The chatroom is a children’s sandbox pulsating with snakes. Every now and then the graphics spasm, sparkles flashing us. Messages poke out from the hem of the screen. Some thirsts should not be quenched. But here, at least, my 14/f/ldn is everything. I type him back to mine most days, my school skirt flung across a chair, the pleats lacklustre too, puzzling algebraic all the ways I am divided: if x is a secret camgirl, what is her value? Does x even know who x is? If she does, why doesn’t she reveal herself? Why is she always revealing herself? My panties peeling off like scabs, the flesh beneath still tender, pink, naively soft in a world that chafes. I can’t not do this. Hunger made me; carved me in its image: hands with which to touch, touch, and a tongue to taste, and a belly— his—in which to bury myself. Hunger made me do it: seasoning my pubescent veal, my fatty flesh and oil-brushed hips, my raw hide marinated in red lace and violet glitter, the skin around my eyebrows sore and bumpy, freshly tweezed. I once heard a woman say An apple chooses where it falls but not who eats it. But why would the apple care? The only purpose of an apple is to be eaten. And the body that doesn’t eat for long enough will eat itself. It learns to gather strength from its self-destruction. Swallow me and I’ll fill you up and imagine that fullness is mine. Tell me to suck my thumb like a child, and I’ll tell you how I taste. The final spasm fades. Eyes open. She sees nakedness. Her own. She covers herself, closes the chat. But because of the delay, she’s still there— filling his screen like a doe in an unhinged jaw. Even now, years later, I sometimes feel like I’m being watched. I tell my friends. They say it’s the Holy Spirit. Even now, sometimes, I google myself and scroll through pages of headshots, holiday smiles, achievements since, my belly gnawing, wondering if this time I’ll see a picture of a girl who looks like me, in my old room, on the same mattress I wet when I was three, leaning against a wall once coloured with crayon and rainbow stickers. A girl as black and void as pupils, wanting anything to enter, settling for light.
Ouroboros
Feature Date
Series
Selected By
Share This Poem
Print This Poem
“Ouroboros” from CHAOTIC GOOD: by Isabelle Baafi.
Published by Wesleyan University Press on March 11, 2025.
Copyright © 2025 by Isabelle Baafi.
All rights reserved.
Reproduced by Poetry Daily with permission.
Joladé Olusanya
ISABELLE BAAFI’s writing has been published in the Times Literary Supplement, The Poetry Review, The London Magazine, Aesthetica Magazine, Oxford Poetry, and elsewhere. Her debut poetry collection, Chaotic Good (2025), published by Wesleyan in the U.S. and Faber in the U.K., is currently shortlisted for the Jerwood Prize for Best First Poetry Collection.Her pamphlet Ripe (2020) won a Somerset Maugham Award and was a Poetry Book Society Pamphlet Choice. She is the Reviews Editor at Poetry London, a Ledbury Poetry Critic, an Obsidian Foundation Fellow, and an editor at Magma.
Middletown, Connecticut
Wesleyan University
A piercing debut about how we are made, how we get lost and how we find new selves.
Framed by the story of escape from a toxic marriage, Chaotic Good focuses on the incremental ways in which power accumulates, shifts and is relinquished within both home and community. Incisive, rigorous and artful, Isabelle Baafi reminds us of the importance of self-determination, and how, when we feel most eroded, we might discover what we need deep within ourselves: ‘This time and every time, I was the code I needed to find my way back.’
Poetry Daily Depends on You
With your support, we make reading the best contemporary poetry a treasured daily experience. Consider a contribution today.
