Middle-Class Dropouts

1.

in this new memory,

the scene is brightly

coloured & vivid.

colour brown is primary.

rust-brown epidermis:

the city is hills & it is valleys

& in some places,

like eczema patches,

modern scabs punctuate

the red-brown stretch of

roofskin

with the factory hue

of new-tech architecture.

2.

from where we sit,

the epidermis is all we can see

& the trees & the blue sky.

the rest is left to be imagined:

the dermal bulbs of concrete

beneath every roof unit,

the old ones from the earlier days

of this city’s civilisation,

stuff of poetry;

& the ones that have just recently

undergone renewal,

adjoined to the scabs,

with new paint, new insides,

new bright chocolate-

brown christian

family lodged in the skin,

just newly moved in

from a much saner city,

with its cleaner air, curbside

cafés, breakfast shops

& much more serene

streets,

less depravity

& certainly

less roadside shacks

& slums & hooligans

smoking hemp

& having sex-

ual intercourse

in the open,

in the market,

everywhere!

3.

we know of their curled-down

lipsides and their moral

civilized critique

we have lived close enough

to them, our (then, only thought)

sins & inadequacies—

our poverty—

tucked away under

our good surfaces,

their good surface

godly,

conforming children—

sponsored,

not wanting a thing.

4.

we knew unease surely,

but not how fast our realities

could be overturned.

we sat in air-conditioned privilege

in our uneasy

privileged seats,

& watched through car glass

the city to be judged.

a soft prayer,

we only watched, didn’t judge,

because we knew we very probably

would, one day, be on the other side

of the glass. watched

& judged.

5.

gentrification spreads like a sure disease

one day we won’t even be able to live here.

Joshua Morley

Joshua Morley is a poet, queer Nigerian artist, finalist for the Nigerian NewsDirect Poetry Prize 2020, acquiring editor for the Hugo award winning FIYAH Literary Magazine, editor of the chapbook of poems "A Polite Bruja" by Marinna Benzon and poetry editor at Second Skin Magazine. Morley wants you to love, to prioritise community, to resist and seize joy in the midst of struggle, and to read this essay published in The Republic Journal by their friend Ìjàpá O about the fluidity of the self and the philosophy/politics of naming. You can find Joshua Morley's writing previously published in and forthcoming from [PANK], Boy.Brother.Friend, Corporeal, Stone of Madness, among others. On Twitter @morleyxoxo.

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The treasure we name ourselves after