On Sugar and the Carnival of War

By COLIN CHANNER

At-sink coffee;
way horizon curry lined.

We’re spilling turbinado
as we spoon out in half light.

Jouvay. Sugar the jute frocked assassin
is clumsy, carries shekere and crunch,

disarms with hemp smell.
I know alluvial, but if not

I’d sense the crystals’ origin in earth,
lava over eons going crumble,

sawyer negros ganging timber—
clearing—language will and

muscles breaking down.
In the show framed by sash window

clumps of palms stickfight,
get limber, fronds as long calindas

spinning, blurred. A fruit of some size
falls out there in shadow

and we can’t see what’s destroyed
what ant pounded

what twig maligned
and we perk in hush

as what happens in filial dry climates
when drones do their work

and boof thoraxes dismembered.
Of a sudden collateral gone.

I took my coffee black today.
Somewhere without degreed baristas

a near-blind hand inchworms
a counter and

the crystals’ ant-attracting
frass is dulled of bite.

Pain’s absence is a danger.
Blindness of the spirit a choice.

 

Colin Channer was born in Jamaica and educated there and in New York. He teaches at Brown.

[Purchase Issue 22 here.] 

From the beginning, The Common has brought you transportive writing and exciting new voices. We are committed to supporting writers and maintaining free, unrestricted access to our website, but we can’t do it without you. Become an integral part of our global community of readers and writers by donating today. No amount is too small. Thank you!

On Sugar and the Carnival of War

Related Posts

Book cover of Fifty Mothers

Mother is a Kind of Holding: Jenny Qi interviews Preeti Vangani

PREETI VANGANI
With vignettes, I could plumb its narrative arc to become a force propelling the book forward. It also felt haunting yet warm that the mothers kept reappearing throughout the life of this grief. That repetition created a chorus of voices that angers and despairs, yet cradles the speaker.

May 2026 Poetry Feature: Arielle Hebert, from Bottom Feeders

ARIELLE HEBERT
Home again at the water’s edge, / palms dancing in salt breeze. / I take a too-deep breath / and the air prickles my lungs / like an unfiltered cigarette. / Only the tourists are swimming, / coughing through the algal bloom, / eyes bloodshot and skin burning.

Portrait of Daniel Tobin in front of low trees

The Grave Fox

DANIEL TOBIN
No kindred of an earth, it must stalk alone, / or scavenge what the visitants leave behind. // or bird’s eggs, rabbits, the odd neighborhood / cat wandered over from some nearby home. / Its tail affects the lilt of a semaphore; its pelt // a finish of rust in sunlight.