Ayokunle Falomo
Self-Portrait with Truth at the Bottom of a Well

a Markov Sonnet; after George Abraham                                         



Though tungsten-framed, the truth is not unlike water.
Let me say it, what I must before Night casts its cloak.
Somewhere, a photograph of me in yellow uniform.

*

Before Night casts its dark cloak, let me say what I must.
Somewhere, there is a photograph of me in yellow uniform

The same shade as the teeth of memory. My shirt: undone.

*


Somewhere, there is a photograph of me in yellow uniform

The same shade as the teeth of memory. My shirt undone
By the kind of hunger one can never rid one’s body of.


*

Undone, my shirt’s the same shade as the teeth of memory.
There is a kind of hunger one can never rid the body of.

Much like the body is a church, the body is a library.

*

I have the kind of body one can never rid of hunger.

Much like the body is a church, the body is a library.

There’s nothing made that cannot be unmade by hands.

*
 

Much like the body is a church, my body is a library

Of nothing that, made by hands, cannot be unmade.
What is a life if not a seam, a song unstitched by Time?

*

Is there a thing made that cannot be unmade by hands?
A life is never what it seems. A song unstitched by Time

Is trapped inside my body. I’ve always wanted its escape.

 


*
 

A song unstitched by Time, a life is never what it seems.

I’m trapped inside a body I have always wanted to escape.
Inside this poem, the truth is crouching on all fours.
 

*

 

I’m trapped inside this body. I have always wanted to escape.
Inside this poem, the truth’s an animal crouching on all fours.

In Gérôme’s paintings, Truth assumes the form of a woman.
 

 

*

 

Inside this poem, the truth’s an animal crouching on all fours.

In Gérôme’s paintings, Truth assumes the form of a woman.
In the painting I love most, she sits at the bottom of a well.

 

*

 

In Gérôme’s paintings, Truth assumes the form of a woman.
In the painting I love most, she sits at the bottom of a well—
Naked; & with her right hand, she holds up a haloed mirror.

 

*

In the painting I love most, she sits at the bottom of a well—
Naked; & with her right hand, she holds up a haloed mirror.

What is the name for it, what I, in haste, have called a life?
 

*

Naked, she holds up a haloed mirror with her right hand.

I have no name for it: what I, in haste, have called a life.

It aches, to want but have no name for what it is you want.
 

 

*
 

I have no name for it: what I, in haste, have called a life.

It aches, to want but have no name for what it is you want.

I know Shame like one knows kin. I know its middle name.

*
 

It aches to want, to have no name for what it is I want.
Like a kin, Shame knows & calls me by my secret names.

I do remember being a boy without a name for everything.

 

 

*
 

Like a kin, Shame knows & calls me by my secret names.

I do remember being a boy without a name for everything.

Unclothed, behind closed doors, I danced with other boys.
 

 

*
 

A man now, & still I have no name for everything I am.

Unclothed, behind closed doors, we danced the dance
We did not know to call a dance, or sin—just wrestling.

 

 

 

 
Found In Volume 53, No. 05
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Ayokunle Falomo
About the Author
Ayokunle Falomo is Nigerian, American, and the author of AFRICANAMERICAN’T (FlowerSong Press, 2022), two self-published collections and African, American (New Delta Review, 2019; selected by Selah Saterstrom as the winner of New Delta Review’s 8th annual chapbook contest). A recipient of fellowships from Vermont Studio Center, MacDowell, and the University of Michigan’s Helen Zell Writers’ Program, where he obtained his MFA in Creative Writing—Poetry, his work has been anthologized and widely published in print and online publications: The New York Times, Houston Public Media, Michigan Quarterly Review, The Texas Review, New England Review, Write About Now among others. You can find more information about him at afalomo.com