My grandmother tells me you need a good tonguein life, you gotta show love with it, you gotta demandlove with it. In the same breath she reminds meof the benefits of drinking Ovaltine before bed,how remembering to heat my milk first is key& I tell her yes, I know. Like a promise,like a prayer. I do not tell her how oftenI hold my tongue, I do not tell her I cannot find Ovaltinein my local markets. I only tell her yes— is that not what it meansto show love with this tongue, to lie for her sake? Her joyis so dependent on my insistence that I am in the kitchenevery evening dressed in garlic & onion & oil. That I wakein the mornings to incense smoke & god on my tongue &I do not tell her about the heartbreak until it is over. I tell herabout cut flowers I buy myself from the grocery store,how they’ll sit on my table for weeks, mimicking lifeeven though they’ve long died, brittle bones on the brinkof collapse, until I remember to take them out with the trash& then I do it again. I cannot keep plants alive, it is a testimonyto all I did not inherit from my grandmother, her hands so eternallywed to earth. Her South American soil birthed vegetables, nurtureda livelihood. I believe her body is bound in Guyana in a wayit could never be bound in the States. I wonder oftenif a part of her is already buried there & when her legs give outfrom a fall I think, yes, it must be. Yes, fragments of herare scattered about & calling on me. Some days I breatheher in more than others & when I pray it’s her voice,not mine that echoes in my apartment.When I leave my partner of six years, I apologizefor choosing myself over us, but if I am to demand lovewith this tongue, I cannot swallow myselfwhole for anyone else. When I visit home,my grandmother asks me about marriage,about children, & I tell her not yet. Rememberwhat you told me about getting my education?How no one can take what’s inside of my head?& she says yes, I remember.But her hands tremble & I know she wants to give mea wedding before she dies & I know, she will not be ableto give me a wedding before she dies so yes, I lie to her.I lie about Ovaltine & the plants I’ve killed & the loveI left because I am too muchlike her. A woman so bound by what she believesshe must do that no one but the gardens she’s tendedhear her cry & I want to ask my god how muchof that land is salted with her tears but I refrainbecause god will not tell me & my grandmotherwill not tell me & I cannot show her these handsI am trying to build a life with, how they are so muchlike dried up riverbeds, like barren soil because weare nothing if not withholders of loss.
On Good Tongues
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“On Good Tongues” from EARTHLY GODS: by Jessica Ram.
Published by Game Over Books on September 6, 2024.
Copyright © 2024 by Jessica Ram.
All rights reserved.
Reproduced by Poetry Daily with permission.
Jessica Nirvana Ram (she/they) is an Indo-Guyanese poet, educator, and editor. Author of Earthly Gods (Game Over Books, 2024) and in the aftermath (Fifth Wheel Press, 2025), Jessica earned her MFA from the University of North Carolina Wilmington. Their work has appeared or is forthcoming in wildness, Poet Lore, Prairie Schooner, The Rumpus, among others, and has received support from the Stadler Center for Poetry & Literary Arts, and Sundress Academy for the Arts. She is the Director of Sticky Fingers at Honey Literary, Director of the Bucknell Seminar for Undergraduate Poets, and is currently a Visiting Assistant Professor at Bucknell University.
“Jessica Nirvana Ram’s Earthly Gods wrestles the angel of belief to our mundane sphere, incarnating as devotion to divinity and ancestors, shifting into a love wincing from the searing beauty of the world. From the tender renderings of a grandmother’s praying hands to incantations to the departed to the rivers that are the women throughout this book, these poems teem with diasporic wonderments and heartaches. Rituals described and deities invoked, Ram’s debut chants the sincerest ode of my own heart as the speaker prophesizes, 'The marrow of your bones will sprout dandelions.' All I can see after reading this is a summer field filled with small petaled suns lifting up their heads from the green in praise.”
—Rajiv Mohabir, author of Whale Aria
“In this remarkable debut, Ram maps a new kind of coming of age and reckons—through exacting narrative and inventive approaches to form—with the renovations required in divining one’s own mythology. As these poems tend gender, culture, and inheritances of many kinds, they also lend rare and well-crafted insight into how language accompanies us into a future we couldn’t know to expect.”
—Meg Day, author of Last Psalm at Sea Level
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