nostalgia

The Magic of Readers

~ livelytwist ~ 45 Comments

There are no awards for readers, at least, none that I know of, but there are awards for writers. Readers buy the book that wins the writer a prize, and yet without readers, there would be no writers.

Maybe this is why we read, and why in moments of darkness we return to books: to find words for what we already know. ― Alberto Manguel

I am indebted in no small measure to you because if you did not read, I would not write. Yes, I would scribble in my journal, but without the focus, discipline, excellence, and tenacity of the past four years. I would neither research nor stretch myself beyond the world I know. You inspire me to look for the gem in the mundane and tell it as creatively as I know how.

What Lee Hall wrote about the play, I find to be true about writing. “Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise . . .  And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.”

I view with suspicion, every writer—by writer, I refer to anyone who crafts words intentionally on a platform that another can access—who claims, “I don’t care if anyone reads what I wrote.” The search for significance is a universal pandemic and writing is one way we ask, “Is anyone out there? Can you hear me?”

Sometimes, I have wondered about this business of writing and questioned my destination, but you were there to assuage my vulnerabilities and validate my journey through your comments or private messages. I learnt to count on your consistency as much as you did mine, and I am a better writer because of you.

When I conceive an idea, the meaning is clear to me, but the challenge is to get you to see it. You complement me by filtering my words through your experiences and adding depth to them that I did not recognize. Like the time I wrote a silly story, about two lovers and you showed me that it was about immigration and integration. And you were kind to me. If you thought stories like, Six Is Just A Number, echoed my life, you did not judge me but kept your perspective to yourself.

When members of the London Poetry Society asked Browning to interpret a particularly difficult passage of Sordello, he read it twice, frowned, then admitted, “When I wrote that, God and I knew what I meant, but now God alone knows. ― Ralph Keyes

Vladimir Nabokov wrote, “Readers are not sheep, and not every pen tempts them.” That my words have drawn a few is humbling and empowering, a weight of responsibility I have been proud to own.

The best part of writing at Livelytwist these past few years, was knowing that you were going to read what I wrote and not being disappointed, Sunday after Sunday. I cannot thank you enough for your uncanny generosity.

Thank you.

 

 

 

P.s. I stop blogging on this platform today.

©Timi Yeseibo 2017

Photo Credit: https://pixabay.com/en/cup-book-breakfast-read-plan-2123710/

Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Timi Yeseibo and livelytwist.wordpress.com with appropriate and specific direction to the original content.

When You Can’t Remember Loss

~ livelytwist ~ 21 Comments

James Bekenawei on Loss

The only thing that hurts more than a bad picture is a lost picture.

Most times, to cement the details of an event in my mind, I take pictures. A picture is a frozen moment from a string of moments. Behind every photo, there is a story; behind every story, there is a past. The emotions that the images evoke give photos meaning.

“James, all our efforts today were wasted. We lost all the pictures,” Tunde said. I had just finished dinner and wanted to settle for a movie marathon when he called. “A virus attack or something. It affected the camera’s memory card also, so we can’t get the raw pictures.”

Hours spent selecting, sorting, and editing wasted. An entire day’s shoot, gone with the wind. The story behind each photo forgotten before it is told.

I delved into photography by accident. I have always loved pictures and have an archive of exotic photos. One day I took a photo with a friend’s phone and he loved it. It dawned on me then that I could create photographs not just collect them; that I could freeze time for the future because memory dims and forgetting happens. A blunt pencil is better than the sharpest memory, a blurred camera lens than the clearest mind.

Women who lose their babies carry the pain forever. My mom has five of us, but she still talks about the one that didn’t make it. That loss hurts her even though it’s been more than thirty years. Losing photos is the closest I have come to how my mom feels. I hold on to the carcasses of damaged hard drives because letting them go means accepting that the memories stored in them are forever lost. Sometimes, I survey the hard drives and wonder, why. Why didn’t I back everything up? Why didn’t I upgrade my cloud storage when I could? But the hard drives do not answer, they stare back and dare me to cherish memories I no longer remember.

One of my greatest fears is losing my memory—of waking up and discovering I can’t remember anything—and that even my writings and photographs, which I employed to freeze moments, can’t help jumpstart my memory, because they are lost. I fear losing an extension of myself via lost memories and photos.

In my desire to freeze moments for Throwback Thursday, I often let things go unnoticed and become unmindful of the emotions the camera cannot capture. Behind every photo, there is a story. But of what use is a story if it does not evoke the emotions that bind us to it? The remedy I’ve found is in the poem, If, by Rudyard Kipling: [to] fill the unforgiving minute with sixty seconds’ worth of distance run. To enjoy the moment, rather than merely freezing it.

© James Bekenawei 2017

Bekenawei James Robert loves to tell pictures, snap stories, and to question answers. He can be found on Instagram and Twitter as @bekexjj. He blogs at 4unansweredprayers.

Photo credit: https://pixabay.com/en/sony-slt-a58-camera-sony-2033999/

©Timi Yeseibo 2017

Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Timi Yeseibo and livelytwist.wordpress.com with appropriate and specific direction to the original content.

A Landscape of Friendship

~ livelytwist ~ 39 Comments

friends-landscape

 

Sotonye and I were friends first. I forget now, how we met, that memory superseded by memories of our friendship: the innocence of it. We walked around town and hopped on buses to places too far to walk like the old amphitheatre at the university. One afternoon, we sat together on a leather beanbag, shoulders rubbing, while we fiddled with the controls of my parent’s Panasonic sound system. We took turns to put our cassettes into the tape deck and listen to each other’s mix tape.

“Sit apart!” my mother’s voice startled us. Before I could understand the implication of her words, Sotonye had sprung to the chair farthest from the beanbag, and from me, in the living room. That day heralded the beginning of the end of our friendship, I think.

After I met his best friends, Charles and Karibi, I saw Sotonye less and less. He caved under my persistent interrogation and admitted that he had kept a distance because Charles had warned him that girls like me could derail a guy’s destiny.

I should have told him that I was hurt, but I did not. I could have pointed out that in his stead, Charles was now spending more time with me, the destiny-stealer, and Karibi was a close second, borrowing books from the library to feed my love for books, but I did not. Universities were on strike and Sotonye was convinced that his future lay in the United Kingdom. His plans to relocate consumed his focus.

Ten years have passed since the alliance—three boys, then two boys and one girl— we formed crumbled because we grew up and went to discover ourselves on the map.

Presently, Charles and I are having lunch after a chance encounter earlier in the week, and I am reminding him of how we met. He is laughing so hard, he begins to cough.

“That’s not how it happened, didn’t I meet you first?”

“You wish,” I say, rolling my eyes.

“I can’t believe I did my guy like that!” He slaps his thigh, still amused.

“Better believe it; do you know where Sotonye is now?”

“Last I heard he’s still in the UK, directing theatre productions or something weird like that. That’s what Karibi said when I bumped into him, last year.”

“Karibi . . .” I say wistfully.

“You always liked him. That traitor who swooped in when I left for school—”

“No, it wasn’t like that at all. He was like a big brother to me.”

“Yeah, right!”

“Go away joor. He was the sweetest boy I’ve ever known.”

“That’s because he didn’t shave your head. Abeg, leave that thing!”

“We all were great friends . . .”

“Yes,” he agrees, “but you did not understand boys.”

We distill years past by exchanging phones and swiping photos, who’s this and where’s that, make our puzzle pieces fit faster. But photographs cannot capture all. Suddenly, Charles looks down at his drink and admits to being a closet alcoholic.

“It’s not so bad,” he says, looking up at me.

I nod. In the movement of my head and the steady gaze of my eyes, there is no judgement.

“Why don’t you tell someone who can hold you accountable on the road to recovery—”

“What! You haven’t changed! You’re still naïve . . . like back then . . .”

I trace the rim of my glass with my finger, uneasy and unsure of what he means.

“You still think everyone is like you, and everything is black and white,” he answers my unspoken question.

“No not really—”

“You trust easily. Haven’t people hurt you . . . enough?”

I sigh. Maybe I should not have let him look at all my photos.

“I am no longer afraid of getting hurt. But this isn’t about me. Isn’t your secret too heavy to bear alone?”

“I’ll survive. I haven’t told anyone . . . I don’t even know why I told you.”

I know why he told me. In just two hours, we have travelled back to the road leading to my parent’s house, where, unable to stop his voice trembling, he confided in me about his parent’s impending divorce.

The moment passes and we reminisce about happier times, about the place near the overhead bridge where we met in the evenings after Sotonye left. Charles would arrive with a packet of cigarettes and after he dragged on a cigarette a bit, he passed it round. I took tentative puffs while Karibi backed away as if it were a snake, reminding Charles of his asthma and me of the dangers of lung cancer.

“I gave up smoking,” Charles says. “Best thing I ever did.”

I nod again.

“You were the glue . . .” he begins.

“Nah,” I say, “Sotonye—”

“It’s true, everything was centred around you.”

He signals to the waiter for another drink. I shake my head, no.

“Do you think . . . answer me honestly, Charles . . . that boys and girls can just be friends?”

His answer is slow to come.

“I don’t know,” he says at last. “Even back then, Sotonye, Karibi, and I, wanted more.”

 

© Timi Yeseibo 2017

 

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Love is a Beautiful Thing

~ livelytwist ~ 54 Comments

love-beautiful

As I grew up, it sometimes seemed that my parents would throw invisible daggers at each other and the knives would miss, hit the wall, rebound, and lacerate my heart. I thought they might do better apart rather than together, but my mother was adamant that she stick things through, as if she were glue.

Close to thirty years have elapsed since those turbulent times. In war more than elsewhere things do not turn out as we expect. Nearby they do not appear as they did from a distance (Carl von Clausewitz, On War). Perhaps because my parents now speak of their departure like something imminent in the distance, they invite my sisters and me closer, and I see what I did not see then.

My parents tell us about their lives, the things we do not know that they think we should.

We ask my father how he met my mother. His story is like him, adorned with few words. He says that when he met my mother, she was suitably impressed with his house; he had a very nice house in Sapele. When he left Sapele for Lagos, my mother followed him there.

My mother protests and interrupts. She admits that although he had a fine house, she never ventured inside, did not even heed the catcalls of the boys in the area, who said, “Lady, notu you we dey call?”

We shush her gently and assure her that her turn will come. When it does, she counters his story. She says that on her way to school, my father and his friends would peep at her from their house. “I used to be very pretty,” she is matter-of-fact, “everybody struggled to talk to me, but I would just ignore them.”

When my father came to look for her, he was always well turned out in a suit and tie. Because she was afraid of her mother finding out, she met him at the corner and it was, “Hello, hello, by the window side.” A shy smile creeps at the corners of her mouth at this recollection. “But,” she says, “I did not give in for a moment.”

At this, my sisters and I laugh. We make jokes about standing at the corner. My mother laughs. My father laughs. It is a while before we collect ourselves to continue, lost as we are in our memories of teenage love and desire.

“I left for Lagos because I had a strong urge to succeed in life; Sapele was too small for my dreams. I did not leave because of your dad, but to find greener pastures,” my mother says.

“Okay,” my sister smiles knowingly and says, “he was your greener pastures.”

My father chuckles, “She pursued me to Lagos.”

My mother rolls her eyes in exasperation, “I said I went to find greener pastures!”

They bicker over the details of their romance, each wanting to come up tops, but it is playful, weighted by tenderness processed and matured over time. I do not point out that both their stories have holes they have not filled. Maybe they want to bring my sisters and me close enough and no further.

Young people often imagine, as I did, that the fires of romance in older people die out, their candles burnt and spent somewhere in their twenties. In my forties, I know this to be untrue. Watching my parents, I know that it will still be untrue in my sixties, seventies, and way beyond.

Love is a beautiful thing. 

©Timi Yeseibo 2017

 

Photo Credit: https://pixabay.com/en/tic-tac-toe-love-heart-play-1777859/

 

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Naija Tinz

~ livelytwist ~ 43 Comments

naija-tinz

1.
It is her loud voice—the confident obnoxiousness of her request and her reference to the economic recession, under which the store attendants cower—that makes me look up from watching the cashier at checkout work the POS machine. Sure enough, she is the one. I call out.
“Timi, is that you; I didn’t know you were in Lagos?” Her open arms stretch her boubou like patterned bed sheets.
I reply, “Yes, I just got back,” and embrace her.
Guilt snakes around in my stomach. I have been in Nigeria for several months. When does, I just got back, become old?

 

2.
The story is told of a returnee riding his power bike in Victoria Island, years ago, before Lagos state government imposed limits on the routes commercial motorcycles can ply. Approaching a red light, he stops causing the eight okadas trailing him to crash into him and one another in a classic pile on. The motorcycle drivers recover quickly. Helmets gleaming in the sun, one grabs his trousers at the waist; another seizes his shirt at the neck. A slap prefaces the interrogation.
“Why you stop?” the leader of the pack charges.
“Because of the traffic light.”
Another slap. “You don see okada stop here before?” Another slap. “You nor know say dis ting,” the okada driver wags his hand in the direction of the traffic light, “na for motor?”
He is confused as returnees often are about unofficial codes of conduct and he knows it is futile to argue he is right.

 

3.
“Are you here for good?” is I suppose the logical question that follows the surprise at bumping into me in Lagos. Some people are not in a hurry, so they ask instead, “When did you get back?” before segueing into the question of the permanence or not of my residency. My answer varies depending on the level of interest in the inquisitor’s eyes or the kind of relationship we share. Always, my eyes travel in distance and space, as I narrate a version of the story titled, I don’t know.

 

4.
Hyperbole is a literary device, which refers to exaggerated claims that are not to be taken literally. It manifests in a curious form in Nigerian street speak, where words are doubled for emphasis also.
De house big?
E big well well, well well!
An oxymoron on the other hand is a figure of speech in which apparently contradictory terms appear in conjunction. Like this sign on the road:
Buy original Tokunboh laptops
That second-hand laptops aka tokunboh laptops, can be original is beyond oxymoron. It shows how language bends to accommodate the prevalent malaise of refurbished parts sold as (brand) new.

 

 

5.
Nigerians who move back home after living abroad are subject to a subtle game of numbers, which begins with the question, “How long were you away for?” Your answer validates or invalidates your expatriation. Ten years and longer, garner approval like Instagram Likes so that your cluelessness and discomfiture regarding Nigerian culture is overlooked, explained away by your long absence. Those who were away for a shorter time, do well to prefix their answer with just, as in, I was away for just two years and to not speak with a foreign accent like people who go for a two-week holiday in London and return with an American accent. The problem of colonialization is this: long after Lord Lugard and co. left, we are still using their yardstick to measure ourselves by.

 

6.
My dentist is situated on the third floor of an edifice that once showed promise because of the elegance of the architecture, but the building is aging and in need of fresh leadership. I wait in the reception where magazines make the clock tick faster.
“Mrs Timi? The dentist is ready for you.”
In the examining room, the dentist’s assistant makes small talk.
“It’s not Mrs Timi,” I begin, it’s Miss Timi.”
She beams, “You will soon get married, in Jesus name!”
Because her underlying assumption concerning my desires bothers me, I lecture her mildly on the broad aspirations of women beyond Cinderella dreams. “You don’t even know me. Why did you not say, you will soon get a better job?”
“But don’t you want to get married?”
“I do, but—”
“Ehen! You will soon get married, in Jesus name!” she ends her prophecy on a high note, smiling as she lowers and reclines the chair for me to sit.
“Amen,” I reply. I know it is futile to explain my point any further.

 

7.
The walls are white as are the rattan chairs arranged in a loose formation for intimacy. My girlfriends and I were sipping our drinks and trying to gist despite the music booming from the speakers. I am convinced that Nigerians are loud because our eardrums are traumatized by music that drowns out our voices. Suddenly a photographer appears.
“No o! I don’t want my photo on Facebook or Instagram,” I protest.
He convinced us that he would email the photos to us and they would not be shared on social media. We posed and posed again. Our photos now grace the Facebook page of the bar. In Nigeria, we say, awoof dey run belle, which loosely means, freebies can kill you.

©Timi Yeseibo 2016

Boubou: a kaftan worn by women.
Okada: commercial motorbike used for transportation.
You don see okada stop here before?: Have you ever seen a commercial bike stop here?
You nor know say dis ting na for motor?: Don’t you know that this thing is for cars?
De house big?: Is the house big?
E big well well, well well: It is humungous.
Tokunboh: A second-hand or fairly used item.

 

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Seven Colours from My Life

~ livelytwist ~ 69 Comments

colours

1.
Amber is the colour of HB pencils. One morning, in the year I was five, I returned from our neighbour’s house where we grind beans for akara and moi moi and sketched the grinding machine I saw there. My dad’s sister raved about the drawing and adjudged it an excellent reproduction. She rewarded me with two HB pencils and one eraser. These were not the last accolades I received for my art.

 

2.
Baby blue is the colour of my mom’s cooler. On a Visiting Day in junior secondary school, I took some of the jollof rice my mom brought for me to the hostel. My five friends flocked around and in-between jollification and smacking of lips, intoxicating praise for the jollof streamed into my ears. Three of these friends lived in Lagos. Zaria was too far-off from Lagos so their parents never honoured Visiting Day. The next term, my mom journeyed from Kaduna by bus with her big cooler of jollof rice for me and my crew. The image of my mom walking with the cooler on her head, and a Bagco Super sack of provisions clutched in her hand, stays with me.

 

3.
Brown is the small scar on my mom’s palm. Books, television, and the sound of music made me a wandering kid who always yearned to recreate something wonderful. Many evenings bloomed and withered as I combed garbage dumps for milk cans and precise colours of slippers, from which I fashioned wheels, Ludo seeds, and hockey balls. I ended my quests, each time, looking scruffy, and spankings by my mom’s palms remained the consistent punctuation to homecomings. In my mid-twenties, my mom revealed the real reason behind her anger. It wasn’t her supreme aversion to uncleanliness. Each time I strolled home looking like a pig, I reminded her of her days as a little village girl.

 

4.
Copper is the skin tone of my girlfriend. We were whatsapping one day and then:
*Ping* Why do you like me?
You pinch me. Sometimes. And it hurts until I laugh. I typed the last of nine answers to her question.
She replied with thirty reasons why she likes me. I have emailed them to myself for safekeeping.

 

5.
Yellow is the colour of egusi. The day we overcame our reservations and ate at Mama Favour’s spot, we sat in the open air, on an unstable bench, battling impolite flies and smoke from smoldering firewood. Her pounded yam and egusi was delicious. Incredibly cheap too. So cheap that we did the math three times to make sure we weren’t short-changing her. Two years on and Mama Favour has two roofed bukkas now. My best friend and I, and the other friends we have shared the gospel with, are still her customers.

 

6.
Porcelain white was the colour of Aunty Ramatu’s teeth. To the delight of my parents and we kids, her visits to our house were seldom without a jerrycan of kunu and sticks of sugarcane stuffed in a Bagco Super sack. In September, I visited Aunty Ramatu at the hospital. Her only surviving child laughed at a joke I cracked, revealing white teeth. I marveled, turned to her mother and discovered, as she too laughed, weakly, that her teeth were also white. Aunty Ramatu was discharged from the hospital two days later. In October, after contending with a terminal illness for more than fifteen years, she ascended from our realm. Your kindness and laughter will always be remembered, dear aunt. Rest in perfect peace.

 

7.
Red is TED. “Did you read Chimamanda’s 9K words essay?” read Mimi’s IM on WhatsApp. I hadn’t. She whatsapped the link. I read and found it articulate, inspiring, and instructional even if I didn’t agree with a number of Chimamanda’s admonitions. The waves of my doubts crashing against the shore of my convictions steered me towards Google. There, I discovered Chimamanda’s TED talk We Should All be Feminists. These days, I wonder if the women in my life will not live richer, fuller lives if we all became feminists. Maybe I am slowly becoming a feminist. Maybe not. Only when I marry, beget and rear a daughter will I really be certain.

© Samuel Okopi 2016

Samuel Okopi loves to sing, design, and fantasize about the future. He believes there is no end to learning and so, for him, every tommorrow is pregnant with new opportunities to inch closer to perfection.

 

Photo credit: nbostanova/ https://pixabay.com/en/pencils-coulored-red-blue-yellow-1654051/

© Timi Yeseibo, 2016

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Named For Love

~ livelytwist ~ 33 Comments

name

1.
Dad idolised his grandfather, Olutade. He was going to name me after him but his mother thought against it. Dad then opted for the longest rendition of the name: Oluwatomilade. He also named me after himself: Adebayo. Grandmother did not object. And thus, I was called Junior till I turned seven and began to—in retrospect—cringe-worthily inform the adults in my life that I was a senior.

 

2.
Oluwatomilade translates to, God is my crown, or God is enough for me as a crown. As far as spiritual connotations go, it is a compelling name. To wear God or his identity on one’s head should be a marvellous thing and I suppose it is. But I am more enthralled that Dad named me Oluwatomilade because he loved his grandfather, that perhaps he saw him in me.

 

3.
The answer to the question, what does your name mean to you, is it means more to my father than it does to me. That my name means more to him is what my name means to me. That I was named in and for the sake of love.

 

4.
I inherited my great-grandfather and father’s names, mum’s temperament, and grandfather’s head. In my younger years, I was also called Ori as a not-so-subtle ode to the size of my head. My uncle, Sammy, used to sing a song, Ori nla, nla nla, Ori. Big head, big big, big head. At home, at school, at church, three names accompanied me—Tomi, Junior, Ori.

 

5.
My friend, Arike, is obsessed with names. We have spent many minutes of many conversations pondering about the beauty of names, their language forms, meanings, how they roll off the tongue, and so on. She has a substantial list of names locked in memory, to be withdrawn when she brings forth children to this mad world. I think about names too. I like long names. Studying in a foreign land, long names like mine tend to punish the tongues of lecturers. I usually interject with, “Tomi!” to put them out of their misery. They always apologise. I am never offended. In fact, I secretly look forward to it.

 

6.
My brothers call me Tomi but sometimes, Lade. The story of Lade is this. In my senior year at boarding school, one of my roommates farted (I swear it wasn’t me), and as usual, accusations diffused around the room with the rancid sulphur. Ever the introvert, I remained silent, causing a friend to say, “It was Lade.” Lade has stuck since. I like Lade. It reminds me of boarding school, of the times I loathed school and how I grew to love it in the end.

 

7.
When she was still here, mum called me Tomi. But when she wanted to hail me, like Yoruba mothers tend to do, she called me by one of my other names: Bolu, from Moboluwaji. It means I wake up with God. To wake up with God means that God is there in my sleep, shielding me from the terror of night. It means that God is always there when I open my eyes—bad breath, crusty eyes, and all. This is magnificent but Bolu carries the weight of mum’s love. And it is heavy. And yet, ever so light.

© Tomi Olugbemi 2016

Tomi Olugbemi is a poet and student of International Politics. He spends his free time fretting about words and recovering from pessimism. He blogs at tomiolugbemi.com.

 

Photo credit: condesign/ https://pixabay.com/en/board-slate-blackboard-chalk-1614646/

©Timi Yeseibo 2016

Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Timi Yeseibo and livelytwist.wordpress.com with appropriate and specific direction to the original content.

 

Love is Bridging the Gulf

~ livelytwist ~ 43 Comments

African proverb

My grandmother was a darker smaller version of my mum. Parents do not resemble their children. It is the other way round, but that is how I keep my memory of her alive—in my mother’s strong arms, I see hers, ready to cradle the world. My mother tells me she was the daughter of a prince, who thought it a waste of time for her to acquire formal education and that she ran away from her first marriage due to harsh treatment from her husband.

She was kind. She only spoke her dialect and Pidgin English. I could neither speak nor understand her dialect. Her pidgin was the Warri-Sapele variety, which was difficult for me to understand and I barely spoke pidgin. Her eyes told me she had more to say than the little she did. She must have felt even more frustrated than I did; harbouring experience she could not transfer.

The conversations we managed to have, centred on her concerns that I could not speak her dialect. She would ask worry etched on her face, about what I would do when the war starts. I had heard about the Nigerian Civil War just as I had heard of World War 1 and 2, events in history, far from my reality. In her broken English, she would tell me how soldiers used language to determine if you were on the Nigerian or Biafran side. Those who could not speak their language were at the mercy of the soldiers.

Her stories did not motivate me to learn her dialect. I asked my parents where they had been during the war. “In Lagos,” my mum and dad answered respectively, and I filled in the blanks, “far from the war.” It showed in the priorities my parents chose for my life.

But those who have seen war speak of it with tremor in their voice. Does memory not erase the boom boom of falling bombs or the tikatikatikatika of machine gun rounds?

One time, she came to my university campus. Armed with my name and address she left her home in Sapele to visit me. When the driver who brought her came to call me, I hurried outside not believing. I met her smiling, and I loved her for taking a chance that she would find her eighteen-year old granddaughter in school on a Saturday evening.

“I bring fish for you,” she said, holding out some plastic bags.

Back at my apartment, we unpacked fish, plantain, spices, palm oil, yam, pepper. How could I tell her that I did not cook; did not really know how, especially did not know what to do with smoked fish and palm oil? That the gas cooker in my kitchen sat bemoaning its uselessness. That I nodded and said, “Mmm mmm,” to my mother whenever at the beginning of a new semester she admonished me not to set the kitchen on fire. That I was liable to throw the fish away because it ‘smelled’ and would go bad under my watch.

I thanked her instead. I did not want her to ask me what I would do when war broke out and I could not cook.

We sat in my room. She sipped a soft drink because I had nothing else to offer and because she said, “No, no,” when I wanted to go out and buy food. The silence made me restless and I longed to fill it, but you can only ask, “How your body? Home people? Sapele?” once.

She seemed content to look at me. Maybe I reminded her of her daughter. After a long time in which I started feeling uncomfortable and wished she would go before my friends came along, she broached the subject of language and war.

I let my silence speak for me.

After she lost her vitality, she came to live with us. Sometimes she would talk to no one in particular; it was no longer surprising to find her in her room alone, chatting. My mother made sure she was always within eye view because she could wander off into the sunset, her legs possessing an agility incongruent with the rest of her. By then, I was hardly home and when I was, I retreated to my world of youthful infallibility, busy with things I have no recollection of.

When she died, I felt the general sorrow, which accompanies loss of human life, and the particular sorrow that haunts a child who watches her mother grieve.

I am thinking of my grandmother because as I embark on a new series on motherhood and invite people to tell their stories, I wonder about the blank spaces in her life, which I cannot fill. I realize I did not do enough to bridge the gulf between us; there are languages other than pidgin and her dialect. My active presence is a language I denied her.

 

In loving memory of Princess Ajoritse-Debi Atsemudiara Etchie.

 

©Timi Yeseibo 2016

 

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Saying Yes to Nigeria [4]

~ livelytwist ~ 27 Comments

Naija in my Blood

Perhaps nothing reveals the spirit of a city like the attitude of its drivers. Do not even speak of the courtesies you possess until you have driven in rush hour on the streets of Lagos, where every hour is rush hour.

“Foolish man, can’t you see I’m indicating?” she cast a sideways glance at the offender. 200 metres later, with one hand on the steering and the other on her temple, she yelled at another offender, “Are you mad?” A minute later, she placed her hands on her horn repeatedly in bursts, peep, peep, peeeeep, “Stay on your lane!” And at the roundabout, looking less confident, she let out, “If you scratch my car, you will pay o!”

I watched her chest heave and dip, heave and dip, as we rode from Victoria Island to Lekki, while she continued her monologue with drivers who couldn’t hear her because we were cocooned in air-conditioned comfort in her car.

“They can’t even hear you,” I said.

“They can,” she insisted, but changed tactics, making me the subject of dialogue. “Timi, see what that driver is doing? That’s the problem with—”

“You’re going to give yourself a heart attack at this rate; can’t you just drive without the commentary?”

“You don’t understand, wait until you start driving.” She was darting in and out of lanes, “You can’t stay on one lane in this Lagos, you’ll never get anywhere . . .”

Famine brings out our worst instincts and the famine in Lagos is severe—lack of good roads, petrol, patience, politeness, empathy, sanity, alternative transportation like trams, trains, or water transport, diligent traffic wardens, and a responsive government.

Driving in Lagos has not changed. But I have. Or do I still have Naija in my Blood …

Read about my former experience, which is still relevant today here.

© Timi Yeseibo 2016

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Saying Yes to Nigeria [3]

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Our National Pastime

In his essay on exile in The Guardian, Ngugi wa Thiong’o writes:

Exile is more than separation: it is longing for home, exaggerating its virtues with every encounter with inconvenience.

I do not think I exaggerated the virtues of ‘home’ but I know people who did; people who began or ended sentences using two words, back home, nostalgia trailing their voice—ah the warmth of the sun back home, the friendliness of people back home, the sense of belonging back home, back home I used to …, and on and on.

I put up with whatever inconvenience being a minority in a foreign country brings, not forgetting that the country from which I came also has issues, in some respects, bigger issues. If the grass is greener on the side where you water it, then I did not want to waste my water. I watered my grass in The Netherlands and watered it some more.

Ngugi wa Thiong’o’s opening paragraph is instructive. He writes, “I never chose exile; it was forced on me.” But the heart plays tricks on even those who became ‘exiles’ by choice. When I arrived home, I discovered that I had managed to exaggerate some virtues and had forgotten about Our National Pastime …

Read about it here.

©Timi Yeseibo 2016

 

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Saying Yes to Nigeria [2]

~ livelytwist ~ 18 Comments

Naija Movie Night

In his essay for the New York Times Magazine, A Too Perfect Picture, which examines Steve Curry’s work, Teju Cole concludes that:

Art is always difficult, but it is especially difficult when it comes to telling other people’s stories. And it is ferociously difficult when those others are tangled up in your history and you are tangled up in theirs. What honors those we look at, those whose stories we try to tell, is work that acknowledges their complex sense of their own reality. Good photography, regardless of its style, is always emotionally generous in this way. For this reason, it outlives the moment that occasions it. Weaker photography delivers a quick message — sweetness, pathos, humor — but fails to do more. But more is what we are.

I do not own a camera, only words. I’m sharing this story I wrote years ago even though my experience in 2016 is different because it remains a snap shot of who we are. I hope my lenses are strong. I hope they do more. Read about Naija Movie Night …

 

©Timi Yeseibo 2016

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Saying Yes to Nigeria [1]

~ livelytwist ~ 73 Comments

nigeria

Each time I am sure that, in returning to Lagos, I have inadvertently wandered into a region of hell, something else emerges to give me hope. A reader, an orchestra, the friendship of some powerful swimmers against the tide.
– Teju Cole

Several years ago when I was in Nigeria, I wrote a collection of articles about my experiences since I had returned and received feedback from my editor.

“Please don’t be like all those sabi sabi oyibo Nigerians who come from abroad and tell us what’s wrong with our country; they won’t stay and solve problems only talk talk talk,” she said and handed my manuscript back to me.

“We know what’s wrong with Nigeria, we live it every day. We are looking for escape in comic relief. If you must tell us, satirize it, and make yourself one of us. Like this story here,” she collected the manuscript from me and leafed through it. “This one is good. This one,” she shook her head, “not good.”

I did not agree with her assessment regarding the articles she claimed were not good. They were reflections based on my experiences. Moreover, I couldn’t infuse humour or irony or both in every article, could I? Maybe I could, I am Nigerian after all.

I read Teju Cole’s book, Everyday is For the Thief, years ago. I recall feeling hectored by chapter after chapter about a Nigeria with little redemptive value. My patriotism reared its head. Could he not find many more events, which were ‘normal’ to write about? Of course, I recognized the narrator’s experiences. Some were mine too, but such truths in black and white were painful to swallow. Then I understood what my editor had been trying to tell me.

African writers in the Diaspora have been accused of writing poverty porn— stories of disease-ridden, war-torn, aid-dependent, poverty-rife, corruption-infested, and patriarchal Africa—to sell their books to audiences in the West. While these aren’t the only narratives of Africa, as far as Nigeria goes, some elements are inescapable; even in choice neighbourhoods, evidence of poverty rises to the nose from the open drains that surround electric fences.

Returning from years of living abroad, your brain functions in constant comparison mode, not only of currency and exchange rates but also of culture, infrastructure, organization, and leadership. Stories are everywhere. But, does a writer have an obligation to be an ambassador of hope if he finds none?

Recently, a friend and I were discussing relocating permanently to Nigeria.

Holding his British and Nigerian passport in each hand, he said, “Nigeria, nah.” Placing his British passport on top his Nigerian one, he said, “I can only do Nigeria in measured doses.”

Without shame, I realize that another five years outside Nigeria has almost made me one of those Nigerians. If I were to review, Everyday is For the Thief, today; I would not be too harsh.

Every time I return to Nigeria, it is not with joy; a certain coercion draws me to her. Nevertheless, I leave better for having stayed. My patriotism is sometimes shaky, needing comfort to support its grid. If I returned with resolve to build a better society, the fuel queues and sweltering heat are melting it away. Perhaps time will help me tell a different story.

 

©Timi Yeseibo 2016

 

Photo credit: http://www.inecnigeria.org/?page_id=373

 

 

Leave Trash For LAWMA

~ livelytwist ~ 37 Comments

“Stop, stop,” I urged the Uber driver.

He obliged and I came out of the cab with my phone to take a photo of the signpost. 

refuse disposal

“Why did they put up the sign,” I asked the driver, shaking my head as I returned to the car and put on my seat belt. “Do you think people will obey?”

“The first problem,” he said, “is that the people that it’s supposed for can’t even read it. When they see it, they will think it’s about 419.”

I nodded recalling the caveat emptor signs commonly seen on buildings and plots of land: This Property is Not For Sale; Beware of 419.

But, I was not sure if he had correctly estimated the literacy level in Lagos, Nigeria, because I was using the people in my circle, who can all read and write, as a gauge for the rest of society.

“Hmmm do you think it is fair for God to dirty their lives if they can’t read the sign?” I chuckled at the image in my mind of an angry God with smoking nostrils, waiting to rain trash on dissidents.

“I don’t know why they have to bring God into this matter. This thing is simple.” He went on to describe the current system of refuse collection initiated by the local government authorities.

“See,” he slowed down and pointed to a refuse heap, “they can throw their rubbish here . . . but only those who have paid, those that have cards.”

I have written about voluntary compliance before, marveling that Nigerians need the brutal arms of uniformed men to coerce compliance out of us like malu congo, yama yama congo—a derogatory chant that I cried out as a girl. It was aimed at cows being driven with a stick by a herdsman intent on the cows doing his bidding.

But as the driver and I exchanged ideas about efficient systems of refuse disposal and the role of government and religion, I observed that humans in general, were wild at heart, bucking at authority and searching for short cuts. That if law and order seemed to prevail in the western world, it wasn’t so much the result of “civilization”, but the result of sophisticated systems of policing—a speed camera mounted on a busy street ensured compliance without invoking the wrath of God.

I asked the driver what he thought people who aren’t able to pay the fee for refuse collection should do with their garbage.

“I don’t know o. Na wa! Only God can save this country!”

He had come full circle and now embraced a premise he had earlier rejected, why bring God into this matter? He (and I), had done more thinking about a social problem than we normally would have and that was not a bad start.

He brought me back to the present by interrupting my thoughts with a double entendre.

“Madam, abeg leave trash for LAWMA!”

 

©Timi Yeseibo 2016

 

LAWMA- Lagos State Waste Management Authority.

Abeg leave trash for LAWMA– ordinarily, in this context, Pidgin English for: please allow Lagos State Waste Management Authority do their job.

(Abeg) leave trash for LAWMA– a hashtag on Twitter, the result of feuding between two Nigerian music producers. It has morphed into a slang that means (among other things), please talk about something else.

 

©Timi Yeseibo 2016

 

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Along Came Fences

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fences

We lived in a compound of three flats and a boys’ quarter in Ago Okota, Lagos. Ours was a fenced compound, sort of in the middle of nowhere, last on the street and separated from other buildings by an expansive gulf of undeveloped plots of land overgrown with weeds.

A single mother and her three kids lived in the boys’ quarter. Her first son was my age-mate and friend. When I think back to those formative years, I remember the resolute cooperation of two nine-year-old boys who decided to make a bench from abandoned formwork lying about an uncompleted building close by.

For days, we slaved to make a three-legged bench that a parent bought for N10. My friend and I always watched with pride as our siblings and parents sat on the bench in the evenings. We made another, which I marketed to a relative, selling it for N5. I walked for half a kilometre with the bench on my head to deliver it. While making those benches, a rusted nail pierced through my left foot. My mom took me to a nearby clinic to have me treated. The bill was N200.

When we moved to Kaduna, only two houses on our street were fenced—ours and another one down the lane. Our gate was the opaque border bounded by four high walls decorated at the top with broken bottles.

Despite my love for accessing that side of solitude that engages with written words, the part of me forever enslaved to fantasy fed fat on cartoons and I hungered to bring the adventures scripted in them to life. So, during my teenage years, the call of the streets drew me past our gate, to a circus of street hockey, boris, hunting traps, bangers, suwe , and games of catcher with many other children. As dusk fell, I would reluctantly retreat from the big compound that was our street to the confines of the opaque gate.

In the space of two decades, every house on my street has grown a fence. The ‘big compound’ has shrunk away from the backyards, front yards, and trees, which were common property supporting the imaginative expressions of every kid. The evening bustle of legs and screams have vanished. Moreover, kids have now been tamed by big and small screens that keep nagging them, demanding every bit of their attention.

My village is different. Even today, there are no fences. Solitude is alien and greetings and communal assistance are prized. People do not distance themselves from the identity and stories of others who live around the corner.

Fenced houses and gated communities are the norm in cities. We insulate ourselves to feel secure. However, I maintain the premise of one of my favourite lecturers who is a past president of the Nigerian Institute of Architects: the best form of security is communal and that happens when there is a sense that anyone could be watching a thief from a nearby window.

 

© Samuel Okopi 2016
samuelokopi.com

 

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Shifting Gears [5]

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adrift

Adrift

For the most productive parts of my year, Marilynne Robinson’s words were my Mantra: “Frankly, you get to a certain point in your life where you can do unusual things with your mind. So then, I think, do them.”

What Marilynne doesn’t explain is that doing stems from being; that our being is tied, irrevocably, to our interactions, our relationships; that in reinvention, we shed our pasts and people in them to emerge into new forms of ourselves. There is something visceral, violent even, in leaving friends to gain new frontiers.

In August, I was added to a WhatsApp group of my secondary school classmates. My first comment was a rant. Someone asked why I was speaking as though I did not attend the same school like everyone else. Even I am a stranger to the boy they used to know.

It was easy to severe secondary-school ties. I used to be good at that. The secret is to avoid nostalgia, excise memories, and dull the mind with new experiences. I did this without guilt. I often say I am content in solitude and enjoy being an island, but when I entered university, I made new friends who showed me friendships are not just bridges that can be burnt at will and reconstructed. They are anchors that prevent me from drifting.

Trying to describe the loss of friendship, Murakami wrote of the titular character in Colorless Tsukuru Tazaki and His Years of Pilgrimage:

“The pain he felt was, if anything, more intense, and weighed down on him even more greatly because of distance. Alienation and loneliness became a cable that stretched hundreds of miles long pulled to the breaking point by a gigantic winch. And through that taut line, day and night, he received indecipherable messages. Like a gale blowing between trees, those messages varied in strength as they reached him in fragments, stinging his ears.”

Towards the end of the year, my life began to imitate art; Tsukuru’s story came alive with vivid intensity. In striving to be the kind of person who can do the things I now think my mind is capable of, I was drifting away from my friends.

Last month, I spoke to one of my best friends. I asked her about work.

“You are so out of date,” she said with laughter in her voice.

We spent hours trying to fill the yawning void between us, trying to get back to the way things were (the way they should be?).

Time is the tie of friendship, affection its strut, and these I do not possess in infinite quantities.  Having severed, at will, friendships in secondary school and anchored myself to friends in university, I’m learning as a young adult that it is okay to drift away from some friends without angst or guilt.  To build new bridges some of the old ones have to be dismantled.

I walk through the phantom space where bridges used to be, hoping there is enough muscle memory to take me past the awkwardness of encountering old friends; you know, matching faces to places and names to dreams. Nonetheless, I am grateful for friends—past, present, future—who anchor me to reality and to whom I owe bountiful debts of love.

© IfeOluwa Nihinlola, 2015

Ife blogs @ ifenihinlola

 

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Shifting Gears [3]

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gear shift

Not The Comic Book Hero

As a young man, I had no understanding of stiffness after exercise. I had no idea of the pain that came with the arthritic joints of unsteady elderly folk.  This would never happen to me.

In the 1940s, I happily skinned my knees in South London streets devoid of motor cars. During the ‘50s, I was introduced to cricket and rugby, two sports I continued regularly to play until, aged forty-five, I moved to Newark on Trent and considered it a little late to join new clubs.

From thirty-five to forty-five, I undertook weight-training three times a week. Throughout my forties, I ran 25,000 miles on roads, including participating in eighteen marathons. Having covered nine miles to work with a knapsack on my back, I showered in my workplace, and then breakfasted in a nearby cafe. On the day I ran fifteen miles before completing a rugby training session, I felt smugly comfortable with the epithet ‘Superman’, bestowed somewhat facetiously, I’m sure, by a group of Social Work students.

I shrugged off sporting injuries, notably tying a broken finger to its neighbour with a bootlace before completing a match. That joint has never bent since, rendering picking up coins rather difficult.

As I entered my sixth decade, a recalcitrant calf muscle forced me to concede that my daily mileage would need to be walked, not run.

During a game of touch rugby at the end of Sam’s December 2007 stag day in the Margaret River wineries, a seventeen-stone friend of the prospective groom, forgetting the rules, tackled me to the ground. I leaped to my feet and tackled him back at the first opportunity. The father of the bride halted the game soon afterwards, saying that ‘someone’ would get hurt.

The best way to overcome the wall—the point in a marathon at which your body tells you that it cannot go on—is said to be to run through the pain until it subsides. When, towards the end of 2008, my left hip developed severe discomfort, I applied that belief. Sometimes I couldn’t sit down afterwards.

About three months after receiving a prosthetic joint in October 2009, I was back to an average of two hours a day of undulating perambulation.

When we began reclaiming our neglected garden in April last year, both Jackie and I spent about six hours a day throughout the summer engaged in heavy tree work, removing stumps, and shifting substantial rocks and concrete.

Abruptly, this March, I shuddered to a halt. My right knee was in such pain that when I visited the GP, I was offered a wheelchair, which I declined.  After some improvement, I can walk an occasional two miles and my gardening is somewhat restricted.  Were I to be tackled today, I would need helping to my feet.

Exercise is now required to reduce stiffness. It has happened to me.  I am not the comic book hero.

That is what I have learned in 2015.

© Derrick Knight, 2015.

Derrick blogs at derrickjknight.com

 

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Shifting Gears [1]

~ livelytwist ~ 41 Comments

shifting gears

 

Human clay finds its moisture in relationships and will evaporate into dust without them  – Beth Moore

 

When I arrive at Tamali’s house, she holds my arm and turns me from side to side, and then she sighs.

“How do you do it?”

She knows how I do it. Her eyes sunken, her voice nasal, her walk without bounce; she coughs as she leads the way. The aroma of sautéed bell peppers and tomatoes hits me. On the gas hob sits a stainless steel pot. Underneath the glass lid, I spy something white; rice, pasta?

“Food?” she gestures towards the pot.

“No thanks, I’m good.”

She opens the fridge and brings out Amaris’ cake. I recognize it from the photo she sent me on WhatsApp. The Barbie doll, which sat atop is gone as is half of Barbie’s pink-layered flowing gown. She gets busy with her knife.

“Too much,” I protest.

She eyes me, “You don’t have to eat it all at once.”

Her neck is lean and last week was tough for her. So, I take the knife from her and halve the portion she set aside.

Back in the living room, she offers me the stubby bananas that Kwame brought from Uganda.

“Very sweet. Not like the ones from Costa Rica in Albert Heijn.”

“I’m full.” I bend and hug my stomach.

“You never eat! I can’t count how many of them I’ve had,” she spreads her arms and looks at her torso; “I’m always eating!”

She is not always eating. It is her frustration speaking.

“How did I get from there to here?” She points at a framed photo by the TV and then digs out more photos from the shelf next to the TV stand.

This is what you do for a friend with flu. You stop by her house after work with a packet of Day & Night Nurse and explain how to take the capsules. You eat cake when you’d rather not. You pull your chair closer to hers and hunch over hundreds of photos. You listen as she reminisces about her days at Makerere University and her time in London, the jauntiness of her late teens and early twenties—that period before we tell ourselves, I’ve got to get serious and settle down. You see a girl you did not know, who helps you understand the woman you now know. 

She appraises each picture by size, interrupting my flow.

“Oh, look at this one, I was slim here.”
“You think I look good there? No way, I resembled an elephant.”
“This one was taken earlier in the year. See me in the same dress later that year; the dress is bursting at the seams! What did I eat?”

And you mourn with her, the loss of youth. Because flu makes you delirious. It makes you want your mother who is 6000km away; although you left home at twenty and you are now in your early thirties. It chains your legs so you miss the gym, stay at home and raid the fridge, and feel fatter than you are.

A pathological nostalgia has seized her and you cure it with kindly indulgence, not once looking at the clock. 

I recently read an article about why female friendships are fraught with infighting. Sitting here with Tamali, I cannot relate. Have my friendships always been this supportive?

There was that time Ada stayed over and borrowed my jewelry while I was at work, leaving me a note to dispel panic in case I looked for it when I returned. I stayed mad for months and ignored her overtures and peace emissaries. My anger was toxic, contaminating anyone who would listen. One day she braved my rage and showed up at my doorstep.

“Yes?” I filled the door space, arms folded across my chest.

“I’m sorry. It broke. I couldn’t return it until I fixed it.”

I blocked her advance, spreading myself wider.

“For crying out loud Timi, it isn’t even 24-karat gold. It’s costume; that’s why nobody could fix it!”

“Beside the point! You shouldn’t have taken it without asking!”

She edged passed me, pushing me against the doorframe. She dropped the broken piece of jewelry on the dining table on her way to the kitchen.

“Do you have any food?” she asked one hand on the door of the fridge.

I sighed and smiled. You cannot poison food if you are going to eat and share it. That was twenty years ago. Ada and I are still smiling.

My girlfriends and I congregate around food. We eat; we do not eat. Thighs and hips feature in our extended conversations. Size is important and relative. Beneath this shallowness is affection, deep and strong, binding us as tomatoes cleave to meat in stew.

When I was younger, I made war. Now I’m older, I make peace. 

 

©Timi Yeseibo 2015

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Heat

~ livelytwist ~ 24 Comments

Heat

He stared at it for a long time. But when he looked up at the huge round clock, incongruous analogue, mocking the digital revolution below, only seven minutes had elapsed.

Now that the man had finished reading the label on it and his son had stopped pushing his face, chin first towards it, his daughter refused to go. The girl stood in front of it, revelling in the way it made her t-shirt crease and lean into her chest, her short sleeves shaking and sharing her delight.

“Mieke! Kom op!”

She ignored her father and spoke into it. The sound of her voice breaking and quivering cajoled her brother to let go of his father’s hand and join shoulders with his sister. Their voices trembled together, gibberish to others but holding meaning for them both.

And he remembered what it felt like to have someone whose voice rose and fell in cadence with his.  He should not have let her go.

“Dani!” their father called, securing the box in a tighter embrace before turning and walking away.

He measured the angle formed by tracing the son’s head up to the father’s and down to the daughter’s. An obtuse angle, the geometry of his life. He must have looked at their backs for too long, because when he turned around to move closer to it, two girls were already there. Their legs, as yet, insufficiently kissed by the sun, stretched long from the edge of their bum shorts to their ankles. They wore black flip-flops decorated with neon flowers, which would glow in the dark.

The first girl raised her arms and let her mid-riff enjoy it and although it teased her crop top, it could not lift the blouse higher. The second girl used one hand to plunge her neckline so that it could find more places to affect. They giggled. Then they were gone, as quickly as his youth, hobbling as they shared the weight of the box.

The whirring noise coming from it reminded him why he had come.

“Pardon. Meneer?”

The boy who addressed him wore a red shirt with a name pin on the front pocket. The boy was leading a man with an open collar and rolled-up sleeves to it. He wanted to say he was not done yet, but moved aside instead.

He watched the boy, nineteen perhaps, summer job maybe, gesturing with his hands as he explained what it could do. The man nodded and rubbed his neck. He imagined that this man wearing a striped shirt sat in an office from nine until five, getting up for coffee every hour, and sending emails every other hour. The man’s torso had made peace with that kind of life.

The man must have asked how much and then asked for a discount because the boy told him 50 Euros. The boy said it was the last one but since it had been on display, the man could have it for 45. The man shook his head as if he could bargain on a day like today. The boy suddenly seemed older as he explained capitalism to the man.

“Tomorrow, we will get more stock and sell them for 70 Euros and people will still buy. We could have sold this one, but we needed a demo.”

He saw an opportunity he had not known existed and fingered the money in his pocket. But the man nodded and pushed his glasses up his nose. Then the boy bent down and got to work.

He watched the boy break it in parts and steady the blades before pushing its head into a rectangular carton. He folded the cord in 4 cm strips, securing it with a string. Then the boy hoisted the box and walked to the counter where the man was taking out his credit card.

He swallowed his anger like saliva that gathers in one’s mouth from inactivity. He recalled his last night with her. She had asked him what his plans were, if he was going to drift forever. Her parting words, the patient dog never eats the fattest bone; can’t you be crazy for once, galvanized him to action now.

He dashed to the counter and snatched the box. He made for the door, pushing languid bodies with the box. The alarm sounded but the heat had humbled the security guard in a navy blazer who possessed neither baton nor gun.

Only when he reached his apartment door did he stop looking back. Inside, the open windows yawned and wished for something to do. Sweat gathered around his neck then slithered to his chest. He opened the box and put the parts together, steadying the blades as he had seen the boy with the red shirt do.

Finished, he admired his work and waited for it. After two minutes, he rechecked the parts and fumbled with the cord. He searched the box, moving his hand from side to side. He let out a deep sigh and banged the wall. Then he dropped on his bed and cursed the heat while his sweat seeped into the hot sheet.

The infrared sensor on its sleek black panel glowed and turned to an eye that grew and grew. Then the boy with the red shirt emerged from the eye. The boy shrugged and gestured with the remote in his hand, “It is the heat; it makes people crazy.”

He blinked and looked away, fear creating tremors in his heart. When he dared to look again, the glow and the boy were gone. He groaned. Was there no more room for analogue in a digital world?

Tomorrow he would return to the shop wearing a baseball cap. Tonight he would wrestle the heat. He picked her wedding invitation from the bed and began to move his hand from side to side, rewarding himself with hot air. He imagined the card was made from steel and black plastic, like the fan on display in the shop.

 

©Timi Yeseibo 2015

 

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