Diglossia.

Art by Splash on Pinterest.

This was exactly how Babel happened.

god, watching how men desecrate the sky

with filthy bodies, sweaty gums, unriddled

courage. god, listening to the mouths of men

speak about which part of his body was going

to be art first. his eyes that hoarded catastrophe

like memory units begging to be virused out?

his hands, a serrated scythe that had swept more

destinies than bodies? god, silence. god, a

solution. god, an evolution. [point of view changes,

many images of god in flesh and blood flash].

man, wiping off his sebum jagged out of his

passion to make an art of god. man, scratching

the outside of his chest to leave scar of curiosity

on the inside of his heart. man, unstill. man,

a trochaic body burrowing into the secrets of

the sky, stressed. then comes the crescendo.

god, a hollowed blade serating the tongues

of men into different strands of semanticity.

man, thinks his other friend speaks the language

of the homo erectus. man, becomes a collapsed

forest watching how language can fall back

into the mouths, flat, meaningless.

Art by Steve Johnson on Unsplash.

In the syntax of some languages, Minnesota can fill in the same gap as Láfénwá.

I always thought my father knew how to do

it best. this cradling of soft whispers into

a form of hissing. exit was the best way to call it.

this shoplift from a noun, to pronoun a

tongue into a little phase of yawning. at dawn,

there was someone out there talking about how

sentences are rankshifted

into morphemes. I picked up my father’s name

in the middle

of this war of grammar, and dusted it against a

theory. of what use is a stopped vowel, anyway? I shouldn’t

be seen talking about the syntax

of a language my body hasn’t built ruins in. home

is home,

even if it doesn’t bear us a poem without dead bodies.

it is all foreplay.

say the cloud is toppling its fibre thick skin into a pine.

say on nights like this, we startle grammar of our wide knowledge

of adjectives and their large cry.

today the late breeze breaks its knuckles into me, into

the windbag of a boy who doesn’t know that things that cause you

pleasure can also cause you pain.

I must

have met that knowledge before, in anywhere but my father’s face.

whatever recognized this mark on me recognizes that i’m a voice

of diphtonghed breath:

it means, in some places, minessota can fill in the same gap

as láfénwá. & that in yoruba’s syntax, ogun can translate into two

different things

if not properly circumcised.

say ogún bàbá mi ni mò ń je

[I inherited my father’s wealth]

say ogun bàbá mi ni mò ń je

[I inherited my father’s tragedy]

in this scenery, you are mouth-washed to reality: the same word

that takes you up can slam

you down.

Saheed Sunday

Saheed Sunday, NGP V, is a Nigerian poet, a Star Prize awardee, a 3xPushcart prize nominee, a Best of the Net prize nominee, Best Small Fictions prize nominee, an HCAF member, and a poetry reader at Chestnut Review. He won the Poetry Archive Now Contest, Centrestage competition, Lagos Poem Project, Quramo Poetry Prize, ZODML Poetry Prize and was a runner-up for The Nigeria Prize for Teen Authors. He was also shortlisted for the Rachel Wetzsteon Chapbook Award, Wingless Dreamer Poetry Prize and The Breakbread Literacy Project. He has his works on Palette Poetry, Lucent Dreaming, Lolwe, Strange Horizons, Trampset, North Dakota Quarterly, The Deadlands, Shrapnel Magazine, Rough Cut Press, The Temz Review, Brittle Paper, Poetry Column, Off Topic Publishing, Eunoia Review, and elsewhere. In 2018, he was shortlisted for the Wole Soyinka International Cultural Exchange. He can be reached on Twitter @saheedtsunday, or Instagram @_saheedsunday.

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Death is a singer at night.