the poet
Ghanaian writer, poet, researcher and performing artist McLord Selasi Azalekor has work in Panorama, The Shallow Tales Review, Trampoline, Isele Magazine, Eunoia Review, The Poetry Journal, Stone Circle Review and elsewhere. Longlisted for the 2026 Commonwealth Short Story Prize, he received an Honourable Mention in the 2026 Evaristo Prize for African Poetry, and was shortlisted for the Narratives Against Poverty in Africa Literary Prize 2025. He was also highly commended in the erbacce-prize 2026.
the poems
Departure Platform,
Dunkerque
The word for goodbye in French is also
a word for God. I did not know this
until I said it to you, until the train
pulled away and I was left with au revoir
repeating like a pulse, a small deity
I had accidentally invoked and could not
now dismiss. You were going back to England.
I was staying. This was the agreement.
The platform emptied. A cleaner swept
cigarette butts into a pan. The French word
for broom is balai, which sounds like ballet,
which is what her sweeping was – precise,
arabesque, a performance for no one. I watched
until she finished, until the platform was clean
of everything except my standing there,
unable to move toward what came next.
To leave is simple. You walk. You do not
look back. The looking back is what complicates –
the belief that the person you were with
the person is still there, still visible,
if you only strain your eyes against the distance.
I did not look back. I looked at the sea instead,
which was the same sea that had brought us here,
that had seen this leave-taking a thousand times
and kept its salt opinion to itself. The sea
does not say goodbye. The sea does not say anything.
It simply stays, which is a kind of love,
and leaves, which is another kind.
After the Phone Call
He said the results were not what we hoped.
I stared at the kettle, waiting for it to begin
its single note aria. It never did.
Outside, the neighbour’s dog
was making a song of its own –
three barks, a pause, then again.
I wrote your name on the back of an envelope,
then underlined it. As if that made you safe.
Later, I found the kettle had boiled itself dry,
a white crust hardening at its mouth.
Nothing is ever finished boiling.
Nothing is ever cooled enough to hold.
Derecho
The morning gave no warning.
Sky the colour of a hospital corridor,
that particular green that means
nothing good is coming.
By noon the trees were kneeling.
I watched an oak bend until it prayed,
its roots a fist of white threads
clutching at the darkening air.
You were in the city. I was here
where the power lines came down
like struck snakes, spitting blue,
where the barn roof lifted whole
and flew a hundred yards
before it remembered gravity.
After, we walked the property
counting what we'd lost:
the cherry tree we'd planted
when we still believed in milestones,
half the fence, the greenhouse glass
scattered like someone had been
throwing handfuls of salt
at everything we grew.
But the raspberry canes held on.
Those thin wrists of green,
thorned and stubborn,
had gripped the trellis wire
and refused to let go.
You picked one. It was not ripe,
still white at the top, hard,
but you put it in your mouth anyway
and made that face you make –
the one that tries to turn sour
into something we can use.
Now, weeks later, the canes are fruiting.
I go out at the hour the light turns gold
and stand among them. The berries
fall into my palm like small dark hearts.
I eat them right there, staining
my fingers, my mouth, letting the seeds
catch in my teeth. Each one
has the taste of after –
of what comes when the wind
has had its say and moved on,
when the world you built
has been inspected and found
temporary, but the ground remains,
and the green remains,
and the small sweet fact of something
holding on.
Publishing credits
All poems: exclusive first publication by iamb


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