I wrote this poem inspired from ‘Clocking In’ by poet Mitchell Taylor, in which he talks about the mundanity (yes, I made this word up) of retail.
Mom would drop me at The Cobbles
yes, The Cobbles, I went to a private school
a place of high fees and English smiles
and by English smiles I mean colonial rules
I’d be dropped off at The Cobbles each day
these parents scoffed at £10-notes with enthusiasm
as my parents worked their asses off so I had the best
these children had no nouse
of what it was like to be hungry to go without
what happens without their silver-platter path
rugby matches, horses, weekends in New York
lives of decadence and class
but displays of decadence didn’t stay in class
I was dropped off at The Cobbles each day
a full stop against a white background
just sheepishly reciting those Latinate sounds
I was dropped off at The Cobbles each day
even at ten I knew I was a joke
they were staring at me cus I was brown
they were all clones of each other
I’d now call them happy robots, drones
and those five years gave me depression
taught me how to be toxically selfish, alone
but that chapter of my life’s
been swallowed up in the Cold War I fought
but I’m happier now
I don’t go to private school anymore.
This poem is inspired by some of the characters of my childhood, in addition to Fire Season by James Galvin and ‘One of the Good Ones’ by A. M. Pressman.
I went to school with children of privilege,
synonymous with the English upper-middle class
and the first time I went to their houses
I stared up at the mounted heads,
bold as brass looking down upon me.
Stags’ heads, boars’ heads,
hollowed out skulls
like the Egyptian from the days
of Tutankhamen, Cleopatra and Nefertiti.
They are the only brown things in the room,
showing me how to be “one of the good ones” –
open-mouthed mounted mammals,
hollow shells shelled with bullets.
I laugh at the homeowners’ jokes
and I can hear the oxymoron in my chest.
I stay silent as they endorse fox hunting.
I stay silent as they insult immigrants.
I stay silent as they recite colonial-era poetry.
I stay silent,
as they tell me how they freed
poor African children last summer,
as if they will try to decolonise me too.
I know they voted Tory, as their ancestors did before them.
How long will it be before I become a head on the wall?
How long until my bones sit in the British Museum?
I wonder if I they already view me as one of their trophies.
I grimace every time they talk about their friends’ servants,
people who come from places like South America and Africa.
They go on to talk about Terry and his manservant.
I wince every time they brag about their friends who boast
about the bleeding brown bodies that keep his household upright.
But sometimes at night, I catch
these people staring into the eyes on the wall,
dark orbs of stone you know?
They know what they did;
they can still feel the blood splatter,
like the indelibly etched ink of tattoos.
They tell them they’re sorry,
promising that they’re
“some of the good ones.”
In the days after Brexit;
I thought about them, the Head Collecters.
The days after Brexit; it was open season.
It was hunting season on British streets.
Bits of bunting flapping in the breeze
like bodies over Mississippi and Georgia,
looked like treason was making a comeback,
more comebacks than Nigel Farage
as history starts to repeats itself.
In my smothering dreams,
I walk into my year-nine class…
there’s a hat on my seat with a promise:
Hunting Means Hunting,
to Make the Woods Great Again,
to put the Great
back in Great Britain.
And it feels like someone
has drawn an X on my chest
with ninety lashes. It’s the same hat
that the children of my youth wear now.
They ask me to meet them halfway,
to reach across the shop aisle,
bypassing sugarcane and soy sauce,
nutmeg and chocolate; tea and coffee;
rice and tobacco; indigo and cotton!
They ask if I care
to walk over corpses
that look like me.
They ask me
to forget the countries
that their ancestors
put on their backs.
They ask me to forget
in order to compromise.
I walk through Northampton
to the sound of history’s cries.
I see my not-so-childhood friends,
they know what their parents did.
They feel guilty; they still feel
my brittle bones in their hands,
skull and crossbones raised at half-mast.
“The blacker the berry the sweeter the juice”
But the Head Collectors said:
“The darker the meat the longer the noose.”
They hold my head in their hands and say
“You’re one of the good ones, but it’s hunting season.”