Poetry

FOUR POEMS

by Dzifa Benson

A Note from the Editors

Featured here is a selection of four formally and emotionally fearless poems from Dzifa Benson’s debut collection Monster (Bloodaxe Books, 2024). Due to their complexity of format, we recommend reading these pieces on desktop for the best viewing experience.

Read our recent review of Monster here.

DZONU // Fire things: a brief geneology of the xx chromosome

Once upon a thinking-string-of-sighs, in the valley between the River Mono and
the River Volta, dancing gods from So pantheon like Hevioso, the killer whose
voice lives in thunder and Avleketi, the pretty shapeshifter from the sea who we
sometimes call Mami Wata, first peppered the land with beads as if they were hurl-
ing down a clock-bird’s currency.

Storytellers say nothing about women like Dovi, Grandma, whose will beat brass
and ground glass, who knew artistry is unthinkable without shadows. She passed
through Afa’s fire then came back to sit night after night, in the shallow arc of
yellow light spilled from a hurricane lamp to string-tie dzinyagba sighs and make
gold laugh in a forge lined with trays of termite clay and cassava stalks so that
she could pass on her womans-wealth to her daughters and her daughters’
daughters and their daughters.

Nothing either about women like Flore, Mama, who wore white ananu beads
claimed in victory for surviving childbirth and later, aglobo starbursts, green
chevrons for new bloom in bud. When her waters finally stopped, her hunting spir-
it stalked Aido-Hwedo, the rainbow snake, in saltwater for many days and then
she collected esui, coral glazed red like sacrificial animal blood to ensure her
daughter would live true to what she had named her.

Instead tales abound about those afli beads - bloodless bone or mere seeds, not
mosaic, akoso, millefiori or even the trade ones that cast out people across the
sahel and water. God-objects, insisted the chancer English explorer, gifted to him
in Dahomey from the Fon king’s treasure trove of thinking strings, made only by
women. Surely not by any Mino, those daughters of Africa, who swallowed enemy
blood swiped off machetes and shunned dancing beads bouncing at their loin
cloth lines.

I hear the great ancestral beads call through their holes to me, Azolia, their
many, many times daughter. This storyteller’s skin is tribal marked by ali dzonu,
her belly dimpled by vaseline waist beads meant only for the eyes of her lovers
and passed down from her mothers. Their fire things forge kin to Awoamefiadu-
lawo, to the footprints of women in Adafienu dancing the husago, to life and death
itself kindling the blood kin of my flesh.

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--
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Freak Sonnets for Lusus Naturae at Bartholomew Fair: Natural-Born, Man-Made, and counterfeit

Miss Hopwood works hard for her money
seven shows a day and six days a week

Wrists where my elbows should be, I’ll still always
wear my wedding ring. You stare at me as if this
embarrassment of limbs protruding from my chest
is an act of war waged against you. I know what I am,
a wound, God in the shape of a grand jest, the writhing
of chimaeras in hurricanes. My depleted spirit is
surely not the most hospitable of hosts, cobbled
together in foundling hospitals, taverns and fairgrounds,
in excess, you say, of the natural order of things. You
can’t imagine what I choose to believe in this armour,
this memento mori standing before you like the stinking
yeast of your yet to be lived indignities. I remember now,
my entry into the world sucked all the air out of the room
when the royal midwives lifted me clean from the womb.

Miss Pindar is a doppelgänger for the living wonder
of the deep sea roots lurking in all our family trees

What a rare bonanza I am for a nation of starers!
Double-shaped and female to my navel, out of the waters
of Fiji and walking on land like a many storied queen
of the sea, I dare you to reproduce the equal of my iridescent
tail in all its finery. The veracity of my existence may be eternally
contested but seeing is surely believing and nature has nurtured
no other kink like me, a goddess as irresistible as Charybdis’
tidal allure, Venus before the yawning of her shell. Unlike
those other animals who eye you sideways, their gazes
flickering and passing on, don’t expect me to peer coyly
back at you through my webbed fingers or conceal what
passes for a vulva with a fig leaf. My curly, long green hair
so artfully placed across my breasts stages your curiosity
and long may that be my only concession to modesty.

Miss Crackham would rather quaff a quart of
beer than listen to a tedious sermon in church

From the O’s of your slack jawed gawks, I’d wager
you’re flabbergasted by this glory of corpulence.
Your rapt attention is almost more than my skin
can hold as I sit on a two foot high stage in this bedlam
of necromancers, knife-swallowers and monster
mongers but I’m no performing monkey. When I aged
out of being the Largest Child in the Kingdom, I had
to live like an outcast but that’s not a tale for this day’s
display of fat. In the meantime, I’ve learned how to model
my skin from the outside in, how to constitute this flesh
in the act of posing all its rolls, its flab and its folds
for the merriment of you, the audience, that fickle beast
who always rolls over to let me tickle its greedy belly
as it buries its head in my bosom’s bounteous valley.

Miss Van Dyk, the tall Dutchwoman, thinks of her
face as an unexplored, difficult to ascend place

I cannot stand silence so it’s the din of the stage
for me where I can sway among the rafters to the spiel
of the barker and stalk the boards to the rasp of hurdy-gurdy
and gauge of long drum. It’s true, I have stumbled and fallen
many times but I am also a spiritual sister of giraffe-necked
women, those daughters of stilt-walking Titans. You all want
too much for your shillings but I bear this greatness
which has been thrust upon me on a graceful scaffold
you all want to scale. Home is sawdust and greasepaint
kin is the spit-snarl of the rabble, half-cut with pale ale.
In my dreams, I always dance a minuet with someone
tall enough to make my audacious proportions feel
petite and delicate without having to bend and stoop
even as the plume on my hat, once so tall, now droops.

Miss Morgan, the Windsor Fairy, excited in the
breasts of dukes sensations of dazzled rapture

When it’s a big world and you’re a little person like me
even walking can seem uncanny when you are simulacrum
of woman, homunculus or Lilliputian, as if something
has been left missing from the making of you - if that’s
what you choose to believe for your own edification.
Yes, it may be true that it’s a strange tongue this one
my body is forced to speak but when you’ve been used
to belly-boxing at the bottom of a wagon for the better
part of your existence, blood can be flowers or midnight
or lightning or courage or the very last thing you see.
Make no mistake, I’m no small winner. I know that by
the authority afforded to me by royal decree. So don’t
assume the diminutive proportions of my anatomy hide
any inclination towards the smallness of a life.

Miss Sidonia, married twice then retired
a very wealthy woman who lived a long life

When Nicu was twelve days old God sent me
the downy fuzz that sprouted into this chestnut-
coloured beard. I will not take it off! How else
would you, the hoi polloi clock me? Not quite
wolf, this capricious fork in the course of evolution
is a church of marvels, an edifice fashioned for
your insistent titillation that has made me rich.
So if this visage is to be my inheritance, let it be
a diamond in the sty, a lure to hook into the lip
of the mob. This hirsute stunner means I cheated
death, I fought and won. I am a sight to silence
the baying crowd and I believe in beating my own
gong. That makes me beautiful and owing no favours.
I bow now to the deities who gambol in my whiskers.

Miss Devono’s blue eyes and silver hair made men
weak at the knees with a common unscientific fervour

How easy it is to construct a living wonder when you can trip
from awe to ridicule and back to awe again on a tight rope
of paradox worthy of the steeliest wire walkers. I wash my hair
in beer to achieve the desired look of perfect imperfection
that frames my face in this frizzy halo of hair that you say
makes me look just like an angel. Zeleah, Zuruby, Zula
or Zobedia - no matter what exotic name you demand of me,
eventually you will turn me out of this stall, out of this roving life
just easily as you turned out the learned horse and dancing bear.
Sometimes, I wish this burden of blood and bone would leave
my body as easily as piss. Because you still want to subdue
my flesh in this conjurors carnival of Circassian glamour
I know to live free I must always refuse to look in the mirror.

Miss Vaughn threatened legal action against any
other act daring to say they were uglier than herself

When you think of a daughter, I bet you never imagine
this hacked gristle for a face and this epidermis, a hot
to the touch patchwork of failed answers lumping human,
animal and vegetable together. Or my voice, dragging its
woe from the shadows of sideshows. You think rouge and lipstick
are as out of place on my face as lace curtains on a schooner’s
portholes, grotesque hag, mirror for an ugly soul. Myth
is the gaping maw into which you wedge my jutting jaw, you
are the mooncalf who comes and goes, comes and goes
but if I am something so monstrous what is your reason?
My mother marked me well so that I would know myself
again in other lives after the fifth, sixth and tenth times.
In all the ways to look what you see is your shame, not mine.

Miss Baartman wears her sense of self tightly at a
night suitable for ladies, she musn’t let it float free.

Here I am ripe and raw, stumble-root carved as woman
untethered from my shadow and living in its shade.
Pinched, poked and prodded with parasols by things
that should never have been born, pretty things, other
things of fashion accompanied by their young black pages,
caricatures in this parliament of monster makers. Tired
of being tired, I hang like a curtain skirting the stage,
my cloth pouring down endlessly as you watchers waft
right through the cloth of me, convinced by your own sneers.
Where in this affair is the true monstrosity if you can laugh
and name and point and you look but you do not see
the gluttonous black craters where your hearts should be?
Khoekhoe tamab, Sab ke - you are all so uncouth
so please remove my name from your mouths.

Bottom Power redux // Augmented with Bustle (A Poem-play)

“[...] in those days, when bustles were not, she was a curiosity, for English ladies
wore no shape but what nature gave and insisted upon”

— from Memoirs of Charles Mathews, Comedian

CHARACTERS: Bottom and Bustle
WHEN: Throughout history and modernity. The nineteenth century, especially.
WHERE: In the ether, in a room, on the street, in fevered imaginations, in the eye
of the beholder, on the cover of a magazine, in belfies on Instagram...etc.

BOTTOM: Hey you!

BUSTLE: Ah, there you are! I’ve been looking for you. But I kept
running into dead ends.

BOTTOM: I am the seat of this realm. What are you doing here?

BUSTLE: I’m not just passing through. What is it like to own flesh
and blood?

BOTTOM: Do you not own a mouth to ask me that? Or did you say
it with your foot?

BUSTLE: Haha, I see what you did there. I understand how I am
built but what should I feel? What is it like to have a body?

BOTTOM: How can I put this succinctly? A hiding place you
carry with you in plain sight. A first, most essential home
which also happens to house decay. Double shadowed
and twice born, three times if you’re a woman. A too
muchness of self in the glare of mirrors revealing former
body, desired body, digital body, bikini body, a body
made for sin or in the gym. So...a singularity at odds
with its will for multiplicity engendered by an insatiable
need for connectivity. To be complete but still found
lacking. Not hearing because of wearing ears but wearing
ears because of hearing thunder, gurgles, whispers, gossip,
the cranking of engines, rustling, the sound of your buttocks
rubbing together as you walk...Too often a bargaining
with searing flashes of shame, anger, fear and confusion.
To feel the bite of a red soldier ant’s pincers and know
the truth of sutures. So a bag of tricks too. Returning
to breath. Wishing to return to breath. Unable to return
to breath. Skating the thinnest surface of a dream...so
monumental persistence. That’s it. Monumental persistence
pulsing over time. Monumental persistence in trying to spit
in death’s eye while still walking in the sun.

BUSTLE: I know about singularity. If I was not here, you’d have to
invent me. You can’t ignore that.

BOTTOM: Owning a body is having a body is being a body. But who
is only ever a body? Flesh is always...a becoming.

BUSTLE: Am I not a being? I cannot think of myself as nothing but
a part of life.

BOTTOM: What is this ‘I’ of which you are so sure? Even I don’t know
for sure if I have a mind. I am not always pictured with flowers
but you are like one of those parasitic beetles who hitchhikes
on army ants by clamping its jaws around their waists. I will
call you Beetlebum.

BUSTLE: But I do have a story. It’s an audacious enactment of self.

BOTTOM: You mean your silhouette, rather than you, has a story.

BUSTLE: Isn’t it the same thing? I draw the body so that it can be seen
in all its protuberant glory.

BOTTOM: I’m squatting now. Can you squat? How many degrees of
motion freedom do you have? Two? My body has crooks
cranes, twists, rolls, lunges of motion freedom. All the scars
and stretch marks, the moles and cellulite. There’s nothing
about my body that lies. Your posterior plumping? You’re all
hoodwink.

BUSTLE: That’s not very inclusive.

BOTTOM: Being alive does have a magical essence of form.

BUSTLE: The body is meat but not every being needs to bleed.
You, me, animals and plants, rocks, televisions, bedsheets,
shoes, iron, earth, the stars, God... we are such stuff as
dreams and all that. That makes us all siblings.

BOTTOM: But is there anything at all womanly about your centaur’s
gait hoofing it up in this uncanny valley of existence?

BUSTLE: I’m faking it until I make it. Isn’t that how it’s done?

BOTTOM: Bu what do you feel when you’re in love or need a drink
or need to scratch an itch? What puts a jiggle in that wiggle
or holds your memory of touch? When you are asleep,
do you know you’re not awake?

BUSTLE: If imitation is the sincerest form of flattery then I am
beyond biology. My material is your second skin.

BOTTOM: Wire? Wood? Plastic and cotton? Straw and horsehair?
You really ought to keep away from open flames.

BUSTLE: I am a being who remembers the essence of its wearer,
who has the power to evolve. Or transform. Or trend.
That’s life enough for me.

BOTTOM: But what would you risk to be real?

BUSTLE: Life itself. What has anything natural got to do with
anything real? I will prove to be more immortal than you.

BOTTOM: You can’t just guess your way into the future as if it’s all
within your control. This, too, is part of your story:
“Mermaids who have their abode in the sea
round Melbourne are at present enabled to deck
themselves out in the Parisian fashions of a bygone
season. As fashions are necessarily limited in the grottos
of the ocean there is reasonable hope that by
the distribution of the bustle we may learn more
of the hitherto mysterious mermaids.”
Is it shameful to be nothing more than a whim?

BUSTLE: …!

RAFT

Sea, what if, now and forever, these subtitled women
who keep the laterite of Africa priming their bellies,
untethered themselves from their arching shadows
and stayed out too long, baking in this livid sun?
What if, this time, the open secret of stumble-root
throating their scratched out voices, their failed
deaths by cuts upon chafes and the entire syntax
of hard-grind scribed on the S-curve of their spines,
buttocks and hips, branding their skin and lips —
truly dished the dirt? Sea, what if they wished
to speak freely to your wet walls, with unfurrowed
brows and unbowed backs, the volume turned up
to lava in their too-much too-loud mouths? Sea,
what if they didn’t have to be their own life rafts?
What if, for black women, Sea, what of that?

Dzifa Benson is an award winning British-Ghanaian poet, performer, multimedia artist and journalist. She is an awardee of the Jerwood Compton Poetry Fellowship, two Arts Council England Awards and a fellowship from Hedgebrook. Her work was also shortlisted for the James Berry Prize in 2020 and the Birdport Poetry Prize in 2023. Her writing has been featured in The Poetry Review, The London Magazine, The Guardian and elsewhere. She is the author of Monster (2024, Bloodaxe Books).