‘sometimes, i feel like a thief/ pick pocketing the death of a stranger.’
Bloodsongs
By Mae Diansangu
Published by Tapsalteerie
First came the universe…
In the beginning, there was everything.
At the world’s birthday party, the sky
lit the candles on a red velvet cake,
so the darkness could make a wish.
Pandora was there handing out gifts.
Among her party favours:
flightless birds, metaphors, aesthetic
appreciation, forgetfulness, earworms,
cellulite, empathetic pain, orgasms,
the perfect comeback concocted hours
after the argument, post-meal fatigue,
proxy wars, nostalgia, gender
euphoria, novelty, doubt, cancer, the wordless
agreement two people enter while pretending
not to have spotted each other on a busy street,
sugar, faith, the desire to fix things, compromise,
poetry, calcium, secondhand embarrassment,
community, disappointment, pins and needles,
schadenfreude, object permanence, language,
revolution, apples, snakes, ladders,
hope.
Jean Craig, 1784
i wiz brocht up tae fear god.
this wiz afore the word ‘love’
wiz pronoonced like it is
the day – fan we used infinite
fower letter configurations
tae squish sufferin intae.
a righteous path wiz rolled
oot afore me, but i traipsed
efter ambition an pride. the deil
curled up inside ma lug. the wye
she spake aboot love wiz queer.
as if it were summin ye were owed,
that ye could just gie tae yersel.
she telt me, i could mak my ain
happiness – thon weel-dressed
wifeys werena ony better than me.
so i stole a piece o linen tae prove
i could be sumbdy. but ma sweet,
lovin god wis ragin. unworthy
an clarty wi sin, fit else could i dee
but die fur him. this city hiz teeth.
the fowk need tae eat. i feed them
ma bleed, pray it learns their bairns
tae keep fae makkin ill. ma body
will mind them nae tae listen
fan the deil creeps in.
that tae love yersel above
aahin else is a great muckle sin.
‘Jean Craig, 1784’ was part of the exhibition, Symphony in Grey, commissioned by
Aberdeen Performing Arts in 2023.
Colourblandness
I can’t taste the sunrise
anymore. Yellow turns to grey
in my mouth. The memory of you
bleaches my tongue.
Terracotta has no spice,
lilac is unsalted rice.
I have lost my sense of colour.
I remember the morning
we invented turquoise.
Joni was singing about a
blue boy while you spoonfed me secrets.
Between scarlet mouthfuls, I let you into
my past. You said this was the last time.
Fake gold had greened my fingers.
You kissed them, then slipped inside
me, up to where your ring should be.
I lick the pigment from this
memory, hoping to jog my
tastebuds. But,
nothing comes.
on gratitude
when i see the granite streets
that skinned the brown knees
of my childhood, exploding
with posters and slogans –
something behind my ribcage
starts to unstick. for years my
chest has been thick with
every ‘where are you really from?’
that has clung to my heart
and stung every part of me.
friendly smiles that shine
with the kindest of knives
make the deepest cuts.
the city that birthed me has
also cursed me under its breath,
but when george stopped breathing,
these streets breathed for him.
i breathed a sigh of relief.
unaware, i was even holding it in.
this gratitude is blood-tinged,
obscured by the shadows
of guilt and grief.
sometimes, i feel like a thief
pick pocketing the death of a stranger.
but research suggests, being grateful
improves mental health.
when a Black man is choked to death
by racism, i don’t want to be grateful for
anything. i don’t want to be grateful,
i want to be equal.
The poems in the ‘Black Notes’ section of Bloodsongs, which includes ‘on gratitude’ were commissioned by the National Library of Scotland (under the title ‘black lives, heavy truths’) as part of their Fresh Ink initiative in 2021.
Bloodsongs by Mae Dainsangu is published by Tapsalteerie, priced £10.00.
‘As a child reading my Ladybird books I marvelled at the power and possibilities of bridges, and eve …
‘We took his body out the coffin,’ William said, all in a rush. ‘Myself and Hare.’