Editor’s Note
Damnation. Bread. A cup of blood. A crucifix. At first glance, it is easy to conflate this list of religious images used by Chinedu Gospel in his poem ‘Prelude to Wantings & Undying; A Portrait of Self-Love’ with the poem itself being unvaryingly religious.
But on subsequent readings, there emerges an existential tenet that goes back to the age-old tussle poets and monks have had between their corporeal instincts and their religious impulses. “i have sabre-toothed desires that / lie parallel to my reality”, Chinedu says, as he continues, “everyday, / i hope they become magnets / that kiss”. Many good poems, especially complicated love poems, ignite from the spark of a similar friction, from the action of two stones colliding, from this ancient jostling that questions how to juxtapose the physical with the metaphysical, the sensual with the spiritual. Chinedu adds to this tradition by introducing the word ‘self-love’ into its vast firmament. ‘all I want to do…’, he repeats, over and over, like the refrain of a hymn, as if the repetition itself may wash away some of the sin, whether through his desire to fill the holes in his ‘tongue with wingless birds’ or to break his ‘softest bone’ or to ‘practice silence’, all of these self-driven actions act as attempts to reclaim the body enough to love it despite its being ‘damned’.
—Kunjana Parashar
The Bombay Literary Magazine
say, i am damned.
& all i want to do is stare
deep into the mirror
until my eyes find a cave
in my body.
i want to fill the holes in my
tongue with wingless birds—
something that stays after i’m
done, my body, decomposed—
something to sing to my lover
in the afterlife, something
to exalt my maker.
i want to break my softest bone
like unleavened bread &
communion with my fears over
a cup of my blood.
i want to practice silence
like a grave—walk into a cold
memory, call it my coffin.
& just lie there, sleeping, knowing
that there’s no awakening.
i want to choose a happy memory,
call it my burial, my reincarnation.
i want to learn the science
of undying, but even my death
dies with me.
i want to do beautiful things.
& literally, kissing is the act of speak
-ing in tongues, so i spend my last days
speaking in tongues with my lover.
& she reckons, love is beautiful.
& yes, i dream of sunrise, everyday
i am a wayfarer wading in the water,
on the wind, in the wilderness like
an ellipsis after a phrase. i know
my life is incomplete, but i do
not know how it would end.
this is what i know—
i have sabre-toothed desires that
lie parallel to my reality. everyday,
i hope they become magnets
that kiss. every night, i nail myself
to a cross & call it my crucifix—
a portrait of self-love.
after Starr Davis’ ‘Mourning Sex’
The hymn is steadfast in my throat
like the gray in a winter’s sky.
The songs are so blue, my birds
peck my tastebuds for sugar.
I’m screaming in a room where
there are no echoes. & every new
day begins with a silence
made of steel—it does not break.
My morning workout activity
is hopping. & I hop from hope
to desolation—again & again
until my sweat drowns me into the
pool of my own absence. I’m broken
& it means that a part of my body
is in ectopia. Say, my heart is in my belly
when a trigger-happy cop points
a barrel towards my frontal bone.
Say, my eyes are in the darkness
of my blank mind searching
for a happy memory when night’s
breeze blows loss through
my window. In the city of my wonder,
I sit confined in my own woes
like a straitjacket. I observe
my lungs long for a brittle breath.
I fight my own body from tilting
towards ruin—where it desperately
wants to be. Adrenaline running deep
in my bloodstream, pulling me
into the (w)hole of surrender. Once,
I kissed the knife where it speaks
of blood & peril & I ended up, a cleft.
& in the same way, I kissed the needle
& ended up, a scar. Tell me about
healing. What I know of it is little
& brittle. Tell me what it is if not
a testament of threads?
What about beauty? How the body
nurses pain into memory. How scars
teaches us forgiveness. Here, my body
in disrepair—a desolate house
with threads and webs, my plexus
of nerves. Every touch reminds
me of the ashes of a boy burnt by
gunfire. A girl from the bar where
I go to drown myself in liquor,
light skinned and transparent,
tells me I’m too young to be dilapidated—
a house full of spiders. & looking
deep through her—a basket of rotten
history, heavy clouds in her eyes.
She breaks the news of another boy
whose bowels were found splintered
all over the street, his body holed
by bullets of unknown gunmen,
twenty-five girls abducted in Kebbi,
a church raided by bandits in their
sacred vulnerability. She asked if I
was scared about being the next victim
of gunpowder. & I tell her that everyone
in this country has a sleeping disorder—
nightmares. That everyday is a step
towards the grave, afterall. & there
was this silence in the air. & more
soberness in the beer bottles.
& we kept downing the bottles &
drowning & drowning in drunkenness.
In the end, we go searching for a miracle
deep inside ourselves, sinking & sin
-king, all we find is a miracle too fleeting,
too fleeting to be called a miracle.
Tears of joy—inside my left orbit.
I hold my lover to her word. I’m broken
in one piece. It makes no sense.
A falling bird. Gravity & weight. Push
& pull. Fall & fracture. The waking moon
on the 29th day of Ramadan. The
sleeping sun in a cloudy Alaska. Sun
rise after nightfall. Rain-fall after
water-rise. A bright eclipse—as of hope.
As of a lover’s body bare on the bed
in a dark room. Good sin. Beautiful lies.
Like that one time the therapist said
I could be anything that glowed. I touched
a star & it disappeared. Bitter truth—
my best friend is a gayman. I do not go
to church. I have a stepmother. Open secret—
I love the naked body & for some reasons
except for being an anatomist. Talk about blacks.
I wonder how Obama was able to glow
in a white world—black American or black
beauty? I am near the end of my early 20s,
I am nearly 30 in otherwords.
I have no friends. I know no enemy. I write
poetry & enjoy the human gross anatomy.
There’s a happy grief on becoming a man.
Responsibilities scattered in a random
order. Life makes more sense now.
My mother’s warnings—a clear bewilderment.
This is the world’s kind cruelty. I know
loss inside out. It made me understand
love. Love is where the heart beats
slowly fast. Which is to say love is a place.
My mother’s white eyes. My lover’s larynx.
My sisters’ pink cheeks. My father’s
airway. & yes, God’s word—I’m still clinging
unto them. Perhaps, not completely.
Unrighteous holiness. Holy war. Victorious
defeat. A realistic dream where once,
I gave in to the tears of joy in my left orbit
& laid bare on a bed, my death alive,
crawling over my body like a beetle,
its sting, familiar, but my body, immune.
Acknowledgements
Image credits: Gustav Klimt (1862-1918). Death and Life (First Version). 1910–11, oil on canvas, 20 × 18 cm, Leopold Museum. Courtesy, WikiArt.
Klimt started work on this painting in 1908 and completed it in 1915. It’s the sort of work that encourages doctoral students to embark on complicated interpretations. We took a different approach. We juxtaposed it with Gospel’s poems instead. Each artist, un-motivated by the other’s work, but both addressing, perhaps, the same living unresolvable mystery.
Author | Chinedu Gospel
Chinedu Gospel is a Nigerian poet of Igbo descent. He currently is an undergraduate at the College Of Health Sciences, Okofia where he studies Anatomy. He loves music and is a big fan of Isak Danielson. His poems are mostly speculative and cut across different themes. He is a 2021 Starlit Award Winner, 1st Runner Up for the Blurred Genre Contest (Invisible City Lit), 2023, Honorable Mention in the Stephen A. Dibiase Poetry Prize, 2023 and also a finalist in the Dan Veach prize for younger poets, 2023. His works of poetry have appeared or are forthcoming in Chestnut Review, Worcester Review, Augur Magazine, Fantasy, Fiyah, The Deadlands, Channel, Apparition Lit, Mud Season Review, Trampset, The Drift, Consequence Forum, The Rialto, BathMagg and other places. Gospel tweets @gonspoetry [Text source: Chinedu Gospel]
