The melting pot of destruction (viii)
April 1st, 2026. Cité de Billes.
Douala. Cameroon. my cellular
data room. my feed. my phone.
they are just the other slaves. they
lay down on the ground of my hands.
alive. lonely. they are their courtyard.
and when they lock in, nothing else matters
in the kingdom their tortures. nothing
My brother, my torturer (xxxxxxiii)
April 1st, 2026. Cité de Billes.
Douala. Cameroon. when the
rain greets the roof with their
tireless hips, with a noisy smile,
i know the sleeping guitars, the
toxic angels & rebels of my brother
are sharpening their hatchets. they are
ready, one again, this night again, to
cremates the remaining limbs of my flesh.
they are ready. and when my brother activates
the eyes of their lock, the spraying desecrates
the lazy fight of my strength. Like diabolical
surroundings. and then i become a lake
of pain. an ocean of suffering. a house of ach
The rapist’s perfume desecrates the corners vi
March 31, 2026. Cité de Billes.
Douala. Cameroon. like a tight-fisted
shoe, the rapist’s perfume swallows the
joy of the day. like a stuffed batch,
it cremates the sun of my quietness.
like a panic-stricken lumber, the
rapist’s perfume desecrates the softness of
my poetry where silent eulogies fight alone.
Shirin Abedinirad, House in the Wind, 2017. Land art, Marrakesh, Morocco. Created in collaboration with Nikon and BMW Mini, the work imagines the desert as an open studio where, in the artist’s words, “my studio has no walls, no roof, and no borders.” With sky as ceiling, horizons as walls, and wind, mirrors, clouds, and sand as collaborators, the installation becomes a meditation on nature as partner, sanctuary, and boundless space of belonging. Artwork courtesy of featured artist Shirin Abedinirad.
