The Zambian-born British poet explores colonial history, the origin of HIV and survivor’s guilt with a quiet power
Kayo Chingonyi’s A Blood Condition has a dignity that honours the past without indulging in any overflow of personal feeling. Dignity is an interesting quality in a writer – it cannot be faked without presenting as pomposity. Chingonyi’s authentic, reined-in passions are stirring. His impressive first collection, Kumukanda (2017), showed a poet who already understood that you do not need to be attention-seeking to deserve attention. In this second collection, he takes quietness further. The “blood condition” remains unnamed, although even the most defective of detectives will know it to be HIV. Eastern and southern Africa have been ravaged by the disease and Chingonyi, born in Zambia, lost both parents to HIV-related illnesses. Many of his poems bless the departed (in the affecting Guy’s and St Thomas’s he cannot dissociate the memory of his mother from hospital buildings where she once worked). But the collection is about loss in a far wider sense and its precise devastations will find echos in this time of Covid.
The opening prose poem, Nyaminyami, is dedicated to the Zambezi River god and the whole collection runs like a river that keeps breaking its own banks. Chingonyi compresses Zambia’s troubled history into its flow. He describes the insult of colonial interventions: the building of a dam, the greed for copper, the indifference to the old stories:
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