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A Portrait of a Black Man Wrestling With His Secret Self

by Oak Morse

no nigga knows the secret to self-crucifixion

better than himself ● when Black boy here tug-a-wars

with masculinity ● he says hem that lil witch up ● spool her in

cotton gin ● each time that nigga tries to be Brandy ● spiraling like

he owned the smoky voice ● plaits pyrotechnic-ing ● but he/she/we

is a boy ● that boy know better than to let slip show ● queening

through a room ● as if chimes sway from his forehead to her

mystical catwalk ● to light harmonies of Top of the World

he shouts ain’t no new day for Black gays ● stab a bobby

pin through the illusion, unfasten the penalty ● mummify

him-her in micro-braids ● snatch up ● the tiniest strands

 

 

tighter than Ethiopian-sewn vagina ● each knot a welded

compound ● scorching grilled stripe for ● every whirl every

Brokenhearted hum in the fan ● under between peoples’ radar

begin at base ● around her ankles ● bind that witch ● he knows the

basting stitch to death because he never saw how to exist with himself

he say go tougher than twisted tree roots ● hogtie for gliding across the floor

like it’s the ball in Rodgers & Hammerstein's Cinderella, letting his aura be

coiled by a man ● Lords knows she-he’s already a man ● bowline ● bound

him by the knees stiff enough to tug the Clotilda to shore ● inflamed

bondage he pleads don’t let each threadbe a hug that he needs

to unravel to let that Moesha girl glow instead ● encircle

until she-he’s a midnight merry-go-round ● cycloned

into particles to blur this Angel in Disguise he secretly

is ● believe ● trans-locking this witch ● is much

more melodic than the wiry truth

 

 

he says taunt line hitch baby doll twist ● harder

than a chain fence ● oh, he got to carrick bend ● for

Sitting up in his Room dripping in his diary about being

screwed by Ohagi ● engrain her ● fuse with the next follicle

a thorn-grip crown around her head ● like Christ ● crotchet loose

ends until she’s unconscious ● no wind-molecule barricading in ● only

this raging shame is breed by kinfolk ● Black kin ● their long-roped history

of having a history roped with hurt ● his supposed external peace yet watch

his breathing booming ● this helix body bag ● he wants out so bad instead

he says buckle upabide lil witch ● the little boy in him ● he needs to

abide by the oath the feigned man in him ● is bound to be ● help

him/me/she that boy-been looking for solace in locked maze

since I Wanna Be Down days ● Lord, let it hail in

Double Platinum keys ● unstring him please

 

 

do not Nubian knot him to compressed licorice

for all the split seconds he rebelled reckless ● or fell

stamina begging to burst like busted pillow of rainbow feathers

hell, why does Black boy submit so well ● he says super seal until you

slaughter his daydream of Brandy & her braids on him ● whirling like

windmill slicing the air ● he says he can’t be a colossal wrench

clenched into a tall updo ● he has to be ● a bloody, black

head-harness ● a single strand of him cannot bungee

for that witch ● who may conjure up courage

to finally sing for consent from himself

to untuck and feed ● what he’s been

killing ● and at last tumble out

of tangled locks ● ride them

like a tree swing

Oak Morse lives in Houston, Texas, and holds an MFA from Warren Wilson and an MLIS from the University of Southern Mississippi.  He won the 2025 Larry Levis Post-Graduate Award and the 2024 A Public Space Writing Fellowship. Oak has received support from PEN America and has won fellowships from Brooklyn Poets, Twelve Literary Arts, Cave Canem's Starshine, and Clay, as well as a Stars in the Classroom honor from the Houston Texans. His work appears in POETRY, Black Warrior Review, Obsidian, Up The Staircase Quarterly, Indiana Review, Cream City Review, and Painted Bride Quarterly, among others.

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