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      October 30, 2019Ode to David’s Ennui // Or the Land of Babel IIO-Jeremiah Agbaakin

      ekùn, økø òkè—tiger, the mountain’s groom
      —from Yoruba

      the boy with the crow skin comes from a long
      line of tigers who moved mountains to please
       
      their women—who paraphrased the serpent in
      its own words—fang disguised in fur. our love
       
      of height, not the longing for gods built a tower.
      the men stopped crying as soon as they were
       
      born; picked up their claws & spears to fight.
      Akinrere crushed the earth & founded a giant
       
      elephant standing above it. then stole a woman
      from his own camp, climbing the palace roof to
       
      feel the mountain’s breath he hiked in youth as he
             wrestled wild cats clicking their paws like a shearers’
       
      knives. once, my father’s half-brother, drunk, tipped off
             their balcony, broke his ribs & blamed his wife for descent.
       
      he took them all: women widowed by wars, took war
      returnees. the fireplace in his bones was too much for him.
       
      after slaughtering the cockerel, my clan commands
      me to pluck all the feathers to prove allegiance
       
      & attention to details. the slaughter smooth & neat.
      i come from woodcarvers chiselling their bodies into
       
      gods. i want to leave this land, still toothed with
      enough mountains—that crave ghosts’ claws marks
       
      and their clothes hanging loose from uprighted
      skeletons like mannequins hanging their snake skin
       
      shedding. yet the mothers still wound open their
      love like first milk. the mane shed them like a skin.

      from #65 - Fall 2019

      O-Jeremiah Agbaakin

      “My identity as an African is largely influenced by the relics of colonial intrusion in the shape of religion, thought, and language. I try as much as possible to reflect and interrogate the tension in my art. While contemporary African poetry may have shifted considerably from colonialism and post-colonialism talks, we are subconsciously influenced by their many impacts. These poems, in a way, examine historical narratives (like the Nigerian Civil War) as well as personal histories on the fulcrum of borrowed language and its tension.”