SEMANA SANTA
five poems
Maneo Mohale
MIDHEAVEN (PATER NOSTER)
Leebana la ka,
le ikaheletseng mafarung a mafika
le mahaheng a dilomo
—Sefela sa Difela 2:14
My dove in the clefts of the rock,
in the hiding places on the
mountainside
—Song of Songs 2:14
——————
let a good story begin with palms
double thundered in meeting
double folded in twin greeting, again
let the buds whisper:
here again here again here
give me lilt & lyre
call ear to attention: soft-fur
& fire-buzz, creatures
of electric air
as the elder griot bows:
agree now in bronze grass
agree now that you are human
unrelenting unribboning song
was song that brought me
to him
in this lifetime, he finds me
velvet-backed
nestled near a narrow haunt
sunned by red light
having remade myself:
boy, neon, unthroated.
there’s he:
shadowy-stood little orpheus
all a-sniff, lyreless.
we look good in cosmic time.
graphed, we’d be spots
of starlight storming,
connected
in cassandra-red
conspiracy thread,
all constellation-like.
on wiki’s authority, muses
carried his strings to heaven
placed in dappled Black—
—lessness. star-ash.
across a field of violets
(exactly two forevers ago)
he finally tells me to hush:
just pucker your lips, honey
pray.
(okay):
heels in the moss, then, as greeting:
my matter, who is midheaven
handful of thy mane
thy shore denied
thy quantum-eyed
on earth, as exiled from heaven
teach us to crave
our daily bread
(for)give us our sin
as we forget those that sin against us
steer us not out of temptation,
but deliver us from evil
for thine is the kin [ ] dom
the power
and the glory
forever and ever
Amen
— —
MATTHEW (The Unknot)
after Kopano Maroga
“O, Flower, one said, why
aren’t you meat?”
—Jennifer Chang, “Dorothy Wordsworth”
no.
not plucked as in petal
but stole as in shawl
or scarf
or noose
depending on the fibre’s fever.
anxiety (and)
adjustment (and)
disorder.
unwrap the chappies wrapper:
yellow(and)blue(and)red (&black)
unwrap the old south african flag:
orange(and)white(and)blue (&black)
DID YOU KNOW? 048
a tower struck by lightning
is both epiphany and disaster
no.
I hid my knot’s beginning
somewhere in a confession
booth in bedfordview, babe.
if I show you, how
can you promise me that I won’t burn
like the rest of them?
stained as in stained glass.
pressed as in presbyteria.
writer, do you know what I mean?
I don’t have to be a boy for this part.
— —
MARK (The Flood)
“And, behold, even I,
do bring a flood of waters upon the earth”
— Genesis 6:17
my fucking boots on the snow
my toes are freezing.
we’re both arrowed by desire, though.
double curl of a stubborn ram.
while moving in night’s dead hours
S has it in his head
to walk to the ocean. we don’t make it far.
comma’d at the parking lot,
by an ungovernable kiss. he opens
for me: gilled//fanned.
I don’t bother to pick
at the fine bones. i’m too busy
watching him gulp
at the terrifying light, spilling.
i’m too busy
so when the cops arrive
we’re understandably unaware.
miss come with me mister
stay with my partner here
please sir, stay
here
identification please
do you even identify as a—
do you
no why
I pulled you aside
do you //
no, why?
I don’t know anything, babe
I’m in my socratic era.
somewhere over his shoulder
The Word:
solicitation
floats
out of his partner’s mouth
behold, babe
even I,
do bring a flood of waters
upon the earth.
something of the hex
makes it to my face,
a deadly mistake.
as it dawns
on him: we got this one wrong
Ma’am//Sir
What you have to understand is—
——
LUKE (The Bone)
over//here:
mama made oxtail gelatinous gleaming sucked at the bone. dimpled white dumplings, stewing. the day the topaz arrived, a very simple sequence unfolded now that I think about it: the ring—her face falling—the question—her rush & running—the silence—the suck & sigh—the sister—jehovah watching—the river—the false rain—the silence—the empty plate—the veiling—Judas again—my silver—spoon scooping up—the sea—the ache as echo—some brown skin—the silence—mugabe—the wretched earth—Malome—a body in blankets—in love, and—DID YOU KNOW?—yellow&red&blue(&black)—what you have to understand is—I fell—what you have to understand is—
This Has Been Difficult For Everyone.
——
JOHN (The Black)
as the curl, as the threat, as the truth, as the pain, as de sade, as the boy, as the act, as the Acts, as the chest, as the church, as the turn, as the four, as the tongue, as the rope, as the ****, as the dark, as the hurt, as the light, as the knife, as the whip, as the shade, as the Shades, as the sigh, as the lie, as the role, as the dome, as the gag, as the tooth, as the grass, as the grace, as the graze, as the Good, as the bruise and the past, as the Past, as the passed, as the pick, as the star, as the scarf, as the switch, as the scar, as the strike, as the shock, as the care, as the bind, as the shame, as the Shame, as the same.
Maneo Mohale is a South African editor, feminist writer and poet. Their work has appeared in various publications, including Jalada, Prufrock, The Johannesburg Review of Books, The Mail & Guardian, and spectrum.za. They’ve served as a contributing editor for The New York Times and i-D, among others. They were Bitch Media’s first Global Feminism Writing Fellow in their inaugural 2016 class, where they wrote on race, media, sexuality and survivorship.
They have been long-listed twice for the Sol Plaatje European Union Poetry Anthology Award, and their debut collection of poetry, Everything is a Deathly Flower was published by uHlanga in September 2019. The collection was shortlisted for the Ingrid Jonker Poetry Prize, later winning the 2020 Glenna Luschei Prize for African Poetry. They currently serve as a research associate at the Centre for the Study of Race, Gender and Class at the University of Johannesburg.