Poetry |

“Anatomy of a Skull” and “The Republic of Benin”

Anatomy of a Skull

“Model of a head of a black man used for racial studies and exhibitions by Nazi Germany.”

 Accession Number: 1990.47.3

United States Holocaust Memorial Museum

 

A head

placed in a glass bowl

sang of Germany.

In the dark, he could speak

of days spent in Berlin

before he was called rhinebastard,

an aggression on a farmland,

sin of a woman

who saw a black man

and said those hands are the way.

A head never to be spoken of,

never to see the magazine smuggled

into a hostel in America,

where his body measured

and nailed on a wall, a trophy,

was spread across the center page.

In the night, a child, not yet seventeen,

placed his finger on the skull

at the back page of the magazine

and giggled as the boys

on the bed laughed at his trick.

He could be Samuel Morton

saying the African skull has the smallest cranial capacity,

therefore, they lack intelligence.

And this child could one day,

except he found a way out,

be the man with blond hair in Charlies

who will lift the glass of beer to his lips

before asking about the head

on the television, the one

found in South Sudan,

and when I will turn

to stare at him, he will ask,

why are you Africans still killing each other,

do you think it’s the skull thing?

 

*     *     *     *     *     *

 

The Republic of Benin

 

On the 19th of September 1967,

my grandma in the village of her birth

became a citizen of a new country

that existed just for one day.

Years later in Enugu, a policeman will argue

about my people walking away from the war

& I will say the war was not my mother’s war

but she called it hers. I will

say the house I lived in as a boy

was once renamed after a Biafran soldier

in the morning & after a Nigerian at night.

No anger will erase my history,

will erase my grandma saying even our goddess

couldn’t stop Major ( Dr.) Albert Okonkwo

from using us a shield against the bridge

that led to Onitsha.

& when other men will ask me to shut up,

I will see my grandfather’s wicker chair,

the blood on the cushion, the bullet

lodged in his spine

& close my eyes to hear his voice,

the darkness inside his throat,

the stories at the fireside,

the trauma he couldn’t push into the morning,

the one that burns,

all he wanted was to know his home

but Biafra named it for him,

declared it a country

& prayed they took the first bullet.

When they shot him, Nigerian soldiers

took the land and renamed it,

only the people

knew the real name for their home —

a shadow, one not whole enough

to call itself a body.

 

 

[Note: The Republic of Benin was a short-lived, unrecognized secessionist state in West Africa which existed for one day. It was established on 19 September 1967 during the Nigerian Civil War as a puppet state of Biafra. Nigerian federal forces reoccupied the territory the following day.]

 

Contributor
Romeo Oriogun

Romeo Oriogun is the author of The Origin of Butterflies, selected by Kwame Dawes for the APBF New-Generation African Poets Chapbook Series. His poems have appeared or forthcoming in Prairie Schooner, McNeese Review, Vassar Review, Harvard Review, Bayou Magazine, and others. He was the 2017 winner of the Brunel International African Poetry Prize, a fellow of the Ebedi International Writers Residency, a Visiting Poet to the English Department at Harvard University,  alumni of the W.EB Dubois Fellowship at the Hutchins Center for African and African American Research. He is currently a Poet-in-Residence at the Oregon Institute for Creative Research and an MFA candidate at Iowa Writers’ Workshop.

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