Friday 29 May 2015

Primary Four Farting

In my sixth year of life I mastered flatulence. I learned the ways of silent-deadly and how to use loud-harmless to diffuse a situation. In mastering flatulence I mastered life. 

I learned mccarthyism. I learned that he who smelled it probably had not dealt it (usually I had dealt it) but I understood that once the sacrificial lamb had been chosen, I had to go with it at the right moment. Never first, the forerunner is beheaded too often or derided for a madman. Not too early, for fear of being seen to be trying too hard to deflect blame. And not too late because not participating in the calling out of farters could see you quickly labelled a farter. I learned the flows and gullies of nuance, from the flows and gullies of farts and the flows and gullies of quickly shifting public opinion in Mr Adeyemo’s primary four class. 

The many lessons I learned from having an overactive colon have served me well in my relationships with people and my political career, but the most important lesson I learned was about justice and sometimes, the lack thereof. 

I sat next to a girl named Mary that year. She was taller than I was, had skin like lightly heated palm oil and wore glasses that had the string to keep them from falling off her face. Sometimes I was overcome by the urge to do something to impress her and I like to think that sometimes I did impress her. However whatever impressions I had made would be quickly blown away with each new rectal betrayal. I had a simple problem; skilled as I had become at hiding my methane indiscretions, I could never hide them from Mary. And it is not that she had some preternatural knowledge of my emission, she just had the singular displeasure of sitting next to me. But for some reason Mary never ousted me. She pinched me on the thigh a couple times to reprimand my duplicity, but she bore my effervesce in silence until one day she could not take it any more. 

I had an aunt (she wasn’t really an aunt, but she was my mother’s friend so she was an aunt) who used to make the most delicious eggs with chilli powder and corned beef. Her name is not important here because she once told me I had eti-ejo (snake ears) which made me cry until my mother told me snakes don’t have ears, which made me cry even harder because I felt stupid for crying in the first place. What is important here is that I would gorge myself on her eggs. Perhaps what is even more important here is that eggs and chilli powder make for quite the explosive mix. Perhaps the vileness of their digested combination can somehow be harnessed for the good of all humanity, but I know that day is far off. They tasted delicious going in, but they made my belly swell and burned with forget-me-not vengeance when they made their egress. But gorge myself I did. 

It was after one such Sunday of gorging myself that back in school I realised that there was a need to let a little steam from the engine. Shifting my buttocks to one side so as to use my weight to minimise the rippling (it’s the rippling that creates the sound, you’re welcome) I let out a beauty of a silent and deadly into the world. It was the kind of destructive masterpiece that made your belly ache and left the memory of itself sitting on the back of your tongue even hours after you’d put the ceiling fan on 6. It was my masterpiece, it would be my doom and I could tell from the moment the smell hit my nostrils. 

Mary gagged and looked at me in incredulity. I had begun my deflection routine, suddenly engrossed in the book before me but it seemed this time I had gone a bit too far. She accused me loudly. 

“Dimeji why did you mess now?” 

Perhaps I had done too good a job deflecting blame, perhaps it was whispered behind my back that I was a farter, but I could feel the swelling tide of the public wind shifting against me. There was nothing to be done but to put my head down on the table and wait for it all to blow over. 

It wasn’t going to blow over. This was the kind of fart that told of greater things to come, it was the kind of fart that hung on to your patella and coloured the amala that you would eat that afternoon in the faint green scent of egg and beans. It was the kind of fart that drove out all other senses with its own pungent immediacy. The class erupted into madness. 

“HMMM! THAT’S SO SMELLY!”
“HMM” “HMM” “HMM” “MESSY MESSY DIMEJI”

I just sat at the table and put my head down and didn’t say a word. I didn’t attempt to defend myself. I understood the weight of my crime, and I knew I had to bear it. I just sat at the table with my head down, waiting for the eternity of disgust at my actions and glee at my being caught to end. 

Mr Adeyemo’s deep voice cut through the noise. 
“Why is everybody except Dimeji screaming? can’t you all see how composed he is? can’t you all follow his example? All of you, get on your knees and put your hands up!” 


Sometimes I remember the look on Mary’s face when school was let out, murder sitting on the bridge of her nose, the point of confluence for the malice streaming from her eyes. I wish I could go back and say I was sorry, beg forgiveness. I wish I could say I did such a thing. Instead, I stuck my tongue out at her and said “ntoi”.

Friday 20 February 2015

I forget


I forget what exactly,
But it’s something in the way it’s always summer.
The nights are always short because
The sun cannot wait to kiss your bare neck at dawn.

I forget what exactly,
But it’s something in the kink of your curls
And in the slight smile on your lips
And the slow curve of your hips.

I forget what exactly,
But it’s something in the way your eyes
Smile at the world,
Some greatness hidden in the brightly gleaming
Mahogany irises; freshly brewed mocha.

I forget what exactly,
But there’s something in the way Light
Softly touches your skin playfully
Dancing along the curve of your back.
Never drowning you in him: not ever.
He contrasts you from the mundane
And says, “look at her”.

I forget what exactly,
But it’s something in the music
Of the way you say the words you speak,
Dispelling the atonal sameness
Of these random sounds we call language.
Music waited on the fringes of reality
For you to be born so he could come
Say hello to your soul. And
You live in his arms, intertwined with him,
Like a braid.

I forget what exactly,
But it’s something in the clothes that you wear
And the way you braid your hair
And the way your black skin is a canvas
For the kaleidoscope of batik patterns
Floating on your head wrap.

I forget what exactly,
It’s something that is within you
It was given in your blood and
Lives in your skin
And demands what little
Breath I have left for life.
Olori-elewa.



"For all the black women I have loved and who have loved me." 

Thursday 5 February 2015

Vincent

Some men are big bellied because they never move. Others because of the dreams they had to eat barehanded so that the ones they love may survive. But men are not binary; they live in the spaces in-between things. He lay closer to having had to eat his dreams barehanded. But he was not a liar; how could he be with his belly in front of him a constant reminder.

He told me he threw an 80 fastball when he was 14. I didn’t know what a fastball was, but I listened because it was cold and I was hungry and I was lonely. He told me he was from New York and that parking was a bitch in the eighties. I told him he’d never seen a bitch like parking in Lagos. We became friends over that laughter. We became brothers when each night I would ride the bus back and forth several times because he too felt lonely at night.

It is quite the trade being a bus driver, moving thankless blobs of humanity back and forth ad infinitum. It is quite the trade being a student, so caught up in the rush of minutia that you forget to be thankful for the men and women who move you back and forth, between minutiae, ad infinitum.

But in the middle of the night, two lonely souls will meet on a bus and become brothers over fastballs and parking and where to take pretty girls on dates for free in Brooklyn. He told me he busted his arm learning to throw curveballs before he should have. He could have gone pro, but weary are those words. Arm in sling he had to eat his dreams. Had to get a job. You know how these things go. He ended up in the south.

He told me he coached baseball when he could get a moment. He told me that he would never teach a young boy to throw a curveball before he turned 16. I still didn’t know what a curveball was. I might find out one day. He died in a car crash. One reckless blob of humanity runs a red light and a brother you made in the middle of the night on bus rides, the memories of which grow hazy, is gone.

You will remember him for the story he told you of when he tried his first cigarette and his father caught him. Or the first time he tasted whiskey and his father caught him. Or the first time… you have started to forget. The minutia grow, it is inevitable that you will forget.


“You alright son? You like you need to talk to someone”