunder. This time, not before a handful of classmates, but the entire faculty, junior colleagues included. Relief washes over me as the words start flowing effortlessly, like a waterfall. I even manage to sprinkle in a few jokes, and, to my surprise, they laugh. 

    As I conclude, I’m met with thunderous applause. I bow, attempting a discreet exit. But the Dean calls me back and asks a few more questions like, “Who was your assistant in the crowd that prompted you at some point when you forgot a word to use?”, and everyone is laughing because no one comes forward when he says he has a prize for the person. I start to wonder why he has a prize for the person, but not me. Then he asks everyone to give me another round of applause and I return to my seat, amid cheers. 

    The weight is finally off my chest, the nagging voice silenced. But in its place is something more sinister: a  rewind-and-replay voice that compartmentalises every bit of my performance, though this one runs in the background like those data-draining apps on my phone.

    I sit back and watch the others go out one by one, oozing every bit of tension I and the predecessor must have manifested, and I’m smiling, grateful for how quickly the cup passed from me to them. Then, I realise it’s the word I’ve been searching for:  the cup. The phrase, rather. It’s a bigger umbrella term  than tension. Tension is the wine bottle umbrella I carry around in my tote bag, but ‘the cup’ is the bigger umbrella; the type those POS operators you meet at every five-minute walking distance sit under, come rain or shine.


    Blessing Obiahu is a literary enthusiast and law student at Alex Ekwueme Federal University in Ebonyi State, Nigeria. Her work has been featured in the 2021 Nigerian Students’ Poetry Prize anthology, Black but Famous (now Kaassa), Loana Press, Challenging the Writers, and forthcoming in Anarchist Fictions Journal. She is also the founder of D’LitReview, a literary website, and works as an SEO content writer.

  • Osholonge – Onoberhie Janet Ojevwe

    A street divided by both the doers and the saints
    A street divided by the houses: dilapidated and well structured 
    Divided by different tongues, practices and beliefs
    Time to time, blue and red sirens come visiting 
    With full force, taking into captivity the doers and the saints.
    Fearful mothers shout at their Saint sons “Go inside”
    For fear of the blue and red sirens.
    The saints, the opposite of the doers, carry their head 
    High up and with scornful looks reserved for the doers.
    The saints – the pen and book of the street and 
    The doers – worshippers of the night
    For it is the only time they can fees
    And in the morning, tongues and pointing finger arise
    Whose son did it?
    Which gang did it?
    Unending question and guesses 
    With unknown answers
    The street ever busy in the morning and at night
    But scanty at noon
    School children come back by noon
    Parents at evening 
    But doers do not return for they have nowhere to go.
    The street never changes
    Years after, a new set of saints and doers arise
    Recycling the process over and over again
    The street never gets tired
    During my years of existence, the street remain the same
    But with a different set of saints and doers

                                                                   


    Onoberhie Janet Ojevwe is a Nigerian and a final year student of the University of Benin where she is currently in pursuit of a Bachelor’s degree in English language and Literature.

  • Two Poems by Mercy Musa

    A Body Performing a Disappearing Act

    Like lace dipped in vinegar sorrow
    the nature of my narcissism is translucent,
    this body, almost transparent, almost fading to nothing
    this skin, almost disappearing, almost syncing to dust

    If only I could hold light in the palm of my hands,
    push bits of it under each layer of my skin
    maybe then will heaven see
    how much this body aches for visibility
    to be seen as it is, brown and in bloom

    Speak of a body and watch as this body disappears,
    blends with the dark and makes love with its shadow.
    speak of a body and watch as my mother’s hands slip right 
    through this body at every attempt to hug pain away,
    speak of a body and watch as this body vanishes under my lover’s eyes.

    Nightfall in Igarra

    The moon tonight is dimmed
    from sipping too much darkness,
    the clouds are blending towards
    nothing. I am trailing behind my mother
    into the night, with clay pots etched under our arms 
    & our feets pressing into sinking grounds.
    we are before a stream and before we dip out pots
    we first sing. first appease the bending trees and resting waves 
    with air suspended in our lungs, we sing
    we sing for the stream in Etuno, our local dialect.


    Mercy Musa is a Nigerian writer who writes from Lagos state . She is a lover of African literature and fantasy books. Her work has appeared in Green Black Tales magazine and The Muse Journal. 

  • 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.

  • ‘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.