After the Last Calorie of the Apocalypse / Prayer for the Clinically Obese

By OMOTARA JAMES

On the last day, let there be a fat inhalation
of delight between the lap of our sunrise.

As the tongue separates the doubt from the cream,
let pleasure sift through the metal strainer of time. Only

hours now. Waiting for the thin people in my life to die,
I read a magazine, have sex, smoke a cigarette and

ride the elevator down to the lobby. We’ve only minutes
now. Having nothing against them, personally, unlike art

they don’t improve much upon the original form. Why
was I only ever awake to the past, my past selves asleep

to what was plentiful? Exiting the lobby for the corner
store, I pass an absurdity of them. Only seconds now, staunchly

insisting their last instance be tailored to fit. Their paper lips
fanning the tulle hem of my dress, red, for the rest of us,

mere moments away from freedom, from this fine tyranny. If only
for a short while, as they begin to shrivel and wilt. Oh

mercy of the thin breeze. On this day, lovelies, we will be free
when the food runs out.

 

Omotara James is an artist, editor, and educator based in NYC. She is the author of Song of My Softening. Her work has received support from various organizations, including the African Poetry Book Fund, New York Foundation for the Arts, Lambda Literary, and Cave Canem Foundation.

[Purchase Issue 25 here.]

After the Last Calorie of the Apocalypse / Prayer for the Clinically Obese

Related Posts

Chinese Palace

Portfolio from China: Poetry Feature I

LI ZHUANG
In your fantasy, the gilded eaves of Tang poked at the sun. / In their shadow, a phoenix rose. / Amid the smoke of burned pepper and orchids, / the emperor’s favorite consort twirled her long sleeves. / Once, in Luo Yang, the moon and the sun shone together.

Xu sits with Grandma He, the last natural heir of Nüshu, and her two friends next to her home in Jiangyong. Still from Xu’s documentary film, “Outside Women’s Café (2023)”. Image courtesy of the artist.

Against This Earth, We Knock

JINJIN XU
The script takes the form of a willow-like text, distinctive from traditional Chinese text in its thin shape and elegance. Whenever Grandma He’s grandmother taught her to write the script, she would cry, as if the physical act of writing the script is an act of confession.

a photo of raindrops on blue window glass

Portfolio from China: Poetry Feature II

YUN QIN WANG 
June rain draws a cross on the glass.  / Alcohol evaporates.  / If I come back to you,  / I can write. My time in China  / is an unending funeral.  / Nobody cried. The notebook is wet.